All language subtitles for The.Core.S01E04.WEBRip.x264-ION10

You girls sure you're 15?
You look older.

If we were old enough to drive,
we wouldn't need a ride.

Well, why don't you two ladies
make a little room

so I can slip in?

-Oh, nice.
-Oh, yeah.

Hop on back, baby.

Graceful.
Look at you.

Smells like my niece's
playroom back here.

-Oh, great.
-Barbie dolls.

Let's play.

Does that read dick?

Yeah.

Cut.
All right, Moving on.

Mickey:
This week on "The Core,"

the delightfully twisted
Soska Sisters

are going to show you
how to blaze your own destiny

and rip some dicks off
along the way.

Body modification expert
Luna Cobra is going to teach you

how to tattoo an eyeball.

That's right, tattoo an eyeball.

Plus, we'll look at
Shudder's collection

of the best films
with practical effects.

Get that CGI bullshit
out of here.

Janet and Sylvia Soska
are the badass writer/directors

of movies like "American Mary"
and "Dead Hooker in a Trunk."

Asking permission from no man,

the twisted twins
blaze their own trail

in the oft treacherous boy's
club that is genre filmmaking.

The Soskas' films tell
their own damn stories,

clear the way for diverse voices
in filmmaking,

and rack up
a sick body count.

And, speaking of bodies, today
we're going to talk to them

about what they do best --
body mutilation.

Thank you so much
for joining me.

Thank you for having us.

So, first things first,

I'm sure you guys get this
all the time.

How can I
tell you two apart?

Oh, well,
that's really easy.

-Sylv has only one earlobe.
-What? No, I have two ears.

Wait, ow, fuck!
Give it back.

Thank you. Jesus.

Well, that makes it
fairly easy now.

Thank you so much.
Yeah.

I want to start off
with what's so great
about your guys' films.

It's so satisfying seeing real
kind of practical effects

done so incredibly.

You know, I think, in horror,
there's always been

this discussion of CGI
versus practical effects.Mm-hmm.

I was one of those practical
effects, like Dick Smith,

"It has to be 100% real,"
kind of people.

And I was such a fan
of Todd Masters,

and he does
"Six Feet Under"...

Marc: No matter how nice
you fix me up,

I'm still going to hell,
and you know it.

..."True Blood."

He was, like, the top
of the food chain

that I was going to ask,
and he's such a good guy,

because everyone else
should have been like,

"You don't have enough money
to make what you're saying."Right.

And without his prosthetics and
the beautiful practical effects,

the film wouldn't have had
the same kind of impact.

You guys also act
in a lot of things, as well.

Did acting lead to filmmaking?

-Actually, it did.
-Yeah?

You know, I don't
feel that girls,

at least
when I was growing up,

were encouraged to be
directors or studio heads

or writers or producers.

We're kind of just more
encouraged to be actresses,

which we went with, but I'm
a girl, an identical twin,

and I saw my shelf life
coming up quick.

It was twin roles...

...slutty alien...

...pornographic coed.

Film school -- recommend it,
don't recommend it?

How do you feel?

We went to a film school
that ripped us off

and made us so pissed off we
made "Dead Hooker in a Trunk."

We've decided we didn't
want you to reproduce.

Do not waste your money
on film school.

There's so many people that
are fans of ours that I've said,

"Don't go to film school,"

and they're like, "Well,
I'm going to film school."

Did I stutter?
Don't go to film school.

Sylvia:
Spend the money on your movie,
read "Rebel Without a Crew,"

read Lloyd Kaufman's "Make
Your Own Damn Movie" series,

and watch director commentaries.
Yeah.

Like, Cronenberg can
teach you how to direct.

We went to camera with
"Dead Hooker in a Trunk"

with no money at all.
None.

Sylvia:
We had no budget, nothing.

And the staring faces
we'd get from people

when they're like,
"So what's your budget?"

And it's like, "I'm just going
to pay for everything I need."

They were like,
"Are you stupid?"

And I was like, "No."

I think I ripped off
Kevin Smith here.

He said, "Don't write, like,
a huge space epic.

Write a list of all the shit
you can get for free."

-Right.
-You got a muscle car?

Oh, that's going in there.
You get a horse.

That was, you know,
us for "Dead Hooker."

One of the real pivotal scenes
in "American Mary"

is when she takes revenge
on her rapist

with what she refers to
as genital mutilation.Yep.

And why, to you,
is genital mutilation

the worst punishment
you can ever have?

Why is that so effective
to you?

We live in such a society
obsessed with the penis.Yeah.

Like, everything
is phallic-shaped

and kind of geared
towards guys,

and getting your dick
chopped off is like,

"Oh, no.
Please don't do it."

So that's why
I want to do it,

for the
"please don't do it" factor.

Well, we have a list

of your favorite
genital-mutilation sequences.

-And...
-Oh, our Dick List!

Penectomy list.

-Ugh.
-Keeping it medical.

Medical.
Without out further ado,

here is your favorite
penectomy sequences.

What kind of contract?

Anyone who come to this place
cannot leave without killing.

So to top the Dick List
is "Hostel II."

This is the climax
of the film.

It's such
a great standoff.

At this point,
he's had his dick out,

and she had to use
her sexiness to,

you know, get herself
in this situation

and get herself out
of that situation.

But what I love about this
is that she businesswomans

her way out of this.

She's got the money.

He's like, "Well, you got
to kill someone

to be in the Hostel Club,"
and off it goes.

I believe this penis
was made of gelatin,

but -- oh, no,
that one was dog food.

That dog really liked that dick,
and he's really selling it.

I think it's nice
to see a character

that you hate so much
just get it.

I don't know if that's how much
blood comes out, but I'm glad.

You gave me some wood.

Now, I'm going to give you
some fucking wood.

This is the all-star one,
and I like this a lot

because there aren't
a lot of celebrities

that would put themselves
in a degrading position,

and you have an icon,
Quentin Tarantino,

in a fucking
Robert Rodriquez movie.

There's nothing
sexier than that.

But the interesting thing
is the penis

isn't as much coming off as it's
melting off from the virus,

so it's a disgusting
human being

that has a disgusting end
to himself.

But he's not going
to let it just go.

He just keeps going,
which is kind of interesting

because you're like,
"How long can this go on?"

It's kind of like
it's forever.

I also want to point out
it's a beautiful blend

of practical
and digital effects.

As you can tell, "The Taint,"
it's a low-budget movie,

but even look how they
paint the penis.

Look how they cheat
their shots.

Look how they choose what they
show and what they don't show.

A lot of handheld.

-Yeah.
-It makes it real for you.

You stay and live
in the moment,

and this is a perfect
example of filmmakers

not having a lot

but making a lot
with a little.

Let the woman go.

You are under arrest.
Shit!

"Robocop."If you're going to
destroy a penis,

you want to do it
with a certain amount of force,

and if you're dealing
with some horrible person,

you just hope that "Robocop"
is going to show up.

It's got this "Punisher" vibe
to it, this overkill.

And the thing is, if you ever
really want to stop rape,

I think you have to go
overkill to stop it.

-Help me!
-He's going to kill her, man!

Man:
He's going to kill her!

Your move, creep.

Okay, um...
I got this medical text,

and, look,
if I forget anything,

just don't panic, okay,
'cause it's -- it's right here.

-This is "Hard Candy."
-Oh.

Janet:
Now, this is a beautiful study
in tension-building,

because you know
what's happening

from as soon as
she reveals who she is.

-Mm-hmm.
-And it's the long game.

Sylvia: Yeah.With Patrick Wilson,
you're just...

-And I love him.
-...waiting for this to happen.

Leading up to this,
she's talking to him,

and it kind of builds up
the psychology of,

"You're a disgusting person.
You prey on people."

-Absolutely.
-"Now, I'm preying on you."

And there we go.
And it's just awful.

Mickey: I love
that he gets to watch it.

-Yeah, but we don't.
-Yeah.

Sylvia: That's the best part.
It's all played on the faces,

and you know exactly
what's happening,

but you don't actually
have to see it.

It's almost like the alien
or the shark in "Jaws."

Mary: I'm changing specialties,
Dr. Grant.

Have you ever heard
of body modification?

In "American Mary,"
that was a big thing for us.

We wanted to make sure
we didn't show everything,

but there's things
that your mind

could fill in
the blanks for.

For example, as soon
as Dr. Grant

is lying there with the --

actually, that's a gynecology
stretcher that's in his mouth.

Mickey: Mm-hmm.And every time people
see that scene,

she's talking about
the amputations,

the penis mutilation,

and that's when everybody
usually walks out of the theater

just because they're like, "No."
Right.

"I know what that
next scene is. No."

And then you don't
even see him again,

and then, when you do pick up
again with the storage locker,

there's Dr. Grant in his
depends, and he's got no dick.

And it's
a very freeing feeling.

You know, Mickey,
I have a question for you.

What is your favorite
prosthetic effect?

Wow, you know, I really kind of
like when skin really stretches

beyond, like, point of,
like, you know, no return.

That's something that's
really kind of horrifying

and makes me really cringe.

I don't like that stuff.
Oh.

Makes you cringe?
What about, like, castration?

I'm not really into that.
What are you doing?

Come on. What?
No, come on.

What the fuck?!
Aaah!

What the fuck?!

Why?
You're a bleeder.

So, to have a good dick removal,
you need to have a good dick,

and our effects master, Jim
Ogula, makes the best dicks.

-Thank you.
-How'd we do that?

You could
life-cast somebody.

You could
sculpt something.

In this case, the sculptor
actually life-cast,

supposedly his own person.

-I'd take credit too.
-Yeah, right? Exactly.

So we take our dick mold,
essentially,

and we cast underwear
into it,

so it's all gelatin,
and it sticks to it nice.

We have a blood tube
in there,

so it shoots out
whenever it gets cut off.

And then Mickey just
slips it right on,

and then you girls
do the rest.

That was
a really strong piece.

What is it made with?

-This is gelatin...
-Mm-hmm.

so it's tough,
but you can get through it.

How did you get so much blood
shooting up?

We actually had a high-pressure
tank connected to it,

so we were shooting about

80 pounds per square inch
of blood...

-Wow.
-Wow.

-...into Mickey's own face.
-Right?

This is a little invention that
we came upon that's awesome,

that anybody can get.

It's basically
a drain blaster,

but, by putting this on
and reversing it

and cutting a piece
of PVC to it,

you can load this thing up with
brain matter and blood and guts,

and then you pump
this thing, and then bam.

You can just sit in the back
of a car seat.

That's how we did
the shot in the car...

-Oh, nice!
-...on the window, yeah.

I'll be real. These are
some very, very nice dicks.

But we have independent
filmmakers who can't afford

to make dicks Jim-quality.

What would you recommend?

Like, say somebody got, like,
a rescue, a rescue dick.

Hair is always a big thing.
You can just add some glue.

Once it gets tacky,
you can get some --

That's just glue?
That looks great.

-Yeah, you get some...
-That's fantastic.

That's totally going to,
like, read realism.

And another great thing,
to add to that, of course,

is an amazing product
that every single filmmaker

should know about,
ultra slime.

This was invented in 1984 for
"Gremlins" and "Ghostbusters."

Venkman, what happened?
Are you okay?

He slimed me.

Oh!
That's "Ghostbusters" slime?

-Yes.
-Can I touch it?

Yes, you can stick your whole
hand in there, if you want.

"It slimed me, Ray."

And you can tint this any color,
and it could be ecto-plasm.

It could be blood.
Yeah.

Sylvia: So it's like a
final touch for it.

Mickey:
For "Dead Hooker in a Trunk,"

you guys kind of took
a different approach

to the epic
finale sequence.

You want to tell us
how you made that one?

We didn't know how
to make the dick,

and somebody had
gifted me a dildo.

-And, uh...
-Oh.

Was it floppy at least? Or...?
You know what?

It wasn't, but it only needed to
really stick out of the pants.

It had --
I don't know how we got it

to bounce in the one thing
that we did it.

-Yeah.
-Uh-huh, yeah.

I think that was God himself
being, like, "This is the shot."

Man: And X marks the spot.

And you probably didn't even
need to put pubic hairs

on yours, right?
It had --- Well, you know what?

It makes
such a difference.

-But it does. It just --
-Oh. Oh.

-It brings it to life.
-Look at this fella here.

Hair and slime brings
everything to life.

Are there any two
better things in the world

besides hair and slime?
No, no.

And together --
together, they're the best.

-They are the absolute best.
-Yes, yes, yeah.

Janet: Do you have
any painting tips?

Let's say this started, like,
just a plain white dick?

-Mm-hmm.
-Yeah.

You'd go ahead and maybe start
with some red splotches...

Red?...because we have all that
red underneath our skin...

-Oh.
-Oh.

...because our skin tone,
like, might be --

Like, to take you
from just white

to, like, your skin tone...
Yeah.

...that could be, 10, 12,
13 different colors

because we got
a little bit of blue in us,

a little bit of red,
and then usually,

like, you'll haze it
with kind of,

like, a rice paper white-ish
to kind of seal it all in.

-Oh, wow.
-So it's just --

Every little detail
that you can add

brings another level
of realism.

Well, thanks, Jim.

That was more about
silicone dicks

than I ever needed to know.
Any time.

Can I --
Can I take these dicks home?

The Soskas dive into
some pretty dark territory

in their film
"American Mary,"

but is there anybody who
would actually want to have

that body modification
done for them?

My next guest is
a world-renowned body modifier

and the inventor
of the tattooed eyeball.

Without further ado, Luna Cobra.

So, guys, thank so much
for being with me today.

I have to admit, I know
absolutely nothing

about the body
modification community.

That's okay.
That's why we're here.

And so you invented the art
of tattooing eyeballs.

Is that right?
I'm the inventor

of full color on the sclera.
Okay.

So it hadn't been done before
where someone fully colored

the white part of the eye,

so that's what I call the
eyeball tattoo and my invention.

11 years ago,
my friend posted a photo.

He had photoshopped his eyes
blue, like the movie "Dune."

Did you see that?
Oh, of course.

-Okay.
-Absolutely.

All right.
So the blue eyes from "Dune."

I can't see him yet,
but he's very close now.

He was a big fan,
and he photoshopped
his eyes like that.

And as soon as I saw
the photo, I was just
really struck by it,

and I thought,
"Wow, it looks amazing."

You know, I love sci-fi,
and I love things like that.

About a year after he had
photoshopped it, I said,

"Hey, you know, I've been
looking into this a lot.

I'm really interested in it.

You know, would you
like to do it?"

He said, "Oh, well,
that's really crazy.

Let's see if you want to do
two other people before me..."Mickey: Right.

"...and then I'll do it."
I said, "Okay.

Well, we can trial
different examples."Sure.

"And we could do this all in one
day," and that's what we did.

I actually called my parents
just before I did it.

My father is a physician,
and my mom is a surgical tech

and a medical illustrator.
Okay.

And so her knowledge of anatomy
is probably even greater

than my brother,
who's a plastic surgeon,

and so called mom
and talked it over with her.

She was like,
"This is really crazy,

but, you know, this, this,
and that." And --

And how long does a process
like that take?

It doesn't take long.

I mean, it's, like -- like,
literally a couple minutes.

And then that's it.
But then what we do is we wait.

It took my eye a month
to heal, and then I
could get touch-ups.

I am, admittedly,
a tremendous hypochondriac,

and so was there
ever a point in time

where you were worried, like,

"What if this goes wrong?
What if I go blind?"

you know,
anything like that?

-No.
-No?

No, because I knew
who I was going to.

-Aww, thanks, man.
-Aww, hey.

It's true, though.

It's true because I was like,
"Yo, I'm going to do this.

I'm going to go to the person
that started it all."

And now that I've done
this for 20 years,

I feel very responsible
for anyone that comes to me.

And often
I'll choose clients --

like, if the client
seems unwell,

or I think it's going
to ruin their life

or something like that,
I won't do it,

because I feel like, you know,
we're making a commitment

to each other
in a way there...

Sure....you know,
practitioner and client,

so I just want to make sure
that everyone's okay

and that I don't hurt anyone.
Right.

So I'm think about that
the entire time.

Do you have
a lot of imitators

who have taken your craft
and done it?

Unfortunately, yeah, and that's
led to blindness worldwide.Really?

-Yeah.
-Yeah.

Inoculations where they have
to remove the entire eye.

This has happened
in multiple countries.

I mean, we're talking,
like, almost any artist

that does it
is imitating.

Almost any artist
that does it is imitating.

I haven't trained
anyone to do this,

and I certainly haven't
given everyone,

you know,
my 10 years of --

It's now been 10 years
that I've been doing it,

so I've been collecting research
and altering my methods

because, "Okay, well,
this person, I did this.

How are they years later?
This is why.

How can I change that?"
Things like that.

And so I haven't
given that to anyone.

So everyone is kind of just
shooting from the hip here.

-Wow.
-And I would never have done it

if I didn't have an entire team
of medical professionals.

Can you list kind of the
services that you could provide

for someone coming to you,
or is it more a unique

case-by-case basis
of someone arrives,

and they say, "I want this done
to me. Can you do that?"

Both.

I'd say my most common things
that I do are eyeball tattooing,

ear pointing, tongue splitting,
and various scarification.

When you have clients come in,

do all of them
tell you their reasons

why they want
something changed?

Some do, and some don't.
I don't ask.Okay.

I don't want to put anyone
on the spot

or make anyone
feel uncomfortable,

and it doesn't affect me,
really, anyway.Sure.

But sometimes
it's a really positive story.

When I went to him
to get my eyes done, like,

I didn't originally have
a purpose, you know,

and this way, like,
after I was in a wheelchair.

And after I got my eyes done,
when I looked in the mirror,

I felt way better.

Like, for the first time
since I got shot, like,

I didn't see just,
like, disabled me.No.

-I felt more complete, you know?
-Wow.

So I didn't go in for
a reason, but, like,
yeah, it was a very --

But you found a reason
because of that.Yeah, it was very
therapeutic for me.

Wow.A lot of people find
that it's therapeutic...

That's very fascinating....because they're taking
control of their life, in a way.

-Exactly.
-Yeah.

One really
interesting case,

a guy who just had
a few tattoos

wanted me to cut the tops
of his ears off,

so I was like okay,
that's really neat.

And I was with someone who asked
him, "Hold on a second. Why?"

And then he gave us
the whole story.

So his ears didn't
stick out that much,

but they were kind
of a different shape,

and I guess he was teased as
a youth about it all the time.

Although he was an adult now,
he couldn't get rid of that.

It was still in him,
and so every time

he looked in the mirror,
he saw it,

and he didn't like it,
how they stuck out,

so he just wanted
to trim the tops.

And so he figured this
would make him happy,

and I actually talked
to him a few months

after he got it done,
and he loved it.

He was like, "You know,
it's so great.

I walk past the mirror,
and I don't feel weird.

I just feel me."
Yeah.

It was almost like a payment
for me, in a way...Sure.

...the fact this person
now feels better,

like, it's incredible.
Right.

Do you have any sort of advice
for someone watching this

who thinks that they want
to go down this route

and have something done
to them?

Yeah, my advice would be,
you know,

take a long hard look at it
and really see

if you could find a plastic
surgeon to do what you want.

People really have
to understand,

if they're looking for
any type of body modification

that goes away from standard
tattoo or piercing,

anything outside of that,
you got to understand

that, "A," if you're having
something removed

or if you're
getting stitches

or you're getting
anesthetic in some way,

that over 99% of the population
of "body mod artists" worldwide

have no medical training
of any kind.

-99%? Oof.
-Yes, worldwide.

-And this should scare people.
-Yeah.

And a lot of people
don't know that.

It's often a little bit
like grooming,

where it happens
that a client

will contact one
of these people.

Maybe they meeting them at
a night club or something else.

Maybe they party with them.

They're doing drugs
or what have you,

and the person says,
"Oh, no.

I can do that
body mod, no problem."

-Wow, that's --
-It's really wild, and, really,

that's why we're so
desperate for legislation

and to get some rules
on the books here

so that more can people
can just start

going to surgeons for their
surgical work and not go to,

you know, a hair dresser,
which happens, you know,

or a guy at a bar
or something like that.

Well, I mean, guys, this has
been extraordinarily insightful.

I've learned quite a bit.

Thank you so much for
teaching me a little about it.

Yeah, my pleasure.

And I really appreciate
you being on the show.Yeah.

-Soskas?
-I almost forgive them for it.

Ripping your dick off?For ripping
my entiredick off.

-Oh, well, it happens.
-Fucking vicious, man.

Yeah, but "American Mary"
is great.
Yeah.

-Wonderful practical effects.
-That's true.

Speaking of practical effects,
I got a savage stack for you --

makeup effects, practical
effects, bloody stuff,

head explosions,
gnarly stuff.

Have you ever seen
"Society"?

Don't worry.
You'll get your share.

We're all going to
get our share.

No, but everyone
fucking talks about it.

Sam:
Well, directed by Brian Yuzna,
who is best known as producing

a lot of
Stuart Gordon's films...Okay.

...this is a holy grail
of special makeup effects

with one of my favorite
on-screen credits for it,

"Surrealistic
special makeup effects

by Screaming Mad George."
Whoa.

This move climaxes
in one of the most insane,

one of the gnarliest scenes
of makeup effects

and shunting you'll ever see.
What else?

Next up, we got Shudder
exclusive "Jordskott."

This is a series
from Sweden.

It starts as a mystery
about a missing child

and goes to a place of
really dark fairy-tale worlds,

and there's some really great,
wonderful makeup effects

where branches and plants

are kind of seeping
out of people's skin.

That sounds awesome.

Let's talk a bit more
about classics.

One of the greatest American
independent horror films

of all time is Don Coscarelli's
"Phantasm."

Oh, hell yeah.

Nightmarish
and totally nuts,

this film introduced
the Tall Man, right?

-Right.
-But also the sphere.

All I know about the sphere
is that it looks awesome

and that blades come through it
and maybe go into people.

That is
all you need to know,

and when you see the sphere
go into someone,

the fountain of blood
that comes out of it

is going to blow your mind.

-Let's talk new-school effects.
-Okay.

A lot of people
talk about, you know,

where have all the makeup
effects gone, right?

"Deathgasm."

Man:
You know that evil heavy metal

that your parents
hate you listening to?

Oh, baby.

Filmed out of New Zealand,
this is heavy-metal horror.

And its director,
Jason Lei Howden,

comes from
Weta Workshop,

which a lot of people
know mainly through

Peter Jackson's films.
Yeah.

They think of
"Lord of the Rings,"

the think of heavy
digital visual effects.

Weta was founded when Peter
Jackson was working on films

like, what, "Dead Alive."

-"Bad Taste."
-"Meet the Feebles."

Oh, shit.All those guys,
they don't get to do

a lot of the bloody stuff
anymore, right?

"Deathgasm" brings those
dudes into the fold

'cause Jason Lei Howden
comes from that family,

and it's old school,

it's Sam Raimi style,
and it's cool as hell.

Frank.

Next up, and finally,
an achievement in makeup effects

with Bob Keen
and "Hellraiser," right?Wow, yeah.

So based on
Clive Barker's novella,

best horror films
not only of the '80s

but probably of all time.

The introduction
of an an icon in Pinhead,

who's really only in the movie
for like six minutes

but has such a striking look

designed by Clive Barker
and Bob Keen

and applied by Bob Keen onto
Doug Bradley, it's unmissable.

It's still nightmarish.

It's one of the greatest bits of
movie monsters you'll ever see.

Now I guess I'm just going to
go home and nurse myself

as I watch these terrifying
practical effects.

I thank you, Sam,
because, in a world

where it's really easy
to do digital effects,

these are what's valuable.

Jesus wept.

Thank you so much again
to the Soska twins

for carving up "The Core,"

but, next time, I will be
sitting with my legs crossed

for the entire show.

Oh, yeah.

That's better.

Can I get some more ice
over here?