All language subtitles for The.Core.S01E08.WEBRip.x264-ION10

Are they ready?

Elijah: Yes.
And so's he.

They smell wonderful.

Mmm.

He smells like shit.

Whew.
This is my favorite part.

All of the ingredients
are perfectly assembled --

baked to a crisp yet gooey,
golden brown.

Watched over.
Waited for.

Cared for.

Do you realize
how lucky you are

to consume one of our
sweet concoctions?

You're a lucky boy,
Mickey!

You get the first bite!

Oh! Oh, God!

It's good!
It's good!

Yes.

Just...good.

And I've been
chewing on that.

A cookie
shouldn't just be good.

It should be a unique,
transcendent experience.

It's transcendent!

No.
The recipe isn't complete!

Take thou
thy flesh of pound.

Pound of flesh, dude.

Ahh, fuck.

You flipped it!What? What did I say?

You're always flipping it.I said --

You said - You said pound --
flesh of pound.I said flesh of pound?

Like, you do that ev--
every single time we've
done this, you've...

Always.Pound of flesh.
Pound of flesh.

Pound of flesh. I got --
I'm sorry.

Guys, can you
cut me down for a second?

These wires are really
getting uncomfortable.

Art is pain, Mickey.

Just a few more hours.

All right, back to one.

Flesh of pound.
Flesh of pound.Flesh of pound.

No, pound of flesh.
Pound of flesh! Right!

Jesus.

Welcome to "The Core."

Mickey:
This week on "The Core"...

can horror heal us?

Elijah Wood's acclaimed
production company SpectreVision

is here to get to
the beating human heart

behind even their most
provocative genre thrills.

Are you glad
I moved in with you?

I'd rather be here with you
than in New Orleans.

Then, Dr. Brenda Weiderhold
plugs us into

her revolutionary
immersion therapy,

where patients face their fears
through virtual reality.

Genre films --
When they work well,

they throw your body
out of control.

Your heart rate doubles,
your sweat glands work overtime,

and your sphincter,
well, it tightens.

Yet,
when those stuffy film critics

talk about the "greatest movies
of our time,"

genre films are often
left at the kid's table.

Today we're talking with
the production company

SpectreVision,
whose films show us that,

in the right hands,
a genre piece summons

as much prestige
and storytelling balls

as any Academy darling.

With an acclaimed body of work
including "The Boy"

and "A Girl Walks Home Alone
at Night,"

SpectreVision destroys what you
thought you knew about horror

with their eclectic
expert visions.

Take some visceral effects, add
some visual art-house intrigue,

top it off with storytelling
that cuts right to the bone

of humanity,

and you've got yourself
a SpectreVision joint.

Their offerings have heart
and balls in equal measure,

and they're here today
to spill their secrets.

Josh, Elijah, Daniel,
thank you guys so much
for being here today.

Oh, thank you
for having us.Thanks for having us.

Oh, man. You gravitate
towards genre films,

specifically, you know,
horror films.

What is so fascinating to you
about genre films in particular?

The ceiling's blown off.
There are less restraints.

I find it to be very artful.

I feel like it's open for risk
in certain ways

that a traditional comedy
or a traditional drama

wouldn't necessarily allow.

Um, I like to equate it
to a roller coaster.

I think a horror movie
and a roller coaster
are the same dynamic.

You are going to confront
a fear,

head-on,
knowing that you're safe.

When you're on
a roller coaster,

your body goes, "Danger!
You're gonna die," right?

But, intellectually, you're
like, "No, I know I'm okay,"

so you get to
confront death

every time you're on
a roller coaster.
Right.

That's so true.And I think it's the same
with -- with a horror film.

You know, some people don't like
horror, and that's okay.

They don't enjoy -- They don't
find that therapeutic.

I happen to.
After September 11th...

I was there.
I was downtown when it happened.

Like, I saw it with my own eyes.
And I was traumatized.

Like, it was -- it was a deeply,
deeply traumatic experience.

So, I think it was a week later,
"Jeepers Creepers" opened,

and it was the first movie
I saw after 9/11.

That night, I had debilitatingly
terrifying nightmares

about the Creeper
pursuing me,

that were just, like -- like,
chill to the bone.

And -- And I woke up,
and I was like, "Wow.

I was really rattled
by that dream."

But I realized, it was
the first time I wasn't
thinking about 9/11.

And I felt this incredible,
like, relief,

and I was like,
"Why is the Creeper

getting under my skin so much?
Oh, right."

It's the story of
very innocent people

just driving down
the road of life,

and, out of nowhere,
this horrific force appears,

hell-bent on destroying them,
for reasons you don't know.

And it's absolutely relentless,
and it wins.

But it was a real revelation
for me, like, that horror movies

can have a therapeutic quality
to them.

And some of the most cathartic
movie experiences of my life

have been -- have been
horror films.

Damn.
Damn.

That was fuck--
I mean, that's brilliant.

I've been thinking about this
for years.

That's --

So, how did you guys
even meet?

We met on a project
that never came to fruition --

that he wrote,
he was going to direct.

And a mutual friend of ours
put me in contact with them

and said, "They've got this sort
of thing that they want to pitch
you on."

And I met them for lunch, and
they pitched me on this project,

and I loved it,
and then we became friends.

We would, you know, kind of meet
up as actor/writer/director

to talk about the project
that we were working on.

And then finally Daniel and I
had this conversation

where it's like, "Does Elijah
keep bringing up this idea

of a horror company
to you?"

And it's like, "Yeah.
Why the fu--

Why does he
keep doing that?"

So we met up one night,

and we were like,
"Let's do this."

And we started
a company.Yeah.

When we first started
the company,

you know, we reached out
to friends

in the creative industry

and, you know,
people that we knew

might have a project.

And we had the same pitch
to them for, like,
the first two years.

We'd meet these people,
and we'd say,

"Do you have a passion project
that is in the genre

to horror space
and isn't getting any traction?

We want to
read that thing."

We tend to gravitate towards

what we unanimously like

and what we unanimously
have a heart response on.Mickey: Mm-hmm.

We're not like "Oh, well,
if two of likes it

and one of us doesn't,

then we're still
gonna do it anyways."

We're artists first,

and then our backgrounds
are as "talent."

I think that we take in material
through,

like, a different portal
than most people

that are on the
"business side."That's a really good way
to put it.

Yeah.
When I'm working with
a filmmaker on a script,

I will be very challenging
and -- and -- and push and go,

"I think, you know, I think
you can go further with this.

I think -- You know,
what is this about for you?"

Something that we always say
at the top of every process is,

the goal is
to make a classic.
Yeah.

That is the objective,
is to make a classic film.Yeah.

That kind of process
sounds almost like

the golden age of like
70's Hollywood filmmaking...Totally.

...where they were
really about that.Yeah. Yeah.

Were there any
more established companies

that you guys looked to
to say, "All right,

we're gonna start this company.
We're gonna do it"?

We actually didn't
really think about

fashioning our company so much
based on a film company,

but we actually thought of it
more as a record label.

If you're a music fan,
like, for instance,
if you love Aphex Twin,

you probably know other artists
on Warp Records.

So whatever Warp puts out,
you're probably gonna
be interested in it.

And that's kind of of what
we were thinking about in
regards to SpectreVision,

like, how -- how can we
curate this in such a way

and create a sense of identity
that people can kind of
connect with?

That, at the very least,
if they liked the one thing,

that there's some trust there
that the next thing that we make

is probably gonna be
in their wheelhouse.

When your logo pops up,
is there a certain thing

that you want the audience
to feel or expect

or anything like that?

We're looking to make the movies
that no one else is making.

Mm-hmm.The misfit children.

I think we're trying
to also make movies

that otherwise wouldn't
get made in some cases.

Yeah.I mean, "Greasy Strangler" is
a really good example of that,

where I don't know that
that movie would've gotten made

if it hadn't been for a bunch
of maniacs getting together

and banding behind Jim Hosking
as a director.

How the fuck did that movie
come about?

I was introduced to
Jim Hosking's work,
like, a year prior,

and I watched a bunch of his
short films and commercials

and fell in love
with his work.

And then Ant Timpson,

who we're friends with,
e-mailed me,

and he's like,
"I have this thing

called 'The Greasy Stranger,'
and you need to read it.

You guys with SpectreVision
should join us and get --

like, we'll all band together
and make this movie."

And I immediately read it.

I read it in a fitness magazine
someone left on the bus.

That's horse shit!
You're a bullshit artist!

45 minutes later,
I was, like,

quoting "bullshit artist"
to Ant on my phone,

fell in love with it,
and then sent it to these guys.

And that's kind of how
it all came together.

The thing that's
so stand-out

about the entire filmography
of the company

is that they're not these
standard horror-geek movies.

That was something that
we talked about very early on,

was, you know, if you removed
the genre elements,

would you still have
a compelling story?

It was almost a litmus test
for us,

in terms of material that
we were entertaining,

where, if we are falling in love
with something,

the test was, "Well,
if we took all of the things

that make it exciting out,

is there a compelling story
there underneath?"Mm-hmm.

And that was always
kind of our criteria.

A great genre film
is a drama.
Yeah.

And -- and a comparison I like
to make is that

"Poltergeist" and "Ordinary
People" are the same movie.

They're -- they're both the
story of a family with demons.

And in "Poltergeist,"
the demons are literal.

And in "Ordinary People,"
they're metaphorical.
Right.

Both films are about families
finding the courage

to confront the demon
and surviving.

I think that "Poltergeist,"
without that kind of depth,

it wouldn't have the impact
that it has.

If you don't care
about the characters,

then it's really nothing more
than pornography.Yeah.

When we attack scripts
that way -- This is a drama.

What are the beats of
the human drama in this story?Mm-hmm. Right.

By way of example, we pulled
some scenes from our films

that I think really
get at this idea

that, under the genre,
is a drama.

Cool.

Aah!

I call bullshit on that!

Bull...shit...ar...tist.

You're covered
in horse shit!

We never really got along,
though, did we?

Yeah.

By which I mean, nah.

Daniel:
We wanted to look at this scene
because we always talk about,

you know, "What is the heart
of each movie,"

and,
"What makes it a drama?"

And -- and "Greasy Strangler,"

which is thought of
as being, you know,

a gross-out kind of movie,
is actually very sweet.

Yeah.
It's a love story.

But it's not a love story
between Brayden and Janet.

It's a love story between
Ronnie and Brayden.

Yeah.

This is the scene
toward the end

where Ronnie,
who is a-a selfish bastard,

uh, he tells this story
about Travolta

and when Brayden
was a little boy.

You probably won't remember
this, but when you were small,

we stayed on John Travolta's
luxury yacht in the Caribbean.

After this point forward,
they --

they're -- they're together, uh,
in the movie,

whereas they've been at odds,
you know, all along.

Let's kill
Ricky Prickles.

Both: Let's kill
Ricky Prickles.

♪ They got my boy

♪ Tell me what...

You know what today is?My birthday.

Josh: This is a scene
from "The Boy."

It's Ted's birthday --
the little boy --

and, uh, they have been
living out on their own,

out in the middle of --
the middle of nowhere,

and they have no one
except for each other.

They're mother and wife
abandoned them both years prior.

Daniel:
This really cuts to the heart
of what "The Boy" is all about.

It is the story of a boy
who desperately needs parenting

and a father who wants to
provide that parenting.

But he just doesn't
have the tools.

He just -- he just wasn't
hardwired to be a good dad.

And so, the reason "The Boy"
is so tragic to me is that,

you know, this father
really is trying.

He really is trying.

Turn it off!

Oh, you loved this song.

We used to sing it to you every
night before you went to --

Ted...
Oh, come on.

Ted.

Oof.
Oh, yeah.

Right to the heart.And it's that thing, too,

is, if circumstances
had been different,

would the boy
have turned out --
Yes.

Would the boy have
turned out differently?

Differently, yeah.

The virus
is only dangerous

if you haven't
gone through puberty.

Are you kidding me?

It probably isn't
the greatest timing,

but I have a confession
to make.

This is from "Cooties,"

and, um, this is just
an emotional moment

between two
substitute teachers,

which kind of cuts to core of,
you know,

the emotional truth
of these two characters.

And they're in the midst
of a child-zombie outbreak.

Daniel: What we always
talked about with this one

is the idea that childhood
dreams are toxic.

The three leads are all haunted
by an idea

of what their life would be
when they were children.

And the children are
the sort of demonic force

that is your
childhood innocence...Yeah,
that's exactly it.

...and that they literally
have to kill the children,

they have to
kill the innocence,

to be free and accept
their lives as they are now.

Mm-hmm.

And I would...

look out at the kids
and my class,

and I-I found myself getting...
jealous of them.

And so, this scene was critical,
because it's the scene

where they both admit
that their lives

didn't turn out the way
that they had hoped.

Right.

Josh: This is from "A Girl Walks
Home Alone at Night."

Um, this is a scene, uh,

where the girl confronts
this little boy

who is just kind of
this little boy

who's always walking around
Bad City.

The crux of it is
telling him not to be bad.

The scene always struck me
as being incredibly complex,

because -- you know,
kudos to Lily --

because it's one of
the only scenes in the movie

where the vampire
behaves in a way

that we expect a vampire
to behave.

Just, like,
stalking a victim.Mm.

But she doesn't
attack him.

She comes at him
very aggressively.

But then what she actually does
is the opposite of an attack.

She tries to protect him.
And what I've always --

The way I've always
viewed this scene is

it's a little window
into her past.

Someone hurt her.Mm-hmm.

A man hurt her at some point
in her long, long life.

And if you look carefully at who
she goes after in the movie --

She goes after
shitty dudes.Yeah.

It's true.Only really shitty dudes.

Yeah.You know? And for a character
that's so stoic...

You know, the --
the emotional inner life

is so, like, tempestuous
for this character.Mm-hmm.

She's just
a brilliant actor.

Oh, she's incredible --
Sheila Vand.

Oh, my God.
Look at this.

"I'll ask you one more time.
Tell the truth.

Are you a good boy?"

Of course she knows
he's a good boy.

She's trying to scare him
into staying good.

Yeah. Exactly.Yeah.

Well,
there we have it, guys.

I think what's so important
about your company is that,

every single one of these movies
adds to this element of --

there is an artistic value
to horror films.

Almost kind of --Well, look, a phrase
I like to use a lot

is that genre
is a Trojan Horse.

People show up for
the titillating elements,

but the best genre filmmakers
sneak in ideas

and themes
that cut to the bone.

They're not
"Friday the 13th Part V."

As much as we all love
those films, you know?

Like, they're --I don't even know
that we've made

an out-and-out horror,
have we?

Yeah, no.
I don't think so.
No.

I mean,
we've made movies that

you could loosely define
as horror films.Mm-hmm.

But an out-and-out
classical horror movie?

We've not made one yet.No way.

Actually, I want to pick
your brain about that.

Can I help?
Yeah, let's --
let's do it.

Yeah.
Wha?

Careful what
you wish for.

So, we killed Elijah Wood.

Aah!
Oh, shit!
I'm still here.

That'll make legal work
way easier.

Jim, why don't you show us
how you did that?

So, we start off
with a head mold,

and then we cast
a silicone skin.

The key is, for a head
to crush like this,

is to basically
paint in, um, something hard.

In this case,
we have fiberglass --

a fiberglass shell inside.

And then you can glue little
bits of, like, you know...

Brain matter....brain matter,

which you can just
make out of latex.

Oh, fantastic.Nurnies, as we call them.

Nurnies?
Nurnies.

Nurnies?Nurnies.
Nurnies.

Nurnies is the technical term
for latex stuff that's just --

All of your insides
are made of nurnies.All right.

So, t-the reason that
we need the hard shell inside

is so that,
when we assemble it in pieces,

that you can actually tack
with a little super glue.

So like, okay,
you can put this guy's piece,

and then you can just do
a couple tacks to the glass --

the fiberglass -- together.Oh, cool.

That holds it in place.

And then you eventually
have, like, a whole head.

But it's because it's just
tacked a little bit,

these guys can go in
and crush it, no problem.

To get the explosiveness out
of it, we made an air cannon.

So...I love the air cannons.

...that's like this
high-pressure industrial cannon

that, uh, goes up to 100 pounds
of pressure per square inch.Wow.

To safely detonate
your air cannon,

we actually made
a detonation box.

So, once --
The red light's on. It's live.

And then three,
two, one, bam.

How fun is it
to press that button?And -- and it's --

It's got to be
so satisfying.

I -- I-I always hog that
to myself

Because it's just --Yeah. "No,
it's mine to push."

It's just awesome.Did you ever consider,
instead of doing the switch,

one of the classic, like --
ssst! -- boxes?

You're like, "Yeah!"That would be -- yeah.TNT.

Yeah, it just says "X."So then it's like, "Oh,
what do we fill it with?

What comes out?" 'Cause you
don't want to just have blood.

Elijah: Right.That's boring.

There's a lot of just things
you can't make to look organic,

so you just buy
organic materials.

Like, you can get crushed
tomatoes, and...boom.

Tasted those.Fake blood.

And then,
banana is always the key,

because once that's,
like, mashed up...

and in the blood...Is that
your brain matter?

Now, Josh, you seem fairly
uncomfortable with this.

Don't call me out
on camera.

Yes. I'm uneasy by
the way this looks.

And sounds, by the way.But see,

then those little light bits,
when they hit something...Ohh!

But usually -- especially
if you let your banana
get a little old,

when it hits a window
or something

or hits somebody's head
or hits little bits like this,

it's gonna stick and cling,
which is great.Elijah: Yeah.

You know, you don't want --
you don't want your brain...You don't want your cool-looking
shit just rolling off.

Brain matter's
got to stick.

That's the key to doing
this type of head explosion.

If you're on
a super-limited budget,

something you could do, like
they did in this infamous scene

in the first
"Toxic Avenger,"

they didn't have money, and they
crushed a little kid's head.

You get the close-up
of the tire,

close up of the kid like,
"Oh, shit,"

and then bam, they cut to a shot
behind his head,

and they put a wig
over a melon...

Oh, amazing.

...and filled the melon
with all this kind of crap.

It explodes all over the ground,
and it's super disturbing.

Oh, my God.It got it like an X rating.

So, how did you guys do that
one head kind of, like, bulging

in "Greasy Strangler"
at the potato-chips machine?

Oh, yeah.Well, there was the --

the -- the punch-in
when -- when Greasy punches,

you know, by the --
by the vending machine

and his face
just caves in.
Yeah.

Um, and that was, uh -- We just
built, you know, a fake head.

Did something,
like, suck it back?

Or was it just meant
to, like, cave in?

No, it was meant
to cave in.Okay.

And then -- And then later,
digitally,

we went in
and made the eyes blink

after the whole face is caved in
with the fist.All right.

That's very effective.
That's awesome.
Yeah.

And everything else that
we've done, for the most part,

I guess, has been, like,
somewhat conventional.

In "Cooties," there's, uh,
one of the little kids,

who is, uh, on top of the truck
that his character is driving.

And so, he slams on the brakes,
and it sends this 11-year-old

flying and skidding
on the asphalt face-first.

Mm-hmm.So when the kid gets up,

his jaw is hanging out,
but he's still alive.

And that was just a matter
of, like,

building a-a fake jaw
that's hanging down.A jaw piece.

And there was a green screen
sort of --Um, and then painted --

That's right.They took green paint
and painted all of his mouth

because negative space is really
difficult to do practically.

Right.

So you kind of have to go
and digitally augment it,

just to fill
that negative.
Wow.

Guys,
this has been awesome.

Thank you, Jim.
Thank you, SpectreVision.

See ya.
Later.
All right.

Let's get you messed up.

Ohh! No!

Daniel's story about
confronting his fears

while watching
"Jeepers Creepers"

made me start to think.

Can horror films really
have therapeutic benefits?

I have someone with me today
who helps people

confront their phobias
via the screen --

the virtual-reality screen.

Dr. Brenda Weiderhold, thank you
so much for joining me.

Thank you.So, why don't we talk about

the Virtual Reality
Medical Center.
Okay.

Well,
we started it in 1996

with one room and one office
in San Diego.

We know have three clinics
in California

and one in Belgium
and one in China.
Wow.

People seem to be
really responding to it.
Yeah.

It's very real for people,

and it's very exciting
for people to come

that haven't been able to get
help with their phobias,

their anxieties,
their stress, their fears.

What does your practice
address

that I can go
and get treated for?

So, public speaking,
heights,

flying, fear of blood
and needles, spiders.

In specific phobias,
we have a 92% success rate.

That's amazing. So, say
I'm terrified of spiders.

Okay.What is my experience like

with spider therapy?
Okay.

So, what I'm gonna do first
is,

I want to teach you how
to control your breathing

because I want to give you
a coping skill

to use during
the virtual reality.

Virtual reality is very
overwhelming for some people.

Some people have panic attacks,
they have flashbacks.

So, not everybody's able
to do it immediately.

When I put you into
the virtual reality,

I'm gonna monitor your heart
rate the whole time.

Okay.
'Cause I want to know
what's happening to you.

First, I'm gonna have you
in a room with one spider.

If your heart rate does nothing,
then I'll put two spiders

or three spiders
or a larger spider.

Then one can be crawling
on your hand.
Ooh!

'Cause you have to elicit
some anxiety to desensitize.

Yeah.You're gonna feel your heart
racing out of your chest.

You're gonna go,
"I'm having a heart attack,"

or, "This is dangerous.
I need to escape."

So, that's what your brain
is telling you.

So I teach you
to control your heart rate,

so then your heart tells your
brain, "No danger here.

You're fine."
Mm-hmm.

Because part of your brain
will always know

you're sitting in the office
with me and it's safe.
Right.

But it allows you
to push the envelope.

So, you do things that are
scarier in the virtual world

than you're ever gonna have
in the real-world setting.Mm-hmm.

Okay. Are there any
emerging technologies

aiding you further on
in therapy?
Yes.

What we're doing with some of
the new technologies

is having them
physiologically driven.

So, depending on how
your heart rate reacts,

the world will react.
Wow!

So, I may have you in a forest
and it's just a dark forest,

and as your heart rate
stabilizes,

flowers begin to appear,
things like that.

What's the most severe case that
you personally have dealt with?

One girl that my mind
always goes to --

She was on her way to college,
and somebody hit her truck,

and it rolled over,
and she was trapped,

upside down,
in her seatbelt,

and her father was hanging
next to her, dead.

Ohh. Jesus.
Um...

And all I could do with her
the first VR session was

turn on the engine and put her
hands on the steering wheel.

And she just cried
and cried and cried.

And she was able to go from that
to now having her own place,

going back to school,
and driving wherever she wants.

What is it about treating fear
with fear?

So, what we know from, you know,
100 years of literature

is that you have to elicit
some anxiety, both objectively,

so your body, your heart rate,
and subjectively.

So you have to think "Oh,
my God, this is fearful."

By putting that little piece
in your brain

and eliciting
that fear response...
Right.

...you can start desensitizing
to that fear.

What do you think it says
about us as human beings --

why we expose ourselves
to scary movies,

why we put ourselves
in this situation where,

"I'm gonna be flung off,
you know,

a roller coaster, essentially."
Why do we do that?

I think when people
go on rides,

they're sometimes
looking to relive

some moment in their lives,
some memory, deal with that.Mm-hmm.

And I think going to
a horror movie

or any kind of movie,
really,

sometimes you pick up something
in the movie

that triggers an emotion,

and then you have
that cathartic event.

So, this is the next step
along that evolution.

But I think it's maybe something
people have always sought out...

Right, right....with the movies
or with the thrill ride.

Subconsciously or not.

It's like, "I don't know
why I get choked up

when I watch certain films," but
it triggers something, you know?Yeah, yeah.

Yeah.
Possibly.

Thank you so much
for visiting us.
Thank you.

Sam, I'll tell you,
that movie really fucked me up.

Elijah Wood.
Actor. Producer.

DJ.
Quite the pâtissier.

Come on,
don't eat my blood.
Mmm!

You taste delicious.

Well, that's grotesque.
That really is.

Oh...

By pleasuring myself,
I've caused pain to others.

If only there was something
that could help us heal.

If only there was someone
who could recommend

interesting genre films
that help provide catharsis.

Oh, Mickey, that's my job.Yeah.

Catharsis.
Catharsis.

Dramatic weight.
Yes.

They want you to cry.
They do.

They made me cry.
Really?

Yeah.
You're eating them, pal!

I don't know if you should cry
over these. These are very good.

So..."Prevenge."

Woman: The baby will tell you
what to do.

It's just nature's way.

Alice Lowe...Of "Sightseers."

A wonderful performer.
A wonderful writer.

And now
a wonderful director.

Her feature debut,
"Prevenge,"

is about a woman
who's pregnant

and is hearing her child
instruct her to kill,

to take
some sort of revenge.

Do it.
Do it now!

Now, this is already
a great hook,

but take away that,

and what you have is
a really excellent look

at impending
motherhood.

All the fears,
the anxieties.

It's a really funny film,
it's a really dark film,

and it's really fantastic.

Well, I like everything
Alice Lowe has ever been in,

so I'm very much
looking forward to this.

Wonderful!

You want to cry?
I guess.

"Beyond the Walls."

This is a Shudder exclusive,
three-episode French miniseries

about a young woman
who inherits a townhouse.

Inside of that townhouse

was a man who's been dead
for 30 years.

When she moves in, she finds
a metaphysical plane

beyond the walls.

Uh, this is really eerie
and really captivating.

But what it becomes
is a story about grief

and a story about romance

and a story that a lot
of our Shudder members

have been very proud
to admit made them cry.

Wow. Well, there's a challenge
right there.

"Coherence."

Everyone else
still not have service?

It's a comet.
Comet. Comet. Comet.

Mueller's comet.

What the hell was that?

It's one of my favorite films
of the last couple years.

Stunning
independent sci-fi film

about a bunch of friends
having a dinner party.

A comet goes overhead.
All the power goes out.

When they walk
across the street

to the house that
does have power,

they see themselves inside.

It's a really
fantastic film.

Mind-bending.
Doppelganger-based.

But what it's really about
is yourself.

Who are you?
Who are you meant to be?

Who did you want to be?

This is a bunch of people
confronting themselves.

It's a really fantastic
drama

and a really fantastic
independent sci-fi film.

It's awesome.It sounds awesome.

"Celia."

Woman: And ran home as fast
as they could go.

Really underrated gem
from Australia

from the late-80's,
directed by Ann Turner.

It's a really cool film
in the vein of "Paperhouse,"

"Pan's Labyrinth,"
all the dark fairy-tales.

The movie's about kids
who retreat into themselves

because of a tumultuous
home life.

This one is a bit
undiscovered.

We're really glad
to have it on Shudder.

And I hope people really
find it, really dig into it.

Ann Turner isn't
really celebrated,

but she's
a fantastic director,

and it's revealed
in this movies.
Wow.

And finally,
"Always Shine."

Bet you think you're better
than me, huh?

This is an awesome
psycho-thriller

from director
Sophia Takal.
Ah.

It's about two friends
who retreat to a cabin

for a weekend
and find themselves at odds.

It, of course, comes in the
tradition of persona, repulsion.

At it's heart,
it's about female friendship,

it's about pressures
of your works,

and it's about two women
who have to confront

things they hate in themselves,
things they hate in each other.

But it's also a bitchin'
psychedelic thriller.

Well, thanks, Sam.

I'm sure these will really
get the waterworks --

Mickey...

you are so delicious,
dude.

Can I recommend therapy?
Mmm!

Yeah, it's a Shudder exclusive.
Let's go watch it.

It's fuckin' great.Never mind.

It was directed
by a 16-year-old.

Don't change, Sam.

All right.

Well, that's it for "The Core."

Big thanks to SpectreVision
for coming out today.

If you're wondering why I'm
still strung up like this, uh,

they told me they had something
really special planned

for the closing credits,
but, um...

I'm not sure where they went.

I'll give them
like 20 more minutes.

Ow.

All right,
like 15 more minutes.

Can someone come
and itch my nose?