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These are the user uploaded subtitles that are being translated: 1 00:00:07,575 --> 00:00:09,710 [eerie music] 2 00:00:09,710 --> 00:00:12,813 [howling] 3 00:00:50,218 --> 00:00:51,585 Come in! 4 00:00:51,585 --> 00:00:53,521 JOE HILL: A dozen teenagers had been butchered 5 00:00:53,654 --> 00:00:55,823 in this old and spooky house. 6 00:00:55,956 --> 00:00:57,891 Let's split up and look around. 7 00:00:58,025 --> 00:00:59,393 I suggest that we ponder this a bit 8 00:00:59,493 --> 00:01:00,994 longer before running off. 9 00:01:01,129 --> 00:01:02,163 Are you coming? 10 00:01:02,163 --> 00:01:03,164 No. 11 00:01:03,164 --> 00:01:04,198 JOE HILL: That's the classic. 12 00:01:04,198 --> 00:01:06,800 Ooh, somebody fired the maid. 13 00:01:06,800 --> 00:01:08,336 Yeah, somebody did. 14 00:01:08,336 --> 00:01:10,604 The whole family maid was killed along with the rest of them. 15 00:01:10,738 --> 00:01:12,005 JOE HILL: We've never been able to escape 16 00:01:12,005 --> 00:01:13,674 it, the tropes and the clichés that we've 17 00:01:13,674 --> 00:01:15,075 seen a thousand times. 18 00:01:15,176 --> 00:01:16,477 No one knows what happened to her. 19 00:01:16,477 --> 00:01:18,011 They never found his body. 20 00:01:18,011 --> 00:01:19,913 They found him naked on the beach, 21 00:01:20,047 --> 00:01:22,283 holding the chopped-off head of another camper. 22 00:01:22,416 --> 00:01:24,452 JOE HILL: They get better with time, not worse. 23 00:01:24,552 --> 00:01:26,387 The caller is in the house. 24 00:01:26,387 --> 00:01:28,622 The calls are coming from the house. 25 00:01:28,756 --> 00:01:30,958 JOE HILL: So I think we kinda want some of those clichés. 26 00:01:30,958 --> 00:01:32,126 We want that familiarity. 27 00:01:32,260 --> 00:01:36,297 Every February 14th, Harry comes back to town 28 00:01:36,297 --> 00:01:38,532 just for someone to kill. 29 00:01:38,532 --> 00:01:39,800 - [screams] - [screams] 30 00:01:39,933 --> 00:01:41,369 Kill! 31 00:01:41,502 --> 00:01:45,206 JOE HILL: It enhances rather than reduces the fun when we 32 00:01:45,206 --> 00:01:46,974 see the characters doing the things 33 00:01:46,974 --> 00:01:48,576 that people do in horror films. 34 00:01:48,576 --> 00:01:49,977 Is anybody out there? 35 00:01:49,977 --> 00:01:53,581 BREA GRANT: Horror fans are more educated on tropes 36 00:01:53,581 --> 00:01:55,383 than the average film viewer. 37 00:01:55,516 --> 00:01:56,917 [distorted audio] 38 00:01:56,917 --> 00:02:00,888 BREA GRANT: I think that we come in with a knowledge base. 39 00:02:00,888 --> 00:02:03,357 We know what a harbinger is. 40 00:02:03,357 --> 00:02:05,926 You're all doomed. 41 00:02:05,926 --> 00:02:07,828 BREA GRANT: We know what a final girl is. 42 00:02:07,828 --> 00:02:09,163 [screams] 43 00:02:09,297 --> 00:02:11,565 BREA GRANT: Our favorite thing is when someone takes 44 00:02:11,565 --> 00:02:17,037 those rules and surprises us. 45 00:02:17,037 --> 00:02:20,073 What are the most common horror tropes and clichés? 46 00:02:20,208 --> 00:02:22,910 You know, they all relate to things that we may have felt 47 00:02:23,043 --> 00:02:24,478 when we were two, three, four-- 48 00:02:25,379 --> 00:02:26,447 [screams] 49 00:02:26,447 --> 00:02:28,081 about what the things that we were 50 00:02:28,216 --> 00:02:29,450 scared of or that unsettled us. 51 00:02:29,550 --> 00:02:30,918 [thunder] 52 00:02:30,918 --> 00:02:32,253 ALEX WINTER: So that's what always 53 00:02:32,253 --> 00:02:35,823 becomes a trope because it has such a pull on us. 54 00:02:35,823 --> 00:02:39,293 [screams] 55 00:02:42,996 --> 00:02:44,665 Hello? 56 00:02:47,301 --> 00:02:49,937 Darry, don't even think about it. 57 00:02:49,937 --> 00:02:50,871 Darry! 58 00:02:50,971 --> 00:02:52,640 I told you I heard someone. 59 00:02:52,773 --> 00:02:54,975 DAVE SCHILLING: One of the most important tropes of any horror 60 00:02:55,108 --> 00:03:00,013 movie is the protagonist doing something completely illogical. 61 00:03:00,147 --> 00:03:01,649 You know the part in scary movies 62 00:03:01,749 --> 00:03:03,617 where somebody does something really stupid 63 00:03:03,617 --> 00:03:05,586 and everybody hates them for it? 64 00:03:05,586 --> 00:03:06,920 This is it. 65 00:03:06,920 --> 00:03:09,557 You can't have a horror movie if your character 66 00:03:09,690 --> 00:03:10,824 does the right thing. 67 00:03:10,924 --> 00:03:13,961 [screams] 68 00:03:16,096 --> 00:03:19,233 They have to make the either brave or stupid 69 00:03:19,233 --> 00:03:22,202 decision to stick around. 70 00:03:22,303 --> 00:03:23,837 REBEKAH MCKENDRY: 1980s, we always 71 00:03:23,837 --> 00:03:25,973 had the trope of the girl running up 72 00:03:25,973 --> 00:03:27,475 the stairs when she should have been 73 00:03:27,475 --> 00:03:28,676 running out the front door. 74 00:03:28,776 --> 00:03:29,710 [screams] 75 00:03:31,612 --> 00:03:32,680 REBEKAH MCKENDRY: The killer is chasing me. 76 00:03:32,813 --> 00:03:35,015 And so oh, my God, I'm running up the stairs. 77 00:03:35,115 --> 00:03:37,918 And now I'm trapped upstairs and can't go anywhere from there. 78 00:03:38,051 --> 00:03:39,553 [glass shatters] 79 00:03:39,653 --> 00:03:41,689 REBEKAH MCKENDRY: And so that became a trope in itself. 80 00:03:41,822 --> 00:03:45,192 For a long time, you know, most of a decade of slasher films. 81 00:03:45,293 --> 00:03:46,660 We were fine with that. 82 00:03:46,794 --> 00:03:49,463 We were just like, mm, yeah, she should have run out the door. 83 00:03:49,463 --> 00:03:51,532 And there was something fun about knowing that. 84 00:03:51,532 --> 00:03:53,166 Paul? 85 00:03:53,166 --> 00:03:54,868 REBEKAH MCKENDRY: But that reached a point where it became 86 00:03:55,002 --> 00:03:56,437 more irritating than anything. 87 00:03:56,570 --> 00:03:57,371 [sinister music] 88 00:03:57,471 --> 00:03:58,906 [screams] 89 00:03:59,707 --> 00:04:00,908 [door shut] 90 00:04:02,476 --> 00:04:04,745 MORGANA IGNIS: Some of the more nonsensical tropes that 91 00:04:04,845 --> 00:04:08,549 will absolutely lead to better scenes and a better story 92 00:04:08,682 --> 00:04:11,218 are things like, let's split up, 93 00:04:11,319 --> 00:04:12,720 Everybody out in pairs. 94 00:04:12,720 --> 00:04:14,688 Look everywhere you can think of, even the empty cabins. 95 00:04:14,688 --> 00:04:17,491 MORGANA IGNIS: A terrible idea in a real scenario. 96 00:04:17,491 --> 00:04:20,661 In a film, leads you to a bunch of other scenes 97 00:04:20,661 --> 00:04:23,364 in which you get to enjoy these characters on their own. 98 00:04:23,497 --> 00:04:27,067 You have the opportunity to see how each character will act 99 00:04:27,200 --> 00:04:31,238 when they make the really stupid decision to separate and decide 100 00:04:31,372 --> 00:04:34,375 to go their separate ways that the killer can focus on picking 101 00:04:34,375 --> 00:04:38,111 them off individually. 102 00:04:38,211 --> 00:04:40,948 The absolute worst choice that they could possibly make 103 00:04:41,081 --> 00:04:43,384 is the one that leads to the best story. 104 00:04:43,384 --> 00:04:45,619 Here Cheryl, why don't you go down and check, make sure? 105 00:04:45,753 --> 00:04:47,321 Scotty, I'm not going down there. 106 00:04:47,421 --> 00:04:48,088 OK. 107 00:04:48,088 --> 00:04:49,323 OK, you cowards. 108 00:04:49,457 --> 00:04:50,891 I'll go. 109 00:04:50,891 --> 00:04:52,760 JOE HILL: Horror fans will watch a movie 110 00:04:52,893 --> 00:04:55,729 and say, if I was in this film, I would never have done that. 111 00:04:55,729 --> 00:04:57,230 And that's why I'd live. 112 00:04:57,230 --> 00:05:00,601 Fans are always critiquing the choices of the characters 113 00:05:00,601 --> 00:05:01,835 in the movie-- 114 00:05:01,935 --> 00:05:03,671 I know someone's out there. 115 00:05:03,804 --> 00:05:06,039 JOE HILL:--as if things would be different if it was them. 116 00:05:06,039 --> 00:05:07,007 [grunting] 117 00:05:07,007 --> 00:05:08,642 [screams] 118 00:05:09,543 --> 00:05:12,179 This is delusion. 119 00:05:12,179 --> 00:05:15,416 It always makes me think of the Mike Tyson quote 120 00:05:15,549 --> 00:05:17,785 that everyone has a plan until they get punched in the nose. 121 00:05:17,885 --> 00:05:19,019 [crash] 122 00:05:19,019 --> 00:05:19,820 [screams] 123 00:05:21,154 --> 00:05:22,856 JOE HILL: Everyone has a plan until Ghostface 124 00:05:22,990 --> 00:05:24,492 sticks a butcher knife through their chest. 125 00:05:26,894 --> 00:05:28,328 [screams] 126 00:05:29,262 --> 00:05:32,600 [groaning] 127 00:05:33,967 --> 00:05:35,202 JOE HILL: You may think that you're 128 00:05:35,202 --> 00:05:37,104 smarter than the characters in a horror film. 129 00:05:37,104 --> 00:05:39,773 But if you were in that situation, 130 00:05:39,773 --> 00:05:41,375 you would inevitably find yourself 131 00:05:41,375 --> 00:05:43,276 making the same dumb choices because they're 132 00:05:43,411 --> 00:05:44,378 basic human choices. 133 00:05:44,512 --> 00:05:45,613 I'm gonna go-- 134 00:05:45,613 --> 00:05:46,447 I'm gonna go check this place out. 135 00:05:46,447 --> 00:05:47,280 TYSON: Whoa, whoa, whoa. 136 00:05:47,280 --> 00:05:48,449 Just one damn minute. 137 00:05:48,449 --> 00:05:50,050 There's a psycho killer on the loose, 138 00:05:50,183 --> 00:05:52,986 and you want to go traipsing around this gigantic mansion? 139 00:05:53,086 --> 00:05:54,788 Have you ever actually seen the Stab movies? 140 00:05:54,788 --> 00:05:58,325 So at some point in every subgenre cycle, 141 00:05:58,459 --> 00:06:00,561 the tropes will become cliché. 142 00:06:00,661 --> 00:06:04,331 We will get sick of seeing that same slasher done over and over 143 00:06:04,432 --> 00:06:05,165 and over again. 144 00:06:08,536 --> 00:06:11,071 And at that point, it will usually become a horror comedy. 145 00:06:11,071 --> 00:06:12,473 [phone ringing] 146 00:06:13,206 --> 00:06:14,007 Hello? 147 00:06:14,007 --> 00:06:15,342 Uh-uh. 148 00:06:15,443 --> 00:06:16,977 See, if that was me, I would be outta there. 149 00:06:17,110 --> 00:06:19,212 REBEKAH MCKENDRY: We will have somebody poke fun of it 150 00:06:19,346 --> 00:06:23,050 or call attention to it like a scream. 151 00:06:23,183 --> 00:06:26,353 GHOSTFACE (ON PHONE): Hello, Sidney. 152 00:06:26,454 --> 00:06:27,354 [screams] 153 00:06:29,289 --> 00:06:29,923 REBEKAH MCKENDRY: And that falls at the end 154 00:06:30,057 --> 00:06:31,592 of the prior slasher cycle. 155 00:06:31,692 --> 00:06:35,362 And suddenly, we're now all aware of it. 156 00:06:35,463 --> 00:06:37,498 HEIDI HONEYCUTT: The Scream franchise parodies horror 157 00:06:37,498 --> 00:06:38,832 movies-- - Watch out. 158 00:06:38,832 --> 00:06:40,100 [door creaking] - Behind you, kid! 159 00:06:40,233 --> 00:06:41,835 Randy! 160 00:06:41,969 --> 00:06:43,070 SIDNEY: [screams] 161 00:06:43,203 --> 00:06:44,104 HEIDI HONEYCUTT: But it also gives you what you 162 00:06:44,204 --> 00:06:45,773 want in those horror movies. 163 00:06:45,906 --> 00:06:48,175 And it also tells you what you're watching 164 00:06:48,308 --> 00:06:49,342 while you're watching it. 165 00:06:49,342 --> 00:06:51,479 Now I'mma tell you what it is, OK? 166 00:06:51,479 --> 00:06:54,882 It's a dumbass white movie about some dumbass white girls 167 00:06:54,882 --> 00:06:58,018 getting their white asses cut the fuck up. 168 00:06:58,018 --> 00:07:00,287 HEIDI HONEYCUTT: And as the Scream series goes on, 169 00:07:00,287 --> 00:07:02,790 each subsequent sequel does that more 170 00:07:02,890 --> 00:07:03,957 and more and more and more-- 171 00:07:03,957 --> 00:07:06,694 [screams] What the hell are you doing? 172 00:07:06,694 --> 00:07:07,861 Being Gale Weathers. 173 00:07:07,861 --> 00:07:08,962 What the hell are you doing? 174 00:07:09,096 --> 00:07:10,531 GALE: I am Gale Weathers 175 00:07:10,531 --> 00:07:14,267 HEIDI HONEYCUTT:--until you get to like 2022, 2023. 176 00:07:14,401 --> 00:07:16,369 MAN (ON PHONE): What's your favorite scary movie? 177 00:07:16,504 --> 00:07:18,906 Um, not that one. 178 00:07:19,006 --> 00:07:20,273 [screams] 179 00:07:20,273 --> 00:07:22,309 HEIDI HONEYCUTT: And you have the Scream movies that 180 00:07:22,409 --> 00:07:24,578 are basically about the Scream movies 181 00:07:24,712 --> 00:07:28,081 and about people that watch the Scream movies and horror fans. 182 00:07:28,215 --> 00:07:30,751 I told you, I don't know these movies. 183 00:07:30,851 --> 00:07:32,319 [stutters] Ask me about something I do know. 184 00:07:32,452 --> 00:07:34,387 Ask me about It Follows. 185 00:07:34,387 --> 00:07:35,556 Ask me about Hereditary. 186 00:07:35,689 --> 00:07:37,257 Ask me about The Witch. 187 00:07:37,357 --> 00:07:40,327 But it's also a Scream movie, but it's also a slasher film. 188 00:07:40,327 --> 00:07:42,262 [screams] 189 00:07:43,897 --> 00:07:45,032 I don't know where they can take it from there. 190 00:07:45,032 --> 00:07:47,100 You got stabbed a billion times, 191 00:07:47,100 --> 00:07:50,170 got dumped by your famous wife, and crawled into a bottle. 192 00:07:50,303 --> 00:07:52,573 I think it's safe to say you're on the suspect list. 193 00:07:52,706 --> 00:07:57,511 Well, maybe you're the killer because that cut deep. 194 00:07:57,645 --> 00:08:00,080 CHAD VILLELLA: With the two new Screams that we have done, 195 00:08:00,080 --> 00:08:06,253 I think we've had that same type of ability to look back 196 00:08:06,253 --> 00:08:07,888 since the original Scream came out 197 00:08:07,888 --> 00:08:10,257 and be like, the Scream came out 25 years ago. 198 00:08:10,390 --> 00:08:13,360 What has changed in the state of horror since then? 199 00:08:13,460 --> 00:08:17,197 Where are we as a world audience? 200 00:08:17,197 --> 00:08:19,667 We've had nine Ghostface killers so far. 201 00:08:19,800 --> 00:08:21,034 Nine? But I thought in the movies-- 202 00:08:21,168 --> 00:08:22,269 Forget about the movies. 203 00:08:22,269 --> 00:08:23,336 The movies don't matter. 204 00:08:23,470 --> 00:08:25,338 We are able to play with a little bit 205 00:08:25,438 --> 00:08:28,609 of the tropes and the clichés and the state of horror 206 00:08:28,742 --> 00:08:29,810 as it is right now. 207 00:08:32,846 --> 00:08:35,583 One of the most proud sequences that I have been a part of 208 00:08:35,583 --> 00:08:38,451 is the sequence where we killed Dylan 209 00:08:38,586 --> 00:08:41,388 Minnette's character which is named after Wes Craven. 210 00:08:41,388 --> 00:08:44,958 And that is playing on the tropes of, 211 00:08:45,092 --> 00:08:47,394 you know, if you open a door, you better be careful when you 212 00:08:47,527 --> 00:08:50,030 close it because then, you know, Ghostface 213 00:08:50,130 --> 00:08:52,032 will be standing right behind that ready to kill you. 214 00:09:00,440 --> 00:09:03,243 I think we had no less than seven doors that he opens 215 00:09:03,376 --> 00:09:05,813 and closes before we actually get to the moment 216 00:09:05,813 --> 00:09:08,716 where he sees an open door. 217 00:09:08,849 --> 00:09:10,417 Mom? 218 00:09:10,417 --> 00:09:12,452 CHAD VILLELLA: And then choosing to just simply close the door 219 00:09:12,452 --> 00:09:14,221 and then have Ghostface be in the room with you-- 220 00:09:14,354 --> 00:09:15,689 [locks door] 221 00:09:16,624 --> 00:09:17,858 [screams] 222 00:09:17,958 --> 00:09:19,526 CHAD VILLELLA:--and getting into that death 223 00:09:19,660 --> 00:09:21,862 against the door which now we end up playing on another trope 224 00:09:21,862 --> 00:09:23,831 which is instead of a jump scare, 225 00:09:23,964 --> 00:09:28,001 we're now into this slow push of the knife through the neck. 226 00:09:32,239 --> 00:09:33,741 And we just stay on that shot for a while. 227 00:09:37,878 --> 00:09:39,613 We played on so many tropes on this, 228 00:09:39,613 --> 00:09:42,515 and this is all stuff that came before us that we could just 229 00:09:42,650 --> 00:09:47,087 subvert expectations, do something new with, think how 230 00:09:47,220 --> 00:09:49,222 audiences think this is going to go, 231 00:09:49,322 --> 00:09:51,024 and then go in a different direction with it. 232 00:09:51,024 --> 00:09:52,893 We have to finish the movie. 233 00:09:52,893 --> 00:09:54,628 Who gives a fuck about movies? 234 00:09:54,628 --> 00:09:55,228 [screams] 235 00:09:59,767 --> 00:10:02,002 WOMAN (ON PHONE): Sometimes when a person 236 00:10:02,002 --> 00:10:03,871 acts wild and crazy, well, wild and crazy things 237 00:10:03,871 --> 00:10:04,805 happen to them. 238 00:10:04,905 --> 00:10:06,206 They do. 239 00:10:06,206 --> 00:10:09,076 Horny teenagers must die. 240 00:10:09,209 --> 00:10:13,280 Nobody who is having premarital sex should be suffered to live. 241 00:10:13,413 --> 00:10:15,749 This is like the abstinence education 242 00:10:15,849 --> 00:10:17,317 of conspiracy theories. 243 00:10:17,317 --> 00:10:17,985 punished. 244 00:10:18,118 --> 00:10:18,952 [screams] 245 00:10:20,387 --> 00:10:21,755 KATE SIEGEL: Like, we want all of our teenagers 246 00:10:21,755 --> 00:10:24,057 to be afraid to have sex in the back of cars. 247 00:10:24,191 --> 00:10:27,560 It's just an outrageous puritanical American concept 248 00:10:27,560 --> 00:10:29,329 that makes me furious. 249 00:10:29,462 --> 00:10:30,463 [screams] 250 00:10:30,563 --> 00:10:31,631 REBEKAH MCKENDRY: So it's thought 251 00:10:31,732 --> 00:10:33,200 that the horny teenagers must die 252 00:10:33,200 --> 00:10:34,668 thing came out of the 1980s. 253 00:10:34,768 --> 00:10:36,770 Hey. 254 00:10:36,870 --> 00:10:37,838 Robin Hood to the rescue! 255 00:10:37,938 --> 00:10:39,172 Woo-hoo. 256 00:10:39,172 --> 00:10:40,440 REBEKAH MCKENDRY: But we were definitely 257 00:10:40,573 --> 00:10:43,410 seeing that back in the 1970s. 258 00:10:43,543 --> 00:10:44,878 Even in the '60s-- 259 00:10:44,878 --> 00:10:46,579 Prove you love me. 260 00:10:46,579 --> 00:10:48,581 REBEKAH MCKENDRY:--teens have always been horny. 261 00:10:48,581 --> 00:10:50,350 It's just part of human nature. 262 00:10:50,350 --> 00:10:51,318 [screams] 263 00:10:52,552 --> 00:10:53,954 REBEKAH MCKENDRY: And so in the '70s, 264 00:10:53,954 --> 00:10:56,489 we started kind of pegging them off and really 265 00:10:56,589 --> 00:10:58,291 kind of using them as cannon fodder 266 00:10:58,391 --> 00:11:00,928 in a lot of horror films. 267 00:11:00,928 --> 00:11:05,265 DANA GOULD: It's a very Christian cultural belief-- 268 00:11:05,265 --> 00:11:08,035 And you don't have to be Christian to know it or feel 269 00:11:08,168 --> 00:11:10,403 it that if you're having too good of a time, 270 00:11:10,403 --> 00:11:11,138 you're gonna get-- 271 00:11:14,975 --> 00:11:17,310 RODNEY BARNES: Movies like The Omen and The Fury 272 00:11:17,310 --> 00:11:20,480 and, uh, Changeling and The Exorcist 273 00:11:20,613 --> 00:11:22,615 were adults for the most part. 274 00:11:22,750 --> 00:11:25,318 And because adults were at the center of the narrative, 275 00:11:25,418 --> 00:11:27,054 it felt more important. 276 00:11:27,054 --> 00:11:28,889 But by the time you throw kids into it, 277 00:11:28,989 --> 00:11:30,523 they're not supposed to know what to do, 278 00:11:30,623 --> 00:11:33,326 which in the beginning is cool. 279 00:11:33,326 --> 00:11:35,495 But then after a while, it's like, OK, I get it. 280 00:11:35,495 --> 00:11:36,396 [grunting] 281 00:11:36,396 --> 00:11:37,497 [moaning] 282 00:11:37,497 --> 00:11:40,801 RODNEY BARNES: They're easy to kill. 283 00:11:40,801 --> 00:11:43,636 TOM HOLLAND: Whatever is successful that's out there 284 00:11:43,636 --> 00:11:46,706 also puts a pressure on you. 285 00:11:46,807 --> 00:11:50,878 And that happened with Psycho II. 286 00:11:51,011 --> 00:11:52,412 Richard Franklin and I were afraid we 287 00:11:52,412 --> 00:11:53,981 weren't violent enough. 288 00:11:53,981 --> 00:11:56,817 And that's why we put in the two kids 289 00:11:56,817 --> 00:11:59,152 making love in the basement. 290 00:11:59,152 --> 00:12:00,420 What's that? 291 00:12:00,520 --> 00:12:02,355 What? 292 00:12:02,489 --> 00:12:03,991 That sound in the next room. 293 00:12:03,991 --> 00:12:06,093 [sighs] You're just stoned. 294 00:12:06,093 --> 00:12:08,361 TOM HOLLAND: That's that have sex and die thing 295 00:12:08,361 --> 00:12:10,764 that have become a cliché or was on its way to being a cliché 296 00:12:10,898 --> 00:12:11,698 then. 297 00:12:14,667 --> 00:12:16,036 [nails scraping] 298 00:12:16,036 --> 00:12:17,104 Quit. 299 00:12:17,237 --> 00:12:18,205 Quit now. 300 00:12:18,205 --> 00:12:19,506 Quit? 301 00:12:19,506 --> 00:12:20,874 Why would I wanna quit? 302 00:12:21,008 --> 00:12:23,877 Camp Crystal Lake is jinxed. 303 00:12:23,977 --> 00:12:27,447 BEN SHER: Friday the 13th was the first independent slasher 304 00:12:27,447 --> 00:12:31,684 film that got a major wide release by a big studio. 305 00:12:31,684 --> 00:12:35,122 Made a gargantuan amount of money 306 00:12:35,222 --> 00:12:38,658 and took the genre in some of the directions 307 00:12:38,658 --> 00:12:41,361 that we now think of as clichés. 308 00:12:41,361 --> 00:12:45,165 (SINGING) Hallelujah. 309 00:12:45,165 --> 00:12:49,569 BEN SHER: In particular, the idea that if you have sex, 310 00:12:49,702 --> 00:12:51,404 you're going to get killed. 311 00:12:51,538 --> 00:12:52,672 We weren't doing anything. 312 00:12:52,672 --> 00:12:53,640 We were just messing around. 313 00:12:53,773 --> 00:12:54,607 [screams] 314 00:12:56,276 --> 00:12:58,378 In Friday the 13th, Pamela Voorhees 315 00:12:58,378 --> 00:13:01,748 overtly says the counselors were making 316 00:13:01,849 --> 00:13:03,616 love when my son drowned. 317 00:13:03,750 --> 00:13:05,252 They weren't paying attention to him. 318 00:13:05,385 --> 00:13:08,521 And now I have to kill them. 319 00:13:08,521 --> 00:13:10,557 Well, people liked it because teenagers like watching 320 00:13:10,690 --> 00:13:11,758 teenagers have sex. 321 00:13:11,758 --> 00:13:13,861 They like watching teenagers get murdered. 322 00:13:13,861 --> 00:13:15,162 It's fun. It's exciting. 323 00:13:15,162 --> 00:13:17,564 So it just kind of-- it was a successful trope. 324 00:13:17,564 --> 00:13:21,534 They repeated it in part two, part 3, part 4, part 5. 325 00:13:21,534 --> 00:13:24,104 Nobody ever got sick of it. 326 00:13:24,204 --> 00:13:26,940 EMILY MARSH: But it kind of became like an endearing thing, 327 00:13:26,940 --> 00:13:28,108 like an endearing trope. 328 00:13:28,108 --> 00:13:29,943 It's just like, oh, those horny teens. 329 00:13:29,943 --> 00:13:31,845 Like, they're gonna be the next to go. 330 00:13:31,845 --> 00:13:33,280 But it wasn't like you were actually sitting there being 331 00:13:33,380 --> 00:13:34,747 like, yes, they deserve to die. 332 00:13:34,747 --> 00:13:35,849 That's right. 333 00:13:35,949 --> 00:13:38,185 Boo on you. 334 00:13:38,318 --> 00:13:40,287 PATRICK WILLEMS: You can deliver these same tropes 335 00:13:40,287 --> 00:13:43,190 and same clichés where we don't even 336 00:13:43,190 --> 00:13:45,458 really react because it just seems lazy, 337 00:13:45,592 --> 00:13:46,659 like they're not even trying. 338 00:13:46,759 --> 00:13:48,128 They're, like, running through a checklist 339 00:13:48,128 --> 00:13:49,696 like, here's all the stuff that we have to do. 340 00:13:49,829 --> 00:13:52,665 [screams] 341 00:13:54,567 --> 00:13:55,969 PATRICK WILLEMS: And then there are ways you can have 342 00:13:56,103 --> 00:13:58,105 fun with it like, yeah, sure. 343 00:13:58,105 --> 00:14:01,141 You're going to have a guy with a mask 344 00:14:01,141 --> 00:14:02,709 kill a bunch of horny teenagers. 345 00:14:02,709 --> 00:14:05,946 [screams] 346 00:14:06,079 --> 00:14:07,447 PATRICK WILLEMS: But you can have a lot of fun with like, 347 00:14:07,447 --> 00:14:09,516 who are those horny teenagers? 348 00:14:09,649 --> 00:14:11,651 You look at the fourth Friday the 13th, 349 00:14:11,651 --> 00:14:13,453 and it's like one of them is Crispin Glover-- 350 00:14:13,586 --> 00:14:14,888 God, I'm horny. 351 00:14:14,888 --> 00:14:17,090 PATRICK WILLEMS:--who is delivering such a deeply 352 00:14:17,090 --> 00:14:18,058 strange performance. 353 00:14:18,191 --> 00:14:18,992 Hey, Ted. 354 00:14:19,126 --> 00:14:21,461 Where's-- where's that, uh-- 355 00:14:21,594 --> 00:14:26,566 that corkscrew, that fancy corkscrew for the wine bottle? 356 00:14:26,666 --> 00:14:27,834 Ted? 357 00:14:27,834 --> 00:14:29,937 PATRICK WILLEMS: And in one scene, dances. 358 00:14:29,937 --> 00:14:33,907 And does a dance that no human being has ever done before. 359 00:14:34,007 --> 00:14:36,676 And that brings so much life to the movie 360 00:14:36,776 --> 00:14:41,481 because just casting this guy is such an unexpected choice. 361 00:14:41,481 --> 00:14:43,083 I think you are incredible. 362 00:14:43,083 --> 00:14:46,353 [chuckles] 363 00:14:49,889 --> 00:14:52,192 There is something odd going on in my building. 364 00:14:52,192 --> 00:14:56,663 KATE SIEGEL: Oh, sinister conspiracies. 365 00:14:56,663 --> 00:15:00,000 Wouldn't it be amazing if the people in charge of us 366 00:15:00,000 --> 00:15:02,369 were smart enough to be able to ever keep a secret? 367 00:15:02,469 --> 00:15:04,504 Wouldn't that be great? 368 00:15:04,504 --> 00:15:07,040 Wouldn't it be amazing if there were these old families that 369 00:15:07,140 --> 00:15:10,077 were really running everything behind closed doors as opposed 370 00:15:10,210 --> 00:15:12,279 to inbreeding themselves into a stupor? 371 00:15:12,412 --> 00:15:15,415 It's one of my favorites because it's probably not 372 00:15:15,515 --> 00:15:17,717 true in real life, but it adds such 373 00:15:17,850 --> 00:15:19,719 a beautiful flavor to a movie. 374 00:15:19,852 --> 00:15:21,221 WOMAN: He isn't my husband. 375 00:15:21,354 --> 00:15:22,522 It's someone who looks like him. 376 00:15:22,522 --> 00:15:23,856 He's an impostor. 377 00:15:23,856 --> 00:15:25,592 ALEX WINTER: Those are some of my favorite movies 378 00:15:25,725 --> 00:15:27,127 because they really connect horror 379 00:15:27,127 --> 00:15:31,064 to social concerns in a very grounded and impactful way. 380 00:15:31,164 --> 00:15:33,200 (ON ELIZABETH'S MIND) Today everything seemed the same, 381 00:15:33,200 --> 00:15:35,535 but it wasn't. 382 00:15:35,668 --> 00:15:36,536 It was a nightmare. 383 00:15:36,669 --> 00:15:37,570 People are changing. 384 00:15:37,704 --> 00:15:39,239 They're becoming less human. 385 00:15:39,372 --> 00:15:40,473 It's happening all around us. 386 00:15:40,573 --> 00:15:44,011 [shrieking] 387 00:15:44,011 --> 00:15:46,379 ALEX WINTER: Phil Kaufman's remake of Body Snatchers 388 00:15:46,513 --> 00:15:49,549 and The Thing are two of my very favorite horror movies 389 00:15:49,682 --> 00:15:52,585 ever for that reason is they really get into paranoia. 390 00:15:52,585 --> 00:15:55,488 Trust is a tough thing to come by these days. 391 00:15:55,488 --> 00:15:57,924 Who's that? 392 00:15:57,924 --> 00:16:00,393 ALEX WINTER: And the other and not knowing whether even you 393 00:16:00,393 --> 00:16:03,997 are not what you think you are, much 394 00:16:04,131 --> 00:16:06,266 less your best friend or the person next to you 395 00:16:06,399 --> 00:16:07,667 and this notion of paranoia. 396 00:16:07,667 --> 00:16:10,937 [gunshot] 397 00:16:12,772 --> 00:16:14,674 KATE SIEGEL: And people get that social anxiety 398 00:16:14,674 --> 00:16:16,276 in a new community, and they feel like they're 399 00:16:16,376 --> 00:16:17,277 on the outside of things. 400 00:16:17,277 --> 00:16:19,779 And it can feel to the individual 401 00:16:19,779 --> 00:16:24,584 like everybody is in a cult or everyone's a satanist 402 00:16:24,584 --> 00:16:27,054 because there's a vocabulary that you're not used to 403 00:16:27,054 --> 00:16:27,920 and things like that. 404 00:16:27,920 --> 00:16:30,257 [non-english chanting] 405 00:16:33,293 --> 00:16:36,663 KATE SIEGEL: And so horror like Midsommar and take that idea 406 00:16:36,796 --> 00:16:40,267 and blow it up into this full balloon 407 00:16:40,267 --> 00:16:43,803 with the tension at the end till you're just waiting 408 00:16:43,903 --> 00:16:46,306 for everything to explode. 409 00:16:46,306 --> 00:16:48,608 There is always something going on. 410 00:16:48,608 --> 00:16:50,610 You have to look closer, all right? 411 00:16:50,743 --> 00:16:52,912 What about this guy? 412 00:16:52,912 --> 00:16:57,817 DAVE SCHILLING: Paranoia is a crucial element of horror, 413 00:16:57,950 --> 00:17:00,120 not knowing where the threat is. 414 00:17:00,120 --> 00:17:05,158 If you know where the threat is coming from, it's not scary. 415 00:17:05,258 --> 00:17:06,493 It's a lack of knowing. 416 00:17:06,493 --> 00:17:09,496 So something like Hot Fuzz that's really about who 417 00:17:09,596 --> 00:17:13,666 is in on this conspiracy, who is part of the, the killing spree. 418 00:17:13,666 --> 00:17:17,337 And you find out it's most of the town. 419 00:17:17,337 --> 00:17:18,838 PATRICK WILLEMS: Hot Fuzz is dripping 420 00:17:18,938 --> 00:17:21,174 so much on like The Wicker Man. 421 00:17:21,274 --> 00:17:22,409 Are you the landlord here? 422 00:17:22,509 --> 00:17:23,176 Hi. 423 00:17:23,176 --> 00:17:24,744 I'm Alder MacGreagor. 424 00:17:24,744 --> 00:17:27,680 And you must be the policeman from the mainland? 425 00:17:27,780 --> 00:17:28,781 Police officer. Yes. 426 00:17:28,781 --> 00:17:30,016 I'm Nicholas Angel. 427 00:17:30,016 --> 00:17:31,518 PATRICK WILLEMS: And, you know, creepy movies 428 00:17:31,651 --> 00:17:33,320 about small English villages-- 429 00:17:33,320 --> 00:17:35,355 POLICE OFFICER: I think you all ought to know that I 430 00:17:35,488 --> 00:17:38,225 am here on official business. 431 00:17:38,325 --> 00:17:39,626 PATRICK WILLEMS: - and the ultimate 432 00:17:39,626 --> 00:17:42,529 reveal that it leans into this folk horror direction 433 00:17:42,529 --> 00:17:44,697 where there's this conspiracy of all 434 00:17:44,831 --> 00:17:46,666 the normal people in the town. 435 00:17:46,666 --> 00:17:49,236 They're all working together with this sinister plan. 436 00:17:52,972 --> 00:17:55,842 Rosemary's Baby is like the other perfect example-- 437 00:17:55,842 --> 00:17:58,311 [sighs] I was just talking about you. 438 00:17:58,311 --> 00:17:59,212 Favorably, I hope. 439 00:17:59,312 --> 00:18:00,980 PATRICK WILLEMS: - where you have 440 00:18:00,980 --> 00:18:05,051 this group of seemingly normal people like your neighbors. 441 00:18:05,185 --> 00:18:07,820 And I, I think it's really good when it's like older people who 442 00:18:07,820 --> 00:18:10,022 seem really innocent like they could be your grandparents 443 00:18:10,022 --> 00:18:10,990 or whatever. 444 00:18:10,990 --> 00:18:12,525 We're your friends, Rosemary. 445 00:18:12,525 --> 00:18:15,027 There's nothing to be afraid of, Rosemary, honest. 446 00:18:15,027 --> 00:18:16,529 And truly there isn't. 447 00:18:16,529 --> 00:18:18,398 PATRICK WILLEMS: And then they are actually involved 448 00:18:18,498 --> 00:18:19,466 in something really evil. 449 00:18:19,566 --> 00:18:20,300 Ro-- 450 00:18:20,400 --> 00:18:22,034 Help me! 451 00:18:22,034 --> 00:18:26,573 DAVE SCHILLING: When anyone can be bad and morality is unclear, 452 00:18:26,706 --> 00:18:29,041 then you are truly terrified. 453 00:18:29,176 --> 00:18:30,243 This is no dream. 454 00:18:30,343 --> 00:18:32,812 This is really happening. 455 00:18:32,812 --> 00:18:34,881 DAVE SCHILLING: You're truly terrified because anything 456 00:18:35,014 --> 00:18:35,882 could happen to you. 457 00:18:35,882 --> 00:18:38,218 No one can be trusted. 458 00:18:38,218 --> 00:18:41,288 [sobs] Oh, God. 459 00:18:41,388 --> 00:18:43,556 FRANK: We got a $36,000 motor home here. 460 00:18:43,556 --> 00:18:45,024 We don't need any restaurants. 461 00:18:45,024 --> 00:18:46,058 We don't need any showers. 462 00:18:46,193 --> 00:18:47,227 We got our own. 463 00:18:47,227 --> 00:18:48,728 We don't need anything from anybody. 464 00:18:48,728 --> 00:18:50,463 We are self-contained, babe. 465 00:18:50,563 --> 00:18:52,499 My favorite the-townsfolk-are-in-on-it 466 00:18:52,499 --> 00:18:55,268 movie is Race with the Devil, where we see Peter Fonda 467 00:18:55,402 --> 00:18:57,670 and Warren Oates are being-- 468 00:18:57,770 --> 00:18:59,672 I think they're on their way to a ski trip. 469 00:18:59,672 --> 00:19:03,743 On the way, they happen to see a satanic sacrifice. 470 00:19:10,583 --> 00:19:11,918 (WHISPERS) They've seen us. 471 00:19:11,918 --> 00:19:13,686 They witnessed something that they shouldn't witness. 472 00:19:13,786 --> 00:19:14,521 No joke. 473 00:19:14,521 --> 00:19:15,355 No bullshit. 474 00:19:15,355 --> 00:19:16,423 Murder. 475 00:19:16,423 --> 00:19:17,757 And from then on, they're marked, 476 00:19:17,757 --> 00:19:19,526 and they're just on the run and being 477 00:19:19,626 --> 00:19:22,362 chased by like a collective of crazy satanists. 478 00:19:22,495 --> 00:19:25,498 [screams] 479 00:19:25,632 --> 00:19:26,966 BEN SHER: Peter Fonda at that time 480 00:19:26,966 --> 00:19:31,804 kind of represented Americana in some way. 481 00:19:31,804 --> 00:19:33,640 In Easy Rider, he was the manifestation 482 00:19:33,640 --> 00:19:35,007 of the counterculture. 483 00:19:35,141 --> 00:19:36,876 And he gets killed by the squares. 484 00:19:36,976 --> 00:19:39,479 In Race with the Devil, it's the mid-70s, 485 00:19:39,479 --> 00:19:40,880 and he's kind of become the culture. 486 00:19:40,880 --> 00:19:43,149 FRANK: I'll tell you, you're about the straightest guy 487 00:19:43,149 --> 00:19:44,317 I ever met in my life. 488 00:19:44,451 --> 00:19:45,352 Hell, you're drunk, Frank. 489 00:19:45,485 --> 00:19:46,919 BEN SHER: You know, he's married. 490 00:19:46,919 --> 00:19:48,421 He owns a business. 491 00:19:48,421 --> 00:19:50,457 He and his friends like drinking martinis in their $30,000 492 00:19:50,590 --> 00:19:51,924 trailer. [barking] 493 00:19:51,924 --> 00:19:53,426 Whack, whack. 494 00:19:53,426 --> 00:19:56,629 BEN SHER: And now the crazy hippies are out to get him. 495 00:19:56,629 --> 00:19:57,897 WOMAN: Oh, this looks nice. 496 00:19:57,897 --> 00:19:59,966 BEN SHER: In the scariest scene in the movie, 497 00:19:59,966 --> 00:20:03,135 they stop at a trailer park that they think is safe. 498 00:20:03,135 --> 00:20:05,505 Do you feel like a swim? 499 00:20:05,605 --> 00:20:06,673 - [sighs] Yeah. - Good idea. 500 00:20:06,673 --> 00:20:07,840 Let's do-- 501 00:20:07,840 --> 00:20:09,442 BEN SHER: She puts on her bathing suit. 502 00:20:09,442 --> 00:20:10,977 She goes to the pool. She's like, I need to relax. 503 00:20:10,977 --> 00:20:14,247 I need to get some, some cool water on this hot day. 504 00:20:14,381 --> 00:20:17,149 And everybody at the pool just stares at her. 505 00:20:17,149 --> 00:20:19,185 [chuckling] 506 00:20:19,185 --> 00:20:21,053 BEN SHER: [chuckles] She's like, OK, 507 00:20:21,187 --> 00:20:22,589 this is even bigger than we thought. 508 00:20:22,589 --> 00:20:24,824 And it's everywhere. 509 00:20:24,824 --> 00:20:26,293 ALEX WINTER: It's like if Deliverance 510 00:20:26,293 --> 00:20:27,427 was satanist, right? 511 00:20:27,560 --> 00:20:28,861 [chuckles] 512 00:20:28,861 --> 00:20:32,432 ALEX WINTER: And so the movie is funny and absurd. 513 00:20:32,532 --> 00:20:34,834 But it's also genuinely scary because it's 514 00:20:34,834 --> 00:20:36,269 just the world of the other. 515 00:20:36,403 --> 00:20:37,103 [screams] 516 00:20:37,236 --> 00:20:38,237 [gunshot] 517 00:20:39,071 --> 00:20:40,072 [tires screeching] 518 00:20:41,073 --> 00:20:42,041 [crash sounds] 519 00:20:43,410 --> 00:20:45,445 So I think this notion of not knowing who to trust 520 00:20:45,545 --> 00:20:47,414 or feeling like you're the only person who 521 00:20:47,547 --> 00:20:50,550 is sane in a world that is insane, 522 00:20:50,550 --> 00:20:52,519 it's just great fodder for horror. 523 00:21:01,027 --> 00:21:03,363 JOE HILL: One staple of horror films 524 00:21:03,496 --> 00:21:07,467 is the book that should never be opened because to read 525 00:21:07,567 --> 00:21:10,169 it would be to drive yourself mad 526 00:21:10,169 --> 00:21:11,571 and unleash evil in the world. 527 00:21:14,206 --> 00:21:17,043 [grunting] 528 00:21:18,611 --> 00:21:19,546 JOE HILL: Presumably, the book in question 529 00:21:19,679 --> 00:21:22,649 is something by Dean Koontz. 530 00:21:22,749 --> 00:21:26,419 This ties into a lot of mythology and folklore. 531 00:21:26,419 --> 00:21:28,287 This book is designed to raise the devil. 532 00:21:28,388 --> 00:21:29,489 MORGANA IGNIS: The idea that you're 533 00:21:29,622 --> 00:21:34,561 coming across an old page or poem or something 534 00:21:34,561 --> 00:21:36,896 from a forgotten time, a forgotten faith, 535 00:21:36,896 --> 00:21:39,932 a forgotten cult, or religion of some sort 536 00:21:39,932 --> 00:21:44,170 that holds all this power that people of this time 537 00:21:44,303 --> 00:21:47,407 are not ready for. 538 00:21:47,407 --> 00:21:49,442 Can you lift it? 539 00:21:49,576 --> 00:21:51,077 KURT SAYENGA: HP Lovecraft used to write 540 00:21:51,077 --> 00:21:53,112 about the Necronomicon-- 541 00:21:53,245 --> 00:21:55,314 Could I see that before you put it away? 542 00:21:55,448 --> 00:21:57,316 KURT SAYENGA:--the book that's going to give you 543 00:21:57,417 --> 00:21:59,686 all the unholy demon knowledge you need 544 00:21:59,819 --> 00:22:02,188 to make people bend to your will, and reality bend 545 00:22:02,321 --> 00:22:03,356 to your will. 546 00:22:03,456 --> 00:22:04,156 Shut up. 547 00:22:04,290 --> 00:22:05,257 [thunder] 548 00:22:06,125 --> 00:22:08,628 Go! 549 00:22:08,728 --> 00:22:10,963 REBEKAH MCKENDRY: And then, of course, we have the Evil Dead. 550 00:22:10,963 --> 00:22:12,131 Oh, God. 551 00:22:12,264 --> 00:22:13,700 REBEKAH MCKENDRY: - where you literally 552 00:22:13,833 --> 00:22:15,768 have a copy of the Necronomicon sitting in the basement. 553 00:22:15,768 --> 00:22:17,870 Look at this. 554 00:22:18,004 --> 00:22:20,973 [non-english chanting] 555 00:22:20,973 --> 00:22:22,809 HOWARD S. BERGER: You have like the magic book 556 00:22:22,909 --> 00:22:26,679 being uncovered and then recited and raising all hell. 557 00:22:30,417 --> 00:22:31,951 Everyone seems to believe that started 558 00:22:32,084 --> 00:22:34,286 with Sam Raimi's the Evil Dead. 559 00:22:34,286 --> 00:22:37,724 Certainly pulls it off with respect and maximum amperage. 560 00:22:37,857 --> 00:22:43,195 But what I remember was a film called Equinox from 1970. 561 00:22:43,329 --> 00:22:44,230 Wow. 562 00:22:44,330 --> 00:22:46,399 This is some piece of literature. 563 00:22:46,499 --> 00:22:48,868 Seems to be a very veritable Bible of evil. 564 00:22:48,968 --> 00:22:51,871 [cackling] 565 00:22:56,142 --> 00:22:57,644 TED GEOGHEGAN: The Necronomicon itself 566 00:22:57,777 --> 00:22:59,311 pops up in countless movies. 567 00:22:59,446 --> 00:23:01,347 It even is its own movie. 568 00:23:01,448 --> 00:23:04,484 There's an amazing film from the '90s called Necronomicon, Book 569 00:23:04,484 --> 00:23:07,987 of the Dead in which the titular Necronomicon 570 00:23:08,120 --> 00:23:09,922 is featured in every story. 571 00:23:10,056 --> 00:23:12,859 The secrets of the Necronomicon do not come cheap. 572 00:23:12,992 --> 00:23:14,727 This is going to cost you your life. 573 00:23:17,564 --> 00:23:19,532 TED GEOGHEGAN: Also, one of my absolute favorite films 574 00:23:19,632 --> 00:23:22,334 of all time, Lamberto Bava's Demons, 575 00:23:22,334 --> 00:23:25,605 also features a cursed book that is found inside the tomb 576 00:23:25,738 --> 00:23:26,606 of Nostradamus-- 577 00:23:26,706 --> 00:23:27,874 Nostradamus? 578 00:23:27,974 --> 00:23:29,742 Sounds like a rock group to me. 579 00:23:29,842 --> 00:23:31,310 MAN: Yeah, Top of the Pops in 1500. 580 00:23:31,310 --> 00:23:33,045 WOMAN: Well, what's it say? 581 00:23:33,045 --> 00:23:34,346 It's in Latin. 582 00:23:34,481 --> 00:23:35,615 I can't figure it out . 583 00:23:35,715 --> 00:23:36,749 Yes, I can. 584 00:23:36,849 --> 00:23:38,184 TED GEOGHEGAN:--that when read aloud 585 00:23:38,184 --> 00:23:40,920 causes demons to rise up from the ground 586 00:23:41,053 --> 00:23:44,857 and also from out of a theater screen to attack everyone. 587 00:23:44,857 --> 00:23:45,892 Son of a bitch. 588 00:23:45,892 --> 00:23:46,593 Shit. 589 00:23:46,693 --> 00:23:48,628 [groaning] 590 00:23:48,728 --> 00:23:50,229 REBEKAH MCKENDRY: We see it all the time 591 00:23:50,329 --> 00:23:51,631 in kids movies as well. 592 00:23:51,731 --> 00:23:53,165 Even when I was a kid, I remember 593 00:23:53,165 --> 00:23:55,034 watching The Care Bears Movie. 594 00:23:55,167 --> 00:23:55,968 It's about a cursed book. 595 00:23:56,068 --> 00:23:56,969 Who are you? 596 00:23:57,103 --> 00:23:58,538 How do you know my name? 597 00:23:58,538 --> 00:24:00,973 I am a spirit, Nicholas. 598 00:24:01,107 --> 00:24:02,475 Your friend-- 599 00:24:02,575 --> 00:24:04,977 REBEKAH MCKENDRY: It's a scary ass cursed book in it too. 600 00:24:05,111 --> 00:24:06,713 Make them stop laughing. 601 00:24:06,713 --> 00:24:08,314 Make them stop. 602 00:24:08,447 --> 00:24:10,382 Only you can do that. 603 00:24:10,382 --> 00:24:12,151 Here. 604 00:24:12,151 --> 00:24:13,720 Teach them a lesson. 605 00:24:13,853 --> 00:24:16,455 REBEKAH MCKENDRY: But it's this idea of knowledge is power, 606 00:24:16,556 --> 00:24:18,591 but it can also be your downfall, that there's 607 00:24:18,691 --> 00:24:20,326 this potential to read something that 608 00:24:20,459 --> 00:24:23,896 is so detrimental to your psyche that it can somehow 609 00:24:24,030 --> 00:24:25,565 curse you or take you down. 610 00:24:25,565 --> 00:24:27,734 There's no turning back. 611 00:24:27,734 --> 00:24:29,168 Ha ha. 612 00:24:29,268 --> 00:24:31,904 [laughs] 613 00:24:31,904 --> 00:24:33,973 SAM ZIMMERMAN: And even beyond cursed books, to me, 614 00:24:34,073 --> 00:24:35,274 it's cursed media as well. 615 00:24:35,374 --> 00:24:36,776 Like, I'll watch a cursed VHS-- 616 00:24:40,813 --> 00:24:42,114 the first recording-- 617 00:24:42,114 --> 00:24:44,450 WOMAN: [screams] 618 00:24:45,985 --> 00:24:47,353 SAM ZIMMERMAN:--a vinyl that will kill you. 619 00:24:47,486 --> 00:24:51,791 But I think in a larger scope, what is the power of art, 620 00:24:51,791 --> 00:24:55,461 and can things cross a threshold into reality 621 00:24:55,562 --> 00:24:57,930 from when you read them and/or when you listen to them? 622 00:25:04,303 --> 00:25:05,004 How goes it? 623 00:25:08,307 --> 00:25:09,809 What the hell do you think you're doing? 624 00:25:09,909 --> 00:25:12,344 REBEKAH MCKENDRY: I'm from Appalachia, 625 00:25:12,478 --> 00:25:15,014 and, uh, I remember seeing murderous rednecks 626 00:25:15,114 --> 00:25:16,849 when I was a kid and thinking like, 627 00:25:16,949 --> 00:25:18,017 is that supposed to be us? 628 00:25:18,117 --> 00:25:20,152 Lewis, don't play games with these people. 629 00:25:20,152 --> 00:25:20,820 REBEKAH MCKENDRY: And then you realize, yeah, 630 00:25:20,953 --> 00:25:22,655 that is supposed to be us. 631 00:25:22,755 --> 00:25:25,157 Um, it came out of 1970s. 632 00:25:25,157 --> 00:25:28,194 We had this huge redneck explosion in the 1970s. 633 00:25:28,327 --> 00:25:28,995 [squealing] 634 00:25:29,929 --> 00:25:30,663 MAN: Squeal louder. 635 00:25:30,663 --> 00:25:31,363 Louder. 636 00:25:31,463 --> 00:25:32,498 [chuckles] 637 00:25:33,365 --> 00:25:35,702 [flute sounds] 638 00:25:37,704 --> 00:25:38,738 REBEKAH MCKENDRY: And after Deliverance, It's the idea 639 00:25:38,871 --> 00:25:42,174 of their kind of the villains. 640 00:25:42,274 --> 00:25:43,576 Then they get chain saws. 641 00:25:43,710 --> 00:25:45,344 WOMAN: [screams] 642 00:25:45,344 --> 00:25:47,213 REBEKAH MCKENDRY: Then they become cannibals. 643 00:25:47,346 --> 00:25:49,548 I'll eat the brains of your kids' kids. 644 00:25:49,682 --> 00:25:51,217 REBEKAH MCKENDRY: Then it's all hillfolk, 645 00:25:51,350 --> 00:25:53,252 and they're isolated and clearly inbred. 646 00:25:53,352 --> 00:25:54,687 And oh, boy. 647 00:25:54,787 --> 00:25:59,659 Somehow I both loved watching and also felt the pain 648 00:25:59,792 --> 00:26:01,728 of these movies simultaneously. 649 00:26:01,861 --> 00:26:06,032 So yeah, that, that is still a trope that we see. 650 00:26:06,132 --> 00:26:10,436 I remember being in college and watching Wrong Turn 651 00:26:10,569 --> 00:26:12,972 and realizing that that was supposed to take place 652 00:26:12,972 --> 00:26:15,041 really close to my hometown. 653 00:26:15,174 --> 00:26:17,409 And then suddenly being like, oh, gosh. 654 00:26:17,509 --> 00:26:19,245 Is this what the rest of the world thinks about? 655 00:26:19,378 --> 00:26:22,248 [screams] 656 00:26:22,348 --> 00:26:23,582 REBEKAH MCKENDRY: Oh, I don't care. 657 00:26:23,716 --> 00:26:24,450 It's fun. 658 00:26:24,583 --> 00:26:25,217 Look at them. 659 00:26:25,217 --> 00:26:25,852 It's fun. 660 00:26:25,852 --> 00:26:26,953 Wrong Turn's fun. 661 00:26:27,053 --> 00:26:28,220 [screaming] 662 00:26:28,354 --> 00:26:30,289 [laughing] 663 00:26:30,289 --> 00:26:33,793 JOE HILL: I say this as a proud member of the coastal elite 664 00:26:33,793 --> 00:26:38,030 myself, the, the terror of chain saw-wielding rednecks 665 00:26:38,164 --> 00:26:41,734 is really the terror of coastal elites 666 00:26:41,734 --> 00:26:43,803 who are in a panic at the thought of being 667 00:26:43,936 --> 00:26:45,271 somewhere without Wi-Fi. 668 00:26:45,371 --> 00:26:47,606 It is fascinating that there are so 669 00:26:47,707 --> 00:26:53,279 many movies about cannibalistic human skin-wearing hillbillies 670 00:26:53,412 --> 00:26:56,415 when actually, you know, I think probably 671 00:26:56,415 --> 00:26:58,317 serial killers wildly prefer the city 'cause 672 00:26:58,450 --> 00:26:59,786 there's a deeper victim pool. 673 00:26:59,919 --> 00:27:01,921 WOMAN: Deep in the heart of Texas, it's 12:00 midnight. 674 00:27:02,021 --> 00:27:03,823 Ain't nothing going on. 675 00:27:03,923 --> 00:27:07,293 [chainsaw whirring] 676 00:27:11,263 --> 00:27:12,231 [screaming] 677 00:27:12,231 --> 00:27:13,332 Run! 678 00:27:13,332 --> 00:27:14,633 Run for your lives! 679 00:27:14,767 --> 00:27:16,168 [screams] 680 00:27:16,302 --> 00:27:17,503 JEFFREY REDDICK: The movie-- when anybody asked me 681 00:27:17,603 --> 00:27:18,938 if there was a movie that they haven't seen 682 00:27:18,938 --> 00:27:20,172 that they should see, I'm like, you should 683 00:27:20,306 --> 00:27:22,341 see Tucker & Dale versus Evil. 684 00:27:22,474 --> 00:27:25,177 It takes a city people being menaced by hillbilly trope 685 00:27:25,177 --> 00:27:26,145 and turns it on its head. 686 00:27:26,245 --> 00:27:27,780 And so I'm from Eastern Kentucky. 687 00:27:27,880 --> 00:27:29,882 I'm a hillbilly, so that movie really 688 00:27:29,882 --> 00:27:32,084 spoke to me on so many levels. 689 00:27:32,084 --> 00:27:33,853 CHAD: We are in hillbilly country now, boys. 690 00:27:33,986 --> 00:27:34,620 Squeal like a pig. 691 00:27:34,620 --> 00:27:35,654 [shouts] 692 00:27:35,755 --> 00:27:37,256 BREA GRANT: College kids in the car. 693 00:27:37,389 --> 00:27:38,257 They're going to this lake house. 694 00:27:38,390 --> 00:27:39,491 They're having a great time. 695 00:27:39,625 --> 00:27:42,161 They're all like a little dumb, you know? 696 00:27:42,294 --> 00:27:43,896 [jeering] 697 00:27:43,896 --> 00:27:46,098 I'm in a car full of morons. 698 00:27:46,232 --> 00:27:49,535 BREA GRANT: The first thing they see is Tucker and Dale who are 699 00:27:49,668 --> 00:27:51,938 these sort of hillbilly hicks who you think-- you're like, 700 00:27:52,071 --> 00:27:54,273 oh, could they possibly be dangerous? 701 00:27:54,273 --> 00:27:58,310 Did you see the way those guys looked at us? 702 00:27:58,310 --> 00:28:01,213 BREA GRANT: And you slowly realize that not only are 703 00:28:01,347 --> 00:28:03,282 Tucker and Dale not dangerous. 704 00:28:03,415 --> 00:28:04,884 Dale, do we need anything else. 705 00:28:05,017 --> 00:28:05,718 Pickled eggs. 706 00:28:05,818 --> 00:28:07,019 Six-pounder. 707 00:28:07,153 --> 00:28:07,854 BREA GRANT: They're very sweet, and they 708 00:28:07,954 --> 00:28:09,121 really support each other. 709 00:28:09,121 --> 00:28:10,389 Friends forever. 710 00:28:10,522 --> 00:28:11,657 Best friends forever. 711 00:28:11,791 --> 00:28:13,159 BREA GRANT: And they're just really good guys. 712 00:28:13,292 --> 00:28:14,560 And one has a crush on one of the college girls. 713 00:28:14,660 --> 00:28:16,228 But, of course, she'll never talk to him. 714 00:28:16,328 --> 00:28:17,964 Are you out of your mind, Tucker? 715 00:28:18,097 --> 00:28:19,165 These are college girls, OK? 716 00:28:19,165 --> 00:28:20,833 They grew up with vacation homes and guys 717 00:28:20,833 --> 00:28:22,034 like me fixing their toilets. 718 00:28:22,168 --> 00:28:24,136 You gotta have some faith in yourself, man. 719 00:28:24,136 --> 00:28:25,537 Oh, good. Look, your friends are here. 720 00:28:25,671 --> 00:28:26,672 Hey! 721 00:28:26,806 --> 00:28:27,673 BREA GRANT: And the college kids end 722 00:28:27,774 --> 00:28:29,041 up being the evil of the movie. 723 00:28:29,175 --> 00:28:32,411 They're the people who are attacking them 724 00:28:32,511 --> 00:28:34,480 and also accidentally killing themselves 725 00:28:34,613 --> 00:28:36,382 many times along the way. 726 00:28:36,515 --> 00:28:39,651 [screams] 727 00:28:41,220 --> 00:28:42,088 BREA GRANT: They were very accident-prone, 728 00:28:42,188 --> 00:28:43,055 those college kids. 729 00:28:43,155 --> 00:28:44,690 [chuckles] 730 00:28:44,791 --> 00:28:47,393 DEWAYNE PERKINS: Something that Tucker and Dale versus Evil 731 00:28:47,526 --> 00:28:51,230 did well was that they showed that the point 732 00:28:51,330 --> 00:28:54,733 of views of people greatly vary based on fear. 733 00:28:58,805 --> 00:28:59,906 It's about personal bias. 734 00:29:00,039 --> 00:29:00,606 No. 735 00:29:00,706 --> 00:29:01,607 No, no, no. 736 00:29:01,707 --> 00:29:02,842 No, please. 737 00:29:02,842 --> 00:29:05,444 Don't, don't, don't, don't, don't cry. 738 00:29:05,544 --> 00:29:07,613 DEWAYNE PERKINS: A lot of the perspective of horror 739 00:29:07,713 --> 00:29:10,516 are specific, and it does create tropes. 740 00:29:10,516 --> 00:29:12,751 So when you just subvert those-- 741 00:29:12,885 --> 00:29:13,619 Oh. 742 00:29:13,752 --> 00:29:15,121 it's the pancakes. 743 00:29:15,121 --> 00:29:16,956 You hate pancake-- I'm-- I'll go make you something else. 744 00:29:17,089 --> 00:29:18,090 DEWAYNE PERKINS: You're subverting what the person 745 00:29:18,190 --> 00:29:19,425 thinks is going to happen. 746 00:29:19,525 --> 00:29:22,261 And I think that shift is what creates the comedy. 747 00:29:22,361 --> 00:29:24,463 Officer, do we look like a couple, uh, 748 00:29:24,596 --> 00:29:26,565 psycho killers to you? 749 00:29:26,665 --> 00:29:28,868 Well, it's hard to say. 750 00:29:29,001 --> 00:29:30,569 Looks can be deceiving. 751 00:29:30,669 --> 00:29:31,603 Oh, don't, don't. 752 00:29:32,071 --> 00:29:33,039 [screams] 753 00:29:37,709 --> 00:29:39,245 I'm telling you, Pete. 754 00:29:39,345 --> 00:29:40,279 This is bullshit. 755 00:29:40,379 --> 00:29:41,347 This really sucks. 756 00:29:41,347 --> 00:29:42,348 Just do it. 757 00:29:42,348 --> 00:29:43,449 Fix it, man. 758 00:29:43,549 --> 00:29:44,416 Those cunts aren't gonna wait all night. 759 00:29:46,418 --> 00:29:47,153 Oh, fuck. 760 00:29:47,286 --> 00:29:48,620 This is a mess. 761 00:29:48,720 --> 00:29:50,389 CHAD VILLELLA: The one that drives me the most crazy 762 00:29:50,389 --> 00:29:51,924 is the car not starting. 763 00:29:52,024 --> 00:29:52,925 Come on. Come on. 764 00:29:53,025 --> 00:29:53,659 Come on. Come on. 765 00:29:53,759 --> 00:29:54,493 Come on. 766 00:29:54,593 --> 00:29:55,594 Come on. 767 00:29:55,694 --> 00:29:56,562 Damn you. 768 00:29:56,562 --> 00:29:58,664 Come on. 769 00:29:58,664 --> 00:30:01,233 Like, what, what else can we do there? 770 00:30:01,233 --> 00:30:02,668 This car ain't going nowhere. 771 00:30:02,768 --> 00:30:04,837 KATE SIEGEL: The number of times I've gotten into my car 772 00:30:04,937 --> 00:30:07,073 and it just doesn't start is like three, 773 00:30:07,073 --> 00:30:10,142 but I feel like in every single Friday the 13th movie-- 774 00:30:10,242 --> 00:30:11,677 [vocalizing] 775 00:30:11,777 --> 00:30:15,214 KATE SIEGEL:--and every single low-hanging fruit horror, 776 00:30:15,214 --> 00:30:17,483 something terrible is gonna happen to your car. 777 00:30:17,583 --> 00:30:18,484 Oh, great. 778 00:30:18,584 --> 00:30:20,119 A flat tire. 779 00:30:20,219 --> 00:30:22,821 KATE SIEGEL: And I think maybe that's because it's another one 780 00:30:22,922 --> 00:30:24,857 of those things that's so familiar to our day-to-day 781 00:30:24,957 --> 00:30:26,292 consciousness-- - Fuck. 782 00:30:26,392 --> 00:30:28,827 KATE SIEGEL:--because we live in a car-based society. 783 00:30:28,928 --> 00:30:33,099 JOE HILL: Some of the stuff around our automobiles 784 00:30:33,099 --> 00:30:35,034 and the way they're used are still 785 00:30:35,134 --> 00:30:40,506 employed in really exciting fresh ways in horror films. 786 00:30:40,606 --> 00:30:43,475 The old cliché about, you know, the car won't start, 787 00:30:43,575 --> 00:30:46,478 that's faded away, but, but now all the cars 788 00:30:46,578 --> 00:30:48,547 have backup cameras in them. 789 00:30:48,647 --> 00:30:49,982 So you can see what's behind you. 790 00:30:50,082 --> 00:30:51,317 [crash] 791 00:30:53,652 --> 00:30:56,455 And that is put to ingenious use in the Joe Lynch film Suitable 792 00:30:56,455 --> 00:31:03,829 Flesh, where the demon-possessed villain is behind the car 793 00:31:03,930 --> 00:31:06,632 and Heather Graham is, you know, backing 794 00:31:06,632 --> 00:31:09,201 over him and going forward and backing over him again. 795 00:31:09,301 --> 00:31:11,537 And we can see it all playing out on the backup camera. 796 00:31:11,637 --> 00:31:14,706 [grunting] 797 00:31:17,876 --> 00:31:19,912 CHAD VILLELLA: We played with the car trope, 798 00:31:20,012 --> 00:31:24,150 to be honest, in Ready or Not when we did the OnStar beat. 799 00:31:24,150 --> 00:31:25,484 JUSTIN (ON PHONE): Good evening. 800 00:31:25,484 --> 00:31:26,318 This is Justin. 801 00:31:26,318 --> 00:31:27,819 Your call may be monitored for-- 802 00:31:27,819 --> 00:31:29,088 People are trying to kill me. 803 00:31:29,188 --> 00:31:30,689 Can you please help me? 804 00:31:30,789 --> 00:31:32,824 CHAD VILLELLA: When Grace is, like, in a car, driving away, 805 00:31:32,824 --> 00:31:33,492 calling for help-- 806 00:31:33,492 --> 00:31:34,660 JUSTIN (ON PHONE): For-- 807 00:31:34,660 --> 00:31:36,328 Can you call the police, please? 808 00:31:36,328 --> 00:31:38,030 JUSTIN (ON PHONE): Yes, I'd be happy to help you with that. 809 00:31:38,130 --> 00:31:39,498 CHAD VILLELLA: And she's like, I need 810 00:31:39,498 --> 00:31:40,899 to get away from this family. 811 00:31:41,000 --> 00:31:43,702 And then the voice from the OnStar comes on and says-- 812 00:31:43,802 --> 00:31:45,204 JUSTIN (ON PHONE): Ma'am, it says here 813 00:31:45,304 --> 00:31:47,373 that the car was reported stolen. 814 00:31:47,473 --> 00:31:49,375 I'm sorry, but I have to shut it down. 815 00:31:49,475 --> 00:31:50,076 No, what? 816 00:31:50,176 --> 00:31:51,377 No, what the fuck! 817 00:31:51,477 --> 00:31:52,945 Are you fucking kidding me? 818 00:31:53,045 --> 00:31:55,747 CHAD VILLELLA: And using that technology against the means 819 00:31:55,847 --> 00:31:58,384 of escape, I think that's kind of like a fun way of just 820 00:31:58,484 --> 00:31:59,418 playing with those tropes. 821 00:31:59,518 --> 00:32:00,452 JUSTIN (ON PHONE): Is there anything 822 00:32:00,552 --> 00:32:01,720 else I can help you with? 823 00:32:01,820 --> 00:32:05,057 Yeah, you can go fuck yourself, Justin. 824 00:32:06,325 --> 00:32:07,393 NATHANIEL THOMPSON: The old dark house 825 00:32:07,393 --> 00:32:08,394 is something that we've really had 826 00:32:08,494 --> 00:32:09,628 as long as film has existed. 827 00:32:09,628 --> 00:32:11,463 I mean, Georges Mélies was doing it. 828 00:32:11,563 --> 00:32:12,698 It's always been there. 829 00:32:12,698 --> 00:32:14,866 So in a way, it's like-- it was a trope even 830 00:32:14,866 --> 00:32:16,668 from the minute the first camera was rolling practically in, 831 00:32:16,668 --> 00:32:18,304 in France. 832 00:32:18,404 --> 00:32:20,139 What's fun is seeing how it's kind of evolved over the years 833 00:32:20,239 --> 00:32:22,508 and how we've sort of adapted the old dark house 834 00:32:22,508 --> 00:32:24,443 into meaning something different every single time. 835 00:32:28,514 --> 00:32:29,815 MRS. GERT HAMMOND: Welcome to Prairie 836 00:32:29,948 --> 00:32:36,255 Blossom, the name my husband and I chose for the estate. 837 00:32:36,355 --> 00:32:38,657 KATE SIEGEL: The creepy house is something that everybody can 838 00:32:38,757 --> 00:32:41,127 identify with that shows up over and over 839 00:32:41,227 --> 00:32:44,330 and over again, I think, for a variety of reasons. 840 00:32:44,430 --> 00:32:47,566 Talking about the psyche, the house represents the person. 841 00:32:47,566 --> 00:32:49,068 If you're dreaming about your house, 842 00:32:49,068 --> 00:32:50,802 you're dreaming about yourself. 843 00:32:50,902 --> 00:32:53,805 And the idea that somebody breaking into your identity 844 00:32:53,905 --> 00:32:57,809 and causing havoc, I think, really touches something 845 00:32:57,909 --> 00:33:00,612 in the root of human fear. 846 00:33:00,712 --> 00:33:04,183 [claps] 847 00:33:04,283 --> 00:33:07,253 REBEKAH MCKENDRY: So James Whale's Old Dark House, 1932, 848 00:33:07,253 --> 00:33:09,155 this is a Pre-Code film. 849 00:33:09,255 --> 00:33:11,990 And it is making fun of "old dark house" movies 850 00:33:12,091 --> 00:33:14,626 before these are even really a thing. 851 00:33:14,726 --> 00:33:16,195 WOMAN: Knock again. Louder. 852 00:33:16,295 --> 00:33:18,497 I should've thought that was loud enough to wake the dead. 853 00:33:21,100 --> 00:33:24,002 BEN SHER: On a hideously dark and stormy night, a group 854 00:33:24,103 --> 00:33:28,307 of travelers who represent a mix of 855 00:33:28,307 --> 00:33:30,809 the British social hierarchy-- 856 00:33:30,909 --> 00:33:32,844 I thought you were never gonna open that door. 857 00:33:32,944 --> 00:33:35,714 Why-- hah! 858 00:33:35,714 --> 00:33:38,384 BEN SHER:--and encounter, [chuckles] uh, 859 00:33:38,484 --> 00:33:40,319 a seamy side of life-- 860 00:33:40,419 --> 00:33:41,787 I am wanted by the police. 861 00:33:41,787 --> 00:33:42,988 MAN: [sinister laughs] 862 00:33:43,089 --> 00:33:44,022 [screams] 863 00:33:44,123 --> 00:33:45,891 BEN SHER:--that most of them never 864 00:33:45,991 --> 00:33:47,893 would have imagined existed. 865 00:33:47,993 --> 00:33:50,729 Can you conceive of anybody living in a house like this 866 00:33:50,829 --> 00:33:51,997 if they didn't have to? 867 00:33:52,098 --> 00:33:55,201 Brazen, lolling creatures in silks and satins. 868 00:33:55,301 --> 00:33:56,702 They fill the house with laughter 869 00:33:56,802 --> 00:33:58,570 and sin, laughter and sin. 870 00:33:58,670 --> 00:34:00,472 DAVID DASTMALCHIAN: These characters that are 871 00:34:00,472 --> 00:34:03,475 stuck in this horror together-- 872 00:34:03,475 --> 00:34:06,378 SIR RODERICK FEMM: Madness came. 873 00:34:06,478 --> 00:34:09,315 We are all touched with it a little, you see? 874 00:34:09,315 --> 00:34:10,582 [glass shatters] 875 00:34:10,682 --> 00:34:13,485 DAVID DASTMALCHIAN:--are so weird and curious 876 00:34:13,485 --> 00:34:15,587 and from another time. 877 00:34:15,687 --> 00:34:19,057 And yet I can see myself in there 878 00:34:19,158 --> 00:34:20,526 when I watch that movie 'cause I, 879 00:34:20,626 --> 00:34:23,129 I watched it during the pandemic, right? 880 00:34:23,129 --> 00:34:26,265 Right in the heart of one of my darkest moments. 881 00:34:26,365 --> 00:34:28,567 And I remember watching this film and just going, 882 00:34:28,667 --> 00:34:31,770 oh, my God, Will was such a genius. 883 00:34:31,870 --> 00:34:35,107 Those lights, they gave me quite a start. 884 00:34:35,207 --> 00:34:36,842 I suppose it's the storm. 885 00:34:36,842 --> 00:34:39,711 On the contrary, we make our own electric lights here, 886 00:34:39,811 --> 00:34:42,080 and we are not very good at it. 887 00:34:42,181 --> 00:34:45,351 Pray, don't be alarmed if they go out altogether. 888 00:34:45,484 --> 00:34:48,554 JOE HILL: James Whale had mostly lost his ability to take horror 889 00:34:48,654 --> 00:34:50,922 movies seriously very early on. 890 00:34:51,022 --> 00:34:53,091 My sister was on the point of arranging these flowers. 891 00:34:56,495 --> 00:34:58,130 JOE HILL: He had seen all the tricks-- 892 00:34:58,230 --> 00:35:00,399 [wind] 893 00:35:00,399 --> 00:35:01,867 and understood how they worked. 894 00:35:01,867 --> 00:35:05,404 And he couldn't help but want to turn them on their heads. 895 00:35:05,504 --> 00:35:07,273 That's kind of fascinating right there 896 00:35:07,373 --> 00:35:10,108 that, you know, as early as the 1930s, 897 00:35:10,209 --> 00:35:12,478 we already understood that horror films often 898 00:35:12,578 --> 00:35:14,112 have a very basic template. 899 00:35:14,213 --> 00:35:15,481 Did you hear that? 900 00:35:15,581 --> 00:35:17,048 I did hear something. 901 00:35:17,048 --> 00:35:20,219 JOE HILL: And it's possible to point out, to point a finger 902 00:35:20,219 --> 00:35:21,820 at now this thing is happening. 903 00:35:21,920 --> 00:35:23,422 Now that thing is happening. 904 00:35:23,522 --> 00:35:25,557 And you've seen this before, and you know how it's gonna end-- 905 00:35:25,557 --> 00:35:26,592 The light's gone out. 906 00:35:26,692 --> 00:35:28,794 I suppose they'll stay out this time. 907 00:35:28,894 --> 00:35:31,163 Now we shall be miserable all the evening. 908 00:35:31,263 --> 00:35:32,564 JOE HILL:--which I think is kinda fun because it brings 909 00:35:32,564 --> 00:35:33,599 the audience in on the scare. 910 00:35:33,699 --> 00:35:34,733 [screams] 911 00:35:36,602 --> 00:35:37,636 SAM ZIMMERMAN: I don't think the creepy house 912 00:35:37,769 --> 00:35:39,671 will ever go out of fashion because houses 913 00:35:39,771 --> 00:35:41,006 are inherently creepy. 914 00:35:41,106 --> 00:35:42,908 And then also, there's everything 915 00:35:42,908 --> 00:35:45,811 that you and your family sort of manifest in a house. 916 00:35:49,080 --> 00:35:50,582 [glass shatters] 917 00:35:50,582 --> 00:35:53,185 How many creepy house movies are just as much about kind 918 00:35:53,285 --> 00:35:56,822 of family tragedy or family dysfunction or violent acts? 919 00:35:56,922 --> 00:35:58,357 You're the one that wanted a house. 920 00:35:58,457 --> 00:36:00,025 This is it, so just shut up. 921 00:36:00,125 --> 00:36:01,827 You bastard. 922 00:36:01,927 --> 00:36:02,928 [grunting] 923 00:36:03,729 --> 00:36:05,331 [screams] 924 00:36:05,431 --> 00:36:08,700 DAVE SCHILLING: In Halloween, the house is not creepy per se, 925 00:36:08,800 --> 00:36:12,204 but the inherent terror comes from the fact 926 00:36:12,304 --> 00:36:14,973 that a monster is coming into your house. 927 00:36:15,073 --> 00:36:18,277 Michael Myers is coming into the house. 928 00:36:18,277 --> 00:36:23,114 Halloween is about the desecration 929 00:36:23,114 --> 00:36:24,983 of the American home. 930 00:36:25,083 --> 00:36:28,454 [screams] 931 00:36:28,454 --> 00:36:32,391 If we're thinking about the haunted house as kind of like 932 00:36:32,491 --> 00:36:36,795 the classical American motif that encapsulates the horror 933 00:36:36,795 --> 00:36:41,367 of the country's creation, Texas Chainsaw Massacre resituates 934 00:36:41,467 --> 00:36:46,137 that from a house that's haunted by ghosts of the past 935 00:36:46,137 --> 00:36:51,643 to a house that's starving and that is a cannibalistic 936 00:36:51,643 --> 00:36:54,079 slaughterhouse in order to comment 937 00:36:54,179 --> 00:36:57,916 on the by-products of American capitalism 938 00:36:58,016 --> 00:37:01,219 and industrialization. 939 00:37:01,320 --> 00:37:04,155 And then you can have very modern buildings evoke 940 00:37:04,155 --> 00:37:05,457 something completely different. 941 00:37:05,457 --> 00:37:07,593 Like in Creepshow, they're creeping up on you, 942 00:37:07,693 --> 00:37:11,029 he's in this super high tech kind of reimagined high rise 943 00:37:11,129 --> 00:37:12,331 kind of building. 944 00:37:12,331 --> 00:37:14,165 And, and there's something inherently creepy 945 00:37:14,165 --> 00:37:15,534 about that, too, about something that 946 00:37:15,634 --> 00:37:18,837 feels so separate from human beings and from nature. 947 00:37:18,837 --> 00:37:20,171 You'll never get in here. 948 00:37:20,171 --> 00:37:21,707 Never. 949 00:37:21,807 --> 00:37:24,175 MAN: So it's like, what is an "old dark house" movie? 950 00:37:24,175 --> 00:37:25,944 It changes meaning over the years. 951 00:37:26,044 --> 00:37:29,781 [screaming] 952 00:37:29,781 --> 00:37:32,183 It's a cliché, but it keeps adapting. 953 00:37:32,183 --> 00:37:34,520 It's kinda like a virus, you know, in the horror film. 954 00:37:34,520 --> 00:37:36,054 It changes shape over and over again. 955 00:37:36,154 --> 00:37:38,290 It keeps popping up, so that's why it's still with us today. 956 00:37:38,290 --> 00:37:39,425 WOMAN: No matter what you do, it won't 957 00:37:39,525 --> 00:37:40,759 stop and can't be stopped. 958 00:37:56,842 --> 00:37:59,478 JOE HILL: The old cliché, you see someone in a panic, 959 00:37:59,578 --> 00:38:02,614 sprinting away, and the killer is walking slowly behind them. 960 00:38:02,714 --> 00:38:05,417 And yet nevertheless, he catches up to them three cuts later 961 00:38:05,517 --> 00:38:07,419 and buries a hatchet in the back of your head. 962 00:38:07,519 --> 00:38:10,255 This was a thing present in horror films going 963 00:38:10,255 --> 00:38:12,824 all the way back to the mummy. 964 00:38:12,824 --> 00:38:14,560 The joke about the mummy was, oh, no. 965 00:38:14,560 --> 00:38:15,494 Here comes the mummy. 966 00:38:15,594 --> 00:38:17,128 We all better walk a little faster. 967 00:38:24,302 --> 00:38:26,438 There's still something about us running 968 00:38:26,538 --> 00:38:30,609 and the killer walking that remains a terrifying image even 969 00:38:30,709 --> 00:38:32,911 if when you think about it, you're like, yeah, 970 00:38:33,044 --> 00:38:33,845 they're gonna get away. 971 00:38:33,979 --> 00:38:37,115 [piano notes] 972 00:38:38,784 --> 00:38:40,118 STEVE NILES: It would be really silly to see 973 00:38:40,118 --> 00:38:41,453 Mike Myers running full speed. 974 00:38:41,553 --> 00:38:44,390 [chuckles] It's better that he's just lumbering. 975 00:38:44,390 --> 00:38:45,724 It's, it's scarier. 976 00:38:45,724 --> 00:38:48,960 It's just scarier that somebody puts zero effort 977 00:38:48,960 --> 00:38:50,962 into stalking you [chuckles] and they 978 00:38:50,962 --> 00:38:52,431 actually wind up catching you. 979 00:38:52,431 --> 00:38:53,765 [JOHN CARPENTER, "HALLOWEEN THEME"] 980 00:38:53,765 --> 00:38:57,102 JENN WEXLER: Michael Myers is a metaphor for death. 981 00:38:57,102 --> 00:38:58,804 And you can't outrun death. 982 00:38:58,904 --> 00:39:01,507 [gunshots] 983 00:39:02,974 --> 00:39:04,275 JENN WEXLER: I think that it also 984 00:39:04,275 --> 00:39:07,613 speaks to this supernatural energy 985 00:39:07,613 --> 00:39:10,048 that a lot of these killers have. 986 00:39:10,181 --> 00:39:11,383 Stop. 987 00:39:11,483 --> 00:39:12,484 - He's dead. - No, he's not. 988 00:39:12,584 --> 00:39:13,284 Look at him. 989 00:39:13,284 --> 00:39:14,252 He's still breathing. 990 00:39:14,252 --> 00:39:15,854 Get away from him. 991 00:39:15,954 --> 00:39:16,788 He stopped breathing. 992 00:39:16,922 --> 00:39:17,623 DR. SAMUEL: No! 993 00:39:21,960 --> 00:39:26,665 JENN WEXLER: Even if a character is not explicitly supernatural, 994 00:39:26,765 --> 00:39:29,601 the fact that he's able to catch up with the victim 995 00:39:29,601 --> 00:39:35,674 no matter what gives him a sense of being bigger than life, 996 00:39:35,807 --> 00:39:40,245 having some supernatural powers that no matter what you do you 997 00:39:40,345 --> 00:39:41,813 won't be able to fight against. 998 00:39:41,813 --> 00:39:43,314 AXELLE CAROLYN: There's a really good joke 999 00:39:43,449 --> 00:39:46,852 about it in Behind the Mask, The Rise of Leslie Vernon in a way 1000 00:39:46,952 --> 00:39:48,987 that's super smart because it's this guy training 1001 00:39:49,120 --> 00:39:51,022 to be a slasher killer. 1002 00:39:51,122 --> 00:39:56,528 LESLIE: You have no idea how much cardio I have to do. 1003 00:39:56,528 --> 00:39:57,929 It's ridiculous. 1004 00:39:57,929 --> 00:39:59,831 You won't be able to run like a freaking gazelle 1005 00:39:59,965 --> 00:40:02,067 without getting winded. 1006 00:40:02,200 --> 00:40:04,202 Plus, there's that whole thing of making 1007 00:40:04,302 --> 00:40:05,336 it look like you're walking. 1008 00:40:05,336 --> 00:40:07,839 Everybody else is running their asses off. 1009 00:40:07,839 --> 00:40:09,240 And I've got to stay with them. 1010 00:40:09,340 --> 00:40:11,810 AXELLE CAROLYN: And he has to master all those tricks. 1011 00:40:11,810 --> 00:40:17,749 Copperfield, Houdini, sleight of hand, escape tactics-- 1012 00:40:17,849 --> 00:40:18,884 She thinks she saw me. 1013 00:40:18,984 --> 00:40:19,685 Maybe not. 1014 00:40:19,685 --> 00:40:20,986 She's not sure. 1015 00:40:20,986 --> 00:40:22,454 I just wanna get her little paranoid, you know? 1016 00:40:22,554 --> 00:40:25,957 Just-- I wanted to see that there 1017 00:40:26,057 --> 00:40:27,125 might be some trouble coming. 1018 00:40:27,125 --> 00:40:28,994 AXELLE CAROLYN: That's such a good movie 1019 00:40:28,994 --> 00:40:32,063 to look at if you want to deconstruct the slasher. 1020 00:40:32,163 --> 00:40:33,732 MAN: You got your red herring all worked out? 1021 00:40:33,832 --> 00:40:34,566 I think so. 1022 00:40:34,666 --> 00:40:35,801 I think so. 1023 00:40:35,901 --> 00:40:37,135 She spends a lot of time at the library, 1024 00:40:37,235 --> 00:40:38,637 so I was gonna do it there. 1025 00:40:38,737 --> 00:40:40,606 AXELLE CAROLYN: Because it takes every single one of those 1026 00:40:40,739 --> 00:40:42,240 tropes and then it makes fun of it. 1027 00:40:42,340 --> 00:40:43,141 Oh, my God. 1028 00:40:43,274 --> 00:40:44,976 WOMAN: [moaning] 1029 00:40:45,076 --> 00:40:51,983 LESLIE: Rule number one, nobody gets away. 1030 00:40:52,117 --> 00:40:54,486 WOMAN: [screams] 1031 00:40:54,486 --> 00:40:56,488 You messed that one up-- and not only 1032 00:40:56,588 --> 00:40:58,389 is it a complete breakdown. 1033 00:40:58,524 --> 00:41:00,425 It's really embarrassing. 1034 00:41:04,896 --> 00:41:06,965 SAM ZIMMERMAN: In the beginning of the '80s and the late 1035 00:41:07,098 --> 00:41:09,467 '70s was really the beginning of horror 1036 00:41:09,568 --> 00:41:12,037 movies centered on like youth doing things in groups. 1037 00:41:12,037 --> 00:41:12,904 LINDA: Hey, Scotty. 1038 00:41:12,904 --> 00:41:14,540 What's this place like anyway? 1039 00:41:14,540 --> 00:41:17,042 Well, the guy that's renting it says it's an old place. 1040 00:41:17,042 --> 00:41:20,145 A little run-down, but it's right up in the mountains. 1041 00:41:20,245 --> 00:41:22,447 SAM ZIMMERMAN: I don't think you really had that a bunch 1042 00:41:22,548 --> 00:41:24,249 previously, so it wouldn't be a bunch of people 1043 00:41:24,249 --> 00:41:25,951 like renting a house together-- 1044 00:41:26,051 --> 00:41:26,852 Cheerful. 1045 00:41:26,985 --> 00:41:27,853 Yeah. 1046 00:41:27,953 --> 00:41:29,788 It has a nice homey feeling. 1047 00:41:29,888 --> 00:41:31,857 SAM ZIMMERMAN:--until kind of slasher cinema 1048 00:41:31,957 --> 00:41:34,259 and Evil Dead and movies about like teens 1049 00:41:34,259 --> 00:41:35,927 and twentysomethings going off and doing 1050 00:41:35,927 --> 00:41:39,030 things together on short trips. 1051 00:41:39,130 --> 00:41:41,933 Bobby Joe, where are you, girl? 1052 00:41:41,933 --> 00:41:43,434 DANA GOULD: These kind of movies are 1053 00:41:43,434 --> 00:41:44,870 Ten Little Indians, you know? 1054 00:41:44,970 --> 00:41:47,305 One by one they get killed. 1055 00:41:47,405 --> 00:41:50,441 [screaming] 1056 00:41:52,443 --> 00:41:54,412 And it's always a group of friends as opposed to a family 1057 00:41:54,412 --> 00:41:56,381 because if it's a family, it's intergenerational. 1058 00:41:56,481 --> 00:41:57,683 You have a husband and wife. 1059 00:41:57,783 --> 00:41:58,984 You have children. 1060 00:41:59,084 --> 00:42:00,385 Nobody wants to see the children get killed. 1061 00:42:00,385 --> 00:42:02,954 It just makes it harder to tell the story, so 1062 00:42:02,954 --> 00:42:03,722 a bunch of friends. 1063 00:42:03,855 --> 00:42:04,556 Great. 1064 00:42:04,556 --> 00:42:05,824 I can kill all of them. 1065 00:42:05,924 --> 00:42:06,692 [screams] 1066 00:42:07,659 --> 00:42:09,360 [chuckles] Nobody cares. 1067 00:42:12,664 --> 00:42:15,867 I've never said it so simply, but it was quite liberating. 1068 00:42:20,005 --> 00:42:21,740 BREA GRANT: Cabin in the Woods comes out, 1069 00:42:21,840 --> 00:42:23,842 and I think all of us got scared that we 1070 00:42:23,942 --> 00:42:25,644 would never be able to make a horror movie again. 1071 00:42:25,644 --> 00:42:33,685 [shouts] 1072 00:42:33,785 --> 00:42:35,286 [screams] 1073 00:42:35,286 --> 00:42:37,155 BREA GRANT: [chuckles]--because it was sort of the horror movie 1074 00:42:37,288 --> 00:42:38,857 to end all horror movies. 1075 00:42:38,957 --> 00:42:39,858 [thuds] 1076 00:42:39,991 --> 00:42:41,760 [sighs] What the hell was that? 1077 00:42:41,760 --> 00:42:44,029 BREA GRANT: It used all of the tropes. 1078 00:42:44,129 --> 00:42:47,165 You have these very quintessential teenagers. 1079 00:42:47,165 --> 00:42:50,435 You have the jock, the nerd, the hot babe, the virgin. 1080 00:42:50,535 --> 00:42:54,239 And they all are going out to this cabin woods. 1081 00:42:54,339 --> 00:42:57,142 And you keep cutting back and forth 1082 00:42:57,142 --> 00:43:00,545 to this sort of corporate headquarters underground. 1083 00:43:00,646 --> 00:43:02,347 And they're making bets, and they're, you know, 1084 00:43:02,480 --> 00:43:03,514 doing work jokes. 1085 00:43:03,514 --> 00:43:05,050 And you don't exactly know what's 1086 00:43:05,050 --> 00:43:09,087 going on until you realize that they're 1087 00:43:09,187 --> 00:43:10,255 orchestrating all of it. 1088 00:43:10,355 --> 00:43:11,456 MAN: She's airballed. 1089 00:43:11,556 --> 00:43:12,991 We need the Japanese crew to get it done. 1090 00:43:12,991 --> 00:43:15,126 BREA GRANT: And they're orchestrating these things 1091 00:43:15,226 --> 00:43:17,395 all over the world, in fact. 1092 00:43:17,528 --> 00:43:21,700 And they have to do it because it's keeping these massive gods 1093 00:43:21,700 --> 00:43:22,901 underground appeased. 1094 00:43:28,573 --> 00:43:29,741 But that is sort of irrelevant. 1095 00:43:29,841 --> 00:43:32,143 It is more about them making the horror movie, 1096 00:43:32,277 --> 00:43:34,379 them coming up with like who is gonna be the bad guy 1097 00:43:34,379 --> 00:43:35,981 and then sort of orchestrating this like, 1098 00:43:36,114 --> 00:43:38,750 oh, we're gonna put stuff in her hair bleach 1099 00:43:38,850 --> 00:43:40,551 to make her dumber because now she's a blonde. 1100 00:43:40,551 --> 00:43:41,486 The hair dye. 1101 00:43:41,486 --> 00:43:42,320 Dumb blonde. 1102 00:43:42,453 --> 00:43:43,822 Very artistic. 1103 00:43:43,955 --> 00:43:46,725 BREA GRANT: We're going to pump certain chemicals in 1104 00:43:46,725 --> 00:43:48,093 to make them horny. 1105 00:43:48,093 --> 00:43:49,928 MAN: Engaging pheromone mists. 1106 00:43:52,030 --> 00:43:53,865 BREA GRANT: We're gonna do all sorts of stuff 1107 00:43:53,865 --> 00:43:57,602 to make them live out this horror movie fantasy. 1108 00:43:57,703 --> 00:44:00,505 [screams] 1109 00:44:00,505 --> 00:44:01,873 BREA GRANT: What the horror fans really 1110 00:44:01,873 --> 00:44:06,044 responded to was the whiteboard full of options of things 1111 00:44:06,044 --> 00:44:07,112 that could kill them. 1112 00:44:07,112 --> 00:44:09,681 congratulations go to Maintenance! 1113 00:44:09,681 --> 00:44:10,982 [cheering] 1114 00:44:12,483 --> 00:44:13,451 BREA GRANT: Everything from like mermen 1115 00:44:13,451 --> 00:44:14,786 to, you know, murdering hicks-- 1116 00:44:14,786 --> 00:44:15,486 That's not fair. 1117 00:44:15,586 --> 00:44:16,855 I had zombies too. 1118 00:44:16,988 --> 00:44:17,723 Yes, you did. 1119 00:44:17,723 --> 00:44:19,190 Yes, you had zombies. 1120 00:44:19,190 --> 00:44:22,127 But this is zombie redneck torture family, see? 1121 00:44:22,260 --> 00:44:24,362 They're entirely separate species. 1122 00:44:24,462 --> 00:44:26,431 I'm sure most horror fans did this like me. 1123 00:44:26,431 --> 00:44:27,532 There's always next year. 1124 00:44:27,532 --> 00:44:29,234 BREA GRANT: When I watched it at home, 1125 00:44:29,234 --> 00:44:31,002 I paused it so I could read everything on the whiteboard 1126 00:44:31,102 --> 00:44:32,804 because someone took a lot of time 1127 00:44:32,804 --> 00:44:35,173 to come up with all of those tropes 1128 00:44:35,273 --> 00:44:37,142 and put them neatly on a whiteboard. 1129 00:44:37,142 --> 00:44:38,810 And I appreciate that as a fan. 1130 00:44:38,910 --> 00:44:42,180 [shrieking] 1131 00:45:00,031 --> 00:45:01,833 [glass shatters] 1132 00:45:01,833 --> 00:45:02,768 KATE SIEGEL: The final girl-- 1133 00:45:02,768 --> 00:45:04,169 I love the final girl. 1134 00:45:04,169 --> 00:45:06,838 One of the reasons I love horror is because very early on you 1135 00:45:06,838 --> 00:45:08,173 had strong female role models. 1136 00:45:08,306 --> 00:45:10,641 This was a genre where women could 1137 00:45:10,776 --> 00:45:16,014 survive and fight and fight back and fight ugly and win. 1138 00:45:16,014 --> 00:45:20,151 And I think that is empowering on every level. 1139 00:45:20,285 --> 00:45:24,790 Playing a final girl is one of the greatest joys of my life. 1140 00:45:24,790 --> 00:45:27,525 LEA ANDERSON: The final girl is terminology that was coined 1141 00:45:27,525 --> 00:45:31,496 by Carol Clover in her book Men, Women, and Chainsaws, which 1142 00:45:31,629 --> 00:45:36,101 was reviewing the horror films of the '70s, the slashers, 1143 00:45:36,234 --> 00:45:40,171 in particular, and sort of attempting to create taxonomies 1144 00:45:40,171 --> 00:45:43,775 and categories for the tropes, for the sort of beats 1145 00:45:43,909 --> 00:45:46,945 in the storytelling that appear again and again 1146 00:45:47,078 --> 00:45:50,281 and again and again in all kinds of slashers. 1147 00:45:50,415 --> 00:45:53,118 And the final girl was one of the major ones. 1148 00:45:53,251 --> 00:45:54,119 [whisper] 1149 00:45:54,252 --> 00:45:57,422 [gunshots] 1150 00:45:59,557 --> 00:46:01,559 JENN WEXLER: The final girl is classically 1151 00:46:01,692 --> 00:46:04,129 the smart girl of the group. 1152 00:46:04,129 --> 00:46:04,796 It's tragic. 1153 00:46:04,796 --> 00:46:06,531 You never go out. 1154 00:46:06,531 --> 00:46:07,732 Guys think I'm too smart. 1155 00:46:07,732 --> 00:46:08,533 I don't. 1156 00:46:08,666 --> 00:46:09,767 I think you're a wacko. 1157 00:46:09,901 --> 00:46:11,870 Now you're seeing men behind bushes. 1158 00:46:12,003 --> 00:46:17,208 And her wits allow her to survive, to escape the killer 1159 00:46:17,342 --> 00:46:24,149 and ultimately take him down, while her friends who are more 1160 00:46:24,282 --> 00:46:27,953 the party girls, the girls who are having sex, 1161 00:46:28,086 --> 00:46:30,321 they usually succumb to the killer. 1162 00:46:30,455 --> 00:46:32,323 Tommy, hurry up! 1163 00:46:32,457 --> 00:46:35,060 Tommy, please! 1164 00:46:35,193 --> 00:46:38,696 LEA ANDERSON: The final girls of the '70s were always White. 1165 00:46:38,696 --> 00:46:39,831 - Do as I say! - The boogeyman-- 1166 00:46:39,931 --> 00:46:40,665 Hurry! 1167 00:46:40,798 --> 00:46:42,300 [screams] 1168 00:46:42,433 --> 00:46:43,734 LEA ANDERSON: They were always thin-- 1169 00:46:43,869 --> 00:46:46,504 Wait, little girl. 1170 00:46:46,604 --> 00:46:48,373 LEA ANDERSON:--and they were always virgins. 1171 00:46:48,373 --> 00:46:52,177 What that really reflects is the same kind 1172 00:46:52,277 --> 00:46:55,780 of standards for true womanhood that were 1173 00:46:55,914 --> 00:46:57,682 inscribed in the 19th century. 1174 00:46:57,682 --> 00:46:59,584 Um, I guess I'll see you tomorrow in school, huh? 1175 00:46:59,584 --> 00:47:00,685 Sure, great. 1176 00:47:00,785 --> 00:47:01,987 OK, bye. 1177 00:47:02,120 --> 00:47:06,291 What type of femininity do you perform in order 1178 00:47:06,424 --> 00:47:09,394 to be taken seriously and be considered 1179 00:47:09,394 --> 00:47:12,230 of value and worth saving? 1180 00:47:12,230 --> 00:47:16,667 These are the qualities that allow you to survive. 1181 00:47:16,801 --> 00:47:17,535 PINHEAD: No. 1182 00:47:17,668 --> 00:47:19,704 Don't do that. 1183 00:47:19,704 --> 00:47:21,039 Go to hell! 1184 00:47:21,172 --> 00:47:22,807 JENN WEXLER: When I was a young teenager discovering 1185 00:47:22,941 --> 00:47:25,911 horror movies, I hated school. 1186 00:47:25,911 --> 00:47:27,412 Where's your pass? 1187 00:47:27,412 --> 00:47:28,546 Screw your pass. 1188 00:47:28,546 --> 00:47:29,915 JENN WEXLER: I didn't wanna go back, 1189 00:47:29,915 --> 00:47:32,183 and I would look to horror movies. 1190 00:47:32,283 --> 00:47:34,819 And I would see the final girl, and all her friends are dead. 1191 00:47:34,819 --> 00:47:37,555 And, uh, she has to take down the killer. 1192 00:47:37,688 --> 00:47:38,957 And she does all that. 1193 00:47:38,957 --> 00:47:41,159 And I was like, if she can do that, I can survive 1194 00:47:41,292 --> 00:47:43,194 another day of high school. 1195 00:47:43,294 --> 00:47:47,498 So thank you final girl for that. 1196 00:47:47,498 --> 00:47:50,268 LEA ANDERSON: Once it hit the mainstream, 1197 00:47:50,268 --> 00:47:53,571 it got appropriated and sort of turned into something else. 1198 00:47:53,704 --> 00:47:58,576 So now the final girl is kind of considered 1199 00:47:58,709 --> 00:47:59,877 this feminist figure. 1200 00:48:03,681 --> 00:48:06,684 But the original final girls weren't 1201 00:48:06,817 --> 00:48:09,320 all that feminist in nature. 1202 00:48:09,454 --> 00:48:11,522 A lot of them got saved by men. 1203 00:48:11,656 --> 00:48:13,758 That was like part of the trope. 1204 00:48:13,758 --> 00:48:15,560 LILA: [screams] 1205 00:48:17,462 --> 00:48:20,065 It took me a while to realize like the entire concept 1206 00:48:20,198 --> 00:48:22,367 of the final girl is a little messed up. 1207 00:48:22,467 --> 00:48:27,438 And really, what we should be striving for is the collective, 1208 00:48:27,572 --> 00:48:31,776 is for the female characters to work together 1209 00:48:31,776 --> 00:48:33,378 to bring down the killer. 1210 00:48:33,478 --> 00:48:37,615 And it doesn't have to be, you know, you against your friends. 1211 00:48:37,615 --> 00:48:40,185 It's either you or your friend who are gonna die, 1212 00:48:40,318 --> 00:48:41,552 so you better be the smart one. 1213 00:48:41,686 --> 00:48:42,787 You guys can both be smart. 1214 00:48:42,920 --> 00:48:45,090 You guys can work together to bring him down. 1215 00:48:51,229 --> 00:48:53,898 You are a Black character in a horror movie. 1216 00:48:54,032 --> 00:48:55,967 Prove that you can stay alive. 1217 00:48:55,967 --> 00:48:58,736 Name one Black character that survived a horror movie. 1218 00:48:58,869 --> 00:49:03,241 You must answer correctly, or you die. 1219 00:49:03,241 --> 00:49:05,543 TANANARIVE DUE: I like tropes to a degree, 1220 00:49:05,676 --> 00:49:09,047 but tropes, while they can be comfortable and familiar 1221 00:49:09,047 --> 00:49:13,651 and perfectly harmless and even fun, have an underbelly. 1222 00:49:13,784 --> 00:49:17,322 They really do, I think, reveal societal feelings 1223 00:49:17,322 --> 00:49:20,491 about entire populations. 1224 00:49:20,491 --> 00:49:23,361 If you kill off the only representative 1225 00:49:23,361 --> 00:49:28,433 of an entire population and you do it casually 1226 00:49:28,566 --> 00:49:29,834 and you do it for a jump scare-- 1227 00:49:29,967 --> 00:49:33,404 [screams] 1228 00:49:33,404 --> 00:49:35,473 TANANARIVE DUE: Or you do it so you shall be avenged. 1229 00:49:35,606 --> 00:49:37,642 I'm so sorry you were murdered, Thomas. 1230 00:49:37,775 --> 00:49:38,576 I miss you. 1231 00:49:38,576 --> 00:49:39,944 I miss you too. 1232 00:49:39,944 --> 00:49:43,014 You know, why are you doing that? 1233 00:49:43,148 --> 00:49:45,683 Could you add maybe another Black character 1234 00:49:45,683 --> 00:49:47,652 to offset that balance? 1235 00:49:47,785 --> 00:49:49,020 Yo, Freddy! 1236 00:49:49,154 --> 00:49:51,322 Where are you hiding, you burnt-face pussy? 1237 00:49:51,456 --> 00:49:52,757 Hey, we should find the others first. 1238 00:49:52,890 --> 00:49:54,625 ROLAND: You think you're hot shit with a little mute kid, 1239 00:49:54,625 --> 00:49:55,860 don't you? 1240 00:49:55,993 --> 00:49:57,428 Well, let me see you come get a piece of me. 1241 00:49:57,428 --> 00:49:59,597 DEWAYNE PERKINS: Often, I feel like that solo Black 1242 00:49:59,597 --> 00:50:01,999 character is usually the masculine man who's like, oh, 1243 00:50:02,133 --> 00:50:03,034 I can do it. 1244 00:50:03,034 --> 00:50:05,136 [crash] 1245 00:50:06,003 --> 00:50:07,438 Take that, motherfucker! 1246 00:50:07,572 --> 00:50:08,373 And then they die. 1247 00:50:08,506 --> 00:50:10,208 [grunting] 1248 00:50:10,208 --> 00:50:12,143 DEWAYNE PERKINS: That creates more fear, 1249 00:50:12,143 --> 00:50:13,711 I think, for the rest of the characters 1250 00:50:13,711 --> 00:50:16,281 because that's the power. 1251 00:50:16,281 --> 00:50:18,616 That's the strength, Like, that is what's represented 1252 00:50:18,749 --> 00:50:20,185 through that person. 1253 00:50:20,185 --> 00:50:25,690 But then that doesn't allow for like authentic responses. 1254 00:50:25,790 --> 00:50:28,859 Trick or treat, motherfucker. 1255 00:50:28,993 --> 00:50:32,663 I know a lot of men who, um, get scared. 1256 00:50:32,663 --> 00:50:39,204 Uh, and I think not allowing those characters to like 1257 00:50:39,337 --> 00:50:41,506 feel human creates that trope 'cause you're like, 1258 00:50:41,639 --> 00:50:43,141 oh, this doesn't feel real. 1259 00:50:43,141 --> 00:50:47,312 I'm very cautious as a writer of that, just knowing the world 1260 00:50:47,312 --> 00:50:49,914 that we live in and kinda having an expectation 1261 00:50:50,047 --> 00:50:53,551 of how audiences are going to receive what they're seeing. 1262 00:50:55,653 --> 00:50:57,855 LEA ANDERSON: The Blackening is really cool 1263 00:50:57,855 --> 00:50:59,090 because it is looking at the horror genre as a whole, 1264 00:50:59,090 --> 00:51:02,693 but it's fully reframing it through a Black lens. 1265 00:51:02,693 --> 00:51:04,629 Yo, when did we become the kind of people that 1266 00:51:04,629 --> 00:51:06,030 walk into dark-ass basements? 1267 00:51:06,030 --> 00:51:07,432 Hey, stop it! 1268 00:51:07,532 --> 00:51:08,233 Boo! 1269 00:51:08,366 --> 00:51:09,367 [laughs] 1270 00:51:09,500 --> 00:51:10,568 LEA ANDERSON: A group of friends, 1271 00:51:10,668 --> 00:51:12,703 they're going to celebrate Juneteenth 1272 00:51:12,803 --> 00:51:14,772 at this cabin in the woods. 1273 00:51:14,872 --> 00:51:17,175 Is it just me, or is this giving Texas Chainsaw Massacre? 1274 00:51:17,175 --> 00:51:18,109 ALLISON: I don't know. 1275 00:51:18,109 --> 00:51:19,043 I never seen that film. 1276 00:51:19,043 --> 00:51:19,977 White people scare me. 1277 00:51:19,977 --> 00:51:23,181 And there they find this game. 1278 00:51:23,181 --> 00:51:25,116 What's this? 1279 00:51:25,216 --> 00:51:26,351 Oh, hell no. 1280 00:51:26,351 --> 00:51:29,187 LEA ANDERSON: And the game has all kinds 1281 00:51:29,320 --> 00:51:32,690 of like racist imagery. 1282 00:51:32,690 --> 00:51:36,394 LISA: I will spare your lives if you sacrifice the person 1283 00:51:36,494 --> 00:51:37,795 you deem the blackest to me. 1284 00:51:37,928 --> 00:51:38,829 The blackest? 1285 00:51:38,829 --> 00:51:40,665 You have two minutes to decide. 1286 00:51:40,665 --> 00:51:44,034 There's this idea of like what is Black and what is not Black. 1287 00:51:44,034 --> 00:51:47,872 And to take that conversation and flip it on its head-- 1288 00:51:47,872 --> 00:51:50,241 Every single time one of y'all make a joke, it's always, 1289 00:51:50,341 --> 00:51:51,542 oh, Allison, you White this. 1290 00:51:51,542 --> 00:51:52,577 Allison, you White that. 1291 00:51:52,710 --> 00:51:54,612 to force people to claim and like 1292 00:51:54,712 --> 00:51:56,214 grab on to the parts of themselves that 1293 00:51:56,214 --> 00:51:57,548 they feel are the Whitest-- 1294 00:51:57,682 --> 00:51:58,583 I'm gay. [all groaning] 1295 00:51:58,716 --> 00:52:00,050 - You always using that-- - No, no. 1296 00:52:00,050 --> 00:52:02,487 And just like my homophobic family member says, 1297 00:52:02,487 --> 00:52:04,722 gayness is just whiteness wrapped up in a bunch of dicks. 1298 00:52:04,722 --> 00:52:05,723 And today I agree. 1299 00:52:05,723 --> 00:52:08,759 Was just a very funny way to show 1300 00:52:08,859 --> 00:52:11,329 the diversity of Blackness. 1301 00:52:11,429 --> 00:52:12,330 I voted for Trump-- 1302 00:52:12,430 --> 00:52:13,264 - [gasps] - What? 1303 00:52:13,264 --> 00:52:14,098 What? 1304 00:52:16,767 --> 00:52:17,935 twice. 1305 00:52:17,935 --> 00:52:19,504 DEWAYNE PERKINS: We all do a lot of things 1306 00:52:19,637 --> 00:52:23,674 that don't necessarily fit in a box of what is Black. 1307 00:52:23,808 --> 00:52:25,843 TRACEY SALISBURY: It really is Black people turning 1308 00:52:25,943 --> 00:52:27,945 these horror tropes upside down that for all 1309 00:52:27,945 --> 00:52:29,780 these years with White people, these make no sense. 1310 00:52:29,780 --> 00:52:30,781 I'mma say it. 1311 00:52:30,915 --> 00:52:31,849 Don't, don't say this dumb shit. 1312 00:52:31,949 --> 00:52:33,117 We-- (GAGS) 1313 00:52:33,117 --> 00:52:34,018 Allison. 1314 00:52:34,118 --> 00:52:35,253 We-- (GAGS) 1315 00:52:35,253 --> 00:52:37,188 Oh, my God. 1316 00:52:37,288 --> 00:52:38,323 We have to split up. 1317 00:52:38,456 --> 00:52:39,357 Oh! 1318 00:52:39,357 --> 00:52:40,658 DEWAYNE PERKINS: Something I find 1319 00:52:40,791 --> 00:52:41,859 funny is when people try very hard to not 1320 00:52:41,859 --> 00:52:42,860 be like stereotypes. 1321 00:52:42,960 --> 00:52:44,195 - King. - King? 1322 00:52:44,295 --> 00:52:45,496 Yeah, King! 1323 00:52:45,596 --> 00:52:46,797 'cause you the one with the gun and you gangsta. 1324 00:52:46,897 --> 00:52:48,065 I'm an ex-gansta, all right? 1325 00:52:48,065 --> 00:52:49,567 I changed my life. 1326 00:52:49,567 --> 00:52:52,036 But then there's parts of stereotypes that are just true 1327 00:52:52,136 --> 00:52:53,971 and having that balance and being like, 1328 00:52:54,104 --> 00:52:55,673 no, I don't wanna be a stereotype. 1329 00:52:55,773 --> 00:52:58,175 But also, I-- this part of me is pretty 1330 00:52:58,276 --> 00:53:00,978 stereotypical and showing that like, yeah, 1331 00:53:00,978 --> 00:53:02,112 this person has changed. 1332 00:53:02,112 --> 00:53:03,381 There's growth. 1333 00:53:03,481 --> 00:53:05,283 But at the end of the day, yeah, he got a gun. 1334 00:53:05,283 --> 00:53:06,317 Bruh, I knew you had a gun. 1335 00:53:06,317 --> 00:53:07,352 Wow, that's profiling. 1336 00:53:07,452 --> 00:53:08,619 How come you didn't use it before? 1337 00:53:08,753 --> 00:53:09,454 On what? The TV, nigga? 1338 00:53:09,454 --> 00:53:10,154 Move out the way. 1339 00:53:10,154 --> 00:53:11,889 Because life is scary. 1340 00:53:12,022 --> 00:53:12,690 He a Black man. 1341 00:53:12,790 --> 00:53:14,859 [gunshots] 1342 00:53:16,461 --> 00:53:17,728 TRACEY SALISBURY: One of the cool things of this 1343 00:53:17,928 --> 00:53:21,098 is Black films are playing with White horror film tropes, 1344 00:53:21,098 --> 00:53:23,534 and they're creating new Black horror film tropes. 1345 00:53:23,668 --> 00:53:24,469 Wait. 1346 00:53:24,469 --> 00:53:27,472 How do we know we can trust him? 1347 00:53:27,472 --> 00:53:28,973 No offense. 1348 00:53:28,973 --> 00:53:31,108 - I'm one of the good one. - Oh, that does not help. 1349 00:53:31,108 --> 00:53:32,577 They all say that. 1350 00:53:32,577 --> 00:53:34,712 So it's gonna be fun to see how those get turned around 1351 00:53:34,812 --> 00:53:38,015 in other ways when it comes together as one mix 1352 00:53:38,115 --> 00:53:41,652 as, you know, films become more diverse and more opportunities. 1353 00:53:41,652 --> 00:53:42,820 So what do we do now? 1354 00:53:42,820 --> 00:53:45,723 Call the cops? 1355 00:53:45,823 --> 00:53:46,691 [laughter] 1356 00:53:48,293 --> 00:53:49,494 LEA ANDERSON: Because society changes, 1357 00:53:49,627 --> 00:53:51,396 the tropes change with us. 1358 00:53:51,496 --> 00:53:54,565 The way that we employ them is always reflective 1359 00:53:54,665 --> 00:53:59,337 of our present concerns, what new monsters 1360 00:53:59,470 --> 00:54:04,241 might emerge when we revisit and renegotiate the classic tropes. 1361 00:54:17,087 --> 00:54:18,122 [grunting] 1362 00:54:18,122 --> 00:54:20,425 [shout] 1363 00:54:22,560 --> 00:54:23,461 [screams] 1364 00:54:23,461 --> 00:54:25,530 [woman's voice] 1365 00:54:25,530 --> 00:54:29,367 My car, go up into the mountains. 1366 00:54:29,367 --> 00:54:31,001 MAN: No man could take six of them. 1367 00:54:31,001 --> 00:54:34,271 I'm telling you, this isn't a man. 1368 00:54:34,372 --> 00:54:35,806 WOMAN: I've got some lights up ahead. 1369 00:54:35,806 --> 00:54:38,809 There's probably a farmhouse up there, so I'll go and check. 1370 00:54:38,809 --> 00:54:39,910 Come on. Come on. 1371 00:54:39,910 --> 00:54:40,611 Come on. 1372 00:54:40,745 --> 00:54:43,147 Come on. 1373 00:54:43,147 --> 00:54:46,584 [screams] 1374 00:54:46,684 --> 00:54:49,487 MAN: Shut up, you bitch hog. 1375 00:54:49,620 --> 00:54:50,455 WOMAN: [screams] 1376 00:54:52,056 --> 00:54:54,425 MAN: The book speaks of a spiritual presence, thing 1377 00:54:54,425 --> 00:54:57,928 of evil that roams the forests and the dark powers 1378 00:54:57,928 --> 00:54:59,597 of man's domain. 1379 00:54:59,597 --> 00:55:01,966 MAN: Honey, give this place a chance, OK? 1380 00:55:02,066 --> 00:55:04,234 WOMAN: Well, I hope these people aren't too weird. 1381 00:55:04,234 --> 00:55:10,174 [screaming] 1382 00:55:10,274 --> 00:55:14,144 These things were made by the US Army Corps of Engineers. 1383 00:55:14,244 --> 00:55:16,647 [coughing] 1384 00:55:54,118 --> 00:55:59,189 [music playing] 1385 00:56:22,980 --> 00:56:28,686 Well, what do we do? 1386 00:56:28,786 --> 00:56:33,223 Why don't we just wait here for a little while? 1387 00:56:36,794 --> 00:56:38,729 See what happens. 103324

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