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With many films,
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but particularly
with horror films,
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there are images
that stay with you forever.
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00:00:51,439 --> 00:00:53,165
And I always find it fascinating
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00:00:53,199 --> 00:00:56,547
how long
they're actually on screen.
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I always think about that
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00:00:57,824 --> 00:00:59,585
with the film "Black Narcissus,"
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is there's a scene
towards the end of the film
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00:01:01,587 --> 00:01:03,520
where Sister Ruth reappears.
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00:01:05,694 --> 00:01:09,181
And in my head,
that was, like, a whole scene.
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When I rewatched it, it was
on screen for 11/2 seconds.
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00:01:12,943 --> 00:01:17,913
But the image of it was
burned into my brain forever.
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00:01:17,948 --> 00:01:19,388
So that's a testament
to the power...
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00:01:20,433 --> 00:01:22,263
Of images within a film.
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00:01:24,230 --> 00:01:26,612
And from, like, movie to movie,
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most of the things you would
talk about within this series,
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00:01:30,271 --> 00:01:32,825
there are different reasons
why you remember something.
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They're here.
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00:01:34,653 --> 00:01:36,449
And obviously,
with the horror genre,
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a lot of these moments
are trading
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in sheer nightmare fuel,
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all of the terrors of your
subconscious made flesh.
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It doesn't seem to matter
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00:01:46,494 --> 00:01:48,254
whether it's a terribly good
movie or not.
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00:01:50,774 --> 00:01:54,364
My friend Mike Finnell, who has
produced many of my movies,
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00:01:54,397 --> 00:01:57,401
used to tell me about this
scene that he saw in a movie
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00:01:57,436 --> 00:01:59,748
when he was a kid
that was so terrifying.
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00:01:59,783 --> 00:02:03,476
It's a guy in a cape,
and a light came down on him,
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00:02:03,511 --> 00:02:05,444
and he fell down in the cape
and it was--
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00:02:05,478 --> 00:02:06,652
he was a skeleton.
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00:02:09,275 --> 00:02:12,244
And I said, "Mike, that's from
'Plan 9 from Outer Space.'"
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00:02:13,797 --> 00:02:14,981
When you're a kid,
you don't have
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00:02:15,005 --> 00:02:16,593
those kind of value judgments.
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00:02:16,627 --> 00:02:18,733
You just-- it's just
the imagery that gets you.
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00:02:18,767 --> 00:02:20,390
And it stays with you.
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00:02:23,047 --> 00:02:24,739
I mean, those giant ants
from "Them,"
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00:02:24,773 --> 00:02:26,879
I still see them
in my bad dreams.
38
00:02:36,889 --> 00:02:38,418
Pretty much you can't talk
about Japanese horror
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00:02:38,442 --> 00:02:39,961
without talking about "Ringu."
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00:02:39,995 --> 00:02:41,756
It is absolutely essential
and has
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00:02:41,790 --> 00:02:43,860
one of the scariest endings
ever put on film.
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00:02:43,896 --> 00:02:45,518
Tomoko!
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00:02:52,456 --> 00:02:54,631
"Ringu," or "The Ring,"
as it might be better known
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00:02:54,665 --> 00:02:56,874
in the United States,
it's a film
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00:02:56,909 --> 00:02:59,774
where there's this
cursed videotape,
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00:02:59,808 --> 00:03:02,466
that if you watch
this videotape,
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00:03:02,501 --> 00:03:04,054
seven days later, you will die.
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00:03:09,818 --> 00:03:11,510
The tape itself is terrifying.
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00:03:11,544 --> 00:03:12,959
The tape itself is another thing
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00:03:12,994 --> 00:03:14,351
where you don't really know
how to process.
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00:03:14,375 --> 00:03:15,548
It's essentially video art.
52
00:03:19,587 --> 00:03:22,072
And all these eerie images
coming at you
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that feel cursed,
that feel wrong.
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00:03:26,456 --> 00:03:27,974
And so, you know, you can joke
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00:03:28,009 --> 00:03:29,435
that this is a film
that's about a fear
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00:03:29,459 --> 00:03:31,633
of experimental filmmaking.
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00:03:31,668 --> 00:03:32,807
But on another level,
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00:03:32,841 --> 00:03:34,567
it's tapping into a register
of images
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00:03:34,602 --> 00:03:38,019
even if you don't quite know
exactly what's happening.
60
00:03:39,779 --> 00:03:42,334
But absolutely, it's sort
of just-- the very nature
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00:03:42,368 --> 00:03:44,957
of those images themselves are
partly what's so terrifying.
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00:03:51,446 --> 00:03:52,930
So the moment
that got everybody is,
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00:03:52,965 --> 00:03:55,485
you think the movie's over.
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00:03:55,519 --> 00:03:58,384
You know, our heroine
has solved the mystery.
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00:03:58,419 --> 00:04:00,593
She has found the bones
of this girl,
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00:04:00,628 --> 00:04:03,527
the remains of this girl
at the bottom of a well.
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00:04:03,562 --> 00:04:05,322
All is well. She's back home.
68
00:04:05,357 --> 00:04:06,910
And the movie's still going.
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00:04:06,944 --> 00:04:08,577
And you're like,
"Well, it's not a slasher film,
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00:04:08,601 --> 00:04:10,948
"so what could
possibly happen here?
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00:04:10,983 --> 00:04:12,122
What's going on?"
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00:04:15,850 --> 00:04:18,887
And it turns out
that her ex-husband,
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00:04:18,922 --> 00:04:20,682
who has seen the tape--
she's passed it on...
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00:04:22,891 --> 00:04:25,446
He hears the static on his
television and looks up.
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00:04:25,480 --> 00:04:27,413
And, of course,
we finally see Sadako
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00:04:27,448 --> 00:04:29,795
in all of her vengeful glory
actually climbing
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00:04:29,829 --> 00:04:31,037
out of the television.
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00:04:33,661 --> 00:04:36,698
To me, the scariest stuff is
the stuff you can't explain.
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00:04:38,562 --> 00:04:41,496
When you see that,
you can't explain it.
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00:04:41,531 --> 00:04:44,050
If you could explain it,
you can quantify it,
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00:04:44,085 --> 00:04:46,743
you can measure it,
it loses its power.
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00:04:48,469 --> 00:04:50,919
The idea of this thing
that can actually come
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00:04:50,954 --> 00:04:54,371
out of the well on the TV,
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00:04:54,406 --> 00:04:57,029
it's kind of, like,
the ultimate nightmare.
85
00:04:59,065 --> 00:05:01,136
And it's actually
sort of a sequence of details
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00:05:01,171 --> 00:05:03,725
that make it really scary.
87
00:05:03,760 --> 00:05:06,797
So the first thing is, is that
she's crawling out of the TV,
88
00:05:06,832 --> 00:05:09,938
breaking that fourth wall
in a very good effect,
89
00:05:09,973 --> 00:05:13,839
but also one that only happens
for one setup.
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00:05:13,873 --> 00:05:16,945
The next thing you see
is her, like, fingers
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00:05:16,980 --> 00:05:19,638
on the carpet with no nails.
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00:05:19,672 --> 00:05:22,779
Because she's, you know,
tried to get out of the well,
93
00:05:22,813 --> 00:05:26,921
and, like, her nails have,
like, been wrenched out.
94
00:05:26,955 --> 00:05:29,958
Then you've got
the backwards performance
95
00:05:29,993 --> 00:05:31,891
where the performer
playing Sadako
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00:05:31,926 --> 00:05:33,859
is obviously filmed in reverse
97
00:05:33,893 --> 00:05:35,654
and then is walking backwards,
98
00:05:35,688 --> 00:05:37,034
and they reversed the film
99
00:05:37,069 --> 00:05:38,184
so she's kind of moving forward
100
00:05:38,208 --> 00:05:39,865
and a really unnatural way.
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00:05:39,899 --> 00:05:42,695
And that's really creepy.
102
00:05:42,730 --> 00:05:44,525
And then that final image
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00:05:44,559 --> 00:05:46,561
of, like, just the one eye
in the hair.
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00:05:48,701 --> 00:05:51,014
That's what people see
before they die.
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00:05:51,048 --> 00:05:53,568
All intercut with the actors,
106
00:05:53,603 --> 00:05:56,226
like, sort of
completely catatonic,
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00:05:56,260 --> 00:05:58,090
frozen in fear,
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00:05:58,124 --> 00:06:00,195
crawling back against the wall,
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00:06:00,230 --> 00:06:02,094
trying to get away.
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00:06:02,128 --> 00:06:04,476
Her pursuit is inexorable.
111
00:06:07,548 --> 00:06:10,171
The worst-case scenario
for every horror film
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00:06:10,205 --> 00:06:12,587
is, the thing that you're
terrified on the screen
113
00:06:12,622 --> 00:06:14,555
all of a sudden comes out
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00:06:14,589 --> 00:06:17,489
and is able
to, you know, grab you.
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00:06:17,523 --> 00:06:18,697
That image stays with people
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00:06:18,731 --> 00:06:20,802
because it's kind of tapping
into, you know,
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00:06:20,837 --> 00:06:22,114
fear of horror films
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00:06:22,148 --> 00:06:24,427
or fear of images
to a certain extent.
119
00:06:48,243 --> 00:06:49,762
"Train to Busan" is interesting
120
00:06:49,797 --> 00:06:51,695
because it is a film
121
00:06:51,730 --> 00:06:54,802
that shows the legacy
of melodrama
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00:06:54,836 --> 00:06:56,735
in South Korean film
and television...
123
00:07:01,325 --> 00:07:03,535
Where it's mostly
about families,
124
00:07:03,569 --> 00:07:05,226
and it's about
sort of, you know,
125
00:07:05,260 --> 00:07:08,609
these connections and sometimes
over-the-top emotions.
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00:07:10,576 --> 00:07:12,209
In some ways, you can say
it's kind of like--
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00:07:12,233 --> 00:07:13,900
and I don't mean this
in a disparaging way--
128
00:07:13,924 --> 00:07:15,616
but it's kind of like
a soap with zombies.
129
00:07:17,549 --> 00:07:20,034
But it's all sort of in
this context of, you know,
130
00:07:20,068 --> 00:07:24,107
these zombies who are
moving incredibly fast.
131
00:07:26,558 --> 00:07:28,076
Appa!
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00:07:33,047 --> 00:07:35,670
We've had fast zombies before,
133
00:07:35,705 --> 00:07:38,846
but they were fast zombies
in a swarm.
134
00:07:41,020 --> 00:07:44,679
And those two things together
are very, very scary.
135
00:07:47,717 --> 00:07:50,202
'Cause they're fast
and there's too many of 'em.
136
00:07:50,236 --> 00:07:54,206
And so they just look
impossible to defeat.
137
00:07:58,762 --> 00:08:00,188
Granted, we had seen
a little bit of that
138
00:08:00,212 --> 00:08:01,834
with "World War Z,"
139
00:08:01,869 --> 00:08:05,182
but there was just something
highly effective
140
00:08:05,217 --> 00:08:07,219
in seeing it in this movie.
141
00:08:11,050 --> 00:08:12,530
The way they moved
just felt unique.
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00:08:14,744 --> 00:08:16,204
And that's what I liked
about "Train to Busan,"
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00:08:16,228 --> 00:08:18,264
is it just felt fresh.
144
00:08:19,403 --> 00:08:21,578
When the Shaw Brothers
started making movies
145
00:08:21,613 --> 00:08:22,821
in Hong Kong...
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00:08:24,685 --> 00:08:26,963
It was just assumed
that if you hired stunt people
147
00:08:26,997 --> 00:08:29,586
or if you hired
martial arts people,
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00:08:29,621 --> 00:08:32,208
they would do
whatever you asked them to do.
149
00:08:32,244 --> 00:08:34,384
And they did not have
the rules that we have
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00:08:34,418 --> 00:08:35,972
for stuntmen in America.
151
00:08:42,909 --> 00:08:46,085
And so people
like Jackie Chan did
152
00:08:46,120 --> 00:08:47,984
these incredible
physical stunts.
153
00:08:52,160 --> 00:08:56,268
And this carried over
into Korean films
154
00:08:56,302 --> 00:08:57,821
and Thai films...
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And mainland China films.
156
00:09:08,073 --> 00:09:11,214
And obviously, it carried over
into "Train to Busan,"
157
00:09:11,248 --> 00:09:13,734
because these guys do
158
00:09:13,768 --> 00:09:15,874
death-defying things
all the time.
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00:09:18,911 --> 00:09:21,811
It showed us images
of zombie mayhem
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00:09:21,845 --> 00:09:24,779
that we had never seen before--
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in particular, the train
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dragging an anthill of zombies
with it.
163
00:09:41,382 --> 00:09:44,178
But that movie already had me,
you know,
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00:09:44,212 --> 00:09:47,077
just based on characters alone.
165
00:09:47,112 --> 00:09:51,185
Appa! Appa!
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00:09:51,219 --> 00:09:53,187
"Train to Busan" has
just got so much heart.
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00:09:59,918 --> 00:10:03,369
It's one of the few films
that can actually make me cry.
168
00:10:07,270 --> 00:10:10,791
The ending of that film,
it gets me every time.
169
00:10:20,835 --> 00:10:24,149
Listen, Mr. Oswald,
if you sleep in this house
170
00:10:24,183 --> 00:10:27,980
it's just gonna do
terrible things to your head.
171
00:10:28,015 --> 00:10:30,258
In "Sinister,"
Ethan Hawke plays an author
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00:10:30,293 --> 00:10:33,365
who uncovers these home movies
in his home.
173
00:10:35,022 --> 00:10:36,402
And you come to realize
174
00:10:36,437 --> 00:10:37,921
they're supernatural
in some way.
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00:10:40,406 --> 00:10:42,719
At first, Ethan Hawke doesn't
know what to make of them
176
00:10:42,754 --> 00:10:44,790
but then is
investigating further,
177
00:10:44,825 --> 00:10:46,492
so, of course,
you're watching them with him
178
00:10:46,516 --> 00:10:49,726
and exposed
to these terrible acts.
179
00:10:51,383 --> 00:10:55,249
This film is about
the act of watching a film.
180
00:10:55,283 --> 00:10:57,020
And we're showing bits
of all these home movies
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00:10:57,044 --> 00:10:59,460
that are involved in killings
that have been committed
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00:10:59,494 --> 00:11:00,814
with these families,
and where one
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00:11:00,841 --> 00:11:02,152
family member has disappeared,
184
00:11:02,187 --> 00:11:03,740
where a kid has been taken away.
185
00:11:07,054 --> 00:11:09,125
The twist of, you know,
186
00:11:09,159 --> 00:11:11,541
where the scariest thing
that happens
187
00:11:11,575 --> 00:11:14,820
is the guy sitting
and watching moving images,
188
00:11:14,855 --> 00:11:16,304
it's interesting.
189
00:11:18,824 --> 00:11:21,068
It continues
a tradition going back
190
00:11:21,102 --> 00:11:23,380
to Michelangelo Antonioni's
"Blow-Up"...
191
00:11:26,901 --> 00:11:29,386
Coppola's "The Conversation"...
192
00:11:29,421 --> 00:11:31,872
Kill us if he got the chance.
193
00:11:31,906 --> 00:11:33,026
Brian De Palma's "Blow Out."
194
00:11:35,392 --> 00:11:38,982
This idea of obsessing over
the granular of the image.
195
00:11:39,017 --> 00:11:42,123
And oftentimes that obsession
and trying to blow things up
196
00:11:42,158 --> 00:11:43,884
and figure out,
"What does this mean?"
197
00:11:43,918 --> 00:11:45,344
is usually what brings about
your ruin.
198
00:11:45,368 --> 00:11:46,818
It was a good scream.
199
00:11:49,096 --> 00:11:50,476
I mean, I think we can all agree
200
00:11:50,511 --> 00:11:51,926
that the scariest part
of "Sinister"
201
00:11:51,961 --> 00:11:54,929
is the lawn mower scene.
202
00:11:54,964 --> 00:11:56,793
Wouldn't we all agree with that?
203
00:12:00,383 --> 00:12:03,558
That scene is so disturbing,
is so disarming,
204
00:12:03,593 --> 00:12:05,837
because we're all
Ethan Hawke in that moment.
205
00:12:08,632 --> 00:12:10,600
We're not guarded in any way.
206
00:12:10,634 --> 00:12:12,371
We just know he's gonna watch
something disturbing,
207
00:12:12,395 --> 00:12:13,879
but how disturbing
is it gonna go?
208
00:12:17,469 --> 00:12:20,092
So we look in at this family
just having fun in the house.
209
00:12:20,127 --> 00:12:21,853
And then the next thing you see
210
00:12:21,887 --> 00:12:24,441
is, like, this person, like,
getting the lawn mower.
211
00:12:26,236 --> 00:12:28,031
And it's, like,
a little tiny spotlight,
212
00:12:28,066 --> 00:12:30,033
and you can't really see
around it.
213
00:12:30,068 --> 00:12:31,517
And it's silent at first.
214
00:12:33,865 --> 00:12:35,487
It's so quiet.
215
00:12:35,521 --> 00:12:37,558
What is up
with all these quiet things
216
00:12:37,592 --> 00:12:39,456
that just work every time?
217
00:12:39,491 --> 00:12:42,045
All you can hear is your breath.
218
00:12:42,080 --> 00:12:44,185
And that scene
with the lawn mower,
219
00:12:44,220 --> 00:12:48,051
it's just going... and going.
220
00:12:48,086 --> 00:12:51,261
All of a sudden, you see
a body laying on the lawn.
221
00:12:51,296 --> 00:12:53,539
The sound makes--
cranks to a 12.
222
00:12:57,371 --> 00:12:59,097
They don't show us what happens,
223
00:12:59,131 --> 00:13:00,443
but Ethan Hawke sees it.
224
00:13:02,997 --> 00:13:06,552
And the look of abject terror
on his face is just so--
225
00:13:09,003 --> 00:13:11,419
Man, he can act.
226
00:13:11,454 --> 00:13:14,388
It looks like he saw
the worst thing ever.
227
00:13:16,942 --> 00:13:18,323
I don't know
that I could process
228
00:13:18,357 --> 00:13:20,359
being laid down in the grass
229
00:13:20,394 --> 00:13:21,612
and a lawn mower
running over my head.
230
00:13:21,636 --> 00:13:23,328
That's truly upsetting.
231
00:13:26,055 --> 00:13:28,057
But we don't actually see
sort of the messiness.
232
00:13:29,265 --> 00:13:31,198
Party's over.
233
00:13:31,232 --> 00:13:33,165
This is not
Peter Jackson's "Dead Alive"
234
00:13:33,200 --> 00:13:34,477
or "Braindead"...
235
00:13:37,929 --> 00:13:40,103
Where we do see what
a lawn mower can do to people.
236
00:13:42,208 --> 00:13:43,279
Or to zombies, I guess.
237
00:13:45,522 --> 00:13:48,353
What Derrickson is suggesting
is really graphic,
238
00:13:48,387 --> 00:13:51,149
but it's usually just
the overall atmosphere
239
00:13:51,183 --> 00:13:53,289
and how it stays with us
that is really effective.
240
00:13:55,153 --> 00:13:58,466
Editing is everything
in "Sinister,"
241
00:13:58,501 --> 00:14:01,055
from the reveal
of Ethan Hawke's son
242
00:14:01,090 --> 00:14:02,988
coming out of the box
upside down--
243
00:14:03,023 --> 00:14:04,690
you know, it's just like,
how much are you seeing that
244
00:14:04,714 --> 00:14:06,371
before you cut to reactions?
245
00:14:10,962 --> 00:14:14,034
I would ask every
aspiring horror filmmaker
246
00:14:14,068 --> 00:14:15,104
to watch "Sinister."
247
00:14:17,209 --> 00:14:19,211
I think it's one of the best
of that decade.
248
00:14:26,184 --> 00:14:28,324
What are you doing here?
249
00:14:28,358 --> 00:14:30,671
My bed was shaking.
250
00:14:30,705 --> 00:14:33,156
I can't get to sleep.
251
00:14:34,986 --> 00:14:37,022
"The Exorcist,"
based on the novel
252
00:14:37,057 --> 00:14:38,575
by William Peter Blatty,
253
00:14:38,610 --> 00:14:42,338
it is such a '70s movie.
254
00:14:46,066 --> 00:14:49,483
So downbeat, so nihilistic.
255
00:14:49,517 --> 00:14:53,107
She was living by herself,
and I guess she was dead
256
00:14:53,142 --> 00:14:55,351
a couple of days
before they found her.
257
00:14:55,385 --> 00:15:00,114
"The Exorcist" says that God
is not really there for you.
258
00:15:04,187 --> 00:15:08,640
Because the victim in
"The Exorcist" is an innocent.
259
00:15:08,674 --> 00:15:10,400
Yes.
260
00:15:10,435 --> 00:15:14,680
That was what was so scary
about "The Exorcist."
261
00:15:16,475 --> 00:15:19,513
It wasn't the pea soup vomit
262
00:15:19,547 --> 00:15:21,791
or the head turning around.
263
00:15:21,825 --> 00:15:23,137
Amen.
264
00:15:27,417 --> 00:15:31,490
It was the fact
that it was a little girl.
265
00:15:31,525 --> 00:15:34,148
♪ Some people think
it's the home of black eyes ♪
266
00:15:34,183 --> 00:15:37,393
The pin that unhooks the wheel
267
00:15:37,427 --> 00:15:41,293
that starts the axle breaking
of "The Exorcist"
268
00:15:41,328 --> 00:15:44,020
would never have happened
without Linda Blair
269
00:15:44,055 --> 00:15:45,618
standing there
and delivering the line...
270
00:15:45,642 --> 00:15:47,541
You're gonna die up there.
271
00:15:47,575 --> 00:15:50,026
Every single person
that watched that film,
272
00:15:50,061 --> 00:15:51,383
the first time
you watched that film,
273
00:15:51,407 --> 00:15:53,029
when she said that line,
274
00:15:53,064 --> 00:15:55,411
it stuck right in your heart,
275
00:15:55,445 --> 00:15:57,827
and you were like,
"Man, where are we going?
276
00:15:57,861 --> 00:15:59,415
"This is not good.
277
00:15:59,449 --> 00:16:01,624
This is really not good."
278
00:16:01,658 --> 00:16:05,317
Still today,
I don't think a movie has yet
279
00:16:05,352 --> 00:16:08,148
to make me feel
so uncomfortable--
280
00:16:08,182 --> 00:16:11,289
where you see the actors
so uncomfortable.
281
00:16:11,323 --> 00:16:12,462
Regan.
282
00:16:12,497 --> 00:16:14,188
My God, honey.
283
00:16:14,223 --> 00:16:16,535
And giving this little girl--
284
00:16:16,570 --> 00:16:19,780
just her body being
taken advantage of,
285
00:16:19,814 --> 00:16:21,437
it's very dark.
286
00:16:23,404 --> 00:16:26,166
The scene with the crucifix,
287
00:16:26,200 --> 00:16:28,271
you know, it's sort of like
"Blazing Saddles."
288
00:16:28,306 --> 00:16:29,866
I don't know if you could
do that today.
289
00:16:32,379 --> 00:16:35,451
Ellen Burstyn is downstairs,
hears screaming from upstairs,
290
00:16:35,485 --> 00:16:36,486
goes up.
291
00:16:38,523 --> 00:16:41,491
Number one, like, the whole,
like, room is being trashed.
292
00:16:41,526 --> 00:16:43,528
Let Jesus fuck you!
Let Jesus fuck you!
293
00:16:43,562 --> 00:16:46,393
And then Regan is
masturbating with a crucifix.
294
00:16:48,119 --> 00:16:49,603
And then grabs her mother's head
295
00:16:49,637 --> 00:16:52,468
and puts her mother's head
into her crotch...
296
00:16:52,502 --> 00:16:54,332
Lick me!
297
00:16:54,366 --> 00:16:56,299
And throws her
across the room...
298
00:16:59,199 --> 00:17:00,762
In, like,
a really gnarly-looking stunt
299
00:17:00,786 --> 00:17:02,754
where I think Ellen Burstyn
actually hurt herself.
300
00:17:07,897 --> 00:17:09,657
And then her head spins around.
301
00:17:09,691 --> 00:17:10,864
And then she says..
302
00:17:10,900 --> 00:17:13,902
You know what she did,
303
00:17:13,937 --> 00:17:15,629
your cunting daughter?
304
00:17:17,424 --> 00:17:20,772
This is all in the space
of about 90 seconds.
305
00:17:20,805 --> 00:17:22,601
And so, like,
that movie has suddenly,
306
00:17:22,636 --> 00:17:24,810
like, just gone from cruising
307
00:17:24,844 --> 00:17:26,708
at a creepy kind of, like, pace
308
00:17:26,743 --> 00:17:29,160
to kind of just going
at 200 miles an hour.
309
00:17:32,163 --> 00:17:36,477
I think the thing for me
that was always perfect was,
310
00:17:36,512 --> 00:17:39,446
the door was closed
to her bedroom.
311
00:17:39,480 --> 00:17:41,655
And whatever happened
when you opened it
312
00:17:41,689 --> 00:17:44,175
was worse than whatever
you could imagine would happen
313
00:17:44,209 --> 00:17:47,661
when you got on the other side.
314
00:17:47,695 --> 00:17:49,318
That's the genius
of "The Exorcist."
315
00:17:49,352 --> 00:17:51,458
You have to go to the killer.
316
00:17:51,492 --> 00:17:55,945
You have to go to the monster,
into the monster's lair.
317
00:17:55,979 --> 00:17:58,258
Because in
"Texas Chain Saw Massacre,"
318
00:17:58,292 --> 00:18:00,156
it's like,
"Don't go in that house."
319
00:18:00,191 --> 00:18:02,607
Or with Jason Voorhees
it's like, "Be careful.
320
00:18:02,641 --> 00:18:03,849
Like, Jason's gonna get you."
321
00:18:06,576 --> 00:18:07,957
But in "The Exorcist,"
322
00:18:07,991 --> 00:18:09,510
they're trying to solve
a problem.
323
00:18:10,891 --> 00:18:13,480
They want to save Regan.
324
00:18:13,514 --> 00:18:15,965
And the only way to do that
is to go into the room.
325
00:18:15,999 --> 00:18:17,563
And they know every time
they go into the room,
326
00:18:17,587 --> 00:18:19,555
something terrible
is gonna happen.
327
00:18:31,222 --> 00:18:35,295
It's just like pictures
in a book, Danny.
328
00:18:35,329 --> 00:18:37,504
It isn't real.
329
00:18:37,538 --> 00:18:38,953
"The Shining" --
330
00:18:38,988 --> 00:18:40,852
what do you say
that hasn't been said?
331
00:18:46,340 --> 00:18:48,653
We watch a man
who's maybe had some history
332
00:18:48,687 --> 00:18:51,276
of kind of
emotional instability,
333
00:18:51,311 --> 00:18:53,554
who's now in
this isolated place,
334
00:18:53,589 --> 00:18:55,591
you know, recently sober--
335
00:18:55,625 --> 00:18:59,457
Here's to five miserable
months on the wagon.
336
00:19:01,666 --> 00:19:04,738
With a kind of a fragile,
needy wife,
337
00:19:04,772 --> 00:19:06,843
and a son who's just
an average kind of,
338
00:19:06,878 --> 00:19:08,431
what, six- or seven-year-old.
339
00:19:11,676 --> 00:19:13,333
And we watch him unravel.
340
00:19:22,583 --> 00:19:23,791
I feel like that is a film
341
00:19:23,826 --> 00:19:25,897
that's full of iconic images...
342
00:19:28,727 --> 00:19:29,866
That endure.
343
00:19:34,733 --> 00:19:38,254
Part of "The Shining" has to do
344
00:19:38,289 --> 00:19:41,292
with this sort of collapse
of time-space...
345
00:19:41,326 --> 00:19:43,363
Hello, Danny.
346
00:19:43,397 --> 00:19:46,642
That Danny could look
at the hallway
347
00:19:46,676 --> 00:19:47,919
and see the twins,
348
00:19:47,953 --> 00:19:49,955
and then see their corpses,
349
00:19:49,990 --> 00:19:51,750
and then see
the twins' ghosts again,
350
00:19:51,785 --> 00:19:54,477
and then see
their corpses again.
351
00:19:54,512 --> 00:19:57,894
It's time-space
collapsing on itself.
352
00:19:57,929 --> 00:20:00,311
Both of these things are
happening simultaneously.
353
00:20:03,314 --> 00:20:07,352
It's the same thing
with the woman in 237.
354
00:20:07,387 --> 00:20:11,701
We are all our youngest,
most beautiful selves...
355
00:20:14,428 --> 00:20:17,362
And also rotting corpses
at the same time.
356
00:20:21,435 --> 00:20:25,819
And Jack doesn't want
to be confronted with that.
357
00:20:25,853 --> 00:20:27,924
Did you find anything?
358
00:20:27,959 --> 00:20:30,064
No. Nothing at all.
359
00:20:32,343 --> 00:20:35,104
Then we follow Wendy.
360
00:20:35,138 --> 00:20:37,762
And she's in this,
like, very terrified moment
361
00:20:37,796 --> 00:20:40,661
where she's going to tell him
that she is leaving.
362
00:20:43,457 --> 00:20:45,666
And then she walks up
to the typewriter
363
00:20:45,701 --> 00:20:48,531
and sees the paper
and sees the--
364
00:20:48,566 --> 00:20:49,981
the repetition of the line.
365
00:20:52,639 --> 00:20:55,020
He has not, in fact,
been writing
366
00:20:55,055 --> 00:20:57,506
his great American novel
this whole time.
367
00:20:57,540 --> 00:21:01,648
And all of the venom
that she has absorbed
368
00:21:01,682 --> 00:21:04,409
from listening to him
and kind of doting on him
369
00:21:04,444 --> 00:21:07,101
and trying to give him
what it is that he wants
370
00:21:07,136 --> 00:21:09,518
and what it is
that he's asking for--
371
00:21:09,552 --> 00:21:11,105
that all of that was for naught.
372
00:21:11,140 --> 00:21:12,140
How do you like it?
373
00:21:13,729 --> 00:21:14,971
We realize in this scene
374
00:21:15,006 --> 00:21:18,734
how, like, completely unhinged
he is.
375
00:21:18,768 --> 00:21:20,701
What do you want to talk about?
376
00:21:20,736 --> 00:21:24,636
It's not a matter
of speculation anymore.
377
00:21:24,671 --> 00:21:26,811
Have you ever thought
for a single, solitary moment
378
00:21:26,845 --> 00:21:29,089
about my responsibilities
to my employers?
379
00:21:29,123 --> 00:21:32,506
One of the scariest scenes
to me in that whole movie
380
00:21:32,541 --> 00:21:34,819
is him advancing on her
when she has that bat.
381
00:21:34,853 --> 00:21:36,510
Get away from me!
382
00:21:36,545 --> 00:21:39,893
'Cause there is something
about someone menacing you,
383
00:21:39,927 --> 00:21:42,654
and you know
that you can't do anything.
384
00:21:42,689 --> 00:21:44,656
He's, like, so slowly--
385
00:21:44,691 --> 00:21:47,141
just taking his time,
not in a hurry--
386
00:21:47,176 --> 00:21:50,973
this beautiful
cat and mouse dynamic.
387
00:21:51,007 --> 00:21:52,733
I'm not gonna hurt you.
388
00:21:52,768 --> 00:21:54,425
You didn't let me
finish my sentence.
389
00:21:54,459 --> 00:21:56,944
You're grabbing your throat
the entire time.
390
00:21:56,979 --> 00:21:58,187
Where is this going?
391
00:21:58,221 --> 00:21:59,809
It just keeps you right here...
392
00:21:59,844 --> 00:22:01,466
I'm not gonna hurt you.
393
00:22:01,501 --> 00:22:04,158
I'm just gonna bash
your brains in.
394
00:22:04,193 --> 00:22:05,781
All the way up
until she hits him,
395
00:22:05,815 --> 00:22:07,438
finally, with the bat.
396
00:22:07,472 --> 00:22:09,681
God da--
397
00:22:15,238 --> 00:22:17,206
My God.
398
00:22:18,863 --> 00:22:21,555
Certain horror scenes
just break through
399
00:22:21,590 --> 00:22:23,695
memory and reality in a way
400
00:22:23,730 --> 00:22:25,663
where you can just almost mimic,
401
00:22:25,697 --> 00:22:28,942
and people instantly get
what you're talking about.
402
00:22:28,976 --> 00:22:30,875
No!
403
00:22:30,909 --> 00:22:33,671
You can even say lines,
like, "Here's Johnny."
404
00:22:33,705 --> 00:22:36,121
Here's Johnny!
405
00:22:36,156 --> 00:22:37,858
And, automatically,
somebody will be like,
406
00:22:37,882 --> 00:22:38,997
"'The Shining.'
Have you seen 'The Shining'?"
407
00:22:39,021 --> 00:22:40,194
"No, I haven't seen it,
408
00:22:40,229 --> 00:22:41,709
but I know
that's from 'The Shining.'"
409
00:22:43,232 --> 00:22:46,615
The acting is what saves this
from going off the rails.
410
00:22:46,649 --> 00:22:48,651
It could have easily been,
411
00:22:48,686 --> 00:22:51,689
like, Jack Nicholson
being crazy.
412
00:22:51,723 --> 00:22:54,243
But, you know,
you have Shelley Duvall,
413
00:22:54,277 --> 00:22:57,833
broken as she was filming
this thing-- and she was aware.
414
00:22:57,867 --> 00:23:01,699
I mean,
she was a very, very smart,
415
00:23:01,733 --> 00:23:03,804
very erudite woman.
416
00:23:03,839 --> 00:23:07,014
I mean, we had
the same end in mind.
417
00:23:07,049 --> 00:23:09,707
It was just that sometimes
we differed in our means.
418
00:23:09,741 --> 00:23:11,236
We're fucking killing
ourselves out here,
419
00:23:11,260 --> 00:23:12,917
and you've gotta be present.
- I am too.
420
00:23:12,951 --> 00:23:14,895
I'm standing right by the door.
- Should we play mood music?
421
00:23:14,919 --> 00:23:17,093
And she knew exactly what
Stanley Kubrick was doing
422
00:23:17,128 --> 00:23:18,509
and why he was doing it.
423
00:23:20,234 --> 00:23:23,962
She just allowed herself
to become
424
00:23:23,997 --> 00:23:25,205
totally fucking exhausted.
425
00:23:25,239 --> 00:23:26,758
I mean, 127 takes--
426
00:23:26,793 --> 00:23:28,208
I don't know.
427
00:23:28,242 --> 00:23:30,659
I don't know if I could do that.
428
00:23:30,693 --> 00:23:32,592
And by the end, the means met.
429
00:23:39,944 --> 00:23:43,499
Do you know what I do
about unhappiness?
430
00:23:43,534 --> 00:23:45,190
I buy it off.
431
00:23:45,225 --> 00:23:47,641
Are-- are you unhappy?
432
00:23:49,229 --> 00:23:50,586
The great thing
about "Psycho" is that
433
00:23:50,610 --> 00:23:52,991
it doesn't matter how much
you know about it already
434
00:23:53,026 --> 00:23:55,026
or how much you've--
how many times you've seen it.
435
00:23:56,270 --> 00:23:58,031
It's such a movie to be admired
436
00:23:58,065 --> 00:24:00,516
that you can see it
any number of times
437
00:24:00,551 --> 00:24:04,002
and it's almost like
the first time.
438
00:24:04,037 --> 00:24:06,211
There are shots
in that film where they're--
439
00:24:06,246 --> 00:24:09,042
they're not even
the 30th most famous shot,
440
00:24:09,076 --> 00:24:11,734
and yet they're still better
than shots
441
00:24:11,769 --> 00:24:13,667
in other directors'
whole careers.
442
00:24:13,702 --> 00:24:15,334
I was watching it recently,
and there's a shot
443
00:24:15,358 --> 00:24:18,292
in the latter half
where Vera Miles is
444
00:24:18,327 --> 00:24:20,122
waiting for kind of some news,
445
00:24:20,156 --> 00:24:22,918
and she's in Sam Loomis' shop.
446
00:24:22,952 --> 00:24:26,059
And she runs towards
the camera in silhouette.
447
00:24:26,093 --> 00:24:27,657
And I just remember looking
at that shot thinking,
448
00:24:27,681 --> 00:24:28,786
"My god.
449
00:24:28,820 --> 00:24:30,063
That shot is amazing."
450
00:24:30,097 --> 00:24:32,859
And yet it isn't in the top 20
451
00:24:32,893 --> 00:24:34,757
of most famous shots
from "Psycho."
452
00:24:38,174 --> 00:24:40,152
Well, everybody knows
the iconic scene in "Psycho,"
453
00:24:40,176 --> 00:24:41,878
which is the shower scene,
which is, you know--
454
00:24:41,902 --> 00:24:44,560
it was designed by Saul Bass,
455
00:24:44,595 --> 00:24:46,113
who did a lot of drawings
for it.
456
00:24:46,148 --> 00:24:48,599
And it's pure cinema.
457
00:24:48,633 --> 00:24:50,290
It's all about editing.
458
00:24:50,324 --> 00:24:53,293
It's not about what you see,
it's what you think you see.
459
00:24:53,327 --> 00:24:57,021
Nobody had really attacked--
literally and figuratively--
460
00:24:57,055 --> 00:25:02,751
a murder scene in this sense,
in just a picture puzzle
461
00:25:02,785 --> 00:25:06,064
of a multitude of shots
and put them together
462
00:25:06,099 --> 00:25:08,929
in an order that just
throws you for a loop.
463
00:25:12,692 --> 00:25:16,178
It becomes frantic
as the murder is frantic.
464
00:25:16,212 --> 00:25:18,249
You know, there's a bloodlust
and a frenzy
465
00:25:18,283 --> 00:25:21,045
to the construction
of this scene
466
00:25:21,079 --> 00:25:24,842
that is belied by the banality
of each of those shots.
467
00:25:27,327 --> 00:25:30,261
There's nothing in there
that is all that
468
00:25:30,295 --> 00:25:31,849
provocative or transgressive.
469
00:25:34,299 --> 00:25:36,405
It's only when
it's been constructed
470
00:25:36,439 --> 00:25:39,857
with that masterful
Bernard Herrmann score--
471
00:25:39,891 --> 00:25:42,653
a black-and-white score
that is only strings.
472
00:25:47,105 --> 00:25:50,764
It screams at you,
and it's unbelievably potent.
473
00:25:54,906 --> 00:25:59,255
Hitchcock creates a great
sympathy for Norman Bates,
474
00:25:59,290 --> 00:26:04,882
because we are so in his shoes
475
00:26:04,916 --> 00:26:08,195
when we're dealing
with the aftermath
476
00:26:08,230 --> 00:26:12,337
of his mother
murdering Marion Crane
477
00:26:12,372 --> 00:26:14,754
and him having
to clean up the evidence.
478
00:26:14,788 --> 00:26:16,179
Do you mind if I look
at your book?
479
00:26:16,203 --> 00:26:18,689
We are bothered and tense
480
00:26:18,723 --> 00:26:21,174
when Martin Balsam is
questioning him.
481
00:26:21,208 --> 00:26:23,072
Did you spend
the night with her?
482
00:26:23,107 --> 00:26:26,731
And we fear that Norman Bates
is going to be caught.
483
00:26:26,766 --> 00:26:30,839
We don't want him to be caught,
because Alfred Hitchcock is
484
00:26:30,873 --> 00:26:33,358
playing on all
of the vulnerabilities
485
00:26:33,393 --> 00:26:37,915
of Anthony Perkins' persona
and character at the time
486
00:26:37,949 --> 00:26:40,987
for you to root
for the deadliest character
487
00:26:41,021 --> 00:26:42,851
in the narrative.
488
00:26:45,163 --> 00:26:46,440
Your anticipation
489
00:26:46,475 --> 00:26:48,995
of Martin Balsam dying
is already high.
490
00:26:49,029 --> 00:26:52,032
You know something really bad
is gonna happen.
491
00:26:52,067 --> 00:26:53,413
Bates?
492
00:26:53,447 --> 00:26:55,139
You know, obviously,
there's a killer
493
00:26:55,173 --> 00:26:57,141
and you assume
the mother is somewhere there.
494
00:26:57,175 --> 00:26:59,730
But this is a private eye.
495
00:26:59,764 --> 00:27:01,904
This is not a naked lady
in the shower,
496
00:27:01,939 --> 00:27:03,147
like, completely helpless.
497
00:27:03,181 --> 00:27:04,769
This is a private eye that is
498
00:27:04,804 --> 00:27:06,046
kind of ready for it, right?
499
00:27:06,081 --> 00:27:07,807
He's ready for the encounter.
500
00:27:07,841 --> 00:27:10,706
He assumes something's wrong.
501
00:27:10,741 --> 00:27:12,201
And as soon as he walks
into the house
502
00:27:12,225 --> 00:27:13,916
and he's walking around,
503
00:27:13,951 --> 00:27:15,376
there's nothing more terrifying
of that,
504
00:27:15,400 --> 00:27:17,000
of like, walking
in someone else's house.
505
00:27:19,404 --> 00:27:22,338
And then just that strange
shot of the stairs going up,
506
00:27:22,373 --> 00:27:25,134
which you already anticipate
something strange might happen
507
00:27:25,169 --> 00:27:26,180
because Hitchcock puts
the camera
508
00:27:26,204 --> 00:27:27,378
in kind of a strange place,
509
00:27:27,412 --> 00:27:29,138
with a strange depth of field.
510
00:27:29,173 --> 00:27:32,141
The top of these stairs
511
00:27:32,176 --> 00:27:35,282
that the second murder
took place.
512
00:27:35,317 --> 00:27:39,424
The kind of genius move there
is, whilst you're waiting
513
00:27:39,459 --> 00:27:41,495
for something terrible
to happen,
514
00:27:41,530 --> 00:27:45,120
is, it's the cut
to the overhead angle.
515
00:27:45,154 --> 00:27:47,467
Why do they cut
to that overhead angle?
516
00:27:47,501 --> 00:27:51,057
Because they don't want to show
that the killer is
517
00:27:51,091 --> 00:27:52,921
either Mrs. Bates or Norman.
518
00:27:52,955 --> 00:27:54,888
They don't want
to show the face,
519
00:27:54,923 --> 00:27:56,994
so it's a practical decision.
520
00:27:58,271 --> 00:28:00,756
We'll cut to a high angle,
and then you won't
521
00:28:00,791 --> 00:28:02,033
see the face of the killer.
522
00:28:02,068 --> 00:28:04,242
She came out of the door there,
523
00:28:04,277 --> 00:28:06,210
met the victim at the top.
524
00:28:06,244 --> 00:28:10,317
But what it does is, it takes
you into an unnatural angle
525
00:28:10,352 --> 00:28:12,537
just at the point where you're
expecting something terrible
526
00:28:12,561 --> 00:28:14,770
to happen,
it cuts to that angle,
527
00:28:14,805 --> 00:28:16,772
and then the door opens
and the figure comes out.
528
00:28:16,807 --> 00:28:20,914
And it's so brilliant,
because it's not a shock.
529
00:28:22,329 --> 00:28:24,504
Usually, like, a shock moment
530
00:28:24,538 --> 00:28:27,334
is revealing something in frame.
531
00:28:27,369 --> 00:28:29,440
Like, in a "Halloween" film,
Michael Myers would
532
00:28:29,474 --> 00:28:31,787
suddenly appear in frame.
533
00:28:36,896 --> 00:28:38,552
But here you're cutting
to a wide shot,
534
00:28:38,587 --> 00:28:40,209
and the wide shot is scary.
535
00:28:43,247 --> 00:28:45,318
Now, by being at that top shot,
536
00:28:45,352 --> 00:28:47,527
you get to see he's coming,
but he wouldn't see him,
537
00:28:47,561 --> 00:28:49,391
so then he gets
completely blindsided.
538
00:28:54,499 --> 00:28:57,502
And then, obviously,
you know, the classic--
539
00:28:57,537 --> 00:28:59,539
which I still don't understand.
540
00:28:59,573 --> 00:29:01,092
What was supposed
to be happening?
541
00:29:01,127 --> 00:29:02,621
I think he's just stepping
backwards or something.
542
00:29:02,645 --> 00:29:04,371
But it's just-- you know,
it's a classic,
543
00:29:04,406 --> 00:29:06,304
you know, cinematic moment.
544
00:29:06,339 --> 00:29:09,066
The victim tumbled and fell
with a horrible crack.
545
00:29:09,100 --> 00:29:10,999
I think the back
broke immediately
546
00:29:11,033 --> 00:29:13,622
when it hit the floor.
547
00:29:13,656 --> 00:29:15,520
And then she goes there
and stabs him again,
548
00:29:15,555 --> 00:29:17,419
like, which makes it, like--
549
00:29:17,453 --> 00:29:19,835
you know, you think
it's overkill, but no.
550
00:29:19,870 --> 00:29:21,192
He falls down the stairs
on his back
551
00:29:21,216 --> 00:29:22,838
and gets stabbed again.
552
00:29:22,873 --> 00:29:25,082
It just-- for me, the most
scariest thing in that movie.
553
00:29:36,472 --> 00:29:39,855
One of my favorite films
of all time
554
00:29:39,890 --> 00:29:42,168
is a little movie
called "Audition"...
555
00:29:45,585 --> 00:29:49,209
By Takashi Miike,
one of the great auteurs
556
00:29:49,244 --> 00:29:52,178
of the last 25 years.
557
00:29:52,212 --> 00:29:55,043
That movie just brands
your brain in a way
558
00:29:55,077 --> 00:29:57,873
that, once you see it,
you're never going to...
559
00:29:59,357 --> 00:30:00,393
Not think about it.
560
00:30:02,602 --> 00:30:04,673
One of the best things
about that film
561
00:30:04,707 --> 00:30:07,331
is that the first act
really plays out
562
00:30:07,365 --> 00:30:11,438
kind of like a good old
indie drama-comedy.
563
00:30:11,473 --> 00:30:15,235
It's about a widower
who wants to find a new wife.
564
00:30:15,270 --> 00:30:17,203
And with the help
of a film producer...
565
00:30:20,033 --> 00:30:21,966
Auditions young women--
566
00:30:22,001 --> 00:30:23,381
and it's notable, I think,
567
00:30:23,416 --> 00:30:25,418
that they're mostly
young women--
568
00:30:25,452 --> 00:30:27,420
for the part of his new wife.
569
00:30:30,181 --> 00:30:31,331
The title "Audition"
refers to the fact
570
00:30:31,355 --> 00:30:33,115
that he's throwing
these audition processes
571
00:30:33,150 --> 00:30:34,461
in front of a video camera
572
00:30:34,496 --> 00:30:36,015
completely under
false pretenses.
573
00:30:36,049 --> 00:30:37,716
He's looking for, you know,
his next soul mate.
574
00:30:37,740 --> 00:30:39,166
You know, these girls think,
"No.
575
00:30:39,190 --> 00:30:40,340
I'm going for an audition,"
you know,
576
00:30:40,364 --> 00:30:41,399
which in itself is a lie.
577
00:30:45,162 --> 00:30:47,060
And so there's
sort of these inklings
578
00:30:47,095 --> 00:30:50,546
of, you know,
this romantic story.
579
00:30:50,581 --> 00:30:52,307
You know,
is there sort of this--
580
00:30:52,341 --> 00:30:55,482
this hope
of a happy ending here?
581
00:30:55,517 --> 00:30:57,622
You know,
when he first meets Asami...
582
00:31:02,179 --> 00:31:03,663
It's almost too good to be true.
583
00:31:03,697 --> 00:31:06,217
And then it turns out
it was too good to be true.
584
00:31:07,770 --> 00:31:10,463
There's a really famous
scene in that film
585
00:31:10,497 --> 00:31:13,569
where she is waiting
by the phone.
586
00:31:13,604 --> 00:31:19,368
And we get our first real view
of her in her element.
587
00:31:19,403 --> 00:31:21,646
And she's in this room,
588
00:31:21,681 --> 00:31:23,752
and there is a bag on the floor.
589
00:31:23,786 --> 00:31:26,168
And you don't know
what's in the bag,
590
00:31:26,203 --> 00:31:27,376
but you know it's not good.
591
00:31:31,242 --> 00:31:34,004
The phone is ringing,
and she's slowly,
592
00:31:34,038 --> 00:31:36,075
like, raising her head
593
00:31:36,109 --> 00:31:38,525
as if she's about to pick up
the phone.
594
00:31:40,182 --> 00:31:43,220
And the genius of that shot is,
595
00:31:43,254 --> 00:31:46,499
you're fully concentrating
on her reaction.
596
00:31:51,504 --> 00:31:55,197
And it's at that point that
the bag moves really violently,
597
00:31:55,232 --> 00:31:57,717
that there's obviously somebody
still alive inside the bag.
598
00:31:59,477 --> 00:32:02,480
You're already kind of,
like, feeling uneasy.
599
00:32:02,515 --> 00:32:04,551
And then your worst fears
are confirmed
600
00:32:04,586 --> 00:32:06,519
whilst you were concentrating
on something else.
601
00:32:09,039 --> 00:32:12,076
It's really, really terrifying,
602
00:32:12,111 --> 00:32:14,699
but not quite as terrifying
as the last 30 minutes.
603
00:32:18,186 --> 00:32:20,395
The first half of "Audition"
is like a Lifetime
604
00:32:20,429 --> 00:32:21,465
Movie of the Week.
605
00:32:26,470 --> 00:32:28,748
And then it turns
vicious and strange
606
00:32:28,782 --> 00:32:32,165
and kind of wonderfully violent.
607
00:32:34,064 --> 00:32:37,446
The scenes where Asami uses
the acupuncture needles...
608
00:32:40,242 --> 00:32:43,556
Are among
the most disturbing images
609
00:32:43,590 --> 00:32:44,764
ever put on film.
610
00:32:51,219 --> 00:32:53,531
But it's very effective.
611
00:32:55,326 --> 00:32:57,259
"Audition" is sort of
a critique of rom-coms,
612
00:32:57,294 --> 00:32:58,857
because if you look at them,
most romantic comedies
613
00:32:58,881 --> 00:33:00,331
are pretty screwed up.
614
00:33:00,366 --> 00:33:01,619
I mean,
they're about very sick people
615
00:33:01,643 --> 00:33:02,827
who probably should not
be together,
616
00:33:02,851 --> 00:33:04,611
when you really break it down.
617
00:33:04,646 --> 00:33:06,348
Because they usually involve
people lying to each other.
618
00:33:06,372 --> 00:33:07,728
I'm a writer
for "The Baltimore Sun"
619
00:33:07,752 --> 00:33:09,582
and a friend
of Laurie Johnson's.
620
00:33:09,616 --> 00:33:12,274
I'm doing a piece on how
people handle bereavement,
621
00:33:12,309 --> 00:33:14,518
and I understand you had
a caller the other night,
622
00:33:14,552 --> 00:33:15,657
some guy from Seattle.
623
00:33:15,691 --> 00:33:16,806
But we've been trained by movies
624
00:33:16,830 --> 00:33:18,108
to think, "That's great.
625
00:33:18,142 --> 00:33:19,188
That's what I should want
from a partner,"
626
00:33:19,212 --> 00:33:20,224
which doesn't make any sense
at all,
627
00:33:20,248 --> 00:33:21,042
because no, you don't want that.
628
00:33:21,076 --> 00:33:22,733
No rational person wants that.
629
00:33:22,767 --> 00:33:24,700
It was right.
It was real.
630
00:33:24,735 --> 00:33:27,082
It was--
- A movie.
631
00:33:27,117 --> 00:33:29,188
That's your problem.
You don't want to be in love.
632
00:33:29,222 --> 00:33:31,535
You want to be in love
in a movie.
633
00:33:31,569 --> 00:33:33,847
Romantic comedies
kind of destroyed
634
00:33:33,882 --> 00:33:37,161
a lot of people of, like, how
they think things should work.
635
00:33:37,196 --> 00:33:38,725
A girl doesn't want
to go out with you?
636
00:33:38,749 --> 00:33:40,233
Keep on asking her.
637
00:33:40,268 --> 00:33:41,510
A girl breaks up with me?
638
00:33:41,545 --> 00:33:44,237
She just needs
to be convinced to.
639
00:33:44,272 --> 00:33:46,619
Get a boom box, put it
over your head, you know,
640
00:33:46,653 --> 00:33:49,139
which is, you know,
harassment and stalking.
641
00:33:49,173 --> 00:33:50,495
And, you know, she says
she wants to break up with you,
642
00:33:50,519 --> 00:33:51,624
tell her she's wrong.
643
00:33:53,936 --> 00:33:55,569
And that's what's so great
about "Audition,"
644
00:33:55,593 --> 00:33:57,112
is just that-- all right.
645
00:33:57,147 --> 00:33:58,227
You want to try
and do that stuff?
646
00:33:58,251 --> 00:33:59,297
You want to try
and, you know, have
647
00:33:59,321 --> 00:34:00,909
this kind of romantic comedy
life?
648
00:34:00,943 --> 00:34:03,256
Well, they're not
gonna to go as planned.
649
00:34:11,954 --> 00:34:14,371
Why are you scared of me?
650
00:34:14,405 --> 00:34:16,856
I never wanted
to be your mother.
651
00:34:16,890 --> 00:34:19,721
"Hereditary."
652
00:34:19,755 --> 00:34:21,378
Then why did you have me?
653
00:34:21,412 --> 00:34:24,139
It wasn't my fault!
I tried to stop it!
654
00:34:24,173 --> 00:34:25,633
Every time I think of that
movie, I laugh and laugh.
655
00:34:25,657 --> 00:34:27,211
No, I'm kidding.
It's not funny.
656
00:34:27,246 --> 00:34:28,902
I tried to have a miscarriage.
657
00:34:28,936 --> 00:34:32,733
I laughed so hard at that movie
658
00:34:32,768 --> 00:34:36,702
because I was so terrified.
659
00:34:36,738 --> 00:34:37,842
You tried to kill me.
660
00:34:37,876 --> 00:34:39,706
I did not.
- You did!
661
00:34:39,740 --> 00:34:41,363
I love you.
- You tried to kill me!
662
00:34:41,398 --> 00:34:43,952
I feel joy when they terrify me
663
00:34:43,986 --> 00:34:45,574
because they got me.
664
00:34:45,608 --> 00:34:47,207
Why did you try to kill me?
- I love you!
665
00:34:47,231 --> 00:34:48,784
I didn't!
I was trying to save you!
666
00:34:48,818 --> 00:34:50,545
Why did you try to kill me?
667
00:34:50,579 --> 00:34:52,823
Every aspect of that movie,
to me, was joy.
668
00:34:57,448 --> 00:34:59,254
The first part of the movie,
you're kind of thinking,
669
00:34:59,278 --> 00:35:01,590
"What is this about?
There's some little miniatures.
670
00:35:01,625 --> 00:35:03,585
Like, there's something
going on with the mother."
671
00:35:05,387 --> 00:35:07,458
It is scary. It's very creepy.
672
00:35:07,493 --> 00:35:09,495
But you don't exactly know
where it's going.
673
00:35:11,807 --> 00:35:13,740
But then you get to this part
674
00:35:13,775 --> 00:35:16,260
where Peter, the older brother,
675
00:35:16,295 --> 00:35:18,228
takes his younger sister,
Charlie, to a party.
676
00:35:18,262 --> 00:35:19,401
Shit, look.
677
00:35:19,436 --> 00:35:20,368
They're giving
out chocolate cake.
678
00:35:20,402 --> 00:35:21,817
Not to everyone.
679
00:35:21,852 --> 00:35:23,957
Yes, to everyone.
It's a party.
680
00:35:23,992 --> 00:35:26,546
And she is
kind of a strange girl.
681
00:35:26,581 --> 00:35:28,455
And she has an allergy.
She has this allergic reaction.
682
00:35:28,479 --> 00:35:30,550
Peter.
683
00:35:30,585 --> 00:35:32,552
Charlie.
684
00:35:32,587 --> 00:35:33,909
And she starts
not being able to breathe.
685
00:35:33,933 --> 00:35:35,314
Are you okay?
686
00:35:35,348 --> 00:35:36,798
I think my throat's
getting bigger.
687
00:35:38,420 --> 00:35:39,501
So he throws her in the car.
688
00:35:39,525 --> 00:35:40,836
He's driving really fast.
689
00:35:40,871 --> 00:35:42,252
And she's in the back
and she's--
690
00:35:42,286 --> 00:35:43,218
you know, she's choking.
691
00:35:43,253 --> 00:35:44,564
She's--
692
00:35:46,532 --> 00:35:48,672
You're watching her head
out the window.
693
00:35:48,706 --> 00:35:49,983
And you know the pole is coming
694
00:35:50,018 --> 00:35:51,582
and you're going,
"They're not gonna do this.
695
00:35:51,606 --> 00:35:52,952
They're not gonna do this."
696
00:35:56,542 --> 00:35:57,819
And then they do.
697
00:36:04,584 --> 00:36:06,379
Every time I've watched it,
698
00:36:06,414 --> 00:36:08,933
whether it's been in the cinema
or with other people at home,
699
00:36:08,968 --> 00:36:14,249
the gasp of that happening
is extraordinary.
700
00:36:14,284 --> 00:36:16,803
But then what happens next
is where Ari Aster
701
00:36:16,838 --> 00:36:18,702
sort of does
something unconventional
702
00:36:18,736 --> 00:36:21,291
in terms of subverting
your expectations
703
00:36:21,325 --> 00:36:23,948
of what you're going to see,
and then un-subverting them.
704
00:36:25,847 --> 00:36:27,676
So the thing that happens
after that is,
705
00:36:27,711 --> 00:36:29,678
he leaves the car in the drive,
706
00:36:29,713 --> 00:36:32,750
with his sister's
decapitated body in it,
707
00:36:32,785 --> 00:36:33,958
and goes to bed.
708
00:36:35,995 --> 00:36:38,618
He's in shock.
709
00:36:38,653 --> 00:36:41,690
And he just falls into the bed
and the camera stays on him.
710
00:36:41,725 --> 00:36:43,313
I'm running out
for some balsa wood.
711
00:36:43,347 --> 00:36:44,797
You want anything?
712
00:36:44,831 --> 00:36:45,729
And then you hear the parents
713
00:36:45,763 --> 00:36:47,489
start to go downstairs.
714
00:36:47,524 --> 00:36:50,423
And now you're feeling
the same-- it's not even dread.
715
00:36:50,458 --> 00:36:54,945
It's such a complex, horrific
feeling that he's feeling.
716
00:36:54,979 --> 00:36:56,809
Because he hears them
going out to the car,
717
00:36:56,843 --> 00:36:58,535
and he knows
what they're gonna see.
718
00:37:01,745 --> 00:37:03,781
And it's all happening
kind of off-camera,
719
00:37:03,816 --> 00:37:05,300
and it stays on him.
720
00:37:05,335 --> 00:37:06,991
It stays on him
for the duration.
721
00:37:07,026 --> 00:37:09,615
And it's just-- it's grueling
and it's human and it's real
722
00:37:09,649 --> 00:37:11,386
and it's just-- it's one
of the most affecting scenes
723
00:37:11,410 --> 00:37:12,450
I've ever seen in a movie.
724
00:37:14,792 --> 00:37:18,071
And then just when you think
you've got through the scene,
725
00:37:18,106 --> 00:37:20,557
then he shows you
the decapitated head...
726
00:37:23,007 --> 00:37:24,837
On a desert road,
covered in ants.
727
00:37:24,871 --> 00:37:27,840
My God!
My god!
728
00:37:27,874 --> 00:37:29,842
My God.
729
00:37:29,876 --> 00:37:31,499
When you watch that
with an audience,
730
00:37:31,533 --> 00:37:34,674
it takes them a long time
to recover from that sequence.
731
00:37:34,709 --> 00:37:36,089
Then towards the end
of the film,
732
00:37:36,124 --> 00:37:39,023
there's the sequence
where Toni Collette
733
00:37:39,058 --> 00:37:41,405
is waiting in the darkness.
734
00:37:41,440 --> 00:37:44,443
The scare of the scene is
735
00:37:44,477 --> 00:37:46,445
that you're looking
at this shot,
736
00:37:46,479 --> 00:37:47,825
and it's a wide shot of the kid,
737
00:37:47,860 --> 00:37:49,620
like, waking up in his bed,
738
00:37:49,655 --> 00:37:51,933
and, you know, he's mainly hit
by moonlight or something.
739
00:37:53,452 --> 00:37:54,901
Mom?
740
00:37:54,936 --> 00:37:56,465
And sadly-- this is
what happened to me.
741
00:37:56,489 --> 00:37:58,008
I was in the movie theater...
742
00:37:58,042 --> 00:37:59,596
Dad?
743
00:37:59,630 --> 00:38:02,944
Not seeing anything
disturbing, apparently.
744
00:38:02,978 --> 00:38:04,704
You know, it was--
it's a dark scene.
745
00:38:04,739 --> 00:38:07,431
And suddenly I hear
this murmur in the audience.
746
00:38:10,158 --> 00:38:11,159
What the f--
747
00:38:11,193 --> 00:38:13,403
shit!
748
00:38:13,437 --> 00:38:16,509
And then your eye sees what's
in the corner of the frame.
749
00:38:18,960 --> 00:38:20,479
It's a testament to that movie
750
00:38:20,513 --> 00:38:21,652
that it creates these images
751
00:38:21,687 --> 00:38:23,620
that are so powerfully shocking
752
00:38:23,654 --> 00:38:26,588
that it then needs,
like, half an hour
753
00:38:26,623 --> 00:38:28,935
to reset for the next one.
754
00:38:28,970 --> 00:38:31,421
Because the audience are
all completely freaked out.
755
00:38:40,740 --> 00:38:43,433
How's it coming in there?
756
00:38:43,467 --> 00:38:44,675
I said, how's it--
757
00:38:53,753 --> 00:38:57,412
John Carpenter's '82
"The Thing" is
758
00:38:57,447 --> 00:39:01,554
the best monster movie
ever made.
759
00:39:06,628 --> 00:39:11,115
He says that it's not
as good as the original.
760
00:39:11,150 --> 00:39:15,637
That's because he's
a self-effacing, modest guy.
761
00:39:17,536 --> 00:39:21,056
I believe it blows
the original out of the water.
762
00:39:23,093 --> 00:39:27,960
And, to this day,
there is nothing like it.
763
00:39:30,859 --> 00:39:32,689
I won't say
it was a perfect movie,
764
00:39:32,723 --> 00:39:34,883
but I can't think of another
movie that's more perfect.
765
00:39:37,003 --> 00:39:39,730
It's like, everything
from the pacing of it,
766
00:39:39,765 --> 00:39:43,216
storytelling,
performances, effects--
767
00:39:43,251 --> 00:39:44,632
I just love that movie to death.
768
00:39:46,703 --> 00:39:49,706
Isolation horror is one
of my favorite kinds of horror.
769
00:39:49,740 --> 00:39:52,467
You're out in this wintry base,
770
00:39:52,502 --> 00:39:56,506
just watching this group
of men working together.
771
00:39:59,025 --> 00:40:02,235
And then, all of a sudden,
there's a creature.
772
00:40:02,270 --> 00:40:04,065
But what is it? Where is it?
773
00:40:04,099 --> 00:40:05,273
What does it look like?
774
00:40:05,307 --> 00:40:07,482
It looks like us.
775
00:40:07,517 --> 00:40:09,046
You see, what we're
talking about here
776
00:40:09,070 --> 00:40:11,693
is an organism that imitates
other life forms.
777
00:40:11,728 --> 00:40:13,592
And it imitates them perfectly.
778
00:40:16,318 --> 00:40:18,976
That is scary.
779
00:40:19,011 --> 00:40:22,186
I just cannot believe
any of this voodoo bullshit.
780
00:40:22,221 --> 00:40:25,569
If the Thing
were to imitate you,
781
00:40:25,604 --> 00:40:27,019
you wouldn't even know
it wasn't you
782
00:40:27,053 --> 00:40:30,747
until the Thing was threatened
783
00:40:30,781 --> 00:40:33,232
and its sensibility
was threatened.
784
00:40:33,266 --> 00:40:35,234
And then it would reveal itself.
785
00:40:44,243 --> 00:40:47,108
But until then,
it would keep imitating you,
786
00:40:47,142 --> 00:40:48,799
pretending to be you,
787
00:40:48,834 --> 00:40:50,708
to the point where no one
around you wouldn't know
788
00:40:50,732 --> 00:40:51,768
it wasn't you.
789
00:40:54,978 --> 00:40:56,600
All these different sequences
790
00:40:56,635 --> 00:40:58,844
with one of the most imaginative
791
00:40:58,878 --> 00:41:01,812
makeup effects creators ever,
in Rob Bottin,
792
00:41:01,847 --> 00:41:08,060
who was unbelievably young
and ambitious and brilliant,
793
00:41:08,094 --> 00:41:10,580
and John gave him
full steam ahead
794
00:41:10,614 --> 00:41:12,547
to come up with these ideas.
795
00:41:15,101 --> 00:41:16,827
One of the most iconic moments--
796
00:41:16,862 --> 00:41:21,211
I mean, it's endless of iconic
moments of "The Thing."
797
00:41:21,245 --> 00:41:23,558
But how you think
one of the characters,
798
00:41:23,593 --> 00:41:24,801
after he had a heart attack...
799
00:41:24,835 --> 00:41:27,700
Clear!
800
00:41:27,735 --> 00:41:29,564
And it's not bringing him
back to life.
801
00:41:30,841 --> 00:41:32,256
It's not working.
- Clear!
802
00:41:32,291 --> 00:41:34,845
And just before they try
to revive the guy...
803
00:41:34,880 --> 00:41:36,813
Clear.
804
00:41:38,642 --> 00:41:43,095
And you just see how the
poor man's arms get just eaten.
805
00:41:46,236 --> 00:41:47,340
Wow.
806
00:41:47,375 --> 00:41:49,135
That was incredible.
807
00:41:50,965 --> 00:41:53,346
That was some
of the most incredible
808
00:41:53,381 --> 00:41:55,348
movie magic I had ever seen.
809
00:41:57,281 --> 00:42:00,733
They had a man
who was a double amputee.
810
00:42:00,768 --> 00:42:04,081
I don't think he was
as tall as Dick Dysart.
811
00:42:04,116 --> 00:42:08,189
But when they put that wig
on him to match Dick's hair,
812
00:42:08,223 --> 00:42:10,156
and they put
prosthetic arms on him...
813
00:42:12,918 --> 00:42:14,713
In the moment of, "Pow!"
814
00:42:14,747 --> 00:42:18,130
and those arms flew off,
and that blood was like-- wow.
815
00:42:18,164 --> 00:42:20,995
It was-- it was
something to behold.
816
00:42:21,029 --> 00:42:25,275
But it was as exciting
watching the end product
817
00:42:25,309 --> 00:42:28,692
in the movie as it was
818
00:42:28,727 --> 00:42:30,936
to see the setup in the studio.
819
00:42:30,970 --> 00:42:32,178
It was beautiful.
820
00:42:32,213 --> 00:42:34,180
It was just beautiful.
821
00:42:36,182 --> 00:42:39,220
And then just, like,
green goo explodes.
822
00:42:44,190 --> 00:42:46,330
Then the guy's neck
starts to rip off
823
00:42:46,365 --> 00:42:48,022
and it becomes a spider.
824
00:42:55,236 --> 00:42:56,893
You know, I'll never forget it,
825
00:42:56,927 --> 00:42:59,343
because it doesn't contain
just one shock.
826
00:42:59,378 --> 00:43:02,795
It contains one enormous shock,
827
00:43:02,830 --> 00:43:06,696
followed by mind-boggling
shock after shock...
828
00:43:10,078 --> 00:43:12,840
And actually ends
kind of in a laugh.
829
00:43:12,874 --> 00:43:17,051
You gotta be fucking kidding.
830
00:43:17,085 --> 00:43:19,294
It's really virtuoso filmmaking.
831
00:43:24,230 --> 00:43:25,991
It never stops fascinating me,
832
00:43:26,025 --> 00:43:27,302
the magic of the movies.
833
00:43:29,822 --> 00:43:32,238
Because it's all
about appearances.
834
00:43:32,273 --> 00:43:33,999
It's illusion.
835
00:43:34,033 --> 00:43:38,141
It's what it looks like,
not necessarily what it is.
836
00:43:44,043 --> 00:43:47,771
I see things.
837
00:43:47,806 --> 00:43:49,980
You laugh at an old man.
838
00:43:51,533 --> 00:43:54,709
There's them that laughs
and knows better.
839
00:43:58,299 --> 00:44:01,440
It's so hard to quantify
when people say to me,
840
00:44:01,474 --> 00:44:04,857
"What's the best horror movie
of all time?"
841
00:44:04,892 --> 00:44:07,273
If there's something
that kind of noses ahead
842
00:44:07,308 --> 00:44:09,448
and is right in there,
843
00:44:09,482 --> 00:44:12,175
it's always Tobe Hooper's
"The Texas Chain Saw Massacre."
844
00:44:13,866 --> 00:44:16,904
That's the thing that checks
all the boxes for me.
845
00:44:16,938 --> 00:44:19,734
My grandpa's the best killer
there ever was.
846
00:44:19,769 --> 00:44:21,736
It has social commentary.
847
00:44:24,083 --> 00:44:27,328
It has horror unlike
any unspeakable,
848
00:44:27,362 --> 00:44:30,883
brutal, visceral horror we've
ever seen in a film before.
849
00:44:32,298 --> 00:44:35,474
It's got a monster
and a family of monsters
850
00:44:35,508 --> 00:44:38,304
that will haunt you
for the rest of your life.
851
00:44:40,824 --> 00:44:44,725
And it's funny in its weird,
wonderful, wacky way.
852
00:44:48,383 --> 00:44:50,351
Get her!
853
00:44:50,385 --> 00:44:53,181
The movie's as complex
as a Hitchcock movie...
854
00:44:56,115 --> 00:44:57,496
And yet, at one time,
just the name
855
00:44:57,530 --> 00:45:00,188
"The Texas Chain Saw Massacre"
was considered shorthand
856
00:45:00,223 --> 00:45:03,191
for the decay
of American society,
857
00:45:03,226 --> 00:45:04,986
the decay of American morals.
858
00:45:07,092 --> 00:45:08,932
But I think the most
violent thing in the film
859
00:45:08,956 --> 00:45:12,097
is the title, "The Texas
Chain Saw Massacre,"
860
00:45:12,131 --> 00:45:14,271
just the images
that it draws up.
861
00:45:15,928 --> 00:45:17,999
Tobe, my old friend Tobe,
862
00:45:18,034 --> 00:45:20,588
did such a masterful job
doing that.
863
00:45:22,832 --> 00:45:27,940
Five friends--
two women, three guys--
864
00:45:27,975 --> 00:45:31,185
they're looking
to investigate the desecration
865
00:45:31,219 --> 00:45:35,568
of a grave site of one
of the women's grandfather.
866
00:45:35,603 --> 00:45:39,503
And they go into the wilds
of Texas, run out of gas,
867
00:45:39,538 --> 00:45:42,610
and they stumble
upon this house.
868
00:45:42,644 --> 00:45:44,198
Anybody home?
869
00:45:44,232 --> 00:45:45,958
The buildup of him
walking into the house
870
00:45:45,993 --> 00:45:48,547
and looking around and staying
in that wide shot--
871
00:45:48,581 --> 00:45:50,583
it just built up so fantastic
and just--
872
00:45:50,618 --> 00:45:53,103
when he open--
and he has that screech,
873
00:45:53,138 --> 00:45:54,458
which sounds
like a pig squealing.
874
00:46:11,881 --> 00:46:15,194
It's such a quick, brutal scene.
875
00:46:15,229 --> 00:46:17,127
And also,
having grown up on a farm--
876
00:46:17,162 --> 00:46:19,509
sorry, PETA--
but, you know, my family--
877
00:46:19,543 --> 00:46:23,444
you know, we killed--
we had to kill animals to eat.
878
00:46:23,478 --> 00:46:27,206
So I knew that thrash
from on a personal level,
879
00:46:27,241 --> 00:46:29,346
but I'd never seen that
880
00:46:29,381 --> 00:46:31,210
portrayed so realistically
in a film.
881
00:46:33,178 --> 00:46:36,284
The door slam just sticks
in everyone's mind.
882
00:46:36,319 --> 00:46:38,562
And without that sound cue,
I don't know if that scene
883
00:46:38,597 --> 00:46:41,048
would be as iconic
as it's become.
884
00:46:41,082 --> 00:46:43,360
That sound
is the sound of death.
885
00:46:45,052 --> 00:46:46,536
You're stunned.
886
00:46:46,570 --> 00:46:49,056
You thought something might be
creepy about the house,
887
00:46:49,090 --> 00:46:50,436
but that's not
what you expected.
888
00:46:52,335 --> 00:46:54,406
And, from then on,
it's like, "My God.
889
00:46:54,440 --> 00:46:55,579
What's going on?"
890
00:47:00,067 --> 00:47:02,483
Probably the most iconic
scene in the movie
891
00:47:02,517 --> 00:47:05,624
is when Leatherface puts Pam
on the meat hook.
892
00:47:09,559 --> 00:47:12,079
That was the number one
walker scene--
893
00:47:12,113 --> 00:47:13,494
you know, the scene where people
894
00:47:13,528 --> 00:47:15,358
would walk out of the theater.
895
00:47:15,392 --> 00:47:18,292
They would actually leave
the theater when that happened.
896
00:47:19,500 --> 00:47:22,952
The way Tobe shot it,
897
00:47:22,986 --> 00:47:24,677
that hook's
perfectly in the foreground.
898
00:47:24,712 --> 00:47:27,611
You see the hook,
he comes through the door,
899
00:47:27,646 --> 00:47:29,337
and then he raises her up.
900
00:47:29,372 --> 00:47:31,374
You never see the hook
penetrate her back.
901
00:47:34,998 --> 00:47:36,251
Even when you have the character
902
00:47:36,275 --> 00:47:38,046
that's in the wheelchair...
- Is somebody out here?
903
00:47:38,070 --> 00:47:39,623
Stop. Stop.
- Leatherface shows up.
904
00:47:45,388 --> 00:47:46,596
You never see anything.
905
00:47:51,187 --> 00:47:53,051
There's no, like, fake body
906
00:47:53,085 --> 00:47:54,397
that you're cutting into pieces
907
00:47:54,431 --> 00:47:55,950
or any of that kind of stuff.
908
00:47:58,263 --> 00:48:01,266
But it's so terrifying,
909
00:48:01,300 --> 00:48:05,580
because it's what you think
you see that is horrific.
910
00:48:07,168 --> 00:48:10,965
It's such a classic element
of cinema
911
00:48:11,000 --> 00:48:14,244
and filmmaking of that time.
912
00:48:14,279 --> 00:48:15,970
Tobe Hooper was
a super sweet guy.
913
00:48:16,005 --> 00:48:17,592
But if anybody's like,
914
00:48:17,627 --> 00:48:19,525
"Who's captured madness
on screen?"
915
00:48:19,560 --> 00:48:20,733
there you go.
916
00:48:20,768 --> 00:48:22,149
That's
"Texas Chain Saw Massacre."
917
00:48:26,291 --> 00:48:28,155
When Sally gets away
at the end--
918
00:48:28,189 --> 00:48:29,397
which I think is, to me,
919
00:48:29,432 --> 00:48:31,123
the scariest moment
in that movie--
920
00:48:31,158 --> 00:48:33,332
there isn't the, like--
921
00:48:33,367 --> 00:48:36,680
You look in the eyes of someone
who is fucked up for life.
922
00:48:38,510 --> 00:48:41,306
Just devastated and altered
923
00:48:41,340 --> 00:48:43,239
in ways that she will never
come back from.
924
00:48:43,273 --> 00:48:45,758
And, like, yeah she got away,
but to what end?
925
00:48:45,793 --> 00:48:47,657
You know? What happens now?
926
00:48:50,142 --> 00:48:52,006
That's it.
That's all you get.
927
00:48:52,041 --> 00:48:55,182
And I really appreciate
that horror can do that.
928
00:48:59,324 --> 00:49:01,050
One of the neat things
about the genre
929
00:49:01,084 --> 00:49:03,397
is that, yes,
we love to be startled--
930
00:49:04,812 --> 00:49:07,125
And yes, we love
to be frightened
931
00:49:07,159 --> 00:49:09,506
and sometimes we love
to root for the killers.
932
00:49:11,612 --> 00:49:14,339
We can pour all of our
kind of base instincts
933
00:49:14,373 --> 00:49:17,342
into sympathizing
with the slasher.
934
00:49:18,619 --> 00:49:20,586
It lets us do
so many different things.
935
00:49:20,621 --> 00:49:23,348
It's cathartic
in so many different ways.
936
00:49:23,382 --> 00:49:26,075
But it also,
in all of its expressions,
937
00:49:26,109 --> 00:49:27,731
is just an invitation...
938
00:49:29,354 --> 00:49:32,736
For us to be a little bit braver
939
00:49:32,771 --> 00:49:36,119
in processing what we go
through as people,
940
00:49:36,154 --> 00:49:37,845
whether that's dealing with...
941
00:49:37,879 --> 00:49:39,329
No!
942
00:49:39,364 --> 00:49:41,538
Loss, trauma,
943
00:49:41,573 --> 00:49:45,094
violent fantasies,
universal fears,
944
00:49:45,128 --> 00:49:48,856
fear of the unknown,
fear of death itself,
945
00:49:48,890 --> 00:49:51,755
or just fear
of what we are capable
946
00:49:51,790 --> 00:49:53,826
of doing to each other.
947
00:49:55,552 --> 00:49:57,175
All of those expressions
of the genre
948
00:49:57,209 --> 00:50:02,318
all invite us to try
to be honest about that
949
00:50:02,352 --> 00:50:06,080
and to try to be
a little bit courageous--
950
00:50:06,115 --> 00:50:08,255
just brave enough to make it
through the scene,
951
00:50:08,289 --> 00:50:11,361
just brave enough to make it
through the movie,
952
00:50:11,396 --> 00:50:13,363
just brave enough to make it
through the episode.
953
00:50:15,400 --> 00:50:18,196
And we collectively get
that little bit braver.
954
00:50:23,753 --> 00:50:27,515
I think that's why the genre
will always, always endure.
72715
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