Original subtitles

Reporter: The hunt for a killer continues

and Newton residents are on high alert

as a third body has been discovered.

once again without a head.

A jogger came across the decapitated torso

along the Charles River around 7 AM this morning.

Gardening shears were left alongside the body

an apparent calling card

all too familiar to investigators

And citizens alike.

Newton's Chief of Police, Karen Kingsolver

is urging the public to respect the temporary 8 PM curfew

And to report any strange behavior

You may witness

Holy shit!

Hey, we gotta clear this up, man.

All right, I'll just get out of your way.

Say, do you smell that?

Yeah, you guys, like, laid manure down here earlier, right?

No.

W-welcome to "The Core."

Man: This week on "The Core," "Saw" and "Insidious" creator

Leigh Whannell gives us the keys to effective jump scares.

Then immersive horror impresario Adrian Marcato

causes me to nearly soil myself.

Get those diapers ready, it's gonna be a jumpy one.

A jump scare turns the smartest person stupid,

turns them primal.

Our next guest knows that better than anybody.

Live or die... make your choice.

Today's guest is Leigh Whannell, creator of not one,

but two massive franchises -- "Saw" and "Insidious."

He's horror's multi-hyphen,

a writer/producer /actor/director/...

I don't know, he probably painted the sets.

In "Saw," he heightened our taste for viscera

while rooting it in human drama, and, Jesus, what a twist.

In "Insidious," he pulled a 180, taking it back the basics

with elegant horrifying exploration of the supernatural.

Leave this body now!

And at the core of these franchises,

electrifying shocks to the system

that send the audience out into the night,

taking with them undeniable physical evidence

that when it comes to visceral terror,

there's no match for Leigh Whannell.

So without further...

Guys, where is he?

Come on.

Mickey!Jesus!

Leigh Whannell, everybody.

The studio audience is quiet.

So how are you today, my friend?

Good. Very good.

How does one person manage not one,

but two insane franchises?

I don't know. If I knew the answer to that,

I'd probably use it, like an evil scientist, you know?

I'd keep replicating success.

But it really is just alchemy, the success of a film.

When you make a film, you work on it intensely,

and then you just release it.Mm-hmm.

And the world is either cruel and indifferent,

or receptive.

And you really don't have a say in what they think.

Jigsaw: Up until now, you've simply sat in the shadows,

watching others live out their lives.

When you're a kid in Australia making movies,

you know, going to film school,

did you ever anticipate the reaction of your first movie,

"Saw," to be so insane?

No. I mean, not in my wildest dreams.

When James Wan and I were sort of cooking up "Saw,"

we were trying to think of a movie

we could make for $20,000, if that,in a garage somewhere.

We thought we'd be carrying a DVD around

and saying to people, "Look at this movie we made.

If you like it, maybe you let us make another one."

And so, when you're writing something like "Saw,"

where it's contained, how do you come up

with ways to keep it all fresh

and keep the scares new and different?

It's hard. I mean, the lower the budget,

the more creative you have to be.

We knew we wouldn't have much money,

and we knew that film had to take place in one location.

We kind of reverse-engineered a story into those restrictions.

It forces you to be more creative

because you don't have the bells and whistles,

you don't have things.

You know, a movie star in your film

is an instant way to get someone's attention.

When you don't have that, you have to think of other things,

you have to kind of shout to be heard

in this blizzard of content.

And you've just gotta push yourself to come up

with something that people haven't seen before.

There's so many, like, brilliant,

kind of, real-world scares within "Saw."

You went around and did it

in a totally different way with "Insidious,"

which is more supernatural scares.

Is there a difference in that when you're actively

deciding what the best scare is?

"Saw" was really a -- a thriller, you know?

It was like a locked-room thriller,

and there was this ticking clock.

And we wanted to be visceral and kind of gory

and get people's attention,

whereas "Insidious" is a whole different beast.

It's a quieter film, it's supernatural.

And that's where we were really trying to scare people.

You know, "Saw" has some scares in it and some moments,

but it's really about the intensity of the situation

and the violence,

whereas when you're making a supernatural horror film,

you really have to hone in on what people are afraid of

when the lights go out, when it's quiet at night.

So it's really a different art form.

So, you refer to "Saw" as a thriller

and "Insidious" as a horror film.

Mm-hmm.Is there, in your mind,

a difference between the two and the sub-genres of that?

I mean, yeah. I always see horror as this huge tree,

and, like, all the different branches represent

different sub-genres of horror.Okay.

Whether it be, like, zombie horror...

Haunted house.

Sci-fi horror.

I would see "Saw" and "Insidious" as

different branches of this tree.Definitely.

And people are always afraid of that term, horror.

It's like a dirty label that nobody wants.

You'll bump into somebody who's made a horror film,

and they'll say,

"Well, it's really a psychological thriller."

And you're like, "Come on. It's a horror film."

Someone said it -- maybe it was Eli Roth, when he said when a --

when a horror movie makes "X" amount of money,

it suddenly becomes a thriller, because --

Yeah.It's a lot more commercially viable.

Well, my favorite term right now is "elevated."

Yes, oh, God.That cracks me up.

It's like this one's elevated.Right.

And it's like, so it's taken an elevator?

Yeah.No, no, no.

It's -- it's elevated.It's -- It's elevator horror.

It's above the others.

Do you find that real life

dictates the way that you tell stories?

Yeah, for sure.

I like to kind of live things

before I write about them.

I remember recently writing a film, it was a horror film,

and I was staying at this really old house in Spain, actually.

And I would almost deliberately scare myself, like,

go for walks around the house at night alone,

because I find when you're actually afraid,

it's really easy to cook up these scenarios.

You can easily imagine what would be the worst thing

that could happen in this moment right now.

Right.And then when you have that,

you can put it on the page.Yeah.

A lot of the general fears and anxieties of life,

they creep their way into my stuff.

Like, even looking back at my scripts,

I've realized there's always a component

of illness or a hospital.Mm-hmm.

When I was in my mid-twenties, as I was writing "Saw,"

I had some health problems.

Just being in a hospital when I that young,

it really scared the hell out of me.

That's how I really came up with the idea of Jigsaw,

this terminally-ill serial killer.

Jigsaw: Hello, Adam, Dr. Gordon.

I want to play a game.

On a lighter note, a happier note, like, I find you --

you're hilarious on Twitter

and you have a really funny blog.

And you also do comedy and dark comedy as well.

Some people say, "Oh, horror and comedy are related

because it's about timing and it's about delivery."

Do you find that to be the case with you and your work?

Absolutely.

I mean, I really think that's true about them being related.

I think they're, like, two sides of the same coin.

Mm-hmm.They're the only two genres

where you gauge how well you're doing

by an audible,

involuntary reaction from the audience.

Yeah, yeah.I mean, if you direct a drama

and then you show it to a bunch of people in a theater,

you have no idea how it's going.Right.

You're just watching a bunch of silent people

staring at the screen.

But with horror and comedy, you instantly know how you're doing.

There are a lot of movies that do really bad,

cliche jump scares.Mm-hmm.

And they're simply not scary.

And you can channel when people don't really have it in them.

Well, you know, I mean, jump scares

kind of have a bad name right now

because they're being used in a lot of films

and, obviously, if you overdo something,

people start reacting against it.

So, I would half agree with that and half not.

I think jump scares are great when they're done well.

When James and I did "Insidious,"

we didn't want any cats jumping out,

no false scares.

Our rule was if someone's gonna knock on the window,

have it be the devil.

We never wanted to go for the obvious.

We wanted to change things up a little bit,

like do daytime scares.Mm-hmm.

Put -- put scare scenes

where people wouldn't normally expect it.

Yeah.And they feel safe.

It's about teasing the audience, because the build, really to me,

is the important part of a jump-scare.

Yeah.

Like, and the more you drag it out and get someone on edge,

the more of a raw nerve they're gonna be

when you finally hit them.

Totally.

So I want to talk about some of your favorite scares

and how they kind of show up

in the DNA of a Leigh Whannell film.

"Seven." So iconic.

It's a masterpiece.

That script, I still have it today.

It was my bible.

I read it so much, and I learned so much

about constructing a mystery.

So in this scene, they've discovered the "sloth" victim.

And I think it's really where the film takes a turn,

'cause you realize just how sick John Doe is.

And it just the misdirect, it's the familiarity

of what you just assume to be a corpse.

And then when he moves

is the scariest fuckin' thing in the world.

Aah!

He's alive! He's alive!

It's shocking, and it sort of ups the ante for thrillers

and for horror films. I just love it.

"Ringu."

My God, the most traumatizing movie ever.

It's so great. Here it comes.

Oh, man.Oh!

Now, this is an example that a jump scare

does not have to be a big sting or a big lunge.

People seem to mistake that.

No, this -- this scene has people jumping with just --

just her climbing out of the television.

So there's a big lesson there.

When I was in my early twenties,

if I wanted to see a foreign film like "Ringu,"

I had to go to a film festival.Mm-hmm.

And the Melbourne Film Festival was James Wan and I's heaven.

And this film blew our minds.

Both of us walked out of that cinema changed.

Yeah.This was pre-"Saw."

We knew that we had seen something special.

I mean, my God, that shot.

And we knew we had to live up to it.

And I just think this film is a landmark of modern horror.

We'll do you last.

All right, here we go.

"The Thing." Iconic.

It just scares the hell out of you.

It uses sound, too.

This film's a master class.

It's also a master class in screen writing.

One thing I try to do as a screenwriter

is try to present classic situations in a new way.

An, you know, this scene is a classic, it's who's the killer.

But just the idea of the blood being alive.

The other thing I love about this scene

is that this film was made in the early '80s,

and the special effects today are flawless.

It holds up like a motherfuck.

So "Sixth Sense," tell me why this was so influential.

Well, you know,

a great thing about this scene is the misdirect.

We've been talking a lot about misdirects

and putting your scares where the audience doesn't expect it.

And this, again, is very slow.

Nothing's popping out at you or --

but it's what you see is this kid looking down the hallway

so that the audience expects whatever the demon or the --

the bad guy is gonna be at the end of that hall.

Here he is in his tent,

and there's just a brilliant misdirect here.

He looks up, we start seeing the tent go.

Okay, there's our bad guy.

And then we pan down, and she's in the tent already.

Right.And like the first time

you see that, it really hits you,

like, it's so, so scary,

and I just think that that's just a real master class

in how to play a bit of sleight of hand on your audience.

Absolutely.

All right, "Insidious 3."

Tell me about the entire process of directing this scene.

In my mind, I wanted it to be

the big set piece scare of the film.

One thing I really wanted to do

was not cut away.Mm-hmm.

You know, editing is an escape clause.

Yeah.

It's a get out of jail free card.

Like, if you watch this, we lean over, we look down,

and we see a guy way, way down below.

And I made sure not to cut.

So I pull back out, and with the suspension of disbelief,

the audience thinks --

they never expect he's gonna be right there.

And, you know, but when you do a scene like that,

you never know how people are gonna react.

And it got a really good reaction, and I was so happy.

Now, how the hell did you do that so quickly?

Oh, man, well, we built a whole wall of the apartment

on a raised deck in a studio

and surrounded it with a green screen.

We shot the elements of them leaning out the window,

and then we had the actual demon actor

on a harness, and he would swing in.

And he would swing in just below the window.

So right no was you peer over...That's wild.

Dermot's shoulder, you're looking at an element

that we shot separately.

And then we pull back out, and now we're in the set.

And so everything you're seeing through that window

is green screen.

And then when she leans in,

the actor's right there.That's crazy.

So it's a combo of different elements,

and it took a lot of takes to get it right.

So where did this idea

for this -- this kind of scare come from?

Okay, so James and I really wanted to subvert expectations.

You want to do a bit of sleight of hand

so the audience doesn't know where the scare is coming.

So Barbara Hershey, in this scene is describing a dream,

and it's dark.

And, look, she's in a brightly lit living room with a kitchen.

Everybody thinks that something bad

is gonna happen in this dark bedroom.

Yeah.And then we show a guy,

and even just with the silhouette,

you're like, "Oh, man."

No one expects the scare to happen here, right?

And it slayed the audiences everywhere.

Every time we showed it, we would get this huge reaction.

Making a horror film is so gratifying,

because when you stand in the theater and you --

you watch the audience watching your film, you hear them react.

And it was a -- it was a real drug listening to them scream.

Say I want to make a great jump-scare.

Can you tell me what to do and what not to do?

Well, it's funny you ask that, Mickey,

'cause it just so happens that I've uncovered an old film reel

of just those very rules, what not to do in jump-scare.

Can we watch it?Absolutely. Let's check it out.

All right, let's do it.

Narrator: So you want to make a horror movie.

And you want to have some jump-scares.

Are you prepared to have the traumatic images

you instill haunt your brain until you die?

If you want to startle your viewers,

you've got to know what they already know.

This is "How Not to Jump."

Narrator: Number one, music stings are effective,

but choose them carefully.

Mmm.

Mayonnaise on white bread.

The preferred food of interesting people.

Some things don't deserve the power of an orchestra,

especially not Mickey.

Be like a percussionist and make it count.

Mayonnaise sandwiches -- gotta love 'em.

Aah!

Narrator: Number two,

if someone is going to bang at the bedroom window...

make sure it's not the friend.

Mickey?

Did you see "Game of Thrones" last night?

Yes.

I thought it was pretty good,

although I haven't caught up all the way.

Narrator: False scares are cheap and annoying.

If you're gonna scare your audience,

then scare your audience.

Aah!

Number three --

never have someone appear behind your character in a mirror.

If you're audience sees a mirror,

they're already three steps ahead of your jump.

They know what's going to happen.

Instead, misdirect them.

Narrator: Now, go forth, creepy cinema makers,

and let your jumps be original.

But, remember the biggest jump-scare of all --

the nuclear bombs that will come from Soviet Russia.

Got those shelters ready?

Who is that woman standing with the handsome guy?

Bye, rascals. See you later.

Bye, us.

Bye-bye, Leigh.

Bye, Mickey.Thanks for being here.

It's great to be here. Thanks for having me.

Aah!

A jump-scare may trick your body

into the fight or flight response.

But in reality, you're just sitting

in a movie theater chair,

flinging your popcorn into the air.

But what happens when you take these scares

into the real world?

It's easy to yell "Don't go into the house" at a screen,

but what happens if you're in the house.

Here to answer these questions is the curator

of the incendiary immersive haunted house

Heretic, Adrian Marcato. Sir?

Thank you so much for being here today.

Pleasure to be here. Thank you.

From the beginning, how did this start?

I worked in film, worked in haunts for years.

I wanted to blend the two --

a cinematic experience and a haunted house,

so that way, when you went through,

you weren't just walking through scenes

and people were just jumping out.

You really are an actor on a set, and we're pulling you

through these curated

cinematic environments.Wow.

There's a narrative that we tell with each show.

Right.And the locations change.

I mean, we get -- we've gotten some really beautiful locations,

like an isolated cabin in the woods,

and you're being stalked by somebody.

So it's living out a horror fantasy.

Yeah.Is what Heretic is.

Did you look at other references like Halloween horror nights

or like Knott's Berry Farm and say,

"I'm gonna do this better, I'm gonna do it different,"

or do they just kind of exist as their own entities

and you guys are completely your own?

I've actually worked with Knott's Scary Farm

for six years before.

I've been in the haunted industry for 10 years.

Okay.I like those haunts on their own.

I wanted the monsters to pull you in and vomit blood on you.

Mm-hmm.I mean, that was my goal.

Right.I -- I didn't want to just have him do that.

I wanted them to grab me, put me on the ground,

and just start vomiting on my face.

Right. There seems to be this new trend of, like, horror films

that come out that kind of put a bad spin

to these more immersive haunted houses where it's like,

"If you go in there, you're gonna get stabbed and die."

Yeah.Do you feel that that --

that that aids in the mystique of the experience,

or do you think it's more detrimental

to what you guys are trying to do.

That's a great, great question. It's a little bit of both.

I think there -- if you look up extreme haunt and you search it,

you're gonna find all the bad stuff first.

Yeah.Oh, you're gonna get beat up,

you're gonna get tortured,

you're gonna get, you know, cut.

We don't do any of that.No.

That being said, the mystique of that

sometimes draws people in because they're like,

"Well, I want to fake tortured, tortured, simulated torture."

Do you encourage people to come to the show

if they're not necessarily stoked on getting scared,

or was this more for the more kind of extreme gore hounds,

scare hounds, that kind of thing?

I mean, I -- I created it for horror fans.

Yeah.But I don't want to exclude anybody.

Right.There are moments when I can actually

change their opinion or mind about what horror can offer.

Potential --How cathartic it is.

Yeah, absolutely.

Let's talk a little bit about the difference

between crafting a cinematic jump-scare

and a jump-scare when you're in the environment

and getting terrified.

In film, there's usually certain setups.

The character is going to do something.

Yeah.Here, you're --

you're that character.Right.

Somebody could be watching you going,

"Don't go down there, don't -- what are you doing?"

Yeah.I don't have music stings.

For me, it's more the misdirection is

the huge component

that will definitely throw you off and scare you.

Is there a common thing that often gets people

across the board as, like, the most effective jump-scare?

We did one where somebody thought

that we were lighting another guest on fire.

And they know that they're supposed to walk to that point.

That -- again, is tension from them

walking from inside to that point,

because an attack could come from anywhere.

They'll get scared with the dread of what's gonna happen,

they already have it in their head,

"Okay, I'm gonna get grabbed."

There's something behind me, isn't there?

I mean, I'm looking behind you right now, but --

Great.

So once I've grabbed them, they get the initial jump.

We'll pull them into a scene.

So they'll be strapped to a chair, duct tapped,

and then all of a sudden, a rag over their head

that smells like gasoline.

And they start seeing a lighter.

And that's the scene that actually,

pretty much everybody called the safe word on

because they thought we were gonna light their head on fire.

Right, right.

And then I've also had guests soil themselves.

Oh, what's the story with that one?

Some of the other shows do electroshock.

Uh-huh.With a taser, they tase you.

I didn't do any of that.Okay. Thank God.

But we brought the noise out.

Yeah.

And, literally, you could see the urine going down,

and he called the safe word. He was done.

But we were never gonna shock him.

It was just the sound of it and the idea of it.

Right.That got in his head.

Have there been scares or possible moments

where you're like, "All right, this is gonna get everyone,"

and then it doesn't at all, and then you have to rethink it?

You know, I've not had any gags fall flat.

Really? That's pretty good.I'll tell you why.

Because the great thing that I have here

is that they're already scared coming into it.

Mm-hmm.They don't know if something goes wrong.

Right.That's the great thing about

an immersive theater experience.

There are gags that I wanted to do

that we couldn't do legally.

Like, I wanted to have, like,

somebody come in an start draining my blood

in front of a guest.

So they were gonna shove blood down my throat,

and I was gonna chock on it.

Real blood?Yeah.

Wow. Besides the drinking your own blood,

is there the unicorn scare you haven't been able to do yet?

I want to push somebody off a building.

Oh, okay.Yeah.

I met a guy who is a professional effects artist.

He does major, major movies.Yeah.

He comes in and helps me incognito.

And he told me that it's completely 100% feasible

to throw somebody off a building.

Very nice. Is there like a, you know, a golden rule

of how to build a scare, like the bullet points

that go into the most effective kind of scare?

Yes.

First, it starts with

us talking outside of the event.

Mm-hmm.Through an e-mail,

through a telephone call.

It's very ominous.Yeah.

So I set the dread there with the e-mail.

And I'll tell the person, be careful,

because you're gonna be dragged and moved

and picked up, slammed.

Hands are gonna go in your mouth.

Your hair is gonna be pulled.Okay.

There may be liquids that go all over you.

And then once the day of the show happens,

it's all about keeping their attention on me.

Right.And on...

No, they're -- nothing.

It's keeping their attention focused

on what I want them to focus on.

Right.That's the main thing.

So it's exactly like a magician.

They come to the show and it's distracting them with a waiver.

Then there's somebody else sitting there

that they don't understand if it's a third guest or an actor.

What's around them, who can they trust.

It's really destroying that trust

and their paranoia starts to set in.

Once they get into the show and once we start going, it's --

it's just dangling something in front of them.

Mm-hmm.So they can see it.

Right.But it's completely

throwing them off because I've --

I've altered the environment in some way.

I may have changed something -- as they start walking,

it starts to get a little colder.

Okay.

You know, they hear noises around them,

scratching maybe.Right.

And then as they get closer to that focal point...

they hear something, maybe behind them.

Uh-huh.That's gonna start coming towards them,

it could be growling.

Okay.Or sniffing.

Uh, and then it's complete, like...

utter darkness.

God damn it!And at this point...

I have them in my grip.

Yep.They're mine.

They have no more control over their life,

because now it's in my head.

Oh, fuck! No!

Oh!

Oh, God.

Oh, no! No!

Maybe I'll tell them...

it'll be all right.

Aah! Oh, fuck!

Bye, Mickey.

Boo!Fuck! Aah!

Sam?

Come on, I want to watch some more movies!

Jesus Christ! What are you doing?

Practicing my mouth stretches.

I swear to God, you get weirder every single time I come here.

What can I do you for?

How about some more movie recommendations,

and not weird shit that makes me jump out of my skin.

How about both?Okay.

All right. Let's talk about jump-scares.

I have a controversial opinion on them.

What's that?They're good.

That is controversial.I know!

See, a lot of people hate jump-scares

'cause they think it's lazy, they think of a cat

jumping out of a cupboard, right?

Don't tell me you're gonna give me the five best

"cat jumping out of a cupboard" thing.

No, but that would be extra special.

I want to talk about how much talent it takes to pull one off,

and, like, the different types of orchestration

you've got going on here.All right, let's hear it.

All right.Convince me, Sam.

"."

Where is it?!

Oh, no!

Oh, my God.

I'm convinced already.Right?

I love "" so much.

One of the scariest movies, maybe, ever.

Of all time.

I know, and it's -- it's perfect,

it's wonderful, it's found footage.

It's from Spain. It's by Jaume Balaguero and Paco Plaza.

And it's one of those movies that even

if you hate found footage movies,

you'll fucking love "."

Exactly. And what "" does so well

is something I think about as like a funhouse scare.

It really preys on being scared of the dark.

I'm in a room, is something in here with me?

Something is in here with me.

That is that whole movie, it's relentless.

I actually broke out into a sweat the first time I saw

"," and I want to sweat again.

I want to see you sweat again.Very excited.

Now, another beautiful type of jump-scare

I want to talk about is the slow burn.

And you think about films with one great scare.

Yeah.A film that builds

and it builds and it builds,

and you can't take anymore, and then it explodes.

And I love that.

I think it takes a lot of talent,

especially, to keep you engaged while the film is building.

So I want to talk about "Sweet, Sweet Lonely Girl."

You can't go up there.

Why not?

She doesn't like having people in the house.

This is a movie we have on Shudder.

It's a Shudder exclusive. I love this film.

It's a really beautiful '70s period piece,

set in New England, so it has that perfect autumn atmosphere.

It's about a young girl, she's taking care of her sick aunt,

and it preys on your fear of family.

Who are your family,

especially if you don't know them that well.

So there's a scene where Adele has a mirror,

and she's looking in at her sick aunt under the door.

And when it hits, it's one of the only recent times

I've seen someone cream bloody murder in a movie theater.

I have a feeling a lot of people were doing that at home

when they watched this. I love it.

Well, I can't wait. It kind of sounds like "Burnt Offerings."

Oh, absolutely.

It has that Dan Curtis '70s

Gothic melodrama tone beautifully.

Great.Now, I want to talk about

"A Tale of Two Sisters."

I love that movie, and it is so bat-shit insane.

Isn't it? And it's Kim Jee-Woon.

He did "I Saw the Devil,"

but this is so much more fairy-tale like, right?

Right."I Saw the Devil" is like

this charged revenge bad-ass movie.

"Tale of Two Sisters" has the wicked stepmother,

has color everywhere in the house.

And it has really one of the most masterful scares

I think in modern horror.

And also one of the best

DVD box covers maybe all time.

Oh, I know. I love it. It's like poster art from heaven.

Yes, absolutely.

We have a Shudder called "Can't Take It Back,"

it's a Shudder exclusive.

And it's a real teen scream.

My God!

So it's sort of about these social media anxieties, right?

It's about these girls who are terrible to each other

on Facebook, and terrible to a dead girl on Facebook,

and they regret this decision, they can't take it back.

So here's this girl, she's in class, she's taking a test.

It's like that white sheet of paper,

black Arial font, super mundane.

So you're reading the questions, you're reading the questions.

And then one of them says, "Why are you such a whore?"

Oh, I hate that question.

And it's like, because it looks so mundane,

it freaks you out, it freaks her out.

But also it -- it kind of gets to that fear of being

in high school, of being embarrassed and ostracized

and everyone turning against you.

And it's a really cool scene, it's a really fun movie.

I think it's gonna freak you out.

Sounds a little bit like it's got

some "Nightmare on Elm Street" in its DNA.

100%.

Well, thanks, Sam.

Just please make...

And he's gone again.

Well, I guess I just live here now.

Well, that's all the time we have for today.

Thank you so much again to the genius

Leigh Whannell for terrifying us all.

And now, as a palate cleanser,

here's footage of a beautiful field of wheat.

Make sure to turn that volume up real high

so you can hear the rustling of the wind through the stalks.

Turn the volume up.

Higher.