Original subtitles

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?