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[eerie music]
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[howling]
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Come in!
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00:00:51,585 --> 00:00:53,521
JOE HILL: A dozen teenagers
had been butchered
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in this old and spooky house.
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Let's split up and look around.
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I suggest that we
ponder this a bit
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longer before running off.
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Are you coming?
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No.
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JOE HILL: That's the classic.
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Ooh, somebody fired the maid.
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Yeah, somebody did.
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The whole family maid was killed
along with the rest of them.
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JOE HILL: We've never
been able to escape
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it, the tropes and
the clichés that we've
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seen a thousand times.
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No one knows what
happened to her.
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They never found his body.
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They found him
naked on the beach,
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holding the chopped-off
head of another camper.
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JOE HILL: They get better
with time, not worse.
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The caller is in the house.
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The calls are coming
from the house.
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JOE HILL: So I think we kinda
want some of those clichés.
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We want that familiarity.
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Every February 14th,
Harry comes back to town
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just for someone to kill.
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- [screams]
- [screams]
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Kill!
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JOE HILL: It enhances rather
than reduces the fun when we
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see the characters
doing the things
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that people do in horror films.
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Is anybody out there?
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BREA GRANT: Horror fans
are more educated on tropes
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00:01:53,581 --> 00:01:55,383
than the average film viewer.
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[distorted audio]
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BREA GRANT: I think that we
come in with a knowledge base.
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We know what a harbinger is.
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00:02:03,357 --> 00:02:05,926
You're all doomed.
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00:02:05,926 --> 00:02:07,828
BREA GRANT: We know
what a final girl is.
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00:02:07,828 --> 00:02:09,163
[screams]
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00:02:09,297 --> 00:02:11,565
BREA GRANT: Our favorite
thing is when someone takes
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those rules and surprises us.
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What are the most common
horror tropes and clichés?
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You know, they all relate to
things that we may have felt
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when we were two, three, four--
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[screams]
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about what the
things that we were
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scared of or that unsettled us.
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[thunder]
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ALEX WINTER: So
that's what always
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becomes a trope because
it has such a pull on us.
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[screams]
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Hello?
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00:02:47,301 --> 00:02:49,937
Darry, don't even
think about it.
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Darry!
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I told you I heard someone.
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00:02:52,773 --> 00:02:54,975
DAVE SCHILLING: One of the most
important tropes of any horror
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00:02:55,108 --> 00:03:00,013
movie is the protagonist doing
something completely illogical.
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00:03:00,147 --> 00:03:01,649
You know the part
in scary movies
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00:03:01,749 --> 00:03:03,617
where somebody does
something really stupid
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00:03:03,617 --> 00:03:05,586
and everybody hates them for it?
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00:03:05,586 --> 00:03:06,920
This is it.
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00:03:06,920 --> 00:03:09,557
You can't have a horror
movie if your character
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00:03:09,690 --> 00:03:10,824
does the right thing.
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00:03:10,924 --> 00:03:13,961
[screams]
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00:03:16,096 --> 00:03:19,233
They have to make the
either brave or stupid
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00:03:19,233 --> 00:03:22,202
decision to stick around.
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00:03:22,303 --> 00:03:23,837
REBEKAH MCKENDRY:
1980s, we always
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had the trope of
the girl running up
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the stairs when she
should have been
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running out the front door.
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00:03:28,776 --> 00:03:29,710
[screams]
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00:03:31,612 --> 00:03:32,680
REBEKAH MCKENDRY: The
killer is chasing me.
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00:03:32,813 --> 00:03:35,015
And so oh, my God, I'm
running up the stairs.
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And now I'm trapped upstairs and
can't go anywhere from there.
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00:03:38,051 --> 00:03:39,553
[glass shatters]
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REBEKAH MCKENDRY: And so that
became a trope in itself.
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For a long time, you know, most
of a decade of slasher films.
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We were fine with that.
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We were just like, mm, yeah, she
should have run out the door.
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00:03:49,463 --> 00:03:51,532
And there was something
fun about knowing that.
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00:03:51,532 --> 00:03:53,166
Paul?
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00:03:53,166 --> 00:03:54,868
REBEKAH MCKENDRY: But that
reached a point where it became
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00:03:55,002 --> 00:03:56,437
more irritating than anything.
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00:03:56,570 --> 00:03:57,371
[sinister music]
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[screams]
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[door shut]
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00:04:02,476 --> 00:04:04,745
MORGANA IGNIS: Some of the
more nonsensical tropes that
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00:04:04,845 --> 00:04:08,549
will absolutely lead to better
scenes and a better story
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00:04:08,682 --> 00:04:11,218
are things like, let's split up,
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00:04:11,319 --> 00:04:12,720
Everybody out in pairs.
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00:04:12,720 --> 00:04:14,688
Look everywhere you can think
of, even the empty cabins.
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00:04:14,688 --> 00:04:17,491
MORGANA IGNIS: A terrible
idea in a real scenario.
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In a film, leads you to
a bunch of other scenes
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00:04:20,661 --> 00:04:23,364
in which you get to enjoy
these characters on their own.
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00:04:23,497 --> 00:04:27,067
You have the opportunity to
see how each character will act
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00:04:27,200 --> 00:04:31,238
when they make the really stupid
decision to separate and decide
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00:04:31,372 --> 00:04:34,375
to go their separate ways that
the killer can focus on picking
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them off individually.
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The absolute worst choice
that they could possibly make
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is the one that leads
to the best story.
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00:04:43,384 --> 00:04:45,619
Here Cheryl, why don't you
go down and check, make sure?
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Scotty, I'm not
going down there.
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00:04:47,421 --> 00:04:48,088
OK.
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00:04:48,088 --> 00:04:49,323
OK, you cowards.
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00:04:49,457 --> 00:04:50,891
I'll go.
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00:04:50,891 --> 00:04:52,760
JOE HILL: Horror fans
will watch a movie
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00:04:52,893 --> 00:04:55,729
and say, if I was in this film,
I would never have done that.
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00:04:55,729 --> 00:04:57,230
And that's why I'd live.
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Fans are always critiquing
the choices of the characters
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00:05:00,601 --> 00:05:01,835
in the movie--
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00:05:01,935 --> 00:05:03,671
I know someone's out there.
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00:05:03,804 --> 00:05:06,039
JOE HILL:--as if things would
be different if it was them.
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00:05:06,039 --> 00:05:07,007
[grunting]
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00:05:07,007 --> 00:05:08,642
[screams]
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00:05:09,543 --> 00:05:12,179
This is delusion.
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00:05:12,179 --> 00:05:15,416
It always makes me think
of the Mike Tyson quote
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that everyone has a plan until
they get punched in the nose.
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[crash]
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00:05:19,019 --> 00:05:19,820
[screams]
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00:05:21,154 --> 00:05:22,856
JOE HILL: Everyone has
a plan until Ghostface
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sticks a butcher knife
through their chest.
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00:05:26,894 --> 00:05:28,328
[screams]
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00:05:29,262 --> 00:05:32,600
[groaning]
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00:05:33,967 --> 00:05:35,202
JOE HILL: You may
think that you're
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00:05:35,202 --> 00:05:37,104
smarter than the characters
in a horror film.
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00:05:37,104 --> 00:05:39,773
But if you were
in that situation,
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00:05:39,773 --> 00:05:41,375
you would inevitably
find yourself
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00:05:41,375 --> 00:05:43,276
making the same dumb
choices because they're
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basic human choices.
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00:05:44,512 --> 00:05:45,613
I'm gonna go--
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00:05:45,613 --> 00:05:46,447
I'm gonna go check
this place out.
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00:05:46,447 --> 00:05:47,280
TYSON: Whoa, whoa, whoa.
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00:05:47,280 --> 00:05:48,449
Just one damn minute.
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00:05:48,449 --> 00:05:50,050
There's a psycho
killer on the loose,
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00:05:50,183 --> 00:05:52,986
and you want to go traipsing
around this gigantic mansion?
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00:05:53,086 --> 00:05:54,788
Have you ever actually
seen the Stab movies?
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00:05:54,788 --> 00:05:58,325
So at some point in
every subgenre cycle,
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00:05:58,459 --> 00:06:00,561
the tropes will become cliché.
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00:06:00,661 --> 00:06:04,331
We will get sick of seeing that
same slasher done over and over
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00:06:04,432 --> 00:06:05,165
and over again.
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00:06:08,536 --> 00:06:11,071
And at that point, it will
usually become a horror comedy.
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00:06:11,071 --> 00:06:12,473
[phone ringing]
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Hello?
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00:06:14,007 --> 00:06:15,342
Uh-uh.
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00:06:15,443 --> 00:06:16,977
See, if that was me, I
would be outta there.
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00:06:17,110 --> 00:06:19,212
REBEKAH MCKENDRY: We will
have somebody poke fun of it
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00:06:19,346 --> 00:06:23,050
or call attention
to it like a scream.
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00:06:23,183 --> 00:06:26,353
GHOSTFACE (ON PHONE):
Hello, Sidney.
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00:06:26,454 --> 00:06:27,354
[screams]
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REBEKAH MCKENDRY: And
that falls at the end
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00:06:30,057 --> 00:06:31,592
of the prior slasher cycle.
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And suddenly, we're
now all aware of it.
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00:06:35,463 --> 00:06:37,498
HEIDI HONEYCUTT: The Scream
franchise parodies horror
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00:06:37,498 --> 00:06:38,832
movies--
- Watch out.
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00:06:38,832 --> 00:06:40,100
[door creaking]
- Behind you, kid!
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00:06:40,233 --> 00:06:41,835
Randy!
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00:06:41,969 --> 00:06:43,070
SIDNEY: [screams]
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HEIDI HONEYCUTT: But it
also gives you what you
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want in those horror movies.
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And it also tells you
what you're watching
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while you're watching it.
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Now I'mma tell
you what it is, OK?
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It's a dumbass white movie
about some dumbass white girls
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getting their white
asses cut the fuck up.
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HEIDI HONEYCUTT: And as
the Scream series goes on,
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00:07:00,287 --> 00:07:02,790
each subsequent
sequel does that more
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00:07:02,890 --> 00:07:03,957
and more and more and more--
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00:07:03,957 --> 00:07:06,694
[screams] What the
hell are you doing?
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00:07:06,694 --> 00:07:07,861
Being Gale Weathers.
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00:07:07,861 --> 00:07:08,962
What the hell are you doing?
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00:07:09,096 --> 00:07:10,531
GALE: I am Gale Weathers
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HEIDI HONEYCUTT:--until
you get to like 2022, 2023.
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MAN (ON PHONE): What's
your favorite scary movie?
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Um, not that one.
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[screams]
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00:07:20,273 --> 00:07:22,309
HEIDI HONEYCUTT: And you
have the Scream movies that
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00:07:22,409 --> 00:07:24,578
are basically about
the Scream movies
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00:07:24,712 --> 00:07:28,081
and about people that watch the
Scream movies and horror fans.
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00:07:28,215 --> 00:07:30,751
I told you, I don't
know these movies.
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00:07:30,851 --> 00:07:32,319
[stutters] Ask me about
something I do know.
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00:07:32,452 --> 00:07:34,387
Ask me about It Follows.
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00:07:34,387 --> 00:07:35,556
Ask me about Hereditary.
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00:07:35,689 --> 00:07:37,257
Ask me about The Witch.
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00:07:37,357 --> 00:07:40,327
But it's also a Scream movie,
but it's also a slasher film.
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00:07:40,327 --> 00:07:42,262
[screams]
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00:07:43,897 --> 00:07:45,032
I don't know where they
can take it from there.
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00:07:45,032 --> 00:07:47,100
You got stabbed
a billion times,
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00:07:47,100 --> 00:07:50,170
got dumped by your famous wife,
and crawled into a bottle.
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00:07:50,303 --> 00:07:52,573
I think it's safe to say
you're on the suspect list.
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00:07:52,706 --> 00:07:57,511
Well, maybe you're the
killer because that cut deep.
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00:07:57,645 --> 00:08:00,080
CHAD VILLELLA: With the two
new Screams that we have done,
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00:08:00,080 --> 00:08:06,253
I think we've had that same
type of ability to look back
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00:08:06,253 --> 00:08:07,888
since the original
Scream came out
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00:08:07,888 --> 00:08:10,257
and be like, the Scream
came out 25 years ago.
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00:08:10,390 --> 00:08:13,360
What has changed in the
state of horror since then?
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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.
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00:08:19,800 --> 00:08:21,034
Nine?
But I thought in the movies--
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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.
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00:08:23,470 --> 00:08:25,338
We are able to play
with a little bit
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00:08:25,438 --> 00:08:28,609
of the tropes and the clichés
and the state of horror
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00:08:28,742 --> 00:08:29,810
as it is right now.
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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
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00:08:38,586 --> 00:08:41,388
Minnette's character which
is named after Wes Craven.
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00:08:41,388 --> 00:08:44,958
And that is playing
on the tropes of,
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00:08:45,092 --> 00:08:47,394
you know, if you open a door,
you better be careful when you
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00:08:47,527 --> 00:08:50,030
close it because then,
you know, Ghostface
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00:08:50,130 --> 00:08:52,032
will be standing right behind
that ready to kill you.
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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
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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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