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These are the user uploaded subtitles that are being translated: 1 00:01:45,496 --> 00:01:47,276 Mickey: This week on "The Core," Simon Barrett, 2 00:01:47,324 --> 00:01:49,154 writer of "You're Next" and "The Guest" 3 00:01:49,196 --> 00:01:51,756 is here to tell us how he turns the screws on his audience. 4 00:01:51,807 --> 00:01:53,417 Then a criminologist tells us 5 00:01:53,461 --> 00:01:55,461 why we should fear our own family. 6 00:01:55,506 --> 00:01:57,376 And effects master Jim Ojala 7 00:01:57,421 --> 00:02:00,511 spills the secrets of spilling acid on my face. 8 00:02:07,866 --> 00:02:09,866 From "You're Next" to "The Guest" and "Blair Witch," 9 00:02:09,912 --> 00:02:12,312 there are few filmmakers that can capture the anxiety 10 00:02:12,349 --> 00:02:13,789 of a Simon Barrett film. 11 00:02:13,829 --> 00:02:15,789 They start off simple -- a dinner-party, 12 00:02:15,831 --> 00:02:17,141 a heartwarming homecoming, 13 00:02:17,180 --> 00:02:18,880 but something tastes off. 14 00:02:18,921 --> 00:02:20,361 You feel it rotting in your stomach, 15 00:02:20,401 --> 00:02:22,361 and just when you can't bear it any longer, 16 00:02:22,403 --> 00:02:24,363 bam! Crossbow bolt to the head. 17 00:02:24,405 --> 00:02:26,965 He fills his movies with ominous unease, 18 00:02:27,016 --> 00:02:30,846 and he has a damn good time doing it. 19 00:02:30,889 --> 00:02:32,889 Simon's here today to talk about tension 20 00:02:32,935 --> 00:02:35,545 with a thrilling game of Russian Roulette 21 00:02:35,590 --> 00:02:39,030 with blenders. 22 00:02:39,071 --> 00:02:40,991 Sir, thank you so much for joining me today. 23 00:02:41,030 --> 00:02:43,860 -I'm so sorry. I'm being rude. -Oh, not at all. Not at all. 24 00:02:43,902 --> 00:02:45,602 Great to see you. Since you're the guest, 25 00:02:45,643 --> 00:02:48,603 you go ahead and choose yours and choose one for me. 26 00:02:48,646 --> 00:02:50,076 I'm going to go straight ahead, and why don't you 27 00:02:50,126 --> 00:02:51,646 grab that one on the end there, 'cause I like 28 00:02:51,693 --> 00:02:54,133 -a little bit of space. -So, here's how it works. 29 00:02:54,174 --> 00:02:55,914 Seven questions, eight blender. 30 00:02:55,958 --> 00:02:58,128 We stick our hand into our chosen blenders. 31 00:02:58,178 --> 00:03:00,618 After each question, we pick a plug from the tangled cords 32 00:03:00,658 --> 00:03:02,748 and plug her right in. The blender spins, 33 00:03:02,791 --> 00:03:04,791 and if we both still have our digits by the end of it, 34 00:03:04,836 --> 00:03:06,266 that blender's removed. 35 00:03:06,316 --> 00:03:08,486 And on we go until one of us feels very sorry 36 00:03:08,536 --> 00:03:10,406 that we ever agreed to this stupid game. 37 00:03:10,451 --> 00:03:11,801 -All right. -All right. 38 00:03:11,843 --> 00:03:14,463 So let's just talk about how you specifically, 39 00:03:14,498 --> 00:03:17,018 as a writer, build tension into your scripts. 40 00:03:19,155 --> 00:03:21,375 You know, there's, I guess, a few things that you can do 41 00:03:21,418 --> 00:03:23,118 to create tension in a film. 42 00:03:23,159 --> 00:03:24,289 Character investment is important. 43 00:03:24,334 --> 00:03:25,554 You have to care about the character. 44 00:03:25,596 --> 00:03:26,946 We don't have character likability. 45 00:03:26,989 --> 00:03:29,119 That's partly my fault, and I'm sorry, 46 00:03:29,165 --> 00:03:33,035 but we have other things contributing 47 00:03:33,082 --> 00:03:35,002 to kind of the suspense of this scenario. 48 00:03:35,040 --> 00:03:37,780 You have to establish fairly quickly 49 00:03:37,826 --> 00:03:39,826 that either the film will surprise you 50 00:03:39,871 --> 00:03:43,311 or that bad things are possible in this world. 51 00:03:43,353 --> 00:03:46,183 You have to set up the stakes. 52 00:03:46,226 --> 00:03:47,746 And then, you know, score, 53 00:03:47,792 --> 00:03:49,532 obviously, that ominous kind of tones 54 00:03:49,577 --> 00:03:51,007 and stuff that can cue the audience 55 00:03:51,056 --> 00:03:52,796 into not feeling that they're in a safe space. 56 00:03:52,841 --> 00:03:55,801 Blocking, you know, there's a lot of kind of cinematic tricks, 57 00:03:55,844 --> 00:03:57,984 but also surprises. You know, any kind of escalation 58 00:03:58,020 --> 00:03:59,590 in pacing. If the viewers feel 59 00:03:59,630 --> 00:04:01,500 like the film is moving in a certain rhythm 60 00:04:01,545 --> 00:04:03,025 and they can predict it, it's like, 61 00:04:03,068 --> 00:04:04,938 "Oh, you know, like this amount of time happens, 62 00:04:04,983 --> 00:04:06,333 and then there's a jump scare," 63 00:04:06,376 --> 00:04:08,116 they'll get used to that in a lot of subtle ways. 64 00:04:08,160 --> 00:04:11,080 So any kind of unexpected ramping up of tension 65 00:04:11,120 --> 00:04:13,210 or, you know, surprise in that regard. 66 00:04:13,253 --> 00:04:16,083 Like how I'm going to plug this in right now. 67 00:04:16,125 --> 00:04:17,515 Jesus Christ. 68 00:04:17,561 --> 00:04:19,301 -Well, uh... -Okay. 69 00:04:19,346 --> 00:04:22,996 We lucked out on that one, I guess. 70 00:04:23,045 --> 00:04:25,085 Okay. So, next question that I've got for you 71 00:04:25,134 --> 00:04:26,534 on this idea of misdirection, 72 00:04:26,570 --> 00:04:28,530 the thing that comes to my mind first and foremost 73 00:04:28,572 --> 00:04:30,102 is the dinner scene at "You're Next" 74 00:04:30,139 --> 00:04:32,229 where, you know, you get to know all these characters 75 00:04:32,272 --> 00:04:33,802 but they're fighting with one another. 76 00:04:33,838 --> 00:04:35,878 Is that very intentional from the beginning? 77 00:04:35,927 --> 00:04:37,927 Do you try to save the cat immediately, 78 00:04:37,973 --> 00:04:41,283 or are you more interested in just kind of real visceral 79 00:04:41,324 --> 00:04:43,334 kind of character natural human acts? 80 00:04:43,370 --> 00:04:44,890 You know, that's a great question, 81 00:04:44,936 --> 00:04:46,416 'cause there's tension between characters 82 00:04:46,460 --> 00:04:48,720 and tension between relationships, 83 00:04:48,766 --> 00:04:50,116 and then there's tension of, like, 84 00:04:50,159 --> 00:04:51,599 a crossbow could kill you at any time, 85 00:04:51,639 --> 00:04:54,339 or you have your hand in a blender. 86 00:04:54,381 --> 00:04:55,641 I find a combination of the two 87 00:04:55,686 --> 00:04:57,116 tends to be fairly interesting. 88 00:04:57,166 --> 00:04:59,596 I can watch gore all day long, 89 00:04:59,647 --> 00:05:01,257 but show me a scene in a movie 90 00:05:01,301 --> 00:05:03,351 where a character's made socially uncomfortable 91 00:05:03,390 --> 00:05:05,780 or embarrassed, and I'll be squirming and closing my eyes. 92 00:05:05,827 --> 00:05:07,047 -Right. -I can't take it. 93 00:05:07,089 --> 00:05:08,659 So with that scene in particular, 94 00:05:08,699 --> 00:05:10,439 I was trying to get a combination of those two things. 95 00:05:10,484 --> 00:05:13,104 It's like, let's show a family dynamic 96 00:05:13,138 --> 00:05:15,448 that's engaging in these different ways. 97 00:05:15,489 --> 00:05:17,009 Let's not waste the audience's time with them. 98 00:05:17,055 --> 00:05:19,745 Let's try to get them across in a funny, quick way, 99 00:05:19,797 --> 00:05:21,927 and then from that point on, 100 00:05:21,973 --> 00:05:24,113 when the crossbows are flying through the windows, 101 00:05:24,149 --> 00:05:26,589 we'll kind of know who's who and what they stand for. 102 00:05:26,630 --> 00:05:28,720 I have a bit of comedic license, you know, 103 00:05:28,763 --> 00:05:30,203 when you're trying to do something that's funny. 104 00:05:30,242 --> 00:05:31,902 So I utilized it, and I was like, 105 00:05:31,940 --> 00:05:33,330 "These characters are ridiculous, 106 00:05:33,376 --> 00:05:34,766 and you'll know who they are in a few sentences." 107 00:05:34,812 --> 00:05:36,732 Right. I want to expand on comedic license, 108 00:05:36,771 --> 00:05:38,381 but I feel like we have to do one of these, 109 00:05:38,425 --> 00:05:41,075 so get rocking and rolling. 110 00:05:41,123 --> 00:05:43,043 -That's the game. -Okay. 111 00:05:50,175 --> 00:05:51,605 Comedy and horror are interesting, 112 00:05:51,655 --> 00:05:53,175 and they're both about timing. 113 00:05:53,222 --> 00:05:55,492 And so what draws you to this idea 114 00:05:55,529 --> 00:05:58,139 of making something really terrifying or violent 115 00:05:58,183 --> 00:06:00,403 but also kind of funny and awkward at the same time? 116 00:06:00,447 --> 00:06:03,007 I think if a film is relentlessly 117 00:06:03,058 --> 00:06:04,798 just trying to be scary, it actually becomes, 118 00:06:04,842 --> 00:06:06,322 -in a certain way, oppressive. -Mm-hmm. 119 00:06:06,366 --> 00:06:09,236 And I, myself, am not a funny person. 120 00:06:09,281 --> 00:06:10,941 I don't enjoy humor. 121 00:06:10,979 --> 00:06:14,419 My main claim to fame is, I've never laughed or smiled. 122 00:06:14,461 --> 00:06:17,511 But I do find that there's a certain degree of absurdism 123 00:06:17,551 --> 00:06:19,811 inherent in a lot of horror scenarios, 124 00:06:19,857 --> 00:06:22,247 where if the characters don't take a moment and acknowledge 125 00:06:22,294 --> 00:06:25,254 that it almost feels unreal. 126 00:06:25,297 --> 00:06:27,037 Like, I'm not saying if I was being chased through a house 127 00:06:27,082 --> 00:06:29,522 by a maniac with an ax, I'd stop and just be like, 128 00:06:29,563 --> 00:06:31,093 -"This is just so weird." -Right. 129 00:06:31,129 --> 00:06:33,179 But I would probably have that micro-thought 130 00:06:33,218 --> 00:06:34,868 at a certain moment of just like, 131 00:06:34,916 --> 00:06:36,696 "Oh, this is, just, like, so perfect that I would die 132 00:06:36,744 --> 00:06:38,314 in this, like, absurd horror movie way." 133 00:06:38,354 --> 00:06:40,104 Showing the audience that element, 134 00:06:40,138 --> 00:06:42,528 even if it's not totally real to the real-life experience 135 00:06:42,576 --> 00:06:44,266 of being terrorized, 136 00:06:44,316 --> 00:06:47,096 gives the audience their reality on screen, 137 00:06:47,145 --> 00:06:49,145 and it makes them like and root for the characters more. 138 00:06:49,191 --> 00:06:50,281 Right. 139 00:07:01,682 --> 00:07:02,942 Liquidated, all right. 140 00:07:02,987 --> 00:07:06,247 That was a little close. 141 00:07:06,295 --> 00:07:07,815 I don't want to fan-boy out too much 142 00:07:07,862 --> 00:07:09,302 about the way that you write, 143 00:07:09,341 --> 00:07:11,651 but I think that you have this incredible ability 144 00:07:11,692 --> 00:07:13,612 of your movies really ratchet up, 145 00:07:13,650 --> 00:07:15,170 and they don't blow their loads too early. 146 00:07:15,217 --> 00:07:16,957 A lot of big movies you're sitting there watching, 147 00:07:17,001 --> 00:07:19,051 the best scene happens 45 minutes into the film. 148 00:07:19,090 --> 00:07:21,480 You know, and so what's your kind of, like, process 149 00:07:21,528 --> 00:07:23,618 of finding that new way to just keep on 150 00:07:23,660 --> 00:07:25,140 ratcheting everything up? 151 00:07:25,183 --> 00:07:28,013 If your biggest scare is a half hour in, 152 00:07:28,056 --> 00:07:30,486 people are going to leave the movie feeling deflated. 153 00:07:30,537 --> 00:07:32,057 So one of the things I do 154 00:07:32,103 --> 00:07:34,113 is I always write my last scene first. 155 00:07:34,149 --> 00:07:37,019 I don't tend to outline or do treatments, 156 00:07:37,065 --> 00:07:38,275 but I know what I'm building to, 157 00:07:38,327 --> 00:07:39,847 and I can think about kind of 158 00:07:39,894 --> 00:07:42,034 what that escalation is throughout every scene. 159 00:07:42,070 --> 00:07:44,200 And if a scene isn't kind of getting me closer to that, 160 00:07:44,246 --> 00:07:45,936 then I know I should cut it out of the movie. 161 00:07:45,987 --> 00:07:48,727 Are there any particular techniques that you would use 162 00:07:48,772 --> 00:07:51,212 to build to something like the big fun house finale 163 00:07:51,253 --> 00:07:53,083 -at the end of "The Guest"? -For "The Guest," 164 00:07:53,124 --> 00:07:55,524 it's a tricky thing. People are very into the family dynamic, 165 00:07:55,562 --> 00:07:58,222 and then once he actually starts killing people, 166 00:07:58,260 --> 00:08:00,000 we lose some viewers, 'cause they want Dan 167 00:08:00,044 --> 00:08:01,664 -to kind of be the hero. -Right. 168 00:08:01,698 --> 00:08:03,528 But we knew that wasn't the trajectory of the film, 169 00:08:03,570 --> 00:08:05,490 and so it's just about kind of earning that in a character way. 170 00:08:05,528 --> 00:08:07,138 And then once I kind of realized 171 00:08:07,182 --> 00:08:08,532 what the tone of those scenes was going to be, 172 00:08:08,575 --> 00:08:10,185 I was able to kind of be like, "Okay. 173 00:08:10,228 --> 00:08:12,318 This is going to be the tone of the final third of this film. 174 00:08:12,361 --> 00:08:14,151 Some people might not like it, but I'm into it. 175 00:08:14,189 --> 00:08:16,889 Let's figure out the right kind of 90 degree turn into this." 176 00:08:16,931 --> 00:08:18,111 Mm-hmm. 177 00:08:18,149 --> 00:08:19,149 You're up. 178 00:08:25,287 --> 00:08:27,507 We should look at some clips or something that kind of 179 00:08:27,550 --> 00:08:29,990 illustrate the stuff we've been talking about, right? Like -- 180 00:08:30,031 --> 00:08:32,251 But you were right there. 181 00:08:32,294 --> 00:08:34,914 All right. Let's check it out. 182 00:08:40,998 --> 00:08:43,478 You're sheltering enemies of the state, are you not? 183 00:08:49,659 --> 00:08:51,009 Yes. 184 00:08:53,489 --> 00:08:55,189 You're sheltering them underneath your floorboards, 185 00:08:55,230 --> 00:08:56,540 aren't you? 186 00:09:00,148 --> 00:09:01,798 Yes. 187 00:09:01,845 --> 00:09:03,585 Why don't you tell me about the tension in this scene? 188 00:09:03,630 --> 00:09:07,590 Tarantino is so remarkably good at these interminable scenes 189 00:09:07,634 --> 00:09:10,774 that should not work and only do in his films. 190 00:09:10,811 --> 00:09:15,251 Only he can pull off just this endless scene of dialogue 191 00:09:15,293 --> 00:09:17,123 that's so inherently fascinating. 192 00:09:17,165 --> 00:09:18,645 We know what the stakes are here. 193 00:09:18,688 --> 00:09:22,388 He establishes them beautifully with this camera move. 194 00:09:22,431 --> 00:09:24,611 It's like he's literally referencing that Truffaut, 195 00:09:24,651 --> 00:09:26,351 Hitchcock conversation about suspense. 196 00:09:26,391 --> 00:09:27,611 -Right. Yeah. -It's like he's literally 197 00:09:27,654 --> 00:09:29,184 showing you the bomb under the table. 198 00:09:29,220 --> 00:09:31,350 -The bomb under the table. -I just find this kind 199 00:09:31,396 --> 00:09:35,046 of dialogue-driven suspense really fascinating. 200 00:09:35,096 --> 00:09:38,056 I, myself, don't know that I have the talent 201 00:09:38,099 --> 00:09:39,709 to to achieve it, 202 00:09:39,753 --> 00:09:42,103 but that's why I like going to see Tarantino. 203 00:09:45,672 --> 00:09:48,152 -May I approach? -No! 204 00:09:48,196 --> 00:09:50,456 No. I'm going to throw it. 205 00:09:50,502 --> 00:09:52,682 Careful. It was a gift. 206 00:09:59,816 --> 00:10:01,296 -They're killing us. -Keep the gun! 207 00:10:01,339 --> 00:10:02,819 -No! -All right. 208 00:10:02,863 --> 00:10:04,653 So this next clip, obviously, is "Green Room." 209 00:10:04,691 --> 00:10:07,221 And so tell me why you think that this one is, like, 210 00:10:07,258 --> 00:10:08,698 a perfect sense of tension. 211 00:10:08,738 --> 00:10:13,308 "Green Room" is probably the only film in years 212 00:10:13,351 --> 00:10:15,921 that's made me yell out loud in a theater. 213 00:10:15,963 --> 00:10:18,183 Once you've seen what's happened to Anton Yelchin's arm... 214 00:10:18,226 --> 00:10:19,786 Yeah....and you've seen Imogen Poots, 215 00:10:19,836 --> 00:10:21,616 like, slit a guy's belly open...Right. 216 00:10:21,664 --> 00:10:23,494 ...you just completely have no idea 217 00:10:23,535 --> 00:10:24,885 what the movie's going to do next. 218 00:10:24,928 --> 00:10:28,498 You know, it's not playing by normal horror movie 219 00:10:28,540 --> 00:10:30,850 or thriller rules. And of course, he's a musician, 220 00:10:30,891 --> 00:10:32,851 and so, you know, that's, like, extra awful. 221 00:10:32,893 --> 00:10:34,423 He'll never play, I don't know, the bass 222 00:10:34,459 --> 00:10:35,679 or whatever he plays again. 223 00:10:40,161 --> 00:10:42,641 Catherine, I'm going to get you out of there, 224 00:10:42,685 --> 00:10:44,465 but right now, you listen to me. 225 00:10:44,513 --> 00:10:46,863 I've got to leave this room. I'll be right back. 226 00:10:46,907 --> 00:10:50,517 Catherine: No! Don't you leave me here, you fucking bitch! No! 227 00:10:50,562 --> 00:10:52,562 The classic "Silence of the Lambs." 228 00:10:52,608 --> 00:10:54,828 Tell me about this one, why this one resonates. 229 00:10:54,871 --> 00:10:57,481 So I imagine you probably share my affinity 230 00:10:57,526 --> 00:11:00,746 for, like, A-list kind of high-art cinema, 231 00:11:00,790 --> 00:11:03,400 and it's this shot right here that references low 232 00:11:03,445 --> 00:11:05,445 or, you know, so-called B movie cinema. 233 00:11:05,490 --> 00:11:08,020 You know, Jonathan Demme said that Roger Corman told him 234 00:11:08,058 --> 00:11:09,968 at some point that the scariest shot in cinema 235 00:11:10,017 --> 00:11:11,797 is a hand-held shot approaching a closed door. 236 00:11:11,845 --> 00:11:13,235 -Right. -So when he set out 237 00:11:13,281 --> 00:11:15,111 to make this thriller, he put that shot in there. 238 00:11:15,152 --> 00:11:17,812 This entire sequence just has such a great dynamic. 239 00:11:40,612 --> 00:11:42,532 It'll be a lot easier with that. 240 00:11:42,571 --> 00:11:45,141 Simon: This is a somewhat different kind of suspense 241 00:11:45,182 --> 00:11:47,232 from some of the previous stuff, where, like, in "Green Room" 242 00:11:47,271 --> 00:11:49,671 you're legitimately very concerned for the characters. 243 00:11:49,709 --> 00:11:52,489 Same in "Inglourious Basterds" and "Silence of the Lambs." 244 00:11:52,537 --> 00:11:55,497 This, I'm not so much concerned. 245 00:11:55,540 --> 00:11:57,370 -I'm just very interested. -Yeah. 246 00:11:57,412 --> 00:11:59,982 It's almost the inverse of the "Inglourious Basterds" 247 00:12:00,023 --> 00:12:01,763 in certain ways, where there's almost no dialogue. 248 00:12:01,808 --> 00:12:03,588 Right.It's just them staring at each other 249 00:12:03,635 --> 00:12:06,285 while this amazing Ennio Morricone score plays, 250 00:12:06,334 --> 00:12:09,644 which is, of course, some of the best music of all time. 251 00:12:09,685 --> 00:12:10,985 These three guys have been building up 252 00:12:11,034 --> 00:12:13,124 to a confrontation now for 2 1/2 hours. 253 00:12:13,167 --> 00:12:15,597 Right.Their characters are so iconic and interesting, 254 00:12:15,647 --> 00:12:17,647 and the actors are doing such incredible, 255 00:12:17,693 --> 00:12:19,303 career-defining performances 256 00:12:19,347 --> 00:12:22,647 that you just end up being glued to the screen. 257 00:12:26,876 --> 00:12:28,136 Fuck! 258 00:12:33,535 --> 00:12:35,795 It's not even hot, you dumb bitch! 259 00:12:35,842 --> 00:12:38,192 Mickey: So, yeah. Tell me a little bit about this and the tension. 260 00:12:38,235 --> 00:12:40,105 Simon: When I was writing the script, you know, I -- 261 00:12:40,150 --> 00:12:42,940 This really bothered some people on the IMDb message boards, 262 00:12:42,979 --> 00:12:45,329 as you can imagine, but it was a creative choice for them 263 00:12:45,373 --> 00:12:46,903 to not ever have any guns. 264 00:12:46,940 --> 00:12:49,550 But it was also trying to find, like, creative weapons. 265 00:12:49,594 --> 00:12:51,474 Right.You know, stuff that people wouldn't necessarily think of, 266 00:12:51,509 --> 00:12:53,209 do the kind of "Home Alone" thing. 267 00:12:53,250 --> 00:12:55,170 I mean, obviously, this one was very influenced by "Home Alone." 268 00:12:55,209 --> 00:12:57,209 I don't just want to see someone get chased with, like, 269 00:12:57,254 --> 00:12:59,564 a gun or an ax or something that I've seen before. 270 00:12:59,604 --> 00:13:02,264 I need to find, like, a creative thing to do with those things.Yeah. 271 00:13:02,303 --> 00:13:03,783 And here's the blender gag, 272 00:13:03,826 --> 00:13:05,606 that, you know, that when I wrote it in the script, 273 00:13:05,654 --> 00:13:07,874 I was just like, this seems achievable on a budget. 274 00:13:07,917 --> 00:13:10,267 In any scenario, it's like, "Okay. That could be goofy." 275 00:13:10,311 --> 00:13:13,621 But it is actually pretty brutal and hard core of a blender gag. 276 00:13:13,662 --> 00:13:15,102 Well, I mean, the movie has a tone 277 00:13:15,142 --> 00:13:16,972 that allows you to accept something like this. 278 00:13:17,013 --> 00:13:18,713 I think this would be a pretty inefficient way 279 00:13:18,754 --> 00:13:20,104 to actually kill someone. 280 00:13:20,147 --> 00:13:22,017 You guys pretty much nailed the originality. 281 00:13:22,062 --> 00:13:24,852 It's so awesome. 282 00:13:24,891 --> 00:13:26,071 All right. Well... 283 00:13:31,854 --> 00:13:33,294 This game's getting close. 284 00:13:35,336 --> 00:13:37,816 So, I want to ask about Simon Barrett pre-success. 285 00:13:37,860 --> 00:13:40,780 How do you do that? How do you find ways to make movies 286 00:13:40,820 --> 00:13:43,080 when no one will return your phone calls? 287 00:13:43,126 --> 00:13:45,646 I feel like as person who graduated from film school, 288 00:13:45,694 --> 00:13:47,654 it's very hypocritical for me to say what I want to say, 289 00:13:47,696 --> 00:13:49,046 which is don'tgo to film school. Right. Don't. 290 00:13:49,089 --> 00:13:50,609 It's a complete waste of time and money. 291 00:13:50,655 --> 00:13:53,265 The first film I got made 292 00:13:53,310 --> 00:13:56,180 was because a gentleman who had acted in my student films, 293 00:13:56,226 --> 00:13:58,136 and I'd acted in a couple of his, 294 00:13:58,185 --> 00:14:00,445 ended up working in some capacity 295 00:14:00,491 --> 00:14:02,801 for the head of a company that was making movies for Sony. 296 00:14:02,842 --> 00:14:04,452 And that's how I got "Dead Birds" made. 297 00:14:04,495 --> 00:14:05,925 So if I hadn't gone to film school, 298 00:14:05,975 --> 00:14:07,845 -none of that would've happened. -Sure. Totally. 299 00:14:07,890 --> 00:14:09,070 Would I still be making movies? 300 00:14:09,109 --> 00:14:11,069 Would I have an even awesomer career? 301 00:14:11,111 --> 00:14:14,291 Would I, you know, be, like, wielding an Oscar in each hand 302 00:14:14,331 --> 00:14:16,331 right now instead of a blender in one? 303 00:14:16,377 --> 00:14:17,807 I don't know. But I suspect not. 304 00:14:17,857 --> 00:14:19,077 Well, film school, unfortunately, 305 00:14:19,119 --> 00:14:23,079 cannot save you now. So, you're up. 306 00:14:23,123 --> 00:14:26,133 Four. 307 00:14:26,169 --> 00:14:27,479 Those odds -- 308 00:14:33,960 --> 00:14:37,530 -That was another -- -Well, 309 00:14:37,572 --> 00:14:39,662 you know what, let's just ratchet this up, 310 00:14:39,704 --> 00:14:43,104 because there's nothing I love more than a big, juicy climax. 311 00:14:45,319 --> 00:14:47,189 But why don't we talk about your philosophy 312 00:14:47,234 --> 00:14:49,024 for the climax of a film? 313 00:14:53,370 --> 00:14:55,850 Well, I mean, again, it really depends on the type of film 314 00:14:55,895 --> 00:14:57,415 you're trying to make. 315 00:14:57,461 --> 00:14:59,511 But I do feel like the good climax 316 00:14:59,550 --> 00:15:03,120 to a movie both simultaneously delivers 317 00:15:03,163 --> 00:15:06,123 on everything the audience would want from that type of film. 318 00:15:06,166 --> 00:15:07,466 So if you're making a horror movie, 319 00:15:07,515 --> 00:15:09,255 then it's, like, the scariest series 320 00:15:09,299 --> 00:15:11,209 of sequences, 321 00:15:11,258 --> 00:15:12,958 you know, the most perilous set pieces. 322 00:15:12,999 --> 00:15:14,999 And if you're making comedy, it's the funniest. 323 00:15:15,044 --> 00:15:18,534 But it also should subvert the viewers' expectations. 324 00:15:18,569 --> 00:15:21,219 I think a good ending almost always contains 325 00:15:21,268 --> 00:15:23,138 an element of surprise, 'cause what you want 326 00:15:23,183 --> 00:15:24,713 is that ending that gives you what you want, 327 00:15:24,749 --> 00:15:26,619 but in a way that you couldn't have ever expected. 328 00:15:26,664 --> 00:15:28,234 Totally, and, you know, to be honest, 329 00:15:28,275 --> 00:15:30,275 I did not expect it to get to this point, 330 00:15:30,320 --> 00:15:34,240 so...why don't you just do it? 331 00:15:34,281 --> 00:15:35,941 All right. This is it. 332 00:16:00,220 --> 00:16:02,050 Aah! My writing hand! 333 00:16:04,093 --> 00:16:05,363 Oh, why?! 334 00:16:20,544 --> 00:16:23,034 I'm going to be honest with you. My face didn't actually melt, 335 00:16:23,069 --> 00:16:25,289 all thanks to effects master Jim Ojala. 336 00:16:25,332 --> 00:16:28,472 Why don't you tell us how you did these insane gore effects? 337 00:16:28,509 --> 00:16:30,249 Well, for your effect, 338 00:16:30,293 --> 00:16:33,603 we started out with simple antacid tablets. 339 00:16:33,644 --> 00:16:35,174 -Mm-hmm. -You can actually crush 340 00:16:35,211 --> 00:16:37,041 antacid tablets into a powder 341 00:16:37,083 --> 00:16:40,303 and we went ahead did, like, sore makeup on you. 342 00:16:40,347 --> 00:16:43,307 Mm-hmm.So you looked kind of, like, bruised and irritated. 343 00:16:43,350 --> 00:16:46,350 And then we powder the antacid tablets into your face, 344 00:16:46,396 --> 00:16:47,786 and then you spritz it with water, 345 00:16:47,832 --> 00:16:49,232 and boom, your face starts bubbling. 346 00:16:49,269 --> 00:16:50,879 -Right. -So that's stage one. 347 00:16:50,922 --> 00:16:54,542 And then stage two, we go into gelatin, basically. 348 00:16:54,578 --> 00:16:56,318 You tint it up with the cream makeup, 349 00:16:56,363 --> 00:16:57,633 so it's like a skin tone, 350 00:16:57,668 --> 00:16:59,448 and then you can put that on your face 351 00:16:59,496 --> 00:17:02,236 and start doing a buildup so it looks like all bubbly and gross. 352 00:17:02,282 --> 00:17:03,812 And then you create the dimension. 353 00:17:03,848 --> 00:17:05,628 Then put in your sores and all that stuff. 354 00:17:05,676 --> 00:17:07,196 And what is all this? Are these your tests? 355 00:17:07,243 --> 00:17:09,123 Yeah. And then these are Pros-Aide Transfers. 356 00:17:09,158 --> 00:17:12,068 These are basically, like, sculptures of boils 357 00:17:12,118 --> 00:17:15,078 that we put on you, as well, to kind of give extra dimension, 358 00:17:15,121 --> 00:17:17,081 and then we sculpted the gelatin on top of that, 359 00:17:17,123 --> 00:17:19,263 just so you have different textures and stuff like that. 360 00:17:19,299 --> 00:17:21,259 And then loose hair is always just really gross. 361 00:17:21,301 --> 00:17:23,091 -Right. -So we figure if you're melting 362 00:17:23,129 --> 00:17:26,219 from sulfuric acid, your hair's coming out, everything. 363 00:17:26,262 --> 00:17:27,832 So we mat your hair down 364 00:17:27,872 --> 00:17:30,142 so you've got, like, bald spots showing up, 365 00:17:30,179 --> 00:17:33,569 and then this is, like, just is stringing down in the gelatin. 366 00:17:33,617 --> 00:17:35,917 So that's why I'm going to find, like, loose hair in places 367 00:17:35,967 --> 00:17:38,487 for the next month or so, right?Yeah. Exactly. 368 00:17:38,535 --> 00:17:40,795 -Every nook and cranny. Yes. -Every nook and cranny. 369 00:17:40,842 --> 00:17:43,802 And then for the final, to just really go extreme, 370 00:17:43,845 --> 00:17:45,755 and to be able to do it fairly quickly, 371 00:17:45,803 --> 00:17:47,373 we made a silicone burn mask. 372 00:17:47,414 --> 00:17:49,114 And so is this a custom-made mask? You made it -- 373 00:17:49,155 --> 00:17:51,235 Yes. It's kind of like the same technique as gelatin... 374 00:17:51,287 --> 00:17:52,507 -Cool. -...where you stretch, like, 375 00:17:52,549 --> 00:17:54,249 a sock, over a head form 376 00:17:54,290 --> 00:17:56,250 and then just start gooping on silicone, 377 00:17:56,292 --> 00:17:59,122 and as it sets, you stretch it and make it look nasty. 378 00:17:59,165 --> 00:18:00,685 And then you put on all the burn 379 00:18:00,731 --> 00:18:01,951 and the teeth and all that stuff. 380 00:18:01,993 --> 00:18:04,743 -Yeah. Yeah. -Okay. And three. 381 00:18:04,779 --> 00:18:08,089 Two. One. 382 00:18:08,130 --> 00:18:09,480 How about the hand in the blender, 383 00:18:09,523 --> 00:18:12,183 which, you know, is both disgusting 384 00:18:12,221 --> 00:18:13,571 and also very splattery? 385 00:18:13,614 --> 00:18:16,274 For that, we had Simon put his hand in, 386 00:18:16,312 --> 00:18:18,012 and you got all the great lead-up, 387 00:18:18,053 --> 00:18:19,883 and then, so we can actually see, like, a close-up 388 00:18:19,924 --> 00:18:21,364 of something physically happening 389 00:18:21,404 --> 00:18:22,974 -to the skin... -Right. 390 00:18:23,014 --> 00:18:24,934 ...we made a nice gelatin hand 391 00:18:24,973 --> 00:18:27,983 where from here all the way to here, 392 00:18:28,019 --> 00:18:29,889 is filled with blood. And then it's sealed off 393 00:18:29,934 --> 00:18:32,154 so it can't leak out until you puncture it. 394 00:18:32,198 --> 00:18:35,158 So then you put that in, and then once those blades 395 00:18:35,201 --> 00:18:36,811 start tearing at these fingers, 396 00:18:36,854 --> 00:18:38,514 -it just rips everything apart. -Wow. 397 00:18:38,552 --> 00:18:41,252 So you can get that quick second of something really badass 398 00:18:41,294 --> 00:18:42,694 happening on camera. 399 00:18:42,730 --> 00:18:45,430 Then you cut to the wide or medium of Simon, 400 00:18:45,472 --> 00:18:47,562 which, he's got tubes, 401 00:18:47,604 --> 00:18:52,484 one tube with a little bit of foam, connected to each finger. 402 00:18:52,522 --> 00:18:55,612 And then we made this little, like, custom silicone piece 403 00:18:55,656 --> 00:18:57,696 for the top of his knuckles. 404 00:18:57,745 --> 00:19:00,265 And then once it's blended and painted to look like his skin, 405 00:19:00,313 --> 00:19:02,273 it looks like -- Well, when it's spraying blood, 406 00:19:02,315 --> 00:19:04,485 it looks like his damn fingers are cut off, you know? 407 00:19:04,534 --> 00:19:06,284 And if you want the crazy amount of pressure 408 00:19:06,319 --> 00:19:08,629 that we had coming out of your hand... 409 00:19:08,669 --> 00:19:10,979 Yeah....you can get, like, fire extinguishers 410 00:19:11,019 --> 00:19:12,889 that are specifically made for water, 411 00:19:12,934 --> 00:19:15,554 and then you can pressurize them up to 100 psi. 412 00:19:15,589 --> 00:19:16,849 -Right. -And, boom, 413 00:19:16,894 --> 00:19:18,464 you go as hard as you want with it. 414 00:19:18,505 --> 00:19:20,985 And so wherever you spray the blood, that's up to the actor. 415 00:19:21,029 --> 00:19:22,249 -Exactly. -You really went for it. 416 00:19:22,291 --> 00:19:23,991 -You had great direction. -Yeah. Yeah. 417 00:19:24,032 --> 00:19:26,602 Yeah. I regret it tremendously. 418 00:19:26,643 --> 00:19:29,043 Eagle-eyed viewers will note the continuity error. 419 00:19:29,080 --> 00:19:31,390 I lost my left hand. That's a right hand. 420 00:19:31,431 --> 00:19:33,651 -Oh, that's an alternative. -Oh, yeah. Okay. 421 00:19:33,694 --> 00:19:35,264 You know, the funny thing is, you know, 422 00:19:35,304 --> 00:19:37,004 the whole blender gag in "You're Next" 423 00:19:37,045 --> 00:19:39,265 that we're riffing on where that person gets a blender 424 00:19:39,308 --> 00:19:40,608 shoved into their head, 425 00:19:40,657 --> 00:19:42,357 you know, the only reason I even wrote that 426 00:19:42,398 --> 00:19:44,838 is 'cause it was a special effect that I felt like no one 427 00:19:44,879 --> 00:19:46,749 could tell me it was impossible to do, 428 00:19:46,794 --> 00:19:48,364 because I knew a little bit about blood tubing... 429 00:19:48,404 --> 00:19:49,934 -Right. -...and fake smoke and stuff. 430 00:19:49,971 --> 00:19:51,541 And I was like, this is something we can achieve. 431 00:19:51,581 --> 00:19:52,931 -Yeah. Totally. -That will work. 432 00:19:52,974 --> 00:19:54,244 That will work, and it will look good, 433 00:19:54,280 --> 00:19:56,020 and it won't ruin our shooting day. 434 00:19:56,064 --> 00:19:57,544 -Right. Absolutely. -Yeah, and it was -- 435 00:19:57,587 --> 00:20:00,587 Blender stuff is, you know, it's horrifying... 436 00:20:00,634 --> 00:20:02,034 -Yeah. -...but achievable. 437 00:20:02,070 --> 00:20:03,590 It gives you a lot of room to wire stuff. 438 00:20:03,637 --> 00:20:05,597 Well, it's smart, 'cause you're in a confined space, 439 00:20:05,639 --> 00:20:07,379 so it's not just like it's all over the place. 440 00:20:07,423 --> 00:20:09,343 Well, thank you, Simon, for giving us an awesome lesson 441 00:20:09,382 --> 00:20:11,602 on tension. Thank you, Jim, for making us look so fucked up. 442 00:20:11,645 --> 00:20:13,725 And come with me. I got something to show you. 443 00:20:22,090 --> 00:20:24,480 Simon's movies are fun. They're suspenseful. 444 00:20:24,527 --> 00:20:28,137 They're scary as hell partly because they're also not real, 445 00:20:28,183 --> 00:20:29,363 but they play on real-world fears, 446 00:20:29,402 --> 00:20:31,192 and that's why they hook us. 447 00:20:31,230 --> 00:20:33,800 Who better to tell us exactly what we need to be afraid of 448 00:20:33,841 --> 00:20:36,671 than a renowned criminologist, Dr. Bill Sanders? 449 00:20:36,713 --> 00:20:38,853 -How are you, sir? -Very well, thank you. 450 00:20:38,889 --> 00:20:40,459 So, I watch a lot of horror movies 451 00:20:40,500 --> 00:20:43,850 which basically makes me afraid of pretty much everything. 452 00:20:43,894 --> 00:20:47,124 And so what is the thing that I should be the most afraid of? 453 00:20:47,158 --> 00:20:48,858 The person you should be most afraid of 454 00:20:48,899 --> 00:20:50,859 is the one sitting right next to you watching that film. 455 00:20:50,901 --> 00:20:53,821 Horror movies depict a deranged killer, 456 00:20:53,861 --> 00:20:55,521 a lunatic, often. 457 00:20:55,558 --> 00:20:57,598 It's much more mundane in real life. 458 00:20:57,647 --> 00:21:00,687 It's someone you know, particularly if you're married 459 00:21:00,737 --> 00:21:02,697 or have a boyfriend, girlfriend. 460 00:21:02,739 --> 00:21:05,129 That's usually the number-one suspect in all homicides. 461 00:21:05,176 --> 00:21:08,136 If not that, a friend, a family member. 462 00:21:08,179 --> 00:21:10,049 Bottom line, it's someone you know. 463 00:21:10,094 --> 00:21:12,014 Jesus. Well, that's comforting. 464 00:21:12,053 --> 00:21:13,623 From an experts' perspective, 465 00:21:13,663 --> 00:21:16,453 what do most horror films get wrong? 466 00:21:16,492 --> 00:21:19,802 The planning involved is not so extensive. 467 00:21:19,843 --> 00:21:21,283 Murders just come, 468 00:21:21,323 --> 00:21:23,633 happen in the spur of the moment out of anger. 469 00:21:23,673 --> 00:21:26,763 The individual just lashes out and kills someone. 470 00:21:26,807 --> 00:21:31,327 Another thing they get wrong is how clean the homicides are, 471 00:21:31,377 --> 00:21:34,947 or as if they know exactly in the body where to hit. 472 00:21:34,989 --> 00:21:36,429 You know, they're going to slice their neck, 473 00:21:36,469 --> 00:21:38,429 and then they just bleed out peacefully. 474 00:21:38,471 --> 00:21:40,601 Or they just get shot in the right place, 475 00:21:40,647 --> 00:21:42,337 and shot only once or twice. 476 00:21:42,388 --> 00:21:46,438 Real-life homicides are often characterized by overkill, 477 00:21:46,479 --> 00:21:50,219 whereby they are stabbed well beyond the necessary -- 478 00:21:50,265 --> 00:21:51,915 necessity that would cause death, 479 00:21:51,962 --> 00:21:54,792 and/or they are killed in various ways. 480 00:21:54,835 --> 00:21:57,355 So they are shot, then they are stabbed, 481 00:21:57,403 --> 00:21:58,883 and then they are burned. 482 00:21:58,926 --> 00:22:02,576 So it is, again, within that emotional overdrive, 483 00:22:02,625 --> 00:22:05,625 base, you know, fear, tension, righteousness, 484 00:22:05,672 --> 00:22:07,592 the adrenaline the body produces, 485 00:22:07,630 --> 00:22:09,760 the frenzied attack. 486 00:22:09,806 --> 00:22:11,416 It's far from clean. 487 00:22:11,460 --> 00:22:13,980 What are the major societal factors that would result 488 00:22:14,028 --> 00:22:17,118 in someone committing a homicide or something like that? 489 00:22:17,161 --> 00:22:20,341 One of the main predictors of being both a victim 490 00:22:20,382 --> 00:22:22,952 and a perpetrator of homicide is being a male. 491 00:22:22,993 --> 00:22:25,953 Another one is age. It is young people. 492 00:22:25,996 --> 00:22:28,776 So, as we age, you know, get out of 20s and 30s, 493 00:22:28,825 --> 00:22:30,215 we actually are less susceptible 494 00:22:30,261 --> 00:22:32,001 at being both a victim and perpetrator. 495 00:22:32,046 --> 00:22:34,786 But if you want to know the master variable, like, 496 00:22:34,831 --> 00:22:38,101 this out of all the variables consistently indicate 497 00:22:38,139 --> 00:22:40,619 to be the strongest, it would be poverty. 498 00:22:40,663 --> 00:22:43,973 And even amongst poverty, so amongst poor areas, what's that? 499 00:22:44,014 --> 00:22:46,024 It would be absolute depravation. 500 00:22:46,060 --> 00:22:49,190 So who, in the poor areas, is most deprived 501 00:22:49,237 --> 00:22:51,757 or concentrations of that deprivation, 502 00:22:51,805 --> 00:22:53,275 that is where you'll have 503 00:22:53,328 --> 00:22:55,288 the strongest correlations with homicide. 504 00:22:55,330 --> 00:22:59,200 So, finally, how do you get away with murder? 505 00:22:59,247 --> 00:23:00,597 I would like to know that 506 00:23:00,640 --> 00:23:03,160 because of a script that I'm...writing. 507 00:23:03,207 --> 00:23:05,247 Just go kill someone randomly you've never seen before 508 00:23:05,296 --> 00:23:07,336 on the street. 509 00:23:07,386 --> 00:23:09,166 And just run as fast as I can? 510 00:23:09,213 --> 00:23:10,823 Well, as I have indicated earlier, 511 00:23:10,867 --> 00:23:12,427 homicides are most likely to occur 512 00:23:12,478 --> 00:23:14,218 amongst people who know one another. 513 00:23:14,262 --> 00:23:17,002 So the number-one suspect in the homicide, 514 00:23:17,047 --> 00:23:19,487 the detectives are thinking, "Someone this guy knows." 515 00:23:19,528 --> 00:23:21,968 The detective is not going to be thinking, 516 00:23:22,009 --> 00:23:24,189 "Oh, this is some random guy who just walked by 517 00:23:24,228 --> 00:23:25,528 and happened to stab, or shoot, 518 00:23:25,578 --> 00:23:27,748 or whatever, this individual right there." 519 00:23:27,797 --> 00:23:31,577 So by engaging in that uncommon pattern of behavior, 520 00:23:31,627 --> 00:23:33,847 you are less likely to get caught 521 00:23:33,890 --> 00:23:35,540 and/or get away with murder. 522 00:23:35,588 --> 00:23:38,028 Well, Dr. Sanders, I can't say that this helped alleviate 523 00:23:38,068 --> 00:23:41,158 any of my preexisting anxieties, but it really was fascinating, 524 00:23:41,202 --> 00:23:43,122 and thank you so much for being on the show. 525 00:23:43,160 --> 00:23:45,690 Thanks for having me. 526 00:23:53,997 --> 00:23:56,217 Dude, we had Simon Barrett on today, 527 00:23:56,260 --> 00:23:58,050 and it was intense. 528 00:23:58,088 --> 00:23:59,388 I saw. 529 00:23:59,438 --> 00:24:00,738 Already? 530 00:24:03,964 --> 00:24:05,754 Here. Take this. 531 00:24:09,752 --> 00:24:12,632 There are other weird video stores I can go to, you know? 532 00:24:16,455 --> 00:24:17,925 Take it. Some on. This whole meta thing's 533 00:24:17,978 --> 00:24:19,888 really fucking with my head. 534 00:24:22,069 --> 00:24:24,589 I'm fucking with you. 535 00:24:24,637 --> 00:24:28,027 All right. Tension. 536 00:24:28,075 --> 00:24:30,335 Got some crazy tense movies for you. 537 00:24:32,993 --> 00:24:34,783 You ever think about moving a little bit closer 538 00:24:34,821 --> 00:24:38,561 -to civilization? -Nope. 539 00:24:38,607 --> 00:24:40,697 -Want your spine tingled? -Every day. 540 00:24:40,740 --> 00:24:42,180 First up, we've got "Willow Creek" 541 00:24:42,219 --> 00:24:44,089 from director Bobcat Goldthwait. 542 00:24:44,134 --> 00:24:45,834 He makes a movie about Bigfoot. 543 00:24:45,875 --> 00:24:49,915 At one point, two characters in one tent and nowhere to look 544 00:24:49,966 --> 00:24:51,786 but directly into their terrified eyes 545 00:24:51,838 --> 00:24:53,398 wondering what's outside. 546 00:24:57,408 --> 00:24:58,978 No! 547 00:24:59,019 --> 00:25:00,589 Next up, we got "The Reef." 548 00:25:00,629 --> 00:25:03,279 Not dissimilar, except you're not stuck inside a tent, 549 00:25:03,327 --> 00:25:05,197 you're out in the open sea, a couple of people, 550 00:25:05,242 --> 00:25:06,982 and sharks all around them. 551 00:25:07,027 --> 00:25:09,457 -Do they get turned into chum? -I'm not going to tell you. 552 00:25:09,508 --> 00:25:11,338 We got "Take Shelter" from Jeff Nichols, 553 00:25:11,379 --> 00:25:12,949 starring Michael Shannon. 554 00:25:12,989 --> 00:25:14,859 He's getting premonitions of the end of the world, right? 555 00:25:14,904 --> 00:25:16,654 The whole time, he's paranoid. 556 00:25:16,689 --> 00:25:18,429 He's wondering if he's going insane. 557 00:25:18,473 --> 00:25:20,003 When he has to tell his entire community, 558 00:25:20,040 --> 00:25:21,650 it's one of the most uncomfortable sequences 559 00:25:21,694 --> 00:25:22,744 on Shudder. 560 00:25:22,782 --> 00:25:23,912 Does the end of the world happen? 561 00:25:23,957 --> 00:25:25,347 I'm not going to tell you. 562 00:25:25,393 --> 00:25:28,613 Next up, we have a Shudder exclusive, "We Go On." 563 00:25:28,657 --> 00:25:30,397 This is one of my favorite modern haunters. 564 00:25:30,441 --> 00:25:32,621 I'd like to offer $30,000 to the first person 565 00:25:32,661 --> 00:25:34,971 that can show me definitive proof of life after death. 566 00:25:35,011 --> 00:25:38,151 A man terrified of death and dying to know 567 00:25:38,188 --> 00:25:39,668 whether there's an afterlife. 568 00:25:39,712 --> 00:25:41,672 When he finds out ghosts are real, 569 00:25:41,714 --> 00:25:43,894 it'll upend your whole night. 570 00:25:43,933 --> 00:25:45,333 That sounds very unsettling. 571 00:25:49,983 --> 00:25:53,553 One of our favorite contemporary slashers, "Lake Bodom." 572 00:25:53,595 --> 00:25:56,415 At one point, two of the characters realize 573 00:25:56,467 --> 00:25:58,207 that the key they need to a car 574 00:25:58,252 --> 00:26:02,172 is in the pocket of a dead body at the bottom of said lake. 575 00:26:02,212 --> 00:26:03,652 Is she going to make it back up?Is she? 576 00:26:03,692 --> 00:26:05,562 You're going to have to watch to find out. 577 00:26:05,607 --> 00:26:07,737 Thank you so much, Sam. I got some watching to do. 578 00:26:07,783 --> 00:26:09,483 Hey, don't drop those tapes. 579 00:26:09,524 --> 00:26:11,704 They are on-air masters. 580 00:26:11,744 --> 00:26:13,184 I will be very careful. 581 00:26:13,223 --> 00:26:16,493 -Thank you. -Until next time. 582 00:26:18,533 --> 00:26:20,193 That'll do it for "The Core." 583 00:26:20,230 --> 00:26:23,280 Thank you so much again to titan of tension Simon Barrett. 584 00:26:23,320 --> 00:26:25,760 And I don't know about you, but now, 585 00:26:25,801 --> 00:26:28,111 I'm going to do something that always relaxes me. 45018

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