All language subtitles for The.Last.Drive-In.With.Joe.Bob.Briggs.S20E01.Zombie.720p.AMZN.WEB-DL.DDP2.0.H.264-BFM_track3_[eng]

♪♪

Briggs:
Raise your right hand
and repeat after me.

We are drive-in mutants.

[Cheers and applause]

The drive-in will never die.

Audience:
3, 2, 1!

Live from Grapevine, Texas,

it's "The Late Drive-In"!

Briggs: Uh, w-wait.

Yuki, I --
I couldn't hear that clearly.

Say that again.

Live from Grapevine, Texas,

it's "The Late Drive-In,"
starring Joe Bob Briggs,

Darcy the Mail Girl,

Fabio Frizzi
and the Frizzi Band, with --

Briggs: Uh, John?

Uh, John,
can you take over the intro?

I don't think Yuki
has quite the right energy

to be the announcer.

Brennan: Sure. You want
to take it from the top?

Briggs:
Let's go from the top.

Brennan: Okay.

[Cheers and applause]

You did good.

Uh, Fabio,
one more time, please.

Thank you.

Live from Grapevine, Texas,
it's "The Late Drive-In,"

starring Joe Bob Briggs,

Darcy the Mail Girl,

Fabio Frizzi
and the Frizzi Band,

and, of course,
the ghost of Lucio Fulci.

Now, fresh from his tour
in rural Idaho,

your host and mine,
Joe Bob Briggs!

[Cheers and applause]

Darcy: Hey!

[Cheers and applause continues]

♪♪

♪♪

♪♪

♪♪

[Cheers and applause]

♪♪

Brennan: Whoo!

Briggs: Yeah.

Thank you,
"Drive-In" people everywhere.

We got a show for you tonight.

Fabio, give me a little of that
"rip your throat out" music.

♪♪

That's always the best part
of a Lucio Fulci kill --

the happy music.

The legendary Fabio Frizzi,
ladies and gentlemen!

[Cheers and applause]

15 years of Lucio Fulci movies,

not to mention
a hundred other soundtracks.

The maestro of Italian
low-budget exploitation,

leader of "The Late Drive-In"
house band.

[Cheers and applause]

Hiyo!

What are you doing, Darcy?
What is that?

Every time you say something,
I'm gonna go, "Hiyo!"

like Andy Richter does.

Okay. Well,
it's not Andy Richter.

It's supposed to be
Ed McMahon.

Ed McMahon
does the "hiyo."

I'm not really familiar
with Ed McMahon.

All right.
Well, you're doing

a good Ed McMahon.

I could've sworn you were
the spirit of Ed McMahon

come back to life
when you did that "hiyo."

You could totally
sell me a timeshare right now.

[Laughter]

So, before we go to our
blood-soaked Lucio Fulci

double feature of
"Zombie" and "The Beyond" --

Hiyo!

You love Fulci,
don't you?

Fulci is the most badass
of all the Italians.

Because he doesn't care
about plot.

All he cares about is painting
the room red, right?

Exactly.

And speaking of vegans
and zombies,

did you hear about
the vegan zombie, Darcy?

I don't think so.

He went to the insane asylum,
and he only ate the vegetables.

[Laughs]

How do zombies
eat computers?

I don't know.

They use megabytes.

Not megabytes.

[Laughs]

What --
What has a dog's head,

a cat's tail, and brains
all over its face?

I don't know.

A zombie
leaving the pet store.

[Laughter]

Darcy, none of these jokes
are funny, okay?

Oh, man, I know.

[Laughter]

Ah, fortunately, we have
a great lineup tonight,

starting with the star
of "Zombie,"

the great Scottish actor
Ian McCulloch.

[Cheers and applause]

Hiyo!

AEW Wrestling star,
the first man

to get ghoulish in the ring,
Danhausen.

Whoo!
Hiyo!

Darcy, I think we can dispense
with the hiyos, okay?

Thank you.

You can still laugh hysterically
at every joke, though.

Dude, I'm tryin'.

The Queen
of San Francisco drag,

film director, producer
of some of the best

live horror shows in America,

Peaches Christ.

[Cheers and applause]

You know,
that didn't sound right.

Go ahead
and do the hiyos.

Peaches Christ!

Hiyo!

[Cheers and applause]

Star of "Sleepaway Camp,"

our very own
mangled-dick expert,

Felissa Rose.

Hiyo!

Comedian and lifelong
horror fan Bobcat Goldthwait.

Hiyo!

Actor and snake handler,
David Dastmalchian.

Hiyo!

Yuki Nakamura,
John Brennan,

Fabio Frizzi,
Darcy the Mail Girl,

and the Joe Bob Briggs
Repertory Company

doing cheap sketches.

But first...

Hiyo!

[Laughter]

I'm sorry.
It's a lot of "hiyos."

you kind of missed
the cue for the hiyo.

-I'm sorry.
-All right.

But first, we have Lucio Fulci's
first horror flick,

a movie that was
controversial in its day

because it was considered
a cheap Italian

rip-off of American ideas.

But then again,
how many Italian horror movies

were not considered cheap
rip-offs of American ideas?

But the charge turned out
to be ridiculous,

and the cult status
of this movie

has increased
with each passing year

until today,
it's considered a classic.

And, of course, it has kill
scenes that have been copied

and recopied by filmmakers
everywhere.

And, Fabio, I know they wrote
this movie really fast.

They shot it fast.

They edited it fast
to get it out quick.

How much time
did you actually have

to write and record the score?

One week.

One week?!
[Laughs]

And part of the appeal
of the movie

was that they went back
to the voodoo sources

of the original zombie movies.

They combined
the old voodoo stories

with the more modern
George Romero zombies.

So did -- also,
did you go into

the Caribbean songbook
at all

for your zombie
inspiration?

All kind of percussions.

Okay. I kind of remember
some Caribbean sounds in there,

like bongos and steel guitar.

So what we're about to watch
here is the sensitive story

of a tabloid reporter
for The New York Post

who goes down
to the Caribbean

to investigate how a ghost ship
arrived in New York Harbor

with a fat zombie aboard.

And he takes
Mia Farrow's sister with him

because she wants to find out

what happened
to her scientist father.

And since Rupert Murdoch
has given him

an unlimited expense account,
they end up jumping onto a yacht

with some vacationing
Italian actors,

including a woman
who likes to scuba dive naked,

leading to encounters
with underwater,

shark-fighting zombies.

They eventually discover
that a particular island

has been cut off
from the world

and overrun with ugly,
putrefied,

flesh-eating Conquistadors
from the 16th century

that are chomping down on people
in a rundown wooden hospital,

causing the local doctor,
played by Shakespearean actor

Richard Johnson,
to wrap their heads in gauze

and blow their brains out
while fighting with his wife,

who's bitching at him
about finding

a better medical assignment
for the family.

Sure, we've seen it before,
but have we seen it

with an apocalyptic scene
on the Brooklyn Bridge?

I think not.

Let's look at those
Drive-In Totals and get started.

We have 12 breasts,
15 dead bodies,

35 dead zombies,
3 bloody severed hands,

2 shark attacks with yacht
ramming and blood in the water,

1 underwater zombie attack,
1 zombie-chomping shark,

1 motor vehicle wreck
with pedestrian collision,

1 slow-moving zombie army,
shovel to the face,

wholesale zombie brain-bashing,
multiple zombie grave emergence,

exploding hospital,

Molotov cocktail
zombie artillery barrage,

intestine-chewing
dead-body buffet,

splinter to the eyeball,
flesh-eating, face-ripping,

neck-devouring, arm consumption,
wife-beating,

rotten food montage,
zombie flambé,

heads roll, hands roll,
arms roll, heads explode,

gratuitous Staten Island Ferry,
Nosferatu fu,

microorganism fu,
needle fu, seaweed fu,

Voodoo fu,
surprise ending fu.

Drive-In Academy Award
nominations for Captain Haggerty

as the world's fattest zombie,

Lucio Fulci in his
most ambitious role to date,

as the editor
of The New York Post,

Tisa Farrow as Anne Bowles,

the clueless New York girl
in search of her father,

Al Cliver as Brian,
the sporty yachtsman,

for saying, "The natives claim
that island is cursed.

They avoid it
like the plague."

Olga Karlatos as
the hysterical wife who says,

"I'm the only one
who knows what you're doing,

and I'm going to tell everyone

that you're the one who's crazy
and demented and cruel."

Richard Johnson
as the obsessed doctor

who says, "As soon
as I understand the zombies,

we'll leave."
[Laughter]

Auretta Gay
as the naked girlfriend

who pretty much stops the movie

when she straps
on her scuba gear

and chews up an entire island
with the line,

"Damn you, you bastards!"

Ian McCulloch as the intrepid
New York Postreporter,

our own Fabio Frizzi
for the awesome soundtrack,

Dardano Sacchetti
and Elisa Briganti,

the writers, and Lucio Fulci,
the director,

for doing things
the "Drive-In" way.

Four stars.

Joe Bob says check it out.

[Cheers and applause]

Whoa.
So, Darcy...

Yes.

How do you
like our new format?

Hoo!
It's interesting.

Yeah. I agree.
It sucks.

Okay.[Laughter]

Late-night talk shows
are like a --

it's like an '80s thing, right?

Yeah. And that's
totally our spirit decade.

Our spirit decade?

Did you really say that?
Okay.

Fabio, do the zombies have
their own theme in this movie?

Yes, absolutely.

Okay. Give us some
of that zombie-synth boogie.

♪♪

♪♪

♪♪

[Cheers and applause]

♪♪

♪♪

[Gunshot]

[Body thuds]

The boat can leave now.

Tell the crew.

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

[Water splashing]

[Clattering, banging]

[Fog horn blares in distance]

[Wood creaking, cans rattling]

[Ship horn blaring]

Man:
Chopper one to headquarters.
Chopper one to headquarters.

We got a sailboat
on a collision course

with just about
every boat in the harbor.

Man #2:
Where's it at, chopper one?

Man:
Just off Staten Island.

It was almost run down
by the ferry.

We can't raise anyone on board.

Man #2:
Okay, chopper one.

We'll send out a patrol boat.

[Wood creaking]

[Ship horn blares]

[Ship horn blaring,
siren wails]

That must be it, Bill.

Okay.

We'll take a look
at her.

Man:
Chopper one to headquarters.

The harbor patrol is coming
alongside the sailboat now.

Ahoy there!

This is the harbor patrol.

Anyone on board?

Hey, Sarge,
that boat's abandoned.

Yes, she looks abandoned.
The only question is why.

Hey, if she is, Marty,

we stand to make
a nice little bonus

when we bring her in.

Yeah.

Let's get over there
and check.

Bring her up alongside.

Man:
Chopper one to headquarters.

Chopper one to headquarters.

Man #2:
This is headquarters.
Come in, chopper one.

Man: The harbor patrol
is about to board now.

Still no sign of life.

Skipper of that craft
must be a real turkey.

[Helicopter blades whirring]

[Flies buzzing]

[Buzzing continues]

Man: Hey, watch out
for the sail!

Man #2: Huh?!
What?!

[Crashing]

What the hell's going on?!

Sorry.
The winch is broken.

[Grunts]

I'll fix the sail.

You go below
and look around.

Okay.

[Flies buzzing]

[Buzzing continues]

♪♪

♪♪

♪♪

[Thuds, squelches]

[Groaning]

♪♪

[Grunting]

[Gasps]

[Man screaming]

[Screaming continues]

♪♪

♪♪

Don't move.

Stay where you are,
mister.

Put your hands
on the deck there!

I told you not to move!

I mean it!

One more step
and I'm gonna blast you!

Now freeze where you are!

Don't move, I said!

Don't move!

[Gunshots]

[Zombie gurgles]

♪♪

[Indistinct conversations]

Yeah.
Yeah.

Where did they find
this abandoned boat?

Mm-hmm.

Yeah,
I'll put someone on it.

The boys in blue
been there yet?

Now, thanks
for the information.

You're a sweetheart.

You get West in here?

Peter,
the chief wants you.

Right, thanks.
See ya.

Uh-huh, okay.

What can I do for you,
Chief?

Sit down.

Are you busy now,
limey?

Uh...
That depends.

I'm giving you
an assignment.

Get over to --
What did she say?

Ah, pier 15.
There's a story there.

Is there something big?

Mm, yeah.
Boat without anyone on it.

Cop killed.
Poke around a bit.

See what you can find.
You know.

Okay.
I'll let you know.

Uh, West...

Keep the British
out of your prose, huh?

Don't take advantage of the fact
your uncle bought the paper.

As if I would.

[Indistinct conversations]

Man:
Harbor patrol launch
is leaving now.

Man #2: All right, folks,
there's nothing to see here.

Just step back.

Make way. Lady, step back,
will you, please?

All right, back, back!

You there --
get back over there!

Come on. Back through the gate.
There's nothing to see.

Man: Well, Miss Bowles,
we're waiting.

Yes.
It's my father's boat.

Where's your father now?

I don't know.

Actually, I was hoping
you could tell me.

I haven't heard from him
in over a month.

I see.

And, uh how long
since you last spoke to him?

Uh...

Three months.

When he set sail for the
Antilles to join some friends.

The Antilles?

Will someone please tell me
what the hell's going on?

We already have.

Man hiding on this boat,
which was adrift.

Killed a member
of the Coast Guard.

Yeah, but my father.

Where is he?
I mean, what's happened to him?

That's just what we'd like
to know, Miss Bowles.

[Siren wails]

Sorry to get you down here
at this hour.

I really can't understand
why they're in such a hurry.

I really can't
understand myself.

The DA's office phoned twice
before you arrived, Doc.

Well,
let's get it over with.

Have you --
Have you already examined him?

Yeah,
I made one or two notes.

In my opinion,
the death of the poor bastard

was caused
by a massive hemorrhage

due to a huge laceration
of the jugular.

Mm.

Do you have a hypothesis
for the cause of this injury?

Take a look
at these edges.

To me, it's quite obvious
what caused it.

There appear to be
clear indications

of one or more bites.
Look carefully.

Pass me the scalpel.

I wouldn't be able to cut my way
through tissue paper with that,

let alone
carry out an autopsy.

Take better care
of your instruments, James.

Yes, doctor.

♪♪

♪♪

[Radio chatter]

[Dance music plays]

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

[Gasps]

Don't scream.
Don't scream.

There's nothing
to be afraid of.

My name's Peter West,
and I'm a reporter.

Now I'm gonna
take my hand away,

and you're not
gonna scream, okay?

Mm-hmm.

Okay.

I'm sorry
if I frightened you,

but if I hadn't done that,
you'd have screamed for sure,

and our friend up there would
have been on to both of us.

Who are you, and what are you
doing on my father's boat?

I've already told you.

My name's West,
and I'm a reporter.

I've been following you
all afternoon.

How clever.
Professional curiosity?

Well, the police version
doesn't convince me.

And I guess it doesn't
convince you, either.

Otherwise,
you wouldn't be here.

What, uh --
What were you looking for?

You got a hell of a nerve,
you know that?

You're not so bad
yourself.

Oh, please.

Let me put it this way.

I've got some information.
You've got some information.

So why don't we just
throw it together

and see what
we can come up with?

Because I think I've already
found what you're looking for.

[Can clattering]

What do we do now?

Well, I've got an idea,
but, uh...

I'm gonna
need your help.

Unless, of course, you want
to be explaining to some judge

what you were doing onboard
your father's boat

in the middle
of the night.

Now just do
what I tell you, okay?

Okay.

Good. Come on.

[Moaning passionately]

Hey!
What the hell's go--

Oh.

Oh.

[Clears throat]

Now, don't give me
the same old story.

Well, actually, officer, uh...

Same old story, huh?

This is
all your fault.

You realize that,
don't you?

It was his idea,
not mine.

Well, listen to her,
Miss Goody Two Shoes.

It wasn't her fault.
It was all my idea.

Well, whose idea was it
to have a romantic setting,

down by the water?

I'd have settled
for an empty boxcar.

Oh, no. Never again.
Not another boxcar.

Yeah, well,
she takes after her mother.

They're both bananas.

You leave my mother
out of this!

She's crazy
and you know it.

All right,
enough of this.

Now, both of you,
get outta here.

Okay, officer. Okay.
Anything you say.

Come on, sweetie pie.

Good night, officer.

Yeah.
Out of my sight.

Good night.

"To my daughter Anne, in case
anything should happen to me.

Due to my morbid curiosity,

I have managed to contract
a strange disease.

They're taking care of me
as if I were some sort of

guinea pig that I know.

I'll never leave
this island again,

at least not alive.

I haven't been a good father,
but I have always loved you.

One last kiss from Dad, Matool."

And it's dated 15th September.

Listen, Chief, you know,
I'm sure there's some connection

that ties this all together.

Well, her father,
the disease he mentions,

the boat and -- and the guy
that got killed, as well.

Yeah, well,
it's her idea to go.

Okay, Chief, fine.

Oh, yeah. And, Chief,
you'll, um --

you'll fix the tickets,
okay?

Thanks.
You're beautiful.

I think it's three hours.

-Yeah.
-If it's on schedule,

we should arrive
in Saint Thomas --

Was that us?

Woman over PA:
Passengers are kindly
requested to proceed...

Let's go.

No, no, no, no, no.
I'll do that.

You lead the way, hmm?

[Man speaking indistinctly
over PA]

[Jet engine roaring]

[Cheers and applause]

♪♪

All right. Welcome back
to "The Late Drive-In."

Now, tell me if I'm wrong,

but didn't they just say
they're going to Saint Thomas?

If they're going to Saint Thomas
in the Virgin Islands,

which is the only Saint Thomas
you could fly out to

out of that TWA terminal
at JFK Airport,

why is everybody speaking
Spanish when they get there?

They don't speak Spanish
in Saint Thomas.

Anyhow, Fabio, that song you
wrote for the title sequence,

fabuloso!

[Cheers and applause]

Thank you so much.

But you know what?

A lot of the music that
you're playing for us tonight

sounds different
from the music in the movie.

[Speaking Italian]

Tonight is my music
my way.

Okay.
All right. Good.

All right. Come on over
to the couch, Darcy.

Um...

How many times have you
heard that in your life?

Mm, a time or two.

We have a couch, like --
and we have a chair.

Like all great talk shows.

So, Darcy, what did you do
in the off season besides --

You starred
in a bunch of movies.

Pfft! Well, I went to a lot
of really small cities

where you do your shows.

[Laughter]Yeah, small cities, right?

Sorry about that.
If they want --

If they want me
in their city, I go.

But when it's in
the middle of nowhere,

like here, you know, you don't
really need to show up.

I will always show up to help
you and promote the show.

Okay. Well, hopefully
you mean our regular show

and not this talk show.
But, so,

Darcy, I know
you love this movie,

so let me ask you
a few questions

about the first sequence,
which I love.

I love the first 20 minutes.
A lot of people don't.

But first of all, one of the
all-time great openings, right?

Because the gunshot,
the bloody bandaged head,

"The boat can leave now.
Tell the crew."

Iconic scene, right?

It's like
a warning sign.

You're about to see
some really freaky stuff.

And then the empty yacht
that sails into New York Harbor.

Obviously, that's a tribute
to the scene in "Nosferatu"

where the empty Demeter
sails into the harbor

carrying Dracula.

Exactly.
Only, this time,

the ship is carrying
the world's largest zombie.

Very well-fed zombie,
right?

I mean, it was ob--

Obviously,
he had a large crew

to feast on on that ship.

I'm surprised he's still
hungry enough to eat the cop.

And somebody asked Fulci's
cinematographer, Sergio Salvati,

how he did all those
helicopter shots,

you know, those beautiful shots
in New York Harbor?

And he says, "Well,
it cost $25 to go up

in the tourist helicopter."

And so he just asked the pilot

if he could take a camera
up in the tourist copter

and strap himself to the door
and hang out of the side.

So that was just a one-man shoot
in a commercial helicopter.

No safety equipment,
no permit.

[Laughter]

Now, speaking of permits,
let's talk about those cops.

Do New York Harbor
cops really say, "Ahoy"...

[Laughter]

...when they approach
a vessel?

I guess they did
in 1979.

No, they never did.
Not in 1979, not ever.

But one of them says
to the other one,

"You know, we stand to make
a nice little bonus

when we bring her in."

So, are they saying that
the Coast Guard or the NYPD

or whoever these non-uniformed
officers are working for,

do they get paid
for apprehending anything

that can be looted?

I mean,
what is the implication?

Does the NYPD have a reputation

all over the world
for being corrupt?

And so what's the implication
of the line?

Why do you think
that line is there?

Italian writers?

[Laughter]

Okay. Exactly.

Anyway, we have
the great obese zombie attack

and then the performance
by Lucio Fulci that --

He's the editor
of The New York Post.

Now, how do we know
it's The New York Post?

Because they shot it
at The New York Post,

which is why it does not look
like a real newspaper office.

But anyway,
while they were there,

they were wandering around,
looking for places to shoot,

and apparently,
they wandered into a meeting

being held by Rupert Murdoch,

and he angrily
kicked them out of the building.

But The New York Post,though,
that is perfect.

What better paper
to cover the zombie story?

And then we have
the extremely strange scene

when the medical examiner
and the mute assistant

that he insults and abuses
and humiliates throughout

their examination
of that dead cop's body...

It's so bizarre.

Yeah.
And then we have

the meet-cute scene
on the yacht

when both Peter West
and Anne Bowles

sneak aboard the yacht,

and they have to pretend
to be making out,

you know, a necessary scene
so they can wind up

the New York portion
of the movie,

and the two of them
can head for the tropics.

What do you think
of Tisa Farrow's acting?

She's fine.

Exactly, she's fine.[Laughter]

I think she got better
in "Anthropophagus," you know?

But then she disappeared
from the screen forever,

and she never gives interviews
about these movies.

What about Ian McCulloch
as Peter West?

-Hot.
-Hot.

He was hired for being hot.

He was in a hit BBC series
that was really big in Italy

called "The Survivors."
Kind of ahead of its time.

One of those
post-apocalyptic things

where a virus accidentally
released by a Chinese scientist

kills 99%
of the Earth's population.

And Ian is
the resourceful engineer

who has to help everybody start
civilization all over again.

So, anyway, we're gonna meet Ian
at the next break.

Yay!

Have you ever been
to Saint Thomas?

I don't think so.

I'm pretty sure they do not
speak Spanish in Saint Thomas.

If anything, besides English,
they would speak Danish,

since it was originally
a Danish possession.

And that bothers you?

Yeah, stuff like that
bothers me in a movie.

Italian writers,
they don't care.

The thing is,
it's a good Italian writer.

I'm crazy about
Dardano Sacchetti,

the screenwriter for this,

along with his wife,
Elisa Briganti.

He didn't take a credit on this
because his father had just died

and he thought it would be
somehow irreligious

or something to be writing
a zombie movie

after his father died.
So --

So it's a -- it's a pure
Elisa Briganti credit,

even though
they wrote it together.

Anyway, probably the best of the
Italian writers of this period.

He worked with Sergio Martino
a lot,

and he worked
with Fulci a lot.

He may be a great writer,
but he doesn't care

what language they speak
in Saint Thomas.

So what you're saying is,
it's a Fulci movie.

He cares about
the six-minute kill scenes.

Exactly. Yes.

All right.
Back to the movie.

And, Fabio, how about some --

Do you have any "flying
to the Antilles" music?

♪♪

♪♪

♪♪

[Cheers and applause]

♪♪

♪♪

Do you want to check
on the boat first,

or shall we go straight
to the hotel?

I don't know.
Whatever you think.

Señor, do you know anyone
who can rent us a boat?

Boat, señor?

Sorry.
Not easy to find boat.

We want to go to Matool.
It's very important.

I'm willing to pay
whatever it costs.

Just now, I remember
something, señor.

This morning, friend of mine,
he say, two Americans,

they cruise the islands.

♪♪

♪♪

That's his boat.

Last one
at edge of the jetty.

Maybe they take you.

You ask.

-Right.
-Gracias.

Thanks.

Did Pedro
not help you good, señor?

Oh, sure, yes.

Here you are.
Thanks again.

Gracias.

♪♪

♪♪

Extra water.
Store it in the galley.

Aye-aye, sir.

Ahoy there.

-Hi.
-Hi, yourself.

Hi.
How you doing?

I'm Peter West,
and this is Anne Bowles.

Susan Barrett.

You're talking
to Brian Hull.

You wouldn't be looking
for a boat ride.

We would. We hear you're
going on a tour of the islands.

Yeah, a little cruise.

Two months of fishing,
bathing, and sunshine.

Well, we have
to go to Matool.

We're trying to locate
Anne's father.

She hasn't heard from him
for some time.

Matool.

That's not a cool place
to head.

The natives claim it's cursed.
They avoided like the plague.

We have to go there,
all the same.

And you want
a ride from us.

If that's possible.

Any experience with boats?

Uh-huh.

And the lady?

I was born on a boat.

Okay, Peter. We'll have
to load more supplies.

You pay your share.
Deal?

A deal.

Step on board.
Here.

Look,
I'll warn you right now.

Don't expect us to come
sightseeing once we get there.

I've found it never pays
to ignore native superstitions.

[Radio tuning]

This is Matool
calling Guadalupe 1.

Matool calling Guadalupe 1.

Come in, Guadalupe.

This is Dr. Maynard
calling Guadalupe 1.

Maynard calling Guadalupe 1.
Come in, Guadalupe 1.

Still no luck?

No. I...

I'm afraid it's useless
to go on trying.

Then we're cut off
from the rest of the world.

Well, no...

No, I wouldn't say that.

I want to leave
this damn island right now.

Well, you can't right now.
The radio isn't working.

How convenient for you.

I wouldn't be surprised
if you broke it on purpose.

Are you tired?

Go to hell!

David,
are you going out?

I have to go
to the hospital.

Have they found
another one?

They have, haven't they?

Tell the truth.

Now calm down.

Where did they find it
this time?

You really mustn't drink
so much, my darling.

I asked you a question.

They were on the other side
of the island.

When will they
reach this side?

Tell me!

Now, I really think
you ought to rest.

We'll talk about it later.

There's really no need
to agitate yourself so much.

I hate you.

No.

You don't know
what you're saying.

Oh, you'd like to be able
to pass me off as crazy.

Apart from -- from a handful
of superstitious natives,

I'm the only one
who knows what you're doing.

And don't think I'm going
to keep my mouth shut!

I'm going to tell everyone
that you're the one

who's crazy, demented,
cruel, evil --

Aah!

I'll be at the hospital.

[Chuckles]

Hospital?
You still see yourself

as the scientist you once were,
don't you?

Well, you're --
you're not.

You're no better
than one of their witch doctors.

Just stop it!

My research is --

Research!
[Laughs]

You call fooling around
with superstitions

and Voodoo rites research?

You know perfectly well
that the work

I'm doing
is very important.

And I wouldn't be here
if it wasn't!

I don't give a damn!

I don't want to stay
on this island one more hour.

You won't be happy until
I meet one of your zombies.

Now, look...

as soon as I've understood
the phenomenon, we'll leave.

I don't believe you.

I don't believe you.

I don't believe anything
you say anymore.

Mm.

[Door closes]

♪♪

[Music intensifies]

♪♪

Miguel.

Miguel.

Sí, señor.

I have to go
to the hospital,

so make sure nobody comes
near the house, all right?

Sí, señor.
Miguel guard.

Doctor no worry.

Nobody.

Sí, señor.

[Wind blowing]

♪♪

[Engine starts]

♪♪

♪♪

♪♪

♪♪

[Tense music plays]

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

We sure were lucky
to find you two.

You could say that.

We're sure not having
the same kind of luck

trying to find
your island for you.

We should be somewhere
around here, right?

More or less, yeah.

But according to the map,

there are no islands
for the next 50 miles.

Not necessarily true.
There's so many islands

around here that a lot
have never even been charted.

Like the last couple we saw.
They're not on any chart.

It's all hit-and-miss.

We could spend
a month out here.

Like looking
for a needle in a haystack.

You don't want to
go back, do you?

No, no, no,
No, we'll find Matool.

That's a promise.

Hey, now, look,
don't go counting on us forever.

Don't forget,
we're on vacation.

Susan:
Brian!

Let's stop for a while.
I want to take some shots.

How about it?
Come on.

It looks fantastic
down below.

Brian: Okay.

[Spits]

♪♪

♪♪

♪♪

[Camera shutter clicks]

♪♪

[Camera shutter clicks]

♪♪

[Camera shutter clicks]

♪♪

Look!
Over there. See?

Brian: Yeah.

That's another island.

Peter: Maybe we're
in luck at last.

Who's to say that
that isn't Matool?

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

Hey! Help!

There's a shark!
Help!

Oh, it's gonna attack her!

Susan:
Hey! I'm going back down!

♪♪

[Gun cocks]

♪♪

[Gunshots]

[Crashing, all grunt]

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

[Scraping]

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

[Bones crunching]

♪♪

[Shuddered breathing]

There --

There was a man down there.

What?

There was a man.

A man?

Tonight's broadcast
is brought to you by Sky Bar.

Keep your eye on the sky!

[Cheers and applause]

♪♪

Wow.

There is nothing like an
underwater shark versus zombie

wrestling match witnessed
by a topless hottie.

Right?
Strange as it may seem,

that was not the first
underwater zombie.

Apparently,
even underwater zombies

are borrowed from other movies.
There's --

There's a movie called
"Zombies of Mora Tau,"

from the '50s, where the zombies
live on the ocean floor

and they attack the divers.

But the most likely place
that the creators of "Zombie"

saw this was in a movie
called "Shock Waves,"

which came out
two years earlier.

And it had Nazi zombies.

[Laughter]

Zombies in full S.S. gear
who can walk on the ocean floor,

and they come up wherever
they want to cause mayhem.

Have you ever seen
"Zombie Lake"?

-"Zombie Lake"?
-Mm-hmm.

Is that another
underwater zombie movie?

Not just
underwater zombies,

but Nazi
underwater zombies.

So there's two --
So Nazi underwater zombies

is a subgenre.[Laughter]

There's a whole thing.

It's so good.

The Nazis come out of the water
and attack this

fully naked
girls volleyball team.

They have naked-girls
volleyball in the movie?

Oh, yeah. The volleyball
team is skinny dipping,

and the Nazi zombies
come and attack them.

You're making that up.

I am so not.
It's so good.

[Laughter]

All right.
Anyway, my question was,

how did the actor who was
in the full zombie makeup --

We're going back
to "Zombie" now.

We're not talking
about "Zombie Lake."

We're going back to "Zombie."

How did that actor
get oxygen in that scene?

I mean, all you see
is the zombie.

And the answer,
apparently, is he was

just able to hold his breath
for a long time.

It's a Mexican stuntman
named Ramón Bravo.

And he's not just a stuntman.

He is a shark trainer
and an underwater photographer.

And he's actually the guy
who discovered

the famous sleeping
tiger sharks of Isla Mujeres,

which is where
they filmed this scene.

So he used a shark
that he was familiar with

that lives in that area.

And he fed the shark
a massive amount of food

right before
they did the scene.

And then he -- and he also
gave the shark a sedative

before they staged the fight,
because there is a point

where the shark bites
off part of the zombie.

So he had to get really,
really close to the shark.

And as you can see,
they're touching a lot.

They are wrestling.

So Guillermo del Toro
is a big fan of this movie,

and he's very proud of the fact
that the zombie-shark sequence

was choreographed by a Mexican.

Now, the other Mexican involved
in this story is George Romero.

That's what the Italians called
George Romero -- "The Mexican."

They called him The Mexican.

They said,
"Our zombies have to be better

than The Mexican's zombies."

Although I don't think
George Romero was Mexican.

I don't think he had
any Mexican ancestry.

I think his father
was Castilian, by way of Cuba.

But anyway, they thought
of him as The Mexican,

and the reason
that mattered is

that this movie was released
in Italy as "Zombie 2."

"Zombie 1"
is "Dawn of the Dead,"

and that was released
a year earlier,

but it was called "Zombie 1."

That was the Italian title
for "Dawn of the Dead."

So they were
trying to capitalize

on the enormous
international success of

"Dawn of the --"
"Dawn of the Dead"

by implying this was a sequel,

leading to many critics
saying that it was a rip-off,

even though it has
absolutely nothing to do

with the plot of
"Dawn of the Dead,"

other than both movies
have zombies.

The reason these zombies
are so extreme, though,

is that the entire Lucio Fulci
team was determined

to "make our zombies better
than The Mexican's zombies."

And the producer,
Fabrizio De Angelis,

he thought it was also a hedge

against financial failure,
'cause he said,

"If we make the zombies
so far over the top, you know,

more than any zombies
ever made before,

and it doesn't work,

maybe people will laugh
at the zombies

and we can sell it
as a comedy."

That's typically producer
thinking, right?

So, fortunately for the future
of Lucio Fulci's horror career,

nobody laughed at the zombies.

But, all right,
why am I still talking?

We have with us tonight
the top investigative

zombie-outbreak reporter
for The New York Post,

the intrepid Peter West
here with us

in the form of Ian McCulloch.

Please welcome Ian McCulloch
to "The Last Drive-In."

-Thank you very much.
-Whoo!

-Ian!
-Good evening.

Happy to have you here.

Very glad to be here.
Thank you.

Ian, weren't you doing
all kinds of classy

Shakespearean theater
before you got this job?

Yeah. I sat my last
six hours at Oxford University.

I sat my last exam
on a Wednesday morning,

and then Wednesday afternoon,

I was rehearsing with
Vanessa Redgrave at Stratford,

being paid money.

Stratford-upon-Avon with
the Royal Shakespeare Company.

And I had a three-year
contract straightaway,

so I didn't have
to get a degree, so...

-Really?
-Luckily, I got one.

How do you --
How do you end up

making a
Lucio Fulci movie

from the
Royal Shakespeare Company?

I did a TV series,

which you sort of mentioned
in your introduction,

called "Survivors" --
"Sopravvissuti" in Italian.

It was a big, big hit in Italy.
Somebody dubbed my voice.

[Deep voice] I had a very
deep voice like that...

[Normal voice]...which
worked better than mine.

And I was doing a play in
Plymouth in the west of England.

My agent rang,
which, as you know,

was unusual, and she said,

"There's an Italian
film company.

They're making a film,

and they want you to play
one of the leading parts,

and you'll have
seven weeks on it.

You'll have locations
in New York,

the Dominican Republic,
and Rome.

You'll get $1,000 a week
living allowance.

You can fly
your girlfriend, partner,

to any location
that we use first-class.

All we want you to do
is to say yes."

-Wow!
-"We don't want to see you.

Just say yes."
-They really wanted you.

The $1,000 a week
is in addition to your salary?

Yeah, yeah, yeah, yeah.
I had lots of money,

so I bought lots of clothes
which, alas, no longer fit me.

[Laughter]

But I said yes very,
very quickly.

And it was only after --

They didn't mention zombies.

-No?
-This film, I think,

was originally called
"Nightmare Island"?

Yes, "Nightmare Island."

Dardano Sacchetti
wrote it before they came up

with the idea
of making it "Zombie," too.

Yeah, well, I think it's got
about 60 different titles.

You've alluded to some of them.
So if you look up my C.V.,

I've done more films
than more people in the world,

but they're all the same film.

Okay.

But I did it.

Now, Lucio Fulci

was not known for being a warm,
nurturing sort of guy.

Right?

Lucio didn't
bring you herbal tea

when you had a headache

and ask you how your day
was going.

No, he did not.
[Laughs]

What was your relation
with Lucio?

Well, Lucio treated
all the sort of --

Richard Johnson and myself
with a sort of respect.

I mean, he relied on us
knowing our lines,

being in the right place
and saying --

You said nice things.

I think the scripts
are probably better in Italian

than they are in English

because, to me, you have to say
some pretty awful lines.

But he just -- he just relied
on us to come out

with a good way of sort of
saying them to convince people.

But other than that,

he had nothing
whatsoever to do with us.

He never gave us any direction.
There was never any criticism.

You just sort of turned up,
did it, and...

Did he ever scream at you?
He was known as a screamer.

No, he --
Richard Johnson --

I wasn't there.
Richard Johnson tells the story

that the beautiful Auretta Gay,

who wasn't an actress,
as you know.

She was a sort of model.

He sort of bullied her
'cause he decided --

instead of using
the sort of carrot,

he was using a stick.

So he bullied her
pretty unfairly.

And Richard said that,
at one time,

he saw Fulci after a scene
with Auretta

throw himself on the ground

and start picking --
picking up,

gouging up some earth,
stuffing it in his mouth,

and eating it.

And Richard said,
"Why are you doing that?"

and he said,

"Because if I don't eat this,
I'm going to eat her."

So he could do that
when he wanted to.

Oh, my God.

He was especially hard
on women, in general, right?

Ian: He obviously loves
his daughters.

I don't think he had
the happiest of relationships

with the opposite sex,
I'm afraid.

All right.

Who suffered
in various films as a result.

All right.
Now, the part was written

as an American
intrepid reporter.

But you -- you had concerns
about your accent.

Yes. It was crap.

[Laughter]

You didn't think you could do
an American accent?

I cannot -- I mean,
I find it pretty difficult

just to do a Scottish accent.[Laughter]

-Okay?
-I mean, obviously, in

"Where Eagles Dare,"
playing a German officer,

my children are convinced

that I'm doing it
with a Scottish accent,

although it's my
very best German accent.

No, accents aren't my forte,
I'm afraid, so...

But you are a Scot
from Glasgow.

I am from Clydebank
in Glasgow, yeah.

The only thing I know
about the Glaswegian accent

is from "Trainspotting,"

which was the only
English-language film

that required English subtitles
when released in America.

Just so thick. I mean,
they're incomprehensible.

Oh, okay.

As you say,
they need subtitles.

Right. At the time
this movie was made, though,

you were a heartthrob
across Europe, right?

Because you had that,
um...

you had --
you would get mobbed

in the streets
by the girls, right?

I -- Well, I've never been
mobbed in England in my life.

Not in England,
but everywhere else.

Sadly.

As nicely --
nice the way you put it,

but, in fact, I seemed
to attract the attention

of 12-and-under...

Oh.

...or 60 and over.

However, I was --

I was never mobbed in England,

but I was in the Vatican,
going through that.

And there was a group
of about 60 girls

that were about 12-ish.

And they suddenly saw me
and started moving towards me.

And I panicked, and I ran out
as fast as I could.

Really?

And the same thing happened
in a place called Latina,

on location.

I was on the beach, thinking,
"I'll enjoy myself."

And suddenly,
there were these

young, young girls who saw me

and started
advancing towards me.

And I'm afraid, like a coward,
I ran away as fast as I could.

[Laughter]

But it's never happened
in England.

Really, mobbed in the Vatican
is one I've never heard before.

Uh, well, I don't think
anyone's ever moved as fast

as that in the Vatican, either.[Laughter]

So you're used to working
with polished BBC scripts,

and then you're handed
"Zombie,"

which I assume was a rough
English translation

of Dardano Sacchetti's
Italian script.

It was a 1940s
Hollywood movie,

second-rate, B-movie script.

[Laughter]

Which is why the cops
say, "Ahoy."

Yeah.
Well, perhaps they do.

But the other thing --
you asked the question,

I think you get money
if you take in a boat

that's -- that's drifting.

That's the reward
they were gonna get.

Even if you're a cop?
Even if you're a --

Yeah, yeah, yeah, yeah.

I was involved
in a mid-Channel --

cross-Channel crash on a yacht,

and we actually
lost one of our crew.

We were hit
by a big German tanker,

and we were drifting
for about 14 hours,

rescued by the lifeboat.

And they were all old men,

going out in ferocious,
ferocious storms.

And their only criticism was
that it was the Cup final day.

And they thought --
they were angry

with sailing people going out

when they wanted
to watch their football.

Oh, okay.
So...

But what they do, they get --
whatever the correct word is.

If they tow something in,

it's not called bounty
or booty or whatever,

but they get a percentage
of the value of the yacht.

So I think you're policeman
might get a payment here.

So even the cops could.

Well, now, did you
and Richard Johnson,

as the two distinguished
Brit actors,

he's also a Royal Shakespeare
Company alumnus.

Did you --
Did you trade notes?

Were you --
Were you close?

No, no, no, no.
I was in awe of him.

When I -- when I joined
the Royal Shakespeare Company,

he was the really,
really big star.

He's got fantastic looks,

a wonderful voice,
and a great, great actor.

So on stage,
I wanted to be exactly like him.

But Richard also
had another side,

which I also tried
very, very hard,

unsuccessfully,
mainly to emulate,

and that was that
he was involved

in probably a scandal
every weekend.

So you picked up
the Sunday papers

and there was
a picture of Richard

with another beautiful girl --
model, actress or whatever --

and he'd done something wrong.

I mean, he was very,
very much a sort of ladykiller.

And that seemed to be the ideal
existence of a classical actor

was to do sort of Shakespeare
during the day or the week

and have a really good time
at the weekend.

So he was he was -- he was
the party animal of London.

He was --
I idolized him.

I was really chuffed
to be in this film with him.

And he in this film, he could
just extemporize, as well.

I mean, it sounded --

Some of it will just sound
like Shakespeare.

It sounds great.

Dr. Menard is sort of

the most complex character
in the movie.

Yeah, yeah.

Now, Tisa Farrow.

Yes.

She made some interesting
acting choices.

Um...

I would call her performance
wide-eyed.

-Yes.
-Do you agree?

-Um...
Uh, I don't know whether

that's the right expression.

To me, she just
sort of did the job

and got off set
as quickly as she could.

Didn't want to be there.

But she may not have been
the only one sort of doing that.

We didn't really get on.
We didn't disagree,

but I just thought
she was very American,

and I was British.

She probably thought
I was sort of cold and reserved,

and I thought she was a bit
too sort of bright, breezy.

As characters, are the two
of you falling in love

in the course of the movie?
I wasn't quite sure.

Well, I asked someone
the other day, I just said,

"I did these three films,

and I've got
a sort-of girlfriend in each.

And I didn't remember
kissing one of them."

[Laughter]

-And somebody said --
-I think you kissed --

Well, that's --
You pointed it out.

I kiss her in that
little sort of boat,

but I have no recollection
of it whatsoever.

So you don't know
if you were falling in love?

Well, none of them.

I mean, "Contamination,"

I certainly didn't have
a relationship with the girl.

And I would like
to have had a relationship

with the girl
in "Zombie Holocaust"

'cause she was
a beautiful model.

And I would --
And I would love

to have had a relationship
with Auretta Gay,

whose life I saved on set.
But she didn't --

You saved
Auretta Gay's life?

Yeah. Well,
when they did that scene

that you talk about,
the shark scene,

there was a scene where on --

She's supposed to come up
to the surface,

having seen all
the nasty stuff and crying out,

"Help, help, help, help, help!"

And we were doing the scene.

I was on the boat
that he smashed into.

And I saw her, and I thought

she was getting
in terrible difficulties

and that the "Help, help, help"

had changed
to "Aiuto, aiuto, aiuto,"

which was close to Italian
for "Help, help, help."

So I dived in
very, very bravely.

And I picked her up
in my arms, and I held her.

Al Cliver dived in about
five minutes after me,

and we dragged her to the boat,
and off she got.

And she never thanked me.

-Really?
-No.

'Cause she said she was acting.

Oh, she said she wasn't
in any danger.

-Well, that's what she said.
-But she obviously was.

But she was supposed
to say, "Help, help, help,"

and I think she was
saying it in Italian.

So I think --
That's my story, anyway.

Okay. Okay.
Ian, stay with us.

We're gonna go back
to the movie right now.

But you guys don't even arrive
at the island of Matool

until after
the intermission.

It's a very
late-developing story,

for your part
of the movie.

Yes, I've seen the film once.

[Laughter]

I have to say,
listening to you now,

you sound more
like a, um...

you sound more like

upper-class British
than Glaswegian.

Can you do a Glaswegian accent
if you're asked to?

-N-N-No, is the answer.

[Laughter]

No, I've just been
sort of educated out of it.

Okay.
Fabio, can you play us out?

Can you play something
Glaswegian?

Mm...no.

No.

[Laughter]

♪♪

♪♪

♪♪

[Cheers and applause]

[Wind howling]

[Flies buzzing]

[Groaning]

He's over here,
Doctor.

[Flies buzzing]

Don't think he'll last
till the morning.

What shall I do?

[Groaning]

[Flies buzzing]

Take him into
the sacristy.

I don't want the others
to see him.

There's no need
to alarm them.

Tie him down securely.

Doctor! Doctor!

Doctor, everybody,
everybody leaving now.

Quiet, please.

Nurse, look after
that patient.

Doctor, the natives are
leaving the village.

Everybody go.
What do we do?

Talk about it outside.

♪♪

Well, what happened?I don't know.

In village, big trouble
and commotion.

It's the juju man,
the new one.

He's speaking plenty.

He seemed to be possessed
by all the devils in hell.

How ridiculous.

Doctor, the natives
are going crazy.

They run
all over village.

They pick up their possessions
and disappear.

Where did they go?

They going inland.

They're making voodoo,
I think.

Voodoo? Voodoo won't
solve anything.

Doctor, they afraid.

They very much
afraid, these people.

You too.

You're afraid,
aren't you, Lucas?

[Wind howling]

♪♪

♪♪

♪♪

[Heavy breathing]

♪♪

♪♪

♪♪

[Dog growling]

♪♪

[Dog yelps]

♪♪

♪♪

♪♪

[Shower stops]

[Rustling]

[Rustling]

[Sighs]

[Hissing]

[Creaking]

[Gasps]

[Gasps]

[Groans]

[Bones crunching]

[Thudding, crunching]

[Gasps]

[Thud]

[Gasps]

[Thudding]

[Gasps]

[Zombie growls]

[Screams]

[Gasps]

[Screams]

[Groans]

[Screams]

[Screams]

[Screaming]

[Screams]

[Heavy breathing]

[Wind howling]

This is all right, Brian.

Give her two or three
feet of slack

and then tie her off.

[Motor rumbling]

Doctor?
Dr. Menard.

What?

What's wrong?

Matthias.

Matthias?

Matthias what?

He's...he's...

What don't you say it?
Are you afraid to say it? Huh?

It's not that.
I don't believe in voodoo.

Oh, I don't believe
in voodoo either.

But the natives
around here do so...

So we investigate
the phenomena, right?

I've seen them.
You've seen them.

Now, Matthias,
he's one of them, see?

Yeah.

Well, you have
to help him.

We have to
try to help him.

So we go to the hospital.
Come on.

The drive shaft's
cracked.

It must have been the shark
when he hit us.

Is it serious?

Well, we have
two possibilities.

Either we go ashore and walk
around until we come to

the local repair shop, or...

Or?

Or we remain here,
fire off a few flares...

and hope that somebody
will come and help us.

We'll have a tough time
making it to the next island

if we don't get
that shaft fixed.

♪♪

♪♪

Poor Matthias.

♪♪

[Gunshot]

[Flare whistling]

[Insects buzzing]

[Drumming in distance]

[Natives chanting in distance]

Let's go.

[Gunshot]

[Whistling]

[Drumming, chanting continues]

Doctor. Doctor.

What is it, Lucas?Rockets.

There's somebody
firing rockets.

Rockets?I seen them, man.

Do you know
where they come from?

Yes. They're coming
from Catfish Bay.

I'd better go
and investigate.

Take care of him
for me, Nurse.

Who is it? The devil?

We'll know soon enough.
Come on.

Let's get this
over with.

[Drumming, chanting continues]

[Drumming, chanting
grows louder]

Bury them now, missy?

No, not yet.

There are two more
who are going to die soon.

Woman: Help me.

[Sobbing]

[Muttering]

[Man groans]

[Muttering]

[Speaking Spanish]

[Gasps]

Manuel!

[Speaking Spanish]

I buried you.
But I see you walking.

[Sobs]

[Static crackles]

[Cheers and applause]

Okay.
That ramshackle wooden church

converted into a hospital,

I know they built
that for the movie.

Italians can build anything
and build it really fast.

Joe D'Amato used to order
sets in the morning,

and he'd be shooting
on them in the afternoon.

But anyway, they built that set,

and then it looked
a little too perfect.

And so they threw a bunch
of dirt and mud all over it,

and it still looked too good.

It was just too new.

And so they ordered a bulldozer
and they told the guy,

"Push on the frame."

[Laughter]

And they stopped him just before
it was about to topple over.

And they said, "There, that
looks like flimsy, third world,

makeshift, mission church
zombie hospital."

And they always had
great crew in these movies.

Ian, you would know.

Was that church hospital,
was that in Italy,

or was that
in the Dominican Republic?

No, that was in Italy.

It's the same place
that they filmed "Cleopatra."

Oh, really?

It was an area
of the Pontine marshes

that Mussolini had got drained
during the Depression.

Okay.So they filmed big scenes

with Taylor and Burton there
in a place called Latina.

But they just
sort of overused it.

I mean, it looks more
like the Caribbean

than the Caribbean anyway.

That's right.

So the eye scene
that we just --

we have to talk
about the eye scene.

One of the most famous
suspense sequences,

actually, in horror.

But it ends in that
moment where you go,

"Is he going to go there?
Because he won't go there.

They're gonna to cut away.
Oh, no, he's going there."

And damn, he went there.

As that giant splinter
goes through the eye

of Olga Karlatos.

And in Italy,

they always have
an intermission.

In every film, no matter
how long or short the film is,

they always have
an intermission.

So they put the eye penetration
scene right before

the intermission to give people
something to talk about

while they were buying
the popcorn.

So that's the work
of Giannetto De Rossi,

the fabled Italian
special effects master.

So, Ian, you're acting
in all of these scenes

where it's always
a foursome scene.

You and Tisa Farrow
are a couple.

Al Cliver and Auretta Gay
are a couple.

And I guess
they're speaking Italian

and you're speaking
English?

I think Olga Karlatos
is the only one who spoke Greek.

Olga Karlatos
spoke Greek?

Auretta spoke Italian.
Yeah.

And everybody spoke
Italian except you?

Al's pretty good
with sort of English.

So you had English,
Italian, and Greek.

All involved in the same scene,
but not at the same time

because we obviously weren't
there when Olga

was doing
her sort of stuff.

Okay, and so were you
sometimes saying English lines

and someone was responding
in Italian lines?

Not for me.
No, I escaped all that

Oh, okay.I felt lost enough already.

So if they'd done that,
I'd have been totally lost.

Okay. Because they dub
everything in Italy.

It doesn't matter whether --
they even dub Italian,

they dub Italian actors
for Italian actors.

So they're the country
of dubbing.

So Al Cleaver actually told
a heartbreaking story

about he went to a fan
convention in Cleveland,

and they were
honoring "Zombie."

I think it was the 30th
anniversary. Were you --

I think I was there.Were you there, too?

Al said that
the affection for the film

made him stop being ashamed
of being an actor

because I guess his family
had denigrated

the films that he was in
when he was a young man,

and he felt like he could
stand up to his wife

and say what he did
was worthwhile.

So I'm not getting
the words exactly right,

but it was something
to that effect.

But I want to ask you, Ian,
when these films came out,

they were despised by
the cultural establishment

and the high Brahmins
of art,

and you made at least
three of them

that ended up
on the "Video Nasty" list.

And yet you were on both sides
of the cultural divide

because you liked Fulci

and you also liked
the Shakespeareans.

So how was that for you back
in London or Glasgow?

Well, I have to say,
the money and the locations

were the great attraction
about doing this movie

in the first place.

But when we'd sort of done it,

and you talked about
the Video Nasties,

we met my wife's uncle
in London,

and he looked really unhappy.

And he was a member
of the House of Lords.

And he looked really unhappy.

And I said, "What's the matter,
Uncle Martin?

You're not looking too good."

And he said,
"Well, I've got something

really horrible to do today."

And I said,
"Well, what is it?"

He said, "Well,
the Metropolitan Police

have put together a selection
of about 50 films

which we think they ought to ban
for being blasphemous

or vicious or too bloody,

and we're not looking
forward to it."

And I said, "Well, that's great
because you'll see me

because I'm in three of them."

[Laughter]

And he gave me,
I don't know what the look was,

whether it was disdain,
hate, horror, whatever.

He just looked at me and said,
"Ian, how could you?"

[Laughter]So I had to balance that.

That's the other side of it.

But it is just sort of magical

because I say, I went to
see it in Edinburgh,

and I didn't want
to watch the film again.

So I was backstage,
and I just sort of listened,

waiting for gasps of horror.

And it was
a full sort of cinema.

And what I heard sort of relates
to the comedy side of the film,

was instead of the gasps
and horrors, I heard applause,

laughter, cheering.

And they joined in
with the script.

I mean, not just, you know,
"The boat can leave now,

tell the crew."Right.

They joined in, whatever
they knew, they sort of joined.

And I had no idea that anything
like that could happen.

And it was a revelation,

the sort of fondness
that people have.

And I meet people who've
got about eight copies of it,

and every time
a new one comes out,

whether it's at a laser
or a 4K or whatever,

they just add
to their collection.

I mean, it's had
an amazing life.

I think certainly
with the horror crowd,

it is one of
the most popular

horror films
made ever.

Yeah.
Ever.

Were you an "I want to do
my own stunts" kind of guy?

I was when I started out.

But then I realized that,
from an insurance point of view,

you actually sort of
can't do it.

And at the end of the day,
if you get hurt, as well,

then it's not worth it.

Did you do all the stunts
in this movie?

The stunts are just
sort of killing people,

really, isn't it?

The stunt I was most pleased of
was when I was in New York,

I bought a Bjorn Borg
tennis racket, a walkie talkie,

and the camera that took some
pictures of one of the scenes.

And when they were doing
the water scene,

they were shouting from
the shore 100 yards out to sea

with the instructions,
and no one could hear anything.

And I said, Well, I've got a
walkie talkie in my hotel room.

And they said,
"Well, can you go and get it?"

So I got it,
wrapped it up in a plastic bag.

And this is my one stunt.

I swam 100 yards out to sea

and then gave them
the walkie talkie,

and they could
continue the scene.

But that's the most effort
I made in the entire film.

Okay, well, you do
shoot a lot of zombies.

Yeah, but that's
just bang, bang.

[Laughter]

All right,
well, stick around.

We got lots more
zombie killing to come.

But in the meantime,
I wanted to bring out

the world's biggest
"Zombie" fan,

a woman that I have known
for a while now.

The Queen of San Francisco
drag, a film director

in her own right,

if you've seen her movie
"All About Evil."

And she actually recreates
films like "Zombie"

on stage at the famous
Castro Theatre.

So please welcome
Peaches Christ!

[Cheers and applause]

-Yeah!
-Uh...

-What? Joshua?
-Hi.

What?

Well, we have a problem.

Joshua Grannel,
everybody.

[Applause]

This is the director
of "All About Evil"

and the manager
of Peaches.

You're the manager
of Peaches Christ, right?

Where is Peaches,
Joshua?

Well, Peaches had
a personal crisis.

She didn't leave. She's still
here in her trailer.

Is she sick?
What's wrong?

Well, she was upset about
the size of her wardrobe closet.

Some of her costumes
got crushed.

Are you telling me
that Peaches

is pissed off
in her trailer?

Yeah, and the eyeliner
that she specifically requested

when she left San Francisco,
well, it wasn't provided.

We sent somebody to CVS
to get some eyeliner. I know --

Exactly. She does not
use drugstore eyeliner.

Okay?Joshua, you promised

Peaches Christ.

We are waiting on
Peaches Christ.

Okay, I think maybe
if you baby talk her

a little bit,
she'll stop crying.

Joshua, you've known
Peaches for how long?

Well, she was in my senior
thesis film back at Penn State.

Yeah, "Jizz Mopper:
A Love Story."

I remember that.

So you've known Peaches for,
what, 25 years?

Oh, at least.
I mean, you know,

we've been producing
"Midnight Mass" together

since 1998.

And that's the movie event
you stage

at the Castro Theatre,
classic camp movies.

And then you
directed her in --

You directed
"All About Evil", right?

Yes.What year was that?

2010.2010.

Well, did she refuse
to come out of her trailer

when you were directing
"All About Evil"?

Oh, God. Many times.

Then you know
how to work with her.

So get her out here.

We'll use her
in the second movie.

She's a pro, right?

She's a bitch.

But, yes, yes, she's a pro.
She's a pro bitch.

Okay. All right.
Well, get her out here.

Just get her out here. I'll talk
to her between segments.

Okay, thanks.
That would help a lot.

Really, seriously.
Because, well, she loves you.

That trailer was
not cheap, Joshua.

Well, she says
the wardrobe closet is small.

It's a trailer!
Okay?

Okay. Message received.

All right, go.
Go get her now.

All right, let's get
back to the movie.

And, Darcy, can you
go to Peaches' trailer

and share some eyeliner
with her?

On it, boss.Because you probably

have eyeliner
that costs 900 bucks, right?

You're not far off.

All right.
Good. Done.

All right, Fabio,
play us some

"wood through the eyeball" music
to get us back on track.

♪♪

♪♪

♪♪

[Applause]

[Static crackles]

[Drumming]

Menard: I met your father about
three years ago

when he first came out
to these islands.

Whenever he could,
he would come and stay for

a few weeks here with me
on Matool.

When he...

became a victim of the disease,

he insisted upon staying,

in spite of everything
I said to him.

I insisted that he should leave,
but he wouldn't.

He felt that he could, in some
way, become a guinea pig.

That he could help in
discovering

what was causing the horrors
that were destroying our island,

transforming it
into a wasteland of terror.

Extremely courageous man.

I remember the day when my
assistant came to tell me

that your father was dying.

[Footsteps approaching]

Doctor, your friend.
Quickly.

[Labored breathing]

[Footsteps approaching]

[Insects buzzing]

David, closer.

Finished.

I feel I'm about to die.

I've had a good life.

But I never thought
it would end this way.

But I've got two things to ask.
Listen carefully.

They're very important,
my friend.

I've written to
my dear child.

And the letter,
see that it gets to her.

And make sure that --
[Wheezes]

My soul rests
in everlasting peace.

[Wheezing]

Menard: I spent the day watching
over his body.

But I knew that eventually
I would have to find the courage

to release him.

♪♪

♪♪

♪♪

♪♪

♪♪

[Gasps]

♪♪

♪♪

♪♪

[Gunshot]

[Sighs]

[Body thuds]

The boat can leave now.

Tell the crew.

[Squawking]

[Drumming]

What exactly did my father
die of, Dr. Menard?

And the boat's crew?
What happened to them?

Yes, Doctor.

What is all this about the dead
coming back to life again

and having to be killed
a second time?

I mean, what the hell's
going on here?

You ever heard
of voodoo?

Voodoo? Doctor,
you got to be joking.

That's kid's stuff.

I mean, voodoo is just plain
superstitious horse shit.

Basically, it's a mixture
of two religions.

One, Catholicism,
brought here by

the Spanish conquistadores,

and two,
African tribal rites

that were brought here
by the slave trade.

Well, whatever it is, it makes
the dead stand up and walk.

I've seen it
with my own eyes.

That's impossible.

I know it's impossible!

It's happening.
I've seen it.

The natives say it's
something to do with voodoo.

Some evil witch doctor
who creates these zombies.

But I'm sure there's
a natural explanation.

And I'm determined
to find it.

[Drumming continues]

Doctor.

Doctor, something's
happened to Mr. Fritz.

Oh, what happened
to him?

No one told me.

Missy, she take a look.

Go inside.

Bad news?

Oh. Fritz,
a friend of mine,

who happens to be the only other
white man on the island,

he's -- he's
had an accident.

Oh, we've got him
at the hospital.

I'm sure he'll
be all right.

Well, is there anything
that we can do?

No, no. Thank you.

Uh, well -- well, yes.

My wife's alone at the --
at the cottage.

We've only got our manservant
to look after her.

And I'd be very grateful
if you'd call on her.

It's only seven or eight miles
up the trail.

You can't miss it.

Well, I'll see you later.

[Wind Howling]

[Engine starts]

[Groaning]

[Insects buzzing]

[Groaning continues]

Doctor, I thought it
was more advisable

to bring him here.

[Groaning]

You did right.

What happened to
your arm, Fritz?

One of the living dead.

[Chuckles] Too late.

I saw it too late.

Where?
Where did you see this?

[Groans]
In the village.

[Groans] I saw it.

Oh. Oh, my God.

In this village?

Ja.

Tell Lucas to lock
all the doors.

It's no use.

It's a waste of time
to lock the doors.

They'll be here soon

to destroy us all.

[Wind howling]

♪♪

♪♪

♪♪

Susan: We must have
driven eight miles by now.

Yes, more than that.

Why don't we just
take a chance

and sail for
the nearest place

where we know
there's a shipyard.

After we've seen
the doctor's wife.

Look, Peter.
Is that it?

♪♪

♪♪

[Whistles]

Nice layout.

Ah, the doctor's doing
all right by the look of it.

Yeah, but there's
something fishy about him.

♪♪

[Knocking]

[Knocking]

Mrs. Menard!

Mrs. Menard?

It doesn't seem
like anybody's at home.

What do we do now?

Might as well go inside.

Is there anybody here?

[Screams]

Oh.

♪♪

♪♪

♪♪

♪♪

♪♪

[Whimpering]

[Zombie growls]

Aah!

♪♪

♪♪

[Gasps]

♪♪

[Grunts]

Come on! Come on!Get out of here!

Come on!

Peter: Brian, you drive!

Quick, Brian! Hurry!

Get us out of here, please!
Get us out!

[Engine revs]

My God! Did my father
become one of those?

No, he didn't, Anne.
You heard the doctor.

Let's just find that hospital
and get the hell out of here

as quickly as we can.

[Wind howling]

[Sighs]

[Gunshot]

[Sighs]

Hey, look out!

[Tires squeal]

[Gasps]

[Groaning]

Damn it.

[Clanking]

[Steam hissing]

The radiator's had it.

Yeah, well, I think my ankle
has gone the same way.

Great. We're gonna
have to walk now.

You think you can make it?

We don't have
much choice, do we?

Well, come on. Let's get
to that hospital before dark.

[Drumming in distance]

[Natives chanting in distance]

Drums.

Getting closer.

I hate it!

Damn you, you bastards!

[Panting]
I can't take it!

[Sobbing]

-Come on.
-They're laying

a little voodoo on us.

It's got a sound
all of its own.

Yes. Well, anyway,
let's hurry up.

It's gonna
be dark soon.

[Drumming, chanting continues]

[Drumming continues in distance]

[Wind howling]

Lucas?

You know what is
the cause of all this?

Is it voodoo?

Lucas not know
nothing, man.

The father of my father
always say

when the earth
spit out the dead,

they will come back to suck
the blood from the living.

That's nonsense.

That's just a stupid
superstition.

Yes, you are right,
Doctor.

You know many more
things than Lucas.

I don't believe
that voodoo can bring

the dead back to life.

And Lucas not believe

that the dead be dead.

[Drumming continues in distance]

No, it's no good.
I-I can't go any further.

I've got to rest up
for a bit.

Okay, Peter. We'll take
a quick five here.

We've got to be close
to that damn hospital now.

Look, why don't you
two rest here,

and we'll take a look
up ahead, right?

[Grunts]

[Birds chirping]

Hey, how about this?

What is it?
It's a helmet.

It must be all of
400 years old.

[Drumming intensifies]

[Chanting continues]

This must have been
a cemetery

for the Spanish
conquistadores.

[Sighs]
Thanks.

I'm sorry I dragged you
into all this.

It's my father we came
looking for, isn't it?

You know, when we get
back to New York --

Unh-unh. You don't have
to say anything now.

It's just...

I'm so scared we're not gonna
make it off this island.

[Low growl]

♪♪

♪♪

♪♪

[Screams]

[Grunting]

[Bones cracking]

[Screaming continues]

[Growling]

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

[Screaming]

[Gurgling]

♪♪

♪♪

[Grunts]

Susan.

Susan.

Susan.

[Grunts]

Come on. Let's go,
before it's too late.

We can't leave her here
all alone.

She's dead.

Brian, don't you understand?
She's dead.

Look, there's nothing
that you can do here.

Come on, man. Let's go.

♪♪

♪♪

[Low growling]

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

[Wind howling]

♪♪

♪♪

[Groans]Brian!

It's no good. I can't --

You can't stay here.

Leave me here.Come on. Get up.

Oh, no!
They're coming.

Save yourselves.
just leave me.

Get up!Man, you can make it.

Ohh.

Come on.
I've got you.

That the church?

The doctor's hospital!

We've done it!

Come on, man.
Come on, Peter.

We've done it.

[Insects buzzing]

He's fading rapidly.

Shall I continue
with the transfusion?

No, it's useless.

He's gonna die anyway.

[Pounding]Brian: Dr. Menard!

Anne: They're right behind us!
Open the door!

[Pounding continues]

Brian: Come on, Doctor!
Open the damn door!

Anne: Doctor, open up!

Brian: Dr. Menard!
For Christ's sake!

[Pounding]

What took you so long?Oh, thank God!

Out there, they're
coming back to life.

They're everywhere!

[Static crackles]

[Cheers and applause]

♪♪

♪♪

[Applause]

Fabio, is that the main
"Zombie" theme?

This is
my"Zombie" theme.

[Applause]

All right, well, you know,
for my money,

everybody talks about that
eye scene as being the most

horrible scene in the movie.

But the more disturbing scene
to me is when they

rip out Susan's throat.

That image goes on forever.
It has arterial spray.

It's just gross.

The eye thing, they always say,

"Not since Luis Bunuel sliced
the eye in 'Un Chien Andalou'."

Has anybody seen
"Un Chien Andalou"?

It's some kind of Salvador Dali
surrealist BS from the '20s.

Anyway, one thing
I'm sure of, though,

is Lucio Fulci had seen
"Un Chien Andalou" because

there is virtually nothing in
a Lucio Fulci movie that hasn't

already been in
some other movie.

So here's my theory about Fulci,

and it's unlike the prevailing
theory about Fulci.

He's not an auteur.
He's a great manager.

He finds the absolute best guy
for each specialty.

Like Sergio Salvati
is his cinematographer.

He uses Dardano Sacchetti,
and he also uses

Ernesto Gastaldi, the other
great screenwriter of the era.

His make up effects guy
is Giannetto De Rossi.

His editor was always
Vincenzo Tomassi.

Even his set builders were guys
who worked for him movie

after movie after movie.

And so he had this team,

and he was the evil
overlord of the team.

He was not the best writer,
but he hired the best writers.

He was not any good at makeup,
but he hired the best guy.

And then he would make them
do things

that they had never done before.

He would charge them up,
like at the end of this movie,

which I won't
give away in advance.

Also, people forget this,
but during the time

we're talking about,
horror was a producer's game.

Fabrizio De Angelis is the guy
who raised the money for this,

and the way he raised
the money was to say,

"We're going to call it
'Zombi 2' to take advantage

of George Romero's 'Zombi 1.'"

Romero had a deal with
Dario Argento.

Argento would release
the Italian version of

"Dawn of the Dead."

And so the Italian version
came out eight months

before the American version.

So "Zombi 2", the movie
we're watching tonight,

was already in production before

"Dawn of the Dead"
came out in America.

There was actually a lawsuit
to stop them from calling it

"Zombi 2",
but Romero lost the lawsuit

because nobody can copyright
the word "zombie."

All right,
Ian, you've done

a lot of famous roles
in your career.

Are you proud
of this particular movie?

No.

[Laughter]No?

No. I had a wonderful
time doing it.

I'm always rather embarrassed
about it,

but I appreciate the fact
that people love it.

I mean, you just can't
get away from that.

It is a remarkable film

that people all over
the world just take to.

And it's mostly because
of the skill

of Fulci putting all
the elements together.

It's exactly what you said,
the cinematography.

It's a beautifully made movie,
and it's made beautiful

by all those people that
you've just sort of mentioned.

Was Lucio Fulci --

Would you call him
a great artist?

No, I'd call him
a great professional.

I mean, before
I did the film,

there wasn't
sort of the Internet,

so I didn't know
what he'd done.

But when you look up
what he's done,

his sort of background,
his training,

he trained with the sort of
best Italian film directors

that have ever been.

And I should have had,
I think, a little more respect

for him as a filmmaker
than I did when I did.

I just thought he
did crappy films,

westerns and thrillers.

But I think he was
a remarkable director.

And in this, somehow or other,
he got together, you know,

the warp and weft of a film.

What makes it work,
I mean, apart from all these

brilliant men that you've
talked about,

I don't know what it is,
but it's one of those things

they say, that if you can,

you know, get the essence
of it and bottle it,

then you're going to make
millions and millions of pounds.

That's what he's got
in this film.

One of the problems
I think Lucio Fulci had is that

when people met
him in person,

they were not
impressed by him.

You were showing me
some pictures that you took

while you were
on the set.

And Lucio always had a pipe
that he smoked upside down.

He did, yeah.And it caused a lot --

Dribbled, yeah

He would set his T-shirt
on fire and things like that.

He didn't have a great presence
as a director, would you say?

He was a very unprepossessing
sort of guy.

This is -- these photographs
are from an article

I wrote and I say --

Austin, can
you show these?

Okay.

I sort of took them
by the tiny little camera,

which sort of got lost as soon
as I'd taken these pictures.

These are
behind the scenes photos

on "Zombie"
that you took?

I just happened to be there
with the camera there ready.

We were in
the Dominican Republic,

staying in
a beautiful sort of resort.

And they had originally
intended to live

in a sort of Club Méditerranée
type place

where you sort of pay
for everything with shells.

But when the Italian crew
got there,

there were geckos
running around,

and there were especially
geckos in the pan of the loos,

and that terrified them.

Oh, those giant
iguana things?

The thought of a gecko
disappearing up

their bottoms
wasn't to their liking.

So they moved us
from that into

this sort of
wonderful resort.

But this was
sort of on the sea,

and this first one
was you can see

the people in it,
the cameraman and assistant.

And there with a hat on,
a Jacques Tati hat,

is our great hero.

And they were waiting
for the boat to come in

to take them out to sea
so that they could picture

the shot that they were
going to get from there.

And so that second shot
is them out in the boat.

And you can see they're all
gesticulating like mad,

whether they're pointing out
where Italy is,

where the sun is,
where the horizon is,

I've got no idea, because
I think when you look at

the next picture, they're going
in the opposite direction.

And in the next picture --

They don't know
where they're going?

This is it.

This great
transatlantic sailor

decides that he is going
to take the helm.

So he grabs --

Lucio, considers himself
a great sailor,

Christopher Columbus
of films.

[Laughter]

He decides to he's gonna
show all these others

how you should do it,
how a real pro should do it.

So he took the boat,
they did the scene,

and then they came back
to where we were

all sitting on the big boat
and where I had the camera.

And he came in, this great
sailor, at full speed.

He couldn't stop it.

He didn't, couldn't or wouldn't
move it from side to side.

And he bashed into
the side with a great clunk.

And a big hole.

I mean, a big hole
appeared in the side.

And magically, because
magically it is there.

You can see them.

The cameraman and his assistant
are looking away.

This guy's got a huge grin
on his face,

as if he thinks
it's a big joke.

And he just looks like
a poor little soul

who's just been caught.That's Lucio.

Lucio there.
"I didn't do it."

"I didn't do it."

And then the last two,
you can see on the jetty

that we're walking away
as fast as we can.

Well, Al Cliver, and Tisa
are walking away

as fast as they can because they
don't want to get involved

in what they know
is going to happen.

And so he marches down,

still with his pipe,
to blame everyone in sight,

anyone near that boat,

that it was his fault
that the boat was there.

The boat shouldn't
have been there.

It wasn't a case of him
steering the thing properly.

The boat shouldn't
have been there.

This huge boat.

Okay, so Lucio Fulci was
a hard man to love.

If I had to sum up
the Lucio Fulci philosophy,

though, what you see
in his films,

and I think this is what makes
him so popular with horror fans,

it would be death
is certain in his movies.

Death is certain.

Good intentions don't matter,
noble goals don't matter.

Everyone and everything
will be destroyed

by the end of the movie.

And so it's kind of a cinema
of brutality and hopelessness.

There's a certain kind of
like purity to that.

So our next guest is someone

that I invited
to join us tonight

because he's the most
evil person I know.

You know, he delights in evil.

Everybody, please welcome
the AEW Wrestling star

Danhausen!

[Cheers and applause]

Hey-o!

Yeah. Hey!

How are you?

Very good. Very good.

Welcome.Yes, hello.

Hello. Yes.

Welcome to "Good Night Hausen
with Danhausen?

That's right.
They finally gave Danhausen

his own late night talk show.

Isn't it wonderful?

Uh...Danhausen.
Danhausen?

It's not the Danhausen show.
Sit over here.

They got the name
right here.

Here you go. Sit right here.
Sit right here. Sit right here.

Oh, okay.Yeah. Sit here.

-Hello.
-Danhausen.

-Yes.
-I have some questions for you.

Oh, okay.You're very evil.

That's true.
All right.

You have brought evil
into professional wrestling.

Oh, yes.
I'm the originator of evil.

Yes. Mind control.

Take over the airwaves,
whether it be

a television, radio,
Internet, all those things.

Supernatural, laser power
shooting out

of your fingernails.

That's the curse. Yes.Okay.

Now, many pro wrestlers
from the old school

say that you don't
belong in wrestling.

Ah, it's because I retired
all of them.

They're very angry about that.
They're retired.

It's a whole list of them.

What, because
you've defeated them?

Yes, I defeated them,
I sent them packing.

Now they sit at home and they
don't make money like Danhausen.

Okay, now, when you
take off your robes,

your evil robes
in the ring,

is that Satan
on your chest?

What is that
on your chest?

Oh, it's a good friend
of Danhausen.

I don't know.

[Laughter]

All right.

Tell him.I'll tell him later.

All right, well, we're
watching "Zombie" tonight,

and this is the movie where
death takes over the world.

Oh, that's wonderful.

Would you have any advice
if we got into a situation like?

With zombies
taking over?

Yeah, with zombies
taking over the world.

Well, I did see
this film once.

It's very good.
It's terrifying.

Where they set traps
when people are trying to

invade their home,
and he puts cars on the floor.

He puts, what is it,
ornaments from Christmas trees.

I think that would be a good way
to prevent the zombies

from breaking
into your home.

Yeah, I don't think we're
talking about the same movie.

I think that's
a different movie.

But, oh, and by the way,
do you ever notice

Darcy the Mail Girl
at the AEW matches?

She often sits
on the first row.

Great fan housing.

Okay.
Because she likes evil.

Yes.Don't you, Darcy?

Yes, I do.

Good friends with
all the evil people there.

All the evil people.

So the two of you were
kind of made for each other.

Ah!
Evil!

Partners.
Whoo!

All right.

What are you --
let me ask you this.

What do you think of people
like Lucio Fulci,

who, they yell a lot in their
attempts to create evil?

Because you're known for --
you're known for delivering evil

in a nice way.

Well, yes, I like to create
a list of demands

and make people do things
by threatening

to curse them and such.

Like the time you forced
CM Punk, I have to say,

it's one of the funniest YouTube
videos I've ever watched.

It's so good.I don't mean to be

laughing at you, but you
forced CM Punk to buy you

some vintage comic books.

Oh, yes, he owes Danhausen
many a moneys.

So I took him around,
and I said,

"You must buy Danhausen..."

What was it? The first
appearance of Wolverine.

We couldn't find
the first appearance

of the Spider-Man's,
but pretty close.

And he did buy it.

He did. Now Danhausen
has all of them.

He's got the first appearance
of Punisher.

He did not get me Dr. Doom,
but I got Galactus.

That was good.
He's very evil.

All right, well, we're going
to release the zombies now.

Oh?

In the 1979
Italian classic "Zombie".

So, you have anything
you'd like to curse before

we we go back
to the "Zombie"?

Oh, yes. I suppose we shall
keep it simple.

Love that Danhausen
or be cursed!

[Cheers and applause]

Did you just curse
our entire audience?

Not if they
love him.

But not if they love me.

All right.
Back to the movie.

Do you ever go to the --
do you ever like --

I've never seen you
out of makeup, so I'm sorry.

Maybe that's not makeup,
but do you ever

go to the drive up window
at McDonald's or anything?

Oh, yes. They've got
precious hamburgers there.

Yeah. What happens to them
if they get your order wrong?

Simple.
They're cursed.

Okay.

Ronald McDonald cursed.
Everybody else cursed.

All right, and by the way,
Ian McCulloch,

thank you for being
with us.

Thank you.

Fabio, can we have something
very nice and very evil

as we head for the thrilling
conclusion of "Zombie"?

♪♪

[Cheers and applause]

♪♪

♪♪

♪♪

[Applause]

[Static crackles]

[Wind howling]

[Banging]

[Insects buzzing]

[Buzzing continues]

[Groans]

What about my wife?

Thank you.

[Grunting]

What the hell are they,
Doctor?

I don't know.

[Insects buzzing]

It all started
about three months ago.

One of the fishermen
said he'd seen his wife

walking in the village
at night.

Only she'd been dead
for two days.

Well, at the time,
nobody believed the story.

[Chuckles] In these islands,
fantastic legends --

voodooism, zombies --

have been rife
for centuries.

[Wind howling]

[Drumming in distance]

[Natives chanting in distance]

Menard: As a man of science,
I don't believe in voodooism.

But the phenomenon
defies logical explanation.

I've attempted to apply
the disciplines of bacteriology,

virology, even of radiology.

We've performed tests,

epilepsy and for catalepsy.

[Sighs]
Nothing fits!

[Banging]

[Wind howling]

[Banging continues]

Will that hold them?
What do you think?

Not a chance.

How can we stop them?Here. Take this.

I've got another gun
in my office.

There's two -- two drums of
kerosene in the sacristy.

Right, Doc.

You two stay where you are.
Watch those windows.

[Banging continues]

[Wind howling]

Nurse, come with me.

We've got to get
some empty bottles.

All you can find.

[Zombies growling]

[Grunts]

[Wind howling]

[Screams]

[Screaming continues]

[Groans]

[Bones crunching]

♪♪

♪♪

♪♪

[Body thuds]

Dr. Menard?

Dr. Menard?

[Low growl]

[Screams]

[Flesh tearing]

[Groaning]

[Groaning continues]

[Whimpers]

♪♪

[Whimpers]

[Whimpering continues]

♪♪

[Screaming]

No!

No! No!

[Wood creaking]

Nurse: Oh.

Ohh!

No. No!

You bring some too.
Come on!

[Whimpers]

[Screams]

[Banging]

[Banging continues]

Go get some more bottles.

[Screams]

[Glass shatters]

♪♪

♪♪

[Gunshots]

♪♪

♪♪

♪♪

[Gunshots]

♪♪

♪♪

♪♪

♪♪

♪♪

[Gunshots]

♪♪

♪♪

[Gunshot]

♪♪

[Gunshots]

♪♪

Brian, two more.

♪♪

♪♪

[Gunshot]

Let's get out of here! Go!

♪♪

♪♪

♪♪

[Gasps]

♪♪

[Grunts]

[Grunts]

♪♪

[Gasps]

♪♪

♪♪

-[Screams]
-[Flesh tearing]

[Screaming]

Shoot her, West!

Shoot her!

What are you waiting for?!

♪♪

Come on, Brian.
Let's get to the boat.

[Explosion]

Can't we go
any faster?

The driveshaft
could go any second.

We'll make for
San Cristobal.

There's a yard there
that we can fix --

What is it?
Brian!

I feel so cold.
So cold.

[Shivers] I don't want
to become like...

Take me home, Peter.

Save me.

Save me.

[Shivering]

[Stammering]

Susan.

[Sobs]

[Gasping]

[Groaning]

He's dead.

What do we do now?

Lock him in the bilge.

Take him back with us
to the States.

Someone there
might be able to do something.

But we can't risk it.

You know what he
might turn into.

Well, I'll make sure
that he's safe.

We've got to take
him back with us.

He's the only proof we've got
that this all happened.

And we will need proof
unfortunately.

Otherwise, they'll just
think that we're crazy.

I don't care.

I feel dead myself.

Take the wheel.

Let's see if we can find
something more cheerful

on the radio.

Man on radio:
The latest news --

The situation here in
New York City since

the discovery of
the first zombie

is getting worse by the hour.

There's chaos in the streets.

The National Guard
cannot control the situation.

In every borough of the city,
from Brooklyn to Manhattan,

from Harlem to Queens,
the zombies are taking over.

The governor has declared
a state of national emergency

and has asked the president
for immediate assistance.

The zombies are everywhere.

There seems to be
no way to stop them.

The city is at their mercy.

[Rattling] According to latest reports

-from police headquarters --
-[Low growl]

The inhuman creatures are
gathering and seem to be
heading

towards Central Park.

Barricades have been thrown
up throughout Manhattan.

General Steiner of
the National Guard

says missiles will be
used if necessary.

I've just been
informed that zombies

have entered the building.

They're at the door!
They're coming in!

[Screaming]

[Car horns blaring]

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

[Static crackles]

[Cheers and applause]

And so we close on that final
image of the zombies

shuffling across
the Brooklyn Bridge

toward Manhattan as the traffic
races beneath them.

Legendary shot.

Not just because it's a great
image and a great ending,

but because Fulci
didn't have permission

to be on the Brooklyn Bridge,

much less be shooting
a movie there.

And let's start with that.
Why the Brooklyn Bridge?

If you're going to try
to avoid detection,

why not use
the Queensboro Bridge

or the Manhattan Bridge
or the Williamsburg Bridge?

But no, he had to shoot
on the Brooklyn Bridge.

So it's one thing
to steal an image

here and there without
asking permission.

But when they met the day
before they did this

and all of Fulci's people
on the crew told him,

"You're not going
to be able to do that.

It's going to take
too much time.

You have all those zombies
that have to be made up."

You know, you're talking
all the zombies

and the crew up on the bridge?

You're going to get arrested
before you even

turn on the camera.

That's just too much time
to be up there.

And Fulci goes true,

"True. Let's try it anyway."

And so they find some bums
on the street

and they offer them 40 bucks

if they'll agree
to be zombies for the day.

And they do all the makeup
on them in advance

at another location,
they put the zombies in a van

so that they can't be seen.

They have a couple of other vans
for the crew.

They go to the Brooklyn entrance
to the bridge,

and Fulci says, "Okay, go."

And they all jump
out of the vans.

He wanted one close up
and one long shot.

Well, they got
a lot more than that.

They just kept shooting
and shooting and shooting.

They got footage that looks like
it was planned for weeks,

but they were on
and off that bridge

before anybody noticed them.

The cars noticed, of course.

All the cars were honking,

you know, but they weren't
shooting sound on it,

so didn't matter.

Guerrilla filmmaking
at its finest.

Zombie was a huge hit worldwide.

The worm faced zombie
that rose up out of the grave

was used on the poster
with the famous tagline

"We are going to eat you."

And it's fair to say
that it revolutionized

the Italian film industry.

You know, we talked about this
when we were showing

"Black Sunday."

The Italians call
genre periods "Filoni".

It means vein,
like the veins in a goldmine.

You know, you work that filoni
until it plays out.

And so suddenly zombies
and brutal, fatalistic horror,

that's the new filoni.

They had gone
through successive periods

of sword and sandal movies,
gothic horror, westerns,

giallo thrillers,
comedies, police movies.

In fact, Lucio Fulci was
originally a comedy director.

That's what he was known for.

They went through
cannibal movies, of course.

But now "Zombie" changed
Lucio Fulci's career,

and that's pretty much all he
did for the rest of his life,

with very few exceptions.

In fact, Fabio, come on over.
Let's talk about -- yeah.

[Cheers and applause]Yeah!

Yeah, let's talk about Lucio
just a little bit before

we say goodbye.

Before we say
goodbye to "Zombie"...

Yeah....how many Fulci films

did you do?

A lot. 10 in my life.

10?
10.

10 Lucio Fulci films.

1975, 1990.

Oh, for 15 years,
you did Lucio Fulci films.

And the earliest one
was a spaghetti western, right?

It was
"I quattro dell'apocalisse"

with, uh...

Who starred in that?

Um...there was
Fabio Testi.

Oh, Fabio Testi.

There was Lynne Frederick.
Maybe you remember.

Okay.

And then there was
Michael Pollard.

Okay.The one of "Bonnie and Clyde."

All right. Was it a successful
spaghetti Western?

Mm.
Okay.

But is that
where you met Fulci?

Yeah, it was.

I was with my trio.

In that moment,
I had the trio.

Bixio Frizzi Tempera.

And our publisher told us.

It was also Tomas Milian
in that movie.

Tomas.
Okay.

And our publisher
told us

there is a beautiful
western to do.

Go and try to talk
with that man.

So we went.

It was a screening, you know,
for consolation.

I mean, it was --

Can tell you in Italian
because it's better for me?

Go ahead.
Go ahead, and I'll try

to follow along
in Italian.

[Speaking Italian]

And we tried,
and it went very well.

And from there,
from that moment,

Lucio was a friend,
and we started working with him.

And so you're saying
that a big part of it

was that he loved the song
"Knocking on Heaven's Door"?

Yeah.
And that made you

want to want
to work with him?

Yeah, because, you know,
you know, Italian,

Italian cinema,
you know very well.

When something goes well
in America,

in that time, they wanted
to do ones similar.

And "Pat Garrett
and Billy the Kid"

had the soundtrack
by Bob Dylan.

So the idea of
the producer was,

now we do
a similar soundtrack.

So he's saying,
"Do the Italian version

of Bob Dylan songs."If you want.

And that
appealed to you.

Yeah, and I can tell you that
I do it in concert.

I think now I sing by myself,
and people love it so much

because the inspiration
was there.

I was loving American music
since I was a kid.

So it was --
I cannot say easy.

But in a way,
it was easy.

Right.

Would you say
that working on "Zombie",

which I didn't know
until you told me tonight,

you had one week.

You had one week
to do the score.

To record.
To write, some more time.

But in studio, it was
usually three days to do

the basic whole
and all that.

And then three days to
do the other instruments.

Strings.

And then mix it.

So one week.

And are you doing all
the sounds?

I wrote everything,
and I had Maurizio Guarini

as a keyboard player.

Okay.And then Adriano Giordanella,

as you know
the percussion...

ba-do-ba-dum.

Okay.
All right.

And then a band for the other
the other tracks.

Right. How did it --
How did it work?

Did he -- did you show
the music to Fulci?

Did he reject very much
of what you did?

No.

He let you go along
with it.

He didn't have time.

[Laughs]

He had to
put the movie out.

Now, let's say that
with Lucio,

I don't know why,
but very rarely we had

some problems.

Obviously, he let me
see the movie.

We talked about --

You know, one thing
that maybe nobody told you,

but in particular,
for horror movies,

he knew what
people wanted.

He was sure to know
what people wanted to do.

He had an adjective
that he used,

Italian adjective.

I never said,
but he said

[Speaking Italian]

Means that he wanted to get in
the place of the head

where starts starts
the brain.

He wanted to get there,

and he was sure that
if he found,

if he could find.

That way, he had won.

The movie
was going to sell.

Yeah.
Right.

Just, one time on
"City of the Living Dead",

I used to put one song
that he did not know

on the beginning,
in the main title.

And he did not like at all,
and it was really a tragedy.

But afterwards we put

another another song,
another track.

So you were
yelled at by Lucio?

No.

I was absolutely afraid
in this moment.

Well, many people comment
on the fact

that Fulci's
images are brutal.

But they're often
juxtaposed with music

that you write for him,

which is kind of lilting
and optimistic.

Did you guys
ever talk about that?

Yeah, I think
that he loved this kind.

I mean, optimistic,
maybe it's too much.

But I must admit
that I love melody.

I love telling things
that happen here, not...

Right.

And I think that
it goes very well.

For example...
[Speaking Italian]

[Vocalizing melody]

Is something
quite classical.

But when you see
in "The Beyond"

the main themes,
it works a lot.

By the way,
was he musical himself?

Was Lucio Fulci
musical?

Yeah, yeah, Lucio was --

He had a great culture
in many, many, many directions.

You could talk to him,
speak to him about many things.

And he loved music.

He was friends with
great jazz, you know...

He was a jazz guy?

Yeah.
He loved so much.

And after he's dead,
I met again, Antonella.

His daughter?
His daughter.

And she told me,
"You cannot imagine how

my dad loved you
and your music."

But Lucio never told me.He would never tell you?

No, because I told you,

I think he was a little shy
or something.

But when she
told me like this.

It's like if a father tells
you something after.

He doesn't want
to give you too much.

Yeah.
Too much leverage.

Yeah, maybe he wanted to
not see himself too weak.

Too soft.
Yeah. Yeah.

All right, well,
we're getting ready to show

"The Beyond"...[Cheers and applause]

...which is quite a bit more
complicated musically, right?

Yes, it is.

You know, every musician,
every artist,

I think you know, as well,
when is young,

thinks to the perfect thing
he wants to do.

And in that situation, Lucio
believed in me quite a lot.

There was some money
so I could also have a small,

a medium orchestra.

And I tried to write my
first masterpiece, let's say.

And I was very, very
happy because my band,

Fabio Pignatelli from
Goblin, was at bass,

and I had always great
musicians, like my musicians.

I had always the chance
to have good people around me.

Because, you know,
a composer without

good musician is nothing.

Yeah, well,
it is one of your,

I guess one of your
most famous scores, right?

Yeah, absolutely.
Yeah.

And, okay, well,
we'll talk more later.

Okay.So thank you for being here.

Thank you
for inviting me.

We need you to play us off.

You're amazing.

-We need you to play us off.
-Okay.

-Go, huh?
-Yeah.

And we'll talk to you
in the second movie,

but thank you.

Darcy, you got some mail bag?

Or are we not doing mailbag?

I always have mailbag.

-Okay.
-Okay.

I was really moved
by the envelope on this letter.

The envelope? Oh.

Darcy: Look at it.
It's amazing.

Okay. Kind of a --
all right.

Kind of a collage thing.

It's from Sean Corcoran
of Peoria, Arizona.

Sean. Okay.

All right, "Dear Joe Bob."

Wow, there's a lot of
stuff going on here.

There's a lot of art.All right.

"Dear Joe Bob,
sorry for the over-share,

but in 2011, when I was 23,
I had a traumatic brain injury.

When I woke up in the hospital,
my older brother,

who I grew up
watching "MonsterVision" with,

helped me make sure I hadn't
lost cognitive function

or worse, my voluminous
knowledge of genre

and exploitation films
that I soaked up

from idolizing and aspiring
to be you for my first 13 years.

Luckily, I amazed doctors

by not only having retained
my memory with full recall

and the ability
to mentally still access

almost all of a massive
amount of information

and anecdotes that I inherited
from you, Joe Bob,

tons of your jokes."

I'm sorry.

It's like tons of my jokes?

"Even really long ones,
I could still remember them

more or less verbatim
off the top of my head.

"Last Drive-In" is really
the only thing I have had

for many years now that makes me
unfailingly happy and excited.

I had vision loss
significant enough

that I'm partially blind
and I can't drive,

so I haven't been able to go out
to our local drive in,

the Glendale 9 in Phoenix.

But as long as I have
"Last Drive In",

I don't even miss going out
and doing stuff Fridays

because I consider you and Darcy
my best and only true friends.

A situation that I'm more
than satisfied with."

So...

So thanks for being my best
friend, Joe Bob and Darcy."

And then he signed it here
in blood or something.

It's like he signed it
in red with a little heart.

Something that looks like blood.

Sean Corcoran,
Peoria, Arizona.

Sean, you need to record
all those jokes

and send them to me
because I could use them.

I don't remember those at all.
I have a terrible memory.

But we're very proud to be
your best friends, right, Darcy?

Of course.Yeah.

You don't even warn me.
You don't even --

You just nuke me
with these emotional letters.

We were just in Phoenix.

We didn't realize
Sean was right there.

We could have done a drop in.

What happened to the days when
the letters would be,

"Joe Bob, you ignorant moron.

You don't know
what you're talking about"?

What happened to those?I mean,

do you want some of those?Yeah!

I mean, yeah, it would
liven things up a little bit.

All right.
I got plenty of those.

Plenty?
Plenty.

You got
plenty of those?

Yes.
All right.

Maybe I don't want those.
All right.

How do you like
our talk show format?

I'm loving it.Really?

Yeah.You know, well,

it gets better in
the second half.

And you know why?

More guests, less of me
talking about the movie.

So, you know,
a lot of people

like "The Beyond" more
than they like "Zombie."

A lot of people
are wrong.

Because you love
"Zombie."

I mean, who doesn't?

Okay, well,
we should probably sign off.

Fabio has done
a "Zombie" march for us.

Can you play us
off with that?

This is Joe Bob Briggs
reminding you

that a bartender
is just a pharmacist

with a limited inventory,
and the drive in will never die.

You loved my zombie jokes in
the opening monologue.

Sure.You loved them, right?

Of course.

I have more.

I mean, that's okay.
We're good.

These are better.

They would
really have to be.

Um...

What do you call
a zombie sleep over?

A mass grave.

[Laughter]

What did you guys say
after killing nine zombies

and six vampires?

"I wonder why they were
carrying bags of candy."

[Laughter]

Okay.

What do Middle Eastern
zombies eat?

Bahrains.

[Laughter]

Hm. Yeah.

What is a zombie
call a penis?

Junk food.

[Laughter]

That's a good one.

What do zombies eat
to freshen their breath?

Men-tos.

[Groaning]

All right.Okay, I'm going to stop.

I mean, why now?

♪♪

What do zombies say when
somebody falls on the floor?

"Five second rule."

[Laughter]

[Laughs] Hi-oh!

[Laughter]

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

[Cheers and applause]

♪♪

[Static crackles]