All language subtitles for The.Core.S01E10.WEBRip.x264-ION10

Please!

No! No!

No! Please.

Please, God!
Help me.

Bubble, bubble...

toil and trouble.

No, please!

Please, no, no.

What utter nonsense.

No!
No, no, no, no!

Please!

Please!

Please!
I'll do anything!

I'll do anything!
Please, no!

No, no!
Please! No!

No! No!

My eyes!

My eyes...

My eyes...

Welcome, my darklings.

My name is Morella.

And this is "Verotika."

-Cut!
-Cutting.

Can we get
some more blood

when Morella pulls her fingers
out of the sockets?

More blood?

More blood, please.

Welcome to "The Core."

Glenn Danzig is an auteur
of the highest authority.

His signature style is scrawled
across many mediums --

music, design, films,

his visceral comics.

It's even tattooed on the skin

of his loyal disciples
across the globe.

A key architect of
the American punk scene,

Danzig's first band,
The Misfits,

is a sonic assault that riffs
on atomic-age horror flicks.

With Samhain, he explored
paganism and the occult

with an experimental mash-up
of punk, Goth, and metal.

And his self-titled band Danzig

has been a blues-based,
heavy-metal juggernaut

since the late '80s.

Everything he creates
pulsates with savagery

and transgressive eroticism.

So, today, here to talk about
all things blood-soaked...

Glenn Danzig.

The legendary
Glenn Danzig.

Thank you so much
for being here today.

-My pleasure.
-Very, very thrilled.

I just want to start talking
about horror movies in general,

genre films and how they kind of
shaped your career,

you know, in all forms
of your art, in general.

Uh, growing up
back East,

horror movies would always
be on late at night.

And sometimes
they were really cool,

and sometimes they
would suck, you know?

You would wait
and wait and wait,

and you never get to see
the monster.
Right.

So then, that was my rating
for a horror movie.

If you didn't get to see
the monster right away...

It's bullshit, yeah....it sucked,
you know?

And then, eventually,
you realize later on in life

that they didn't
have the money

to show the monster
all the time.

Right. Right.

These movies,
those kind of, uh,

"B," science-fiction
kind of monster movies are --

Those ones are just
"Z" movies, okay?
"Z" movies?

What inspires you
from those "Z" movies,

and how does that
influence you as --

on a greater scale,
as an artist?

Oh, "Z" movies
don't really inspire me.

I'm just like, "Wow,
this movie's terrible."

Yeah.
You know.

"This is awful."

But there were other movies,
like, say, you know,

Ed Wood's "Plan 9."
Okay.

It's got some
great scenes in it.

Yeah, yeah, yeah.
And, you know,

some of the other scenes
are terrible.

But I've seen way worse movies
than that.

And, of course, the name
of my label's Plan 9.

Let's talk about, uh...

influence in terms
of European cinema.

You could always tell
a European movie

from an American movie

because they were filmed
differently.
Mm-hmm.

The cinematography was
usually better.

The lighting was better.

And those movies,
I liked visually.

I remember watching
Argento's

"The Bird With
the Crystal Plumage."

Oh, my God.
And it's just insane.

Yeah.
You know, like some
of the murder scenes are,

especially for that time,

everything should put it
in context for the time.

When "Night of the Living Dead"
came out...

Karen?

...that was, "Wow."
Yeah.

Wait, little children are
eating their parents?

That was revolutionary.

But I think
it still holds up.

I think it's pretty cool,
you know?
Totally.

And it's probably one of the
greatest movies ever made,

I think, you know?
I agree.

If you're a horror fan,
you've got to watch it.

Obviously,
Romero, Argento.

Who are other filmmakers
that really kind of

shaped -- you know,
shaped Danzig?

Well, there's a scene in this
movie with Katharine Hepburn,

Montgomery Clift,
and Elizabeth Taylor.

It's called
"Suddenly, Last Summer."
Mm-hmm.

But at the end, this guy who's
the son of Katharine Hepburn,

he uses Elizabeth Taylor as bait
to attract young boys around.

She's like super-hot.

Eventually,
they all eat him alive,

at the end of the movie,
in the street, by these people.

They just ripped him apart
and ate him alive.

And so, that's a pretty
horrific scene.
Yeah.

And then, the horrific
part is also that,

because Elizabeth Taylor
witnessed this,

Katharine Hepburn is this
rich, patriarch lady,

who's so rich,

she's paid to have
Elizabeth Taylor

put in an insane asylum,

and now she's paying the doctors
to falsify documents,

and they're gonna give
Elizabeth Taylor a lobotomy

so she'll never reveal
what she knows.

That's fuckin' awesome.

And it rings so true
today,

'cause you'll see people
using political power and favor

to just do illegal things,
and they get away with it.

Why do you think
horror and politics

kind of go hand in hand?
Because that's what it is.

Yeah.
Politics is horror.

I feel like we're primed

for the next great generation
of horror artwork

because we're really living
in a time like that.

Well, I-I'm not
as optimistic.

Why are you
less optimistic?

Because I think people
are being brainwashed

into just accepting
the status quo,

and they're not thinking
for themselves.

And when the truth is
put in front of them,

they just reject it.
Right.

Because it's not their
political affiliation

or what they're
supposed to say,

because they're so P.C.
Right.

I mean, that's what Punk rock
was, anti-P.C.

Yeah, yeah, yeah.
I mean, you know, so now,

if the Jim Jones thing
happened right now...

Well, if you talked about it
or said anything about it,

you know, sarcastically
or funny, you know,

you would get destroyed
on the Internet, right?
Right.

But, back in the punk days,
as soon as I heard about it,

I was writing a song called
"Cyanide and Kool-Aid."

Yeah. Yeah.

So, it's a big difference...
Right.

We were taking the piss
out of shit.

W-We were purposely looking
for this hypocrisies

and making fun of it.

Do you think that we'll come
back around to that?

Nope.
No? It's over?

No. Punk is just a sound now.
It's not an attitude.

Aw, man.
Yeah.

So, I want to go back,
and I want to touch

a little bit
on horror movies.

Do you find that there's
a cross-pollination

in that some of these
like inspire the music

or change the music,
or visa-versa?

I think it's all
just an extension.
Yeah.

My background is, uh,
photography.
Mm-hmm.

And going to photography
school in Manhattan.

And so, I'm liking
Val Lewton a real lot.

Okay.
The low shadows.

I like what shadows say.

To this day,
I still do shadows.

To this day,
I'll just grab the light

and tell my guy
to start filming,

and I'll just take the light
and go everywhere.

Wow. Yeah.
You know?

which is an old effect,
but it's still really effective.

I mean, Hitchcock used it
in "Psycho."

I mean, Val Lewton,
of course, uses it.

So many people.
Right.

Like the film-noir
style lighting.

And all you got to do is
let the camera roll.

Yeah.
And, you know, just...

And lighting is everything,
you know?
Absolutely.

It has to be aesthetically
appealing to the eye.

Right. Well, you mentioned
Val Lewton.

What do you think the most
beautiful movie for your,

you know, from that
point of reference?

Is it --
Is it "Cat People"?

"Cat People" is good.

"Isle of the Dead"
is great.
Yeah!

Um, "I Walked with a Zombie"
is incredible.
Yeah.

The photography in that
is just insane.

There's a lot of other
really good movies.

I love black and white.
Mm-hmm.

So, really, unless
you're gonna do really,

really good color film,
I prefer black and white.

So much of your artwork

and your band labels
are black and white.

Why is that?

Well, black and white
is really powerful,

and I think
what happens is,

when you're an indie label,
like, you know,

'cause, I started my label out
of my fucking apartment,

you know, so you do
black and white

because that's all
you can afford.
Mm-hmm.

But you re--
you start to realize

just how powerful
the black-and-white medium is.

Mm-hmm.
And sometimes
it's hard to shift to color

to make it do the things

that you know you can do
with black and white.
Right.

Black and white is
a very powerful image.

It's a lot less a people
sensory organ,

their eyes, have to pull,
you know, pull in.

Right, so it's just that,
you know,

more impactful immediately.
Yes, immediately.

But once I started thinking
about color for,

you know, records,

I wanted to make sure I'm doing
the right things.
Mm-hmm.

So, I'm mixing different
colors together,

can create a variation
of a lot of different things

inside your body
and feelings.

That's why color
is an art.

Not just esthetically,

but also physically.
Right. Right.

Yeah, it's why Burger King
and McDonald's

use red and yellow,

because red and yellow
together make you hungry.

And so, that's
the approach I took.

Like, say, with "Bullet,"
it's just stark black and white,

and then just blood red
shooting out of Kennedy's head.

Similarly, with
"Horror Business,"

in my head, I already had
the cover design,

like, it's gonna be
black and yellow.

Maybe I'll put a little
red in there.
Yeah.

'Cause black and yellow
are like a psychotic mix.

What, right now,
for Glenn Danzig,

is the most satisfying
thing, creatively?

Um...all of it.
All of it?

So, what I do is,
I'll do a record

and that's gratifying

because I then go to do
something else,

and then I'll go and do
something else after that.

And it keeps
the music fresh.

If I just did music,
I would be so bored.

Yeah.
And so over it...

Right.
...that I'd probably
stop doing it.

So, these other outlets
make it possible for me

to do this other stuff,
so I can stay excited about it.

We just did a video
for "N.I.B.,"

which is a Sabbath cover
for the last Danzig record.

And it's just a bunch of these
naked witches dancing

around a fire
and cutting each other and...

Awesome.
Yeah, what's not
to love about...

Yeah, what's not to love?
Yeah, it's great.

But it's like an homage

to all the cool movies
that I like,

especially the '70s
kind of witchy, satanic,

American
and Euro-trash flicks.

It's just an homage
to all that stuff.

And there's even
Val Lewton stuff in there.

I did tons of really
cool shadowy shots.

And I set the lights
for most of this stuff.

So, it sounds like
you're like an arteur

in every single way,
and when you make something,

it's got your stamp on it
completely.

Well, you have
"X" amount of money

for a music video now,
which is not a lot.

Right.So, you got to come on set,
and if it's not right,

you just grab the thing
and make it happen,

'cause you don't have time
to fart around.

Is that more satisfying
to you?
No.

I'd rather have people do
what I need them to do before

and -- and I don't have
to wear like eight hats,

because then I can concentrate
on other stuff.
Right.

So, we touched on movies,
but let's talk about literature,

because so much
of your artwork

is inspired by literature,
right?
Of course.

Yeah, and what are the types
and what are the --

the main...
Well, so, as a little kid,

I'm reading different stuff
than other kids.

I'm reading
Edgar Allan Poe,

and then I'm getting
into Baudelaire and Milton

and, you know,
"Paradise Lost."
Yeah.

And just crazy stuff
for a little kid

to be getting into.
Yeah.

But I have to say that,

especially with the
Baudelaire and Milton,

I mean, I've used that
over and over for stuff

like the first
"Black Aria."
Hmm.

The second "Black Aria"
is based on Lilith,

but the first one is based
on Baudelaire's

interpretation of Satan,
or Lucifer,

and "Paradise Lost."

And so, how old
are you -- were you

when you first
cracked into it?

Uh, let's see, 10? 11?
Wow. Jesus.

Yeah, so...

Do you dabble in the Bible, too,
and that kind of literature?

Of course I read it,
you know, but, to me,

it's like a work
of fiction.

So, from "Paradise Lost"

and th-this kind of
biblical iconography,

how did that shape
your artwork

and, you know, your music
going forward from there?

What I use is,
I use rebellious images,

because I like the rebellion.

I like when someone,
you know, tells you,

"You're doing this" and...
blah, blah, blah.

I'm like, "Fuck you, no,
I'm not doing that," you know?

If I want to do it,
I will,

but I don't want someone
telling me...
Yeah.

..."You're doing this
or you're going to jail,"

or "You're doing this
because, otherwise,

we'll send the army
or the police after you,

or this or that,"
or "We'll destroy your career,"

or blah, blah, blah.
You know, like, "Fuck off."

Right.

So, really, a lot of the imagery
is rebellious.
Mm-hmm.

And that comes
from punk.

Let's talk
a little bit about,

um, your artwork
and your --

and your comics and --
and graphic novels.

So that's an extension.

So, of course, uh,
my whole career

at the end of this shows,
I would sign stuff for everybody

and talk to everybody.

And a lot of them
are comic fans.
Mm-hmm.

And so, at the time,
nobody was doing

the really good
horror comics.
Yeah.

You know, violence, sex,
like all the stuff I like.

You know, basically
an R-rated movie.

Right, right, right.
And so, I just said,

"You know what,
I'm gonna do this.

I'm gonna start this
indie comic company."

That's what I set out to do,
and we're still doing it.

My name is Morella.

Let's talk about themes
and the worlds

and the characters that
you're creating in your comics.

Our center character has
always been Satanika,

so we just keep expanding
on her universe.

I always put political
intrigue in there,

and of course,
tons of violence.
Yeah.

And that whole universe is just
expanding and expanding,

and we just introduce
new characters all the time.

We have a character
in the "Change of Face"

stories
called Mystery Girl,

and she is a dancer
who treats it like art,

but her face is disfigured,
so she cuts off girls' faces

and wears them underneath
this kind of like burka.

That's --While she dances on stage
and takes dollars from guys.

That's very Ojala-esque
in that way.

I-It's creepy as hell.
Yeah, that's awesome.

And then, of course,
there's the "Verotika" series,

which we just brought back
a couple years ago,

which is erotic horror.
Mm-hmm.

Is there a world where the --
where we get, you know,

the big universe of films
out of these characters?

One of the projects that we're
trying to get off the ground

right now is a "Verotika"
anthology TV show.
Awesome.

So, each different episode is
a different character.
Mm-hmm.

Our stuff is
reality-based fantasy.

Okay.
So, we base it
all on reality

and then we just
go crazy with it.
Right.

It's why, with a character
like Drukija,

which is based
on the Countess Bathory.

For people that don't know,

Elizabeth Bathory was
a countess in Hungary

who used to bathe
in the blood of virgins,

'cause she thought
it made her younger.

People couldn't
mess with her,

because her husband was
this decorated war hero

and they were,
you know, royalty.

I changed it to Drukija,

because I wanted to
take it in crazier places

and not be tied down...
Mm-hmm.

...to the Bathory legend.

I don't want to hear people
giving me a hard time.

And I was able to do more stuff
with it and everything.

But, of course, there's
lots of great films

about Bathory.
Mm-hmm.

One of my favorite is

Walerian Borowczyk's
"Immoral Tales."

Cool. Let's --
Let's take a look.

This is a movie that has
three different stories in it,

"Immoral Tales,"

and, of course,
we get a Bathory story.
Right.

What's cool about this one is,
it's so nonchalant.

Like, it's almost like
the camera's there,

and no one knows
the camera's there,

and it's just a day
in the life of Bathory,

and they just go about their job
of bringing in the girls,

getting them naked,
hosing them down, killing them.

Look at this.
The blood is foaming at the top.

This is fantastic because now
we're getting a real blood bath.

There's no melodrama.

It's just her, like,
taking a bath in blood.

Yeah, yeah.
Like, it's the thing to do.

A day in the life.
Good God.

Is this Pablo Picasso's
daughter?

Paloma Picasso, right?

Yeah. Wow.
Yeah.

And look how just white
and elegant it is

when she comes out.

Oh, God, I love it.

So let's talk
about this one.

This is "Countess Dracula."
It was a Hammer film.

A little melodramatic
sometimes.

But what's cool
about some of these

is they got to use
all these locations,

because I'm assuming this is
not a set and that --

'Cause if they had
to build this,

imagine what this would cost
to build nowadays.

Okay, now...

Here we go.
Get the reveal.

Why are they all
freaking out?

She should've just been like,
"What's up, motherfucker?"

Yeah, she's not even covered
with that much blood.

This is "The Legend
of Blood Castle."

This is great.

This is a little
more visceral

than the Hammer movie,
and this is fantastic.

You know, it's more
kind of the story.

Yeah, totally.

And you see more blood,
you see more nudity.

You're getting
a better payoff.

Does anyone know how many people
she actually took out?

No, it's like anything.
No one really knows.
Yeah.

You know, how do you know?
They're saying it's hundreds.

Jesus Christ.

A lot of blood.

Oh, if we do "Drukija,"

there's gonna be way
more blood than that.

I cannot wait.
It's go--

It's gonna be like
the "Conan" movie.

You're gonna have to have
tankers of blood.

That's the dream, man.
That's the ultimate dream.

Did you ever kind of
go full, like,

GWAR on stage

and like cover, you know,
yourself and everybody?

Well, in Samhain,

it was before GWAR,
we did the blood.

We don't do the whole
kind of show that they do.

It was just, we came out
covered in blood,

just...

You know, you see it
on the record cover,

kind of like --
We'd call it "The Blood Show."

But after that, no.

I save it now
for either the videos

or, um, the comics.
Yeah.

I remember
the first Halloween

that The Misfits did
at Irving Plaza.

Happy Halloween!

We had dead animal
heads and limbs hanging around.

It stunk like crazy
in there,

but it was Halloween
and it was creepy,

and you could go up
to Hell's Kitchen,

you know, on 9th Avenue,
and -- and get that stuff.

Did people freak out
or...

Yeah, people were freaked out.
Yeah, it stunk.

The fans -- 'Cause, like,
I imagine at a show like that,

especially where, like,
the fans go crazy and wild.

Well, that's every show.
Every show, yeah.

That's -- And that's --
That's the point.

You want them to come
to your show

and you want them
to have a release.
Mm-hmm.

You want them
to have a great time.

So, as long as they're not
getting too "f'd up...
Mm-hmm.

...and they're not f'ing up
other people too much,

it's, you know...

And you can tell right away,
and, eventually,

you're gonna have to get
those people out of there.

Because they're not there
to have fun.

They're there
to cause mayhem.

Yeah, What's the most mayhem
you've ever seen someone cause?

Oh, I've seen
some crazy shit.

Back in Samhain days,

we had shootings at shows.
That's wild.

I mean, Danzig and Slayer did an
infamous show at the Palladium

where a couple people
got killed.

Jesus Christ.
Yeah.

Well, back in the day,
for Misfits or Samhain,

there was no barricade.
Really?

Sometimes, there was no stage,
so you were right there

with people
and, you know, getting punched

and, you know, trying
to sing and do a show,

and that's the way it was.

Anybody ever lose any teeth
or anything like that?

No teeth, but, you know,
you're gonna get a broken nose

here or there,
occasionally,

and you're gonna punch
people back, too.

Of course, you're gonna,
you know --

So, what happens
when you're onstage,

you get a fucking
broken nose

and then you have to perform
again the next night?

You just keep playing.
"You just keep playing."

Jesus Chri--
You keep doing it.

But i-it was
a different time.

A lot of times, if I was
going to collect the money,

'cause I would book the show,
but also go collect the money.

I'd have to collect it with,
like, you know, weaponry.

Because they just try
to fuck you over?

Yeah, they try
to steal your money,

or not pay you,
or whatever,

or try to lie to you
about attendance

and how much they
were gonna pay you.

And so, you'd have to go in
with the weapon.

I used to wear a arm guard.

People thought
it was for stage,

but it was a converted
hockey shin guard

that I turned the thing
that bends for your --

That would go by my fist,

so I could pretty much punch
anything with that thing.

And that would wreck
someone's day.
Yes.

Did you ever get into a position
where you felt, uh,

like in danger
for your life in --

in one of those situations?
You don't think about that.

Of course,
you're in that situation.

Yeah.
And you're just...

You're bluffing.
Yeah.

Jesus.
You know what I mean,
'cause if it's gonna --

and if it's gonna go down,
then it's gonna go down,

and whatever happens,
happens.

That's the way it's got to be.
Jesus.

So, as a kid,
we would have karate clubs

and stuff like that.
Mm-hmm.

And when I moved out here
to California,

I started training in Muay Thai,
which is Thai boxing.

Yeah, and do you find that
things with martial arts --

Does it have an influence,
an impact,

on all of your exploits?
Yeah, yeah, yeah.

Martial arts isn't
just fighting.

Yeah.
It's -- It's the philosophy.

And Bruce Lee's book,
which I recommend,

people should read
the "Tao of Jeet Kune Do."

Bruce was not just a fighter.
He was a philosopher.

Right.
And his --

His thing was
simplifying things

and making them easier and
getting rid of a lot of dogma.

There's so many things
Bruce would say

were just so fantastic.

Of course, everyone knows,
you know,

empty your cup
so that I can fill it.
Mm-hmm.

Trying to teach
somebody something,

and they think
they know everything,

you're pouring the water into
the cup and it's already full,

and it's just gonna
go out the side.
Yeah.

So, you have to empty it
so that you could retain

what he's giving you,
basically.
Yeah.

Eventually, I got
an introduction

to one of Bruce Lee's
five L.A. C.O.R.E. students

that would train
to pass on,

you know, that art
that Bruce created,

which is called
Jeet Kune Do.

And my teacher
was Jerry Poteet.

Jerry's deal was,
your first meeting with him

is just a meeting,
or it becomes your first lesson.

And so, mine became
my first lesson.

It incorporated
everything.

Everything from Bruce's art,
and then sticks

and, uh, knife fighting,
all that.
Mm-hmm.

And it changed my life.

That's awesome.
That's -- That -- I --

Now I want to do it.

I actually brought one
of my knives with me today.

Holy shit.

It's Japanese
440 steel.

It will go through
a car door.

Jesus.
And it's not a play thing.

No.
You know what?

I think it's time
for your first lesson.

All right.

Show me what
I need to do.

All right, you're gonna
throw a punch at me.

All right, and then the rest,
you're gonna see, okay?

All right, here we go.

Ready?

That it?

See ya, Mickey.
Thanks.

Ohhhhh!

Well, I feel violated.

But I think I like it.

Jim, why don't
you tell us

how Mr. Danzig
fucked me up so bad?

I'd love to.

Well, first, for the areas where
Glenn sliced you in the arm,

we went ahead
and just sliced your shirt

and then put in tubing
to just spray out.

Pretty simple.

We hooked it up to our
big fire extinguisher

at 80 pounds
of pressure

and just sprayed
the shit out of it.

Old trusty.

And, uh, I think we went through
about 2 1/2 gallons on that,

which is pretty awesome.

Um, and then,

for the, uh...
the gut slice,

we cut to our body here,

which is basically
just a stunt stand-in

that we can
spread the gut

and then load the back
up with intestines

and then push 'em out.

So, in order to make sure
that you don't see my hands,

something
we've invented...

Those are
the meatloaf mittens.

Meatloaf mittens,
or gut gloves.

So, we doused
the silicone intestines

with blood
and ultra-slime

and then shove 'em
through the back.

And then, as you
can see here...

if you do happen to see
my hand a little bit,

boom, you got gut gloves,
so no biggie.

Looks like it belongs.Now, are gut gloves
a patented Ojala creation?

Um, they will be.

They'll hopefully be on Amazon
by Christmas.

Great.
Perfect.

And an important thing

with making silicone
intestines is,

it looks cool, they could look,
you know, slick

and they're really heavy.
Mm-hmm.

They got some nice
weight to 'em.

But in the olden days,
they would use

real animal intestines
a lot.

Like in "Day of the Dead."
Like "Day of the Dead,"

where they left 'em
in the fridge

and the poor bastard actors were
eating rotten guts, you know?

Th-They used them
in one of the movies

they did for one
of our characters.

-Uh, "Grub Girl," yeah.
-Oh, yeah?

Where she kills her pimp,
bites off his dick,

and then rips out
his guts.

And it was, you know,
of course, a fake...
Yeah, yeah, yeah.

...stomach there,
and then all the guts came out.

But it was a lot of real...
Real intestines?

Real stuff in there.Nobody had to put them
in their mouth or anything?

Yeah, she was --
Oh, really?

Yeah, she was a trouper.
Holy shit.

That's awesome.
When I was on set that day,

I was watching,
I was going, "Wow."

Have you ever seen the --
the, uh, Euro horror flick

where they're shooting tons
of maggots at her face?

Oh, Fulci,
"Gates of Hell."
Yeah.

Speaking of Fulci,
that was some big inspiration

for when we did the eye
gouge from M-Morella.

Yeah, especially the side shot

where you think
they're gonna move away,

and the girl's eye is
not gonna be shown going

into the piece of wood, and
they actually close in on it.

That's based on an old
comic book censorship issue

when comic books went to trial
in the early '50s.

Really?Yeah, the seduction
of the innocent

and, uh, Fredric Wertham
took comics to court,

and that's how
the Comics Code happened,

and all these comic companies,
like EC, went out of business.

And some of the smaller
horror companies,

they weren't allowed
to do that anymore.

But they had this thing
that they showed

and introduced
into court called

the "Injury to Eye" panel.

So, they actually
closed in on the eye

and you saw like
a poker or something

pulling the eye out
or destroying the eye.

And there's even
a comic cover

where you see just a close up
of a guy screaming

and his eye being
pulled open,

and someone sticking
a hot poker in it.

Oh, really?

So, the origins
go back to comics.

That's fucking awesome.
Did you think that was like,

that scene was an actual
throwback to that?

It has -- It has to be,
because you can look

in the comic book price guide
and it will point out

which comic has
injury-to-eye panel.

Which has got a higher
value, obviously.

Yes, it had a higher value.
Damn. I had no idea.

And if it was cited in the
court case for the trial,

it'll go even
for more...
Wow.

...because it was introduced
into court...
Yeah.

...as a reason why kids should
not be allowed to read comics.

Right.
That's awesome.

Did you read comics
when you were a kid?
Oh, totally.

Okay, and now you're
doing guts for a living.

Exactly. It's all --
It's all paying off, you know?

-Yeah.
-Full circle.

Oh, yeah.

Yeah, and one of the cool things
about the --

the zombie shot is,
you know, they --

they use so much
of the real actress,

and then, when they cut
to the real eye --

I thought I read an interview
where it was an animal eye.

Oh, really?
Yeah.

May-- Maybe so,
'cause...
In -- In "Un Chien Andalou,"

they use a calf eye,
and that's pretty fucked up.

Right. 'Cause it's so --
it's almost like jelly.

That's probably the first
injury-to-eye scene.

And it's horrible. It's --
Dali is just crazy in that.

To really slice open this eye,
it's awesome.

Yeah, we were so inspired
by that, we kept --

we kept kind of looking at that,
and it was like,

"Oh, like, what if we could,
like when Morella --

Morella's, uh, nail
goes into the eye,

if we could actually
pre-load it

so, like, there's
actually blood

that comes out of it, too?"
It's not coming out enough.

Let's try it on Mickey.
Come over here.
Yeah, yeah, yeah.

Let's see the comparison
to a real eye.

I think part of what sells
the zombie scene so well

is that they utilize as much
of the actor as possible.

Mm-hmm.We try to do that with --
with these characters,

so we actually tubed Morella
underneath her fingers,

so we can actually
see her fingers

digging into the eye sockets,
with blood raining down.

And then, just for
th-that quick impact shot

where we see the nails
actually go into eyes

and dig them out, we cut
to our silicone head here,

that looks like
it's in some pain.

Yeah.

And then, we also have tubes
that go behind her eyes,

so they actually shoot blood
behind the eyes, as well,

so we can have it rain down.
Yes, We need lots of blood.

And then,
for this guy?

That's just another arm
we made for you,

so in case we wanted
an insert of like,

we cut that thing open.Yeah, I have my knife still,
by the way, so be good.

Yeah, let's -- let's see it.
We can see how it'd really go.

Let's see how sharp
this knife is.
Yeah.

Let's see if it'll go
through this stuff.

Yeah, go crazy with it.

-Oh!
-Oh, nice!

That is perfect.
Right there.

-Totally. God!
-Yeah.

So, that's what really
would've happened to you.

Yeah, yeah.
If I had been stuck.
Look at that.

If that had happened to you,
you'd be in a hospital.

Or you're dead.
Done, right?

You think?
Just that one slice,

he -- he'd probably be
done for, right?
Yeah, of course.

Well, the first hit
would've been here,

and your arteries
are all there.
Yeah.

And so, you can see,
it's like, phew.

But, of course,
it doesn't even matter,

'cause by the time I got
to his side...

What hospital
you go to?

You're gonna be like,
"Uh, well, here's his guts, too.
Right.

By the way. Can you save him?"You can reconnect them
to something.

Yeah. Yeah.
Would've been a pretty
badass way to go, though.

And so, does this -- does this
meet the standard of approval

in terms of color?Yeah, it looks good.
Yes, this is good.

Yeah.It always bugs me when
some people do the fake blood...

Mm-hmm....and it's real thick
and cakey and red

and it looks like
candy apple.
Yeah, exactly.

Yep, fake blood still
tastes the same.
Yeah, right.

And sometimes, you'll see
where they're trying to be,

like, too badass, and they
make it almost like dark brown.

And it's like, "Well,
it's not brown," you know?
Yeah.

When we shot some
of the early

black-and-white
Danzig videos,

we would use Hershey's chocolate
for the blood.

Oh, serious?
That's awesome.
Nice.

Yeah, a little trick,
because it's dark,

and you're just shooting
black and white anyway.

It's not gonna pick up the red,
so you would just use --
So, like...

Hershey's chocolate in the can.
Okay, so, like
the "Mother" video,

like, when you split
the chicken?Yeah, that's Hershey's
chocolate.

That's Hersh--?
Oh, that's awesome.
The Hitchcock classic.

That's awesome.
Yeah. Yeah.

Glenn, it sincerely
has been an honor

to be killed by you,
and thank you so much.
Well, you're not dead yet.

Yeah. Exa--
There's plenty of time.There's still a couple
more minutes of the show.

I ain't no God damn
son of a bitch, Sam.

I brought your tapes back.

Thank you, Mickey,
for the tapes

and the ham-fisted
Misfits reference.

I thought it was organic,
but, you know,

potato, patato.

And it's a good thing
you got them in

just on time.
Oh, yeah?

Because you don't
want to know

what I collect
for late fees.

All right, I'll turn 'em
in on time from now on.

Got it. Jesus.

You always keep
that thing back there?

Yeah.

So, what do you
got for me?

Well, Danzig's knowledge
of exploitation cinema

is inspiring,

so let's take a look
at some of the messiest,

bloodiest, carnagiest
titles on Shudder?

Sure.
All right.

Can we talk about blood,
guts, and exploitation

without talking about Italy?
I don't think so.

We gotta talk about
the main man, Fulci.

Ohhhh, baby.

A classic double --
"Zombie" and "The Beyond."

I love it already.

"Zombie" --
A.K.A "Zombie 2."

One of the great zombie films
of all time,

with only the greatest
gore shots of all time,

of that big wooden splinter
piercing through an eyeball.

It's absolutely revolting,
and it's absolutely wonderful.

"The Beyond."

My favorite zombie movie
of all time.

Dream logic, gore,
head explosions,

an absolutely stunner
of an ending.

You can't go wrong,
and you can't get bloodier.

Ah. Mr. Fulci,
I'm ready to have my eyes...

That's offensive.

I'm not even gonna say
what I was thinking.

"We Are the Flesh."

Oh, I've heard
of this one.

It's a new film
from Mexico.

It's a Shudder exclusive,

by Emiliano Rocha Minter.

The beauty of this film

is that it feels
utterly satanic.

But it's not robes.
It's not daggers.

It's not symbols.
It's not rituals.

This film feels evil,

and it's just something
really special.

And if you want, uh, your eyes,
which have just been splintered,

to then bug out,
this is what you watch.

My poor eyes.

"Macabre."

This is from
the Mo Brothers --

Kimo Stamboel,
Timo Tjahjanto.

You might know
Timo Tjahjanto

from his "Safe Haven" segment
of "V/H/S/2."

Okay.
Folks get stuck with
a cannibal family,

and it is just fountains
and fountains

and fountains
of the red stuff.

It's brutal. It's wild.
It's very, very cool.

And it's cool to see
what they're up to in Indonesia.

"House of Whipcord."

This is really great,
working-class British sadism.

If Hammer and Amicus

often worked
in the high gothic,

Pete Walker worked in the low,
on the street level.

Young, pretty things
get kidnapped,

dastardly S&M goes on
in the basement.

It's something
really freaky.

Well, Sam,
these recommendations stand

for a truly unsettling,
provocative night.

They are. Uh....
Hey, Mickey.

These aren't rewound.

Gotta go feed my cat!
Bye, Sam!

You know what --
I get it now.

Bliss.