All language subtitles for The.Core.S01E06.WEBRip.x264-ION10

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.