All language subtitles for The.Core.S01E02.WEBRip.x264-ION10

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Welcome to "The Core."

This week on The Core

Director Steven Ellison gets
into the squishy viscerality

of his knock out debut
"KUSO"

Plus, we've got members of a
bona-fide Freakshow,

to tell us why we can't
stop staring

We actually had a funeral
for "normal."

AND, our effects guru Jim Ojala
you how to make puke from
a buffet

We need, THAT,
looking shit

Bon Appetit

I'm Mickey Keating,
and this is "The Core."

The most insane Talk Show
you've ever seen.

My first guest
is Steve Ellison.

tknthowe hGrimam amys-n
You migh

ominated musician
Flying Lotus,

but his first film,
the provocative "Kuso,"

prompted massive walkouts
at its Sundance premiere,

and he's here today
to talk about why.

So without further ado,
the director of "Kuso,"

Mr. Steve Ellison.

Sir.
Hey.

How are you?

Good, man, how are you?
Good.

Uh, "Kuso," first movie,

of all the first movies
you could possibly make,

why this one?

You know, I had never
made a movie before.

That alone was, like...

I had to, like,
drink that everyday, like,

"You don't know what
you're doing," you know?

This is, like,
brand-new territory.

But then, it would be

that kind of
wave of confidence, like,

"Whoa, I've never
done this before.

Let me --
Let's do something crazy.

Let's go for it."
Mm-hmm.

People were kind of like,
"Oh, it's a gross-out movie."

People were offended
by it.
Yeah.

But when, you know,
you watch it,

it's got a lot of heart.

It's got a lot of, like,
comedy in it.

So, like,
what's the balance

of finding
something like that?

I knew that I was just
gonna have to

punch the biggest kid
in the class

kind of thing,
you know?

Totally, absolutely.
It was that kind of feel
because, like,

I know how it is
with independent films.

There's so many of them,
and a lot of them

just never get seen,
or they just never
get talked about.

I was like, "I'll give them
something to talk about,"

you know.
Right.

"Especially on my first one,
I'll make sure, like,

I'm coming out swinging,"
you know?
Totally.

That was, like,
kind of my attitude,
and kind of, like --

more of like a punk-rock
kind of thing.

It was like --
I was like, "You know what?

Fuck everybody."

"Oh, this bothers you?
Okay.

All right. I got you."

There's so much gross-out stuff
in the movie,

but also, you get, like,
great performances

from all these characters.

How do you have a movie

with a ton of cum
and shitting

and people puking
and boils,

but also, make something

that is kind of
that work of art

atth'sat, 'sli, keli, keal, soaa
sinom se omste rastngrae ngwaea

y?

Well, I think
a lot of the stories

are about love in the end,

and I think that that's --

that's just your easy,
relatable place,

you know, you come from,

and I think that
a lot of the characters

are struggling
to make their love -- work

I only realized that

after it had come out,
you know?

but I'm like, "Man, is that
just, like, my thing?"

You know, "Am I just, like,
a struggling lover

or something like that?"

And, you know,
you have some really,

kind of, fascinating
collaborators on this.
Mm-hmm.

And how'd you fall in
with David Firth,

Mr. Salad Fingers
himself?
Oh, man, yeah.
David Firth.

Had directed a music video
for me a few years ago,

and when we were working
on his video,

I asked him.

I was like, "Look, man,

I'll fly out to England
tomorrow

if you just, like, make me
your animation student."

That's how
the whole movie started.

It started off as
this kind of, like,
5-minute animation...

Uh-huh.
...that blossomed
into a feature.

What's the reason for it?

We didn't have a lot of money
to do this,

and I figured if, you know,
I can use animation

as a way
to get different looks

and different worlds,
different feels, you know,

because I think, you know,
when people look at films

and they see CG animations
and stuff,

their minds just go
to cartoon world anyway.

Right.
So, just, like, they're like,
"If it's not practical,

it just --
it all goes to cartoon land."

lik"Ie,'l
And I was just

l just take advantage
of that," you know,

because you have animation
as this resource

to take people
to different worlds.

What's your favorite piece
of animation in "Kuso"?

There's a music video
that plays

in the waiting room
of the clinic.
Okay.

And it's, yeah,
this stop-motion music video.

A lot of tedious work
went into that.
Awesome.

Was there any scene,
particularly,

where, just, the effects
didn't work?

Just didn't work.
And it sucked,

and it was just, like --
Uh...yeah, there was one

that I think of
that breaks my heart.

There was this, this scene,
the Japanese sequence,

where this girl,
she's, like --

she's in a tunnel,
she's climbing out,

and then,
there's this poo monster

at the end of the tunnel.
Right.

And in the movie,
it's an animation,

but we actually tried
to do that practically,

and we had this poo monster,
and it opens up.

It had, like,
the "Tremors."

Like, it looked like
"Tremors," you know?
Right.

p,It opens u

and then a head of, like,
Louie Anderson in there.

Like, we made a fake
Louie Anderson head.

Like, and that opens up,

and the tongue comes out,
like, "Wa-la-la-la!"

It does all the stuff.

And it just
didn't look good.

Yeah.
It didn't look good
in the end,

and it was just --

It just turned way sillier
than I wanted to.

One thing I learned in that,

and that I'll try
to share with y'all,

is we had saved that effect
till the end of the night,

which is a bad idea.

Always start with
your big gags first...
Right.

...'cause those will never work
as you want them to.

I read an interview with you
that you said film school
kind of fucked you up.

Yeah, it's true.
And so what's the reason?

I was, like,
fresh out of school,

and I fell right in line off
what they were talking about.

I was doing everything
that they told me to do,

and I think
that really fucked me up.
Right, right, right.

And it make me question

my natural instincts,
you know?
Totally.

Sometimes you don't know
why you do things.

Sometimes you don't have
a reasoning

that you can just
explain to somebody.

It just feels right
in that moment,

and you go with it,
you know?

And I think
that's something that

they try to steer you from
in film school...

Totally.
...because they --

they come
from that kind of idea

where you have to have
everything

prepared in a notebook

before you show up
on set, you know?

Right.
That's what
they told us.

They had --
we had to have

our director's homework
with us all the time.

I had to take about, like,
10 years away from film school

and, like, forget
all that .

The fun thing
about the movie, too,

is, like, there's no moment
where it's like --

Where it doesn't feel, like,
consistent, in a weird way.

Ah, cool.
Which is so awesome
because that's so hard.

You know, you see a lot of
bad old horror movies,

where it's, like, they used
different stocks outside.

Yeah, yeah, I know.
So it's all grainy
on the outside.

Yeah, it's funny you say that
because that's, like, uh --

I noticed that people
just don't give a shit...

Right, yeah.
...about all the things
like that

that we're hung up on,

the regular audience person,
they fucking --

The viewer does not care.

At this point,
they've been bombarded

with, like, everything.

I mean we shot on 35,

Hi8, iPhone, Blackmagic.

Right.
You know, I think,
at the end of the day,

it's true what they say --
it's all about story,

you know, really...
Totally.

...and the formats
and all that shit is just --

that's over.
Yeah, yeah.

Like, forget about
thinking about that shit.

It's just -- If you have
any kind of camera,

that's all you need
right now.

I've heard about this movie
for a long time,

and as an artist, you obviously
get, like, websites saying...

Yeah.
..."Oh, this is what 'Kuso'
is gonna be"...

Sure.
...even before
the movie gets made.

Sure.
Is there any kind of pressure
to kind of be like,

"Well, here it is,
motherfuckers,"

or, like, do you feel
any of that pressure.
Yeah.'

yeah, I mean, when it first
showed at Sundance,

everyone was like,
"Yeah, 'Kuso' --

the grossest movie
of all time."

I'm like,
"It ain't that gross."

Yeah.
"Shit, it's --

you know, there's some
gross shit in there,

but, damn, is it
the grossest of all time?"

And then,
I started feeling like,

"man, they're gonna
see this shit and be like,

'Man,
it wasn't that gross.'"
Right.

You know?
Yeah.

Like, "Man, I was --
I was waiting to vomit,

and then I did not vomit,
so this movie sucks,"

you know, I'm just waiting
for all that commentary.

And so speaking of vomit,

has anyone actually puked
during "Kuso"?

Fuck!

Well, that was awesome.

Yeah.
Meaning of life awesome.

Let's take a look at your
top-five favorite vomit scenes.

Come on.
Oh, boy, saddle up.

All right.

So why don't you tell me
about this one

and why
it's your favorite?

"Bad Taste," Peter Jackson,
he's amazing.

Look at him.

Yeah,
he built all these effects

in his parents oven,
I guess.

Did you use this kind
of throw-up reference
for, uh, "Kuso"?

I didn't.
No.

But it's a reference for me

and my career
and my future.

This is where we start.

Now, just imagine him with --
with all the, uh --

the hobbits.

Going from this
to fucking "Lord of the Rings"

is pretty incredible.
It is incredible, man.

Do you think he tried
to hide this movie

when he was, like,
taking movies at New Line?

"Yeah,
don't check out that one."

Yeah. Yeah.

This is "Audition."

Yeah, apparently, he shot
this movie in only 3 weeks.

Aw, shit.
I remember seeing this
for the first time,

and it fucked me up so hard.

I was like, "No, she's not."
Ugh, ugh, ugh, ugh.

No, she's not.
Ugh.

That, to me, is, like,

prompts all the walkouts,
you know?

Ugh.

This movie,
apparently, allegedly,

sent a lot of people
to the hospital.

Bless them.
God bless them for it.

So this is --
"Raw!"

"Raw,"
the most vile movie ever.

Oh, yeah, this --

See,
I love this hair stuff.

You know, upcoming director,

she had to outdo everybody
with her hair stuff.

We're gonna be able
to see it.

Look at that.
Look at the struggle.

When you start getting hair,

and chunks,
and things like that

is when it starts really
getting disgusting, and --

And so,
these interconnected, kind of.

Yeah,
and here's "The Ring,"

and I think it's worse

because Naomi Watts
is so beautiful,

and then
you have this moment --

this, "ugh!"

Yeah, POV.

Ugh.
That's fucking terrible.

And then, of course --

And, yes, of course,
the greatest --

Cronenberg.
The greatest of all time.

And this is "Fly."

Ugh, this is brilliant.

This is fucking disgusting.

Yeah, I love it.

I love that it's also like
a two-parter of vomit.

It's not only the vomit.
It's him melting, too.

Oh, and your ankle.
Right, exactly.

It's the ultimate vomit scene,
I feel like.

Was there any kind of throw-up
in "Kuso"

that you didn't get
a chance to do?

Um, we didn't get to do

the one that I just did,
so it was great.

It was, like,

I didn't get to do
a good projectile vomit,

so it was nice to be able
to express myself

all over you.

[Cla[Csslaicssalic malus ms

]

This is "The Core"
effects master, Jim Ojala.

Jim, sir, thank you
for my new look.
Anytime.

Why don't you tell everyone
how we did that?
Absolutely.

Um, we started with
a simple base

of, like, Karo syrup --
All these things
are disgusting --

All these things
are disgusting.
On their own, yes, yes.

And then combining them,
they're even more disgusting.

So you can make a base
with just Karo syrup,

and water,
and food coloring,

but the most important thing
is to figure out

what color your base is,
first.

If it's a light base,
you put something contrasting,

like dark beans in it.

If this is a dark base,

which, uh,
was your recommendation,

that you wanted this nice,
like, ass-y color,

which is fantastic.
Bile-y, bile-y.

When that splatters
against somebody...
Moi.

...you're gonna see
that lightness,

and then, you've got stuff
like creamed spinach.

This is all stuff
anybody can get.

And when that splatters
against something,

you've got red,
you've got --
That does look like
my last vomit.

I mean, look at that.
Yeah, yeah.

Like, that's, you know --
Tell me that's not vomit.

Wait a second, though,
this kind of looks like, uh --

like your, uh, Sizzler,
kind of, buffet, actually --

when you like, --

you know, zoom out
a little bit, all right?

Absolutely.
This is like --
this is --

This looks like
buffet-style,

so maybe you just cruise down
to your local buffet,

get a bunch of
to-go containers,

then you don't
have to spend shit.
Exactly.

No opening cans
or none of that crap, yeah.
None of that.

What is this zinc oxide for?
The zinc oxide is like a --

It's an additive
that you can put in

to make it
a little more opaque,

so it's not so translucent,

and then, you get that, like,
milky white color, you know?

It's that what's currently

causing my eyelids
to stick together?

Um, that's the Karo syrup.

Okay, yeah.
Yeah. Yeah.

So --
but the important thing is

to not
add all this crap...
Right.

if you're gonna be spraying it
through a hose --

Okay.
Yeah, yeah.

Because this is gonna
get caught up,

and nothing
is gonna come out.
ghSot. t
Ri

his is if you're gonna
stick it in somebody's mouth,

or maybe shoot it
out of a cannon or something.

You've basically said

that you really kind of like
dark colored vomit.

Is it the --
What's the preference?
Yeah, you know --

Yo, here's the thing,
look, I had --

I had vomit that looked
like this at first --

this, like, kind of, uh --
What is this?

Clam-chowdery-looking
shit?
That's corn chowder, yeah.

Some clam-chowdery-looking
shit,

And I was really upset, man.
I was really upset.

I was just like,
"Man, you guys got to --

You guys got to get on the level
with me right now, okay?

Like, this is --
this unacceptable."

Look, we need that-looking shit
right there, you know?
Right.

You know, like,
that right there,

this is a disturbing-looking
color, right?

Look at the way --
Look at how it sits
in the bowl, okay?

Like, the edges of the bowl --
that shit looks disturbed.

This? This looks like --

looks delicious.

Actually, if you light it
correctly, it'll --

That is bad, okay?
And that's what we like.

Yeah, I think there's something
kind of, like, way more cool

about just, like, a dark,
disgusting, horrifying vomit,

that it's, like --
like, just --
Yeah, same, same.

'Cause it comes
from the depths.
Right.

You know, it's that color,
you know?
Totally.

You know, like,
this is like --

this is like a -- you know,
a surface -- a surface puke.

This is, like, from --
from the beneath.

For what we just saw,

how much of this
do you have to make

If we want
that amount of spray at home?

Um, let's say,
what you just got sprayed with,

that was a solid gallon,
right there.
Mm-hmm.

-That was a whole gallon.
-And I felt every ounce of it.

There you go.
Yeah, I thought
it was over,

and it just
kept going and going.

So that's how far
a gallon will get you

at 80 pounds
of pressure.
Right.

Go to the Sizzler,
ask for only the sides,

and load up, baby --
load up and fire.

For all of, like,
the different bodily fluids,

like,
what did you guys use?

We stained
some underwear with coffee.

Oh, yeah.
You know, to give it

that, like, kind of, like,
skid mark undies.
Right, right.

You know, the tighty-whities
with skid marks in them.

And what was the smashing of
the bug kind of thing,

because that's like a --
Actually, yeah,
we had this thing

where the bug was smashed.

It'd be like, blam,
and like that.

We used some
peanut butter and jelly,

and it just had this, like,
weird look to it.

Like you said, man,
you can use any of this stuff

and go just as well.

You know, I like even doing
funky textures on the wall.

Like, I was throwing
some bean juice

on the walls back there,

and that just has
a nice look to it.

I heard
you hate baked beans.

I hate beans.
You just hate beans
in general.

Beans, all beans,
I hate all beans.

All beans -- lima beans,
baked beans, pinto beans,

black, whatever,
fucking refried,

"whatever your grandma
wants to make" beans --

I hate all of them.

Don't ever
bring them around me

unless we're doing shit
like this.

Would you prefer to eat

the bowl of vomit
from "Audition"

or a bowl of these beans,
right here, lukewarm?

The fact that
I have to think about it

is already enough, right?

Because fuck that.
Totally.

Well, so, you heard it from
the master himself, I guess.

Go to your local
Sizzler,

and, uh, make up
a concoction of --

Bam!

I think I hate this movie.

**

**

Folks, you're about to see

the World Famous Freakshow,

the strangest show on Earth.

Inside, you're gonna see
the Sword Swallower

and the Fire Eater,

the Electric Lady
and the Bearded Lady,

the Bubble Boy
and the Wolf Boy.

You're gonna meet
the Smallest Man in America

and the Littlest Married Couple
in the World.

**

They're all here.
They're all real.

They're all live,

and you're about to see them
with your own eyes.

**

Folks,
the show is about to begin.

Come in now.

By any measure,
"Kuso" is a shocking film

that we can't
look away from.

So why do we watch it?

It would take
a freak-show barker

to explain
something like that to me.

And fortunately,
I've got one.

Mr. Todd Ray,
thank you for joining me.

Nice to meet you.
The proprietor of

the Venice Beach
Freakshow,

and I have
Jessa the Bearded Lady,

-Howdy.
-And Bob the Bubble Boy.

Let's talk freak shows.

Why do people love them?

Why are they
so interested in them?

Well, you know, I think what
it ultimately comes down to

is human curiosity.

I think we'd be apes
if we weren't curious, you know?

Sure.
What's in there?

Right.
And could it be real?

And then, suddenly,
you have to see it.

What does the term "freak"
mean to all three of you.

I mean, the reason
we named it the Freakshow

was not just
to use that name,

but to redefine
the word "freak."
Okay.

To actually bring it back
to the original meaning,

which means
one of a kind...

We actually had
a funeral for normal

in front of
the Freakshow...
Really?

...'cause we declared
that normal is dead.

and so, for us,
freak means that.

It means one of a kind.

And if you think about it,
you, me, everyone here,

we're all unique
in our own way.
Mm-hmm.

To me, I think freak is,
you know, the dark secret,

That taps on the back of
your mind

"You've got to go see
what this is."

I'm gonna ask you about

how you got into this
entire crazy endeavor

in the first place.

Well, when I was a kid,

I was really into magic.

And I went to a carnival,

and there was this big tent

with this whole line
of banners

with all
these amazing people.

And when I walked in,

there was this man,
Otis Jordan.

He could not use his limbs --
his arms, or his legs.

They were curled into his body,

and he was ossified,
like stone.

So they carried him out,

and all he could use
was his shoulder, his chin,

his lips, his tongue,

and he proceeded
to roll a cigarette

right there on stage.

He took two puffs,

and he looked at
everyone in the audience,

and looked me
right in the face,

and he said, "Now, kids,
that's why they call me

the Human
Cigarette Factory."

And it was something
about that act.

I -- I -- After it,
I went and talked to
him after the show,

and he said --

And I said, "Mr. Jordan,
I'm a young magician,

There's no way
I could do what you did."

And he looked at me,
and he said,

"Son, if I can do

what I just did
in my condition,

a young man like you

can do anything
you ever dream of."

And I was hooked.

Wow.
That was it.

What are
the key ingredients

to making
an awesome freak show?

The first ingredients
you got to have

is the outside look --
the banners.

Uh-huh.
You have
to have the flash.

They say,
"More flash, more cash."

And, uh, you know,

then you have to have
amazing people,

like Jessa the Bearded Lady.

-Yes.
-Uh, Bob the Bubble Boy,

The Wolf Boy from Mexico,

he's covered with hair,
like, a werewolf.
Oh, wow.

The Smallest Man in America
is with us.

Can you, uh, show --
Sure.

Explain this guy to us?

Well,
this is Myrtle and Squirtle,

the two-headed turtle.

And they have two minds.

Myrtle controls
these two limbs.

Squirtle controls
these two limbs.

What?
Who controls the tail?

I don't know.

Okay,
and so I'd like to move on

to -- to you two.

Bob,
do you mind explaining

how you got
into the Freakshow?

Well, my wife,
and daughter, and I

were on vacation.

We decided to go
to Venice Beach

and --
and check out the art.

And she goes,
"Well, the Freakshow is here."

I said,
"Well, what's the Freakshow?"

So we start getting closer,

and I just hear
this incredible voice.

Enthralling.
So I walk up,

and Todd looks at me
and goes,

"I know what you have.
Is it all over?"

I said, "Yeah."

Well, this one, here, Jessa,
is up on the...

...up on the stairs,

yelling for me
to take my shirt off.
Take it off!

I took my shirt off,
and the crowd went nuts.

They went ballistic.

It was --
It was just crazy.

It was overwhelming.

Hundreds of people,
just screaming, "Yeah!"

It -- it was --

It was such
an overwhelming feeling,

and Todd offered me a job.

tMionMi tckheo
t?igh

Right on the spot?
ht-R o-Rn igthhte ospn ot
h.ot-Y.ea

Y
eah.Do

you mind explaining your
condition a little bit?

It's a genetic condition.

Um, it's called
neurofibromatosis...
Okay.

...which causes tumors
to grow on the outside.
Mm-hmm.

It can cause
learning disabilities,

scoliosis,
bowing of the legs,

misshapen heads, limbs.

You talk about
what draws people

to want to look at things
like "Kuso."

My condition --
I feel it's the same way.

It's --
it's so devastating,

but yet,
so interesting.
Of course.

And you -- you --
you can't look away.

You have
to read about it.
Right.

Jessa, I'd love to hear
a little bit of backstory

on the --
on the Bearded Lady.

The long story short
is gonna be that

I got caught between
a rock and a hard place.

I have a condition called
polycystic ovarian disease.

It eventually
leads into cancer.
Oh.

And if you start
getting the fuzz,

well, that's your choice
to grow it or not,

but at some point in time,

I got to stand up
for people like myself

and go,
"Hey, this happens."

Wow.
Just roll with it.

Life gives you lemons,
what do you do with it?

You grow a beard.
There you go.

Then you make lemonade.

Mickey:
Jessa, talk to me about

society's perception
of beauty.

Well, to be honest,
I challenge that

because I have both the feminine
and the masculine.

I have this full beard,

yet, I am very much
the southern belle.
I love that.

So, I get the real vibe

that you guys
are very much a family.

It feels that way.

Yeah.
Mm-hmm.

Mickey: So, tell me about
the family life

when you guys
aren't on the stage?

Out there in society,
I get stared at...
Mm-hmm.

...comments made,

but I don't let it
bother me.

Inside the Freakshow,
I still get stared at,

but I got the opportunity
to educate and inform people.

You know, we go on

and do what everybody else
does in life.

We just have it
a little different.
Well, you should see --

You really see
when we're all out together.
Yeah.

That's really
when it's crazy.
Yeah.

-That's when the stares come.
-You know, I mean,

if you see Jessa
go up to counter,

the woman trips out.
Right.

But when she picks up
the Smallest Man in America

and puts him
up on the counter,

and then
the Wolf Boy walks out,

everyone just trips.

Like, it's --

You know what it
kind of reminds me of?

It's like the X-Men.
Yeah, yeah, yeah.

You know, the X-Men
couldn't walk into to Target

and go unrecognized.

It would be ridiculous --

"Who are these people?"
Right.

That's what I feel like we are
when we walk out.

We're like the X-Men.
Mm-hmm.

-Wow
-You know?

Yeah,
that makes total sense.

Are there other freak shows
around the country

that people
should know about,

or are you guys doing
something completely --

We're pretty much it.

We're the last
of the true freak show.

This is really it.

I mean, we are the last-standing
show of its type

in the whole world.
Mm-hmm.

When we created
the Freakshow,

the goal was to bring wonder
back into the world.

Thank you so much, again,
to Todd, Jessa, and Bob.

This was incredibly awesome
and very insightful.

**

**

**

You probably have
that one friend

who knows
everything about movies

and has killer
recommendations, right?

Well, that guy doesn't know shit
compared to Sam Zimmerman,

who happens to be the curator
over at Shudder.

So, you like "Kuso"?
I'll never be the same.

That blew my mind.

Do you like things that are,
like, deeply weird?

I prefer those things
to anything else.
All right.

We're starting with
"Tetsuo: The Iron Man."

Did you see this?
Oh, shit.
No, I've never seen it.

Huge influence on "Kuso,"

a 16-millimeter
biomechanical nightmare.

this is incredible,
frightening cinema

about the convergence
of man and machine.

David Lynch on crack,
it sounds like.

Crack might be
a little too basic.

You like Cronenberg?
I love David Cronenberg.

Well, yeah,
also an influence on Steve,

also an influence on "Kuso,"

this is, like, straight
from the family line,

his son Brandon's
first feature film, "Antiviral."

**

It's about
celebrity sickness.

It's, like, beautiful.
It's grotesque.

It's -- it's amazing.

So, I mean,
"Scanners," "The Fly,"

is he living up
to his dad's legacy?

Yes, all in its DNA,
he does it with aplomb.

It's -- it's totally rad,

and it stars, uh,
Caleb Landry Jones,

who you might know as
the brother in "Get Out."

Yeah, he's incredible.

What the fuck?
I didn't do anything.

"Seoul Station."

Okay.
This is a new
Shudder exclusive

from Yeon Sang-Ho,

who directed
"Train to Busan."
Okay, awesome.

So that was like a huge
Korean zombie hit, right?

Yeah.
This is the prequel.

It's, like,
savage and charged,

and it brings, like,

a whole new, fresh
perspective to zombies.

Cannot wait.
I love "Train to Busan."

We got "The Innkeepers."
Okay.

Ti West, one of our
modern masters of horror,

works with Graham Reznick,

one of our modern masters
of sound design.

What they do here
is just really make

this stunning,
haunting atmosphere.

This is a great horror-comedy,
a great ghost story.

It's a little bit
more traditional

but it's a great
palate cleanser,

and it's creepy as hell.
All right.

So what's that last one?

How hard-core do you go?

Dude, look at me,
I'm pretty hardcore.

This is a classic
of shock-cinema --

Ruggero Deodato's
"Cannibal Holocaust."

Man: I can't understand
the reason for such cruelty.

A documentary crew
goes down to the Amazon

to document the lives
of untouched tribes.

Some get eaten.
Oh, shit.

He almost went to jail
over that, right?
He did.

After they wrapped production
in the Amazon,

director Deodato
asked his actors

to hide out for a year

He had to pull them out,
show them to the Supreme Court,

to prove they were
very much still alive.

It's not only controversial,
but it's also pioneering.

It's tough,
but it's essential.

It's a must-see,

and it's a long line

that leads from here
right up to "Kuso."

Hey, uh, what's that playing
on Shudder TV?

That's "The Core."

I don't remember
filming any of that.

It's happening now.

It's happening right now?
Yes.

Mickey: That's all the time
we've got on "The Core."

We'll be streaming new episodes

right here on Shudder
every week,

and join us next week
for our special --

Oh, God!