Original subtitles

Please!

No! No!

No! Please.

Please, God! Help me.

Bubble, bubble...

toil and trouble.

No, please!

Please, no, no.

What utter nonsense.

No! No, no, no, no!

Please!

Please!

Please! I'll do anything!

I'll do anything! Please, no!

No, no! Please! No!

No! No!

My eyes!

My eyes...

My eyes...

Welcome, my darklings.

My name is Morella.

And this is "Verotika."

-Cut! -Cutting.

Can we get some more blood

when Morella pulls her fingers out of the sockets?

More blood?

More blood, please.

Welcome to "The Core."

Glenn Danzig is an auteur of the highest authority.

His signature style is scrawled across many mediums --

music, design, films,

his visceral comics.

It's even tattooed on the skin

of his loyal disciples across the globe.

A key architect of the American punk scene,

Danzig's first band, The Misfits,

is a sonic assault that riffs on atomic-age horror flicks.

With Samhain, he explored paganism and the occult

with an experimental mash-up of punk, Goth, and metal.

And his self-titled band Danzig

has been a blues-based, heavy-metal juggernaut

since the late '80s.

Everything he creates pulsates with savagery

and transgressive eroticism.

So, today, here to talk about all things blood-soaked...

Glenn Danzig.

The legendary Glenn Danzig.

Thank you so much for being here today.

-My pleasure. -Very, very thrilled.

I just want to start talking about horror movies in general,

genre films and how they kind of shaped your career,

you know, in all forms of your art, in general.

Uh, growing up back East,

horror movies would always be on late at night.

And sometimes they were really cool,

and sometimes they would suck, you know?

You would wait and wait and wait,

and you never get to see the monster. Right.

So then, that was my rating for a horror movie.

If you didn't get to see the monster right away...

It's bullshit, yeah....it sucked, you know?

And then, eventually, you realize later on in life

that they didn't have the money

to show the monster all the time.

Right. Right.

These movies, those kind of, uh,

"B," science-fiction kind of monster movies are --

Those ones are just "Z" movies, okay? "Z" movies?

What inspires you from those "Z" movies,

and how does that influence you as --

on a greater scale, as an artist?

Oh, "Z" movies don't really inspire me.

I'm just like, "Wow, this movie's terrible."

Yeah. You know.

"This is awful."

But there were other movies, like, say, you know,

Ed Wood's "Plan 9." Okay.

It's got some great scenes in it.

Yeah, yeah, yeah. And, you know,

some of the other scenes are terrible.

But I've seen way worse movies than that.

And, of course, the name of my label's Plan 9.

Let's talk about, uh...

influence in terms of European cinema.

You could always tell a European movie

from an American movie

because they were filmed differently. Mm-hmm.

The cinematography was usually better.

The lighting was better.

And those movies, I liked visually.

I remember watching Argento's

"The Bird With the Crystal Plumage."

Oh, my God. And it's just insane.

Yeah. You know, like some of the murder scenes are,

especially for that time,

everything should put it in context for the time.

When "Night of the Living Dead" came out...

Karen?

...that was, "Wow." Yeah.

Wait, little children are eating their parents?

That was revolutionary.

But I think it still holds up.

I think it's pretty cool, you know? Totally.

And it's probably one of the greatest movies ever made,

I think, you know? I agree.

If you're a horror fan, you've got to watch it.

Obviously, Romero, Argento.

Who are other filmmakers that really kind of

shaped -- you know, shaped Danzig?

Well, there's a scene in this movie with Katharine Hepburn,

Montgomery Clift, and Elizabeth Taylor.

It's called "Suddenly, Last Summer." Mm-hmm.

But at the end, this guy who's the son of Katharine Hepburn,

he uses Elizabeth Taylor as bait to attract young boys around.

She's like super-hot.

Eventually, they all eat him alive,

at the end of the movie, in the street, by these people.

They just ripped him apart and ate him alive.

And so, that's a pretty horrific scene. Yeah.

And then, the horrific part is also that,

because Elizabeth Taylor witnessed this,

Katharine Hepburn is this rich, patriarch lady,

who's so rich,

she's paid to have Elizabeth Taylor

put in an insane asylum,

and now she's paying the doctors to falsify documents,

and they're gonna give Elizabeth Taylor a lobotomy

so she'll never reveal what she knows.

That's fuckin' awesome.

And it rings so true today,

'cause you'll see people using political power and favor

to just do illegal things, and they get away with it.

Why do you think horror and politics

kind of go hand in hand? Because that's what it is.

Yeah. Politics is horror.

I feel like we're primed

for the next great generation of horror artwork

because we're really living in a time like that.

Well, I-I'm not as optimistic.

Why are you less optimistic?

Because I think people are being brainwashed

into just accepting the status quo,

and they're not thinking for themselves.

And when the truth is put in front of them,

they just reject it. Right.

Because it's not their political affiliation

or what they're supposed to say,

because they're so P.C. Right.

I mean, that's what Punk rock was, anti-P.C.

Yeah, yeah, yeah. I mean, you know, so now,

if the Jim Jones thing happened right now...

Well, if you talked about it or said anything about it,

you know, sarcastically or funny, you know,

you would get destroyed on the Internet, right? Right.

But, back in the punk days, as soon as I heard about it,

I was writing a song called "Cyanide and Kool-Aid."

Yeah. Yeah.

So, it's a big difference... Right.

We were taking the piss out of shit.

W-We were purposely looking for this hypocrisies

and making fun of it.

Do you think that we'll come back around to that?

Nope. No? It's over?

No. Punk is just a sound now. It's not an attitude.

Aw, man. Yeah.

So, I want to go back, and I want to touch

a little bit on horror movies.

Do you find that there's a cross-pollination

in that some of these like inspire the music

or change the music, or visa-versa?

I think it's all just an extension. Yeah.

My background is, uh, photography. Mm-hmm.

And going to photography school in Manhattan.

And so, I'm liking Val Lewton a real lot.

Okay. The low shadows.

I like what shadows say.

To this day, I still do shadows.

To this day, I'll just grab the light

and tell my guy to start filming,

and I'll just take the light and go everywhere.

Wow. Yeah. You know?

which is an old effect, but it's still really effective.

I mean, Hitchcock used it in "Psycho."

I mean, Val Lewton, of course, uses it.

So many people. Right.

Like the film-noir style lighting.

And all you got to do is let the camera roll.

Yeah. And, you know, just...

And lighting is everything, you know? Absolutely.

It has to be aesthetically appealing to the eye.

Right. Well, you mentioned Val Lewton.

What do you think the most beautiful movie for your,

you know, from that point of reference?

Is it -- Is it "Cat People"?

"Cat People" is good.

"Isle of the Dead" is great. Yeah!

Um, "I Walked with a Zombie" is incredible. Yeah.

The photography in that is just insane.

There's a lot of other really good movies.

I love black and white. Mm-hmm.

So, really, unless you're gonna do really,

really good color film, I prefer black and white.

So much of your artwork

and your band labels are black and white.

Why is that?

Well, black and white is really powerful,

and I think what happens is,

when you're an indie label, like, you know,

'cause, I started my label out of my fucking apartment,

you know, so you do black and white

because that's all you can afford. Mm-hmm.

But you re-- you start to realize

just how powerful the black-and-white medium is.

Mm-hmm. And sometimes it's hard to shift to color

to make it do the things

that you know you can do with black and white. Right.

Black and white is a very powerful image.

It's a lot less a people sensory organ,

their eyes, have to pull, you know, pull in.

Right, so it's just that, you know,

more impactful immediately. Yes, immediately.

But once I started thinking about color for,

you know, records,

I wanted to make sure I'm doing the right things. Mm-hmm.

So, I'm mixing different colors together,

can create a variation of a lot of different things

inside your body and feelings.

That's why color is an art.

Not just esthetically,

but also physically. Right. Right.

Yeah, it's why Burger King and McDonald's

use red and yellow,

because red and yellow together make you hungry.

And so, that's the approach I took.

Like, say, with "Bullet," it's just stark black and white,

and then just blood red shooting out of Kennedy's head.

Similarly, with "Horror Business,"

in my head, I already had the cover design,

like, it's gonna be black and yellow.

Maybe I'll put a little red in there. Yeah.

'Cause black and yellow are like a psychotic mix.

What, right now, for Glenn Danzig,

is the most satisfying thing, creatively?

Um...all of it. All of it?

So, what I do is, I'll do a record

and that's gratifying

because I then go to do something else,

and then I'll go and do something else after that.

And it keeps the music fresh.

If I just did music, I would be so bored.

Yeah. And so over it...

Right. ...that I'd probably stop doing it.

So, these other outlets make it possible for me

to do this other stuff, so I can stay excited about it.

We just did a video for "N.I.B.,"

which is a Sabbath cover for the last Danzig record.

And it's just a bunch of these naked witches dancing

around a fire and cutting each other and...

Awesome. Yeah, what's not to love about...

Yeah, what's not to love? Yeah, it's great.

But it's like an homage

to all the cool movies that I like,

especially the '70s kind of witchy, satanic,

American and Euro-trash flicks.

It's just an homage to all that stuff.

And there's even Val Lewton stuff in there.

I did tons of really cool shadowy shots.

And I set the lights for most of this stuff.

So, it sounds like you're like an arteur

in every single way, and when you make something,

it's got your stamp on it completely.

Well, you have "X" amount of money

for a music video now, which is not a lot.

Right.So, you got to come on set, and if it's not right,

you just grab the thing and make it happen,

'cause you don't have time to fart around.

Is that more satisfying to you? No.

I'd rather have people do what I need them to do before

and -- and I don't have to wear like eight hats,

because then I can concentrate on other stuff. Right.

So, we touched on movies, but let's talk about literature,

because so much of your artwork

is inspired by literature, right? Of course.

Yeah, and what are the types and what are the --

the main... Well, so, as a little kid,

I'm reading different stuff than other kids.

I'm reading Edgar Allan Poe,

and then I'm getting into Baudelaire and Milton

and, you know, "Paradise Lost." Yeah.

And just crazy stuff for a little kid

to be getting into. Yeah.

But I have to say that,

especially with the Baudelaire and Milton,

I mean, I've used that over and over for stuff

like the first "Black Aria." Hmm.

The second "Black Aria" is based on Lilith,

but the first one is based on Baudelaire's

interpretation of Satan, or Lucifer,

and "Paradise Lost."

And so, how old are you -- were you

when you first cracked into it?

Uh, let's see, 10? 11? Wow. Jesus.

Yeah, so...

Do you dabble in the Bible, too, and that kind of literature?

Of course I read it, you know, but, to me,

it's like a work of fiction.

So, from "Paradise Lost"

and th-this kind of biblical iconography,

how did that shape your artwork

and, you know, your music going forward from there?

What I use is, I use rebellious images,

because I like the rebellion.

I like when someone, you know, tells you,

"You're doing this" and... blah, blah, blah.

I'm like, "Fuck you, no, I'm not doing that," you know?

If I want to do it, I will,

but I don't want someone telling me... Yeah.

..."You're doing this or you're going to jail,"

or "You're doing this because, otherwise,

we'll send the army or the police after you,

or this or that," or "We'll destroy your career,"

or blah, blah, blah. You know, like, "Fuck off."

Right.

So, really, a lot of the imagery is rebellious. Mm-hmm.

And that comes from punk.

Let's talk a little bit about,

um, your artwork and your --

and your comics and -- and graphic novels.

So that's an extension.

So, of course, uh, my whole career

at the end of this shows, I would sign stuff for everybody

and talk to everybody.

And a lot of them are comic fans. Mm-hmm.

And so, at the time, nobody was doing

the really good horror comics. Yeah.

You know, violence, sex, like all the stuff I like.

You know, basically an R-rated movie.

Right, right, right. And so, I just said,

"You know what, I'm gonna do this.

I'm gonna start this indie comic company."

That's what I set out to do, and we're still doing it.

My name is Morella.

Let's talk about themes and the worlds

and the characters that you're creating in your comics.

Our center character has always been Satanika,

so we just keep expanding on her universe.

I always put political intrigue in there,

and of course, tons of violence. Yeah.

And that whole universe is just expanding and expanding,

and we just introduce new characters all the time.

We have a character in the "Change of Face"

stories called Mystery Girl,

and she is a dancer who treats it like art,

but her face is disfigured, so she cuts off girls' faces

and wears them underneath this kind of like burka.

That's --While she dances on stage and takes dollars from guys.

That's very Ojala-esque in that way.

I-It's creepy as hell. Yeah, that's awesome.

And then, of course, there's the "Verotika" series,

which we just brought back a couple years ago,

which is erotic horror. Mm-hmm.

Is there a world where the -- where we get, you know,

the big universe of films out of these characters?

One of the projects that we're trying to get off the ground

right now is a "Verotika" anthology TV show. Awesome.

So, each different episode is a different character. Mm-hmm.

Our stuff is reality-based fantasy.

Okay. So, we base it all on reality

and then we just go crazy with it. Right.

It's why, with a character like Drukija,

which is based on the Countess Bathory.

For people that don't know,

Elizabeth Bathory was a countess in Hungary

who used to bathe in the blood of virgins,

'cause she thought it made her younger.

People couldn't mess with her,

because her husband was this decorated war hero

and they were, you know, royalty.

I changed it to Drukija,

because I wanted to take it in crazier places

and not be tied down... Mm-hmm.

...to the Bathory legend.

I don't want to hear people giving me a hard time.

And I was able to do more stuff with it and everything.

But, of course, there's lots of great films

about Bathory. Mm-hmm.

One of my favorite is

Walerian Borowczyk's "Immoral Tales."

Cool. Let's -- Let's take a look.

This is a movie that has three different stories in it,

"Immoral Tales,"

and, of course, we get a Bathory story. Right.

What's cool about this one is, it's so nonchalant.

Like, it's almost like the camera's there,

and no one knows the camera's there,

and it's just a day in the life of Bathory,

and they just go about their job of bringing in the girls,

getting them naked, hosing them down, killing them.

Look at this. The blood is foaming at the top.

This is fantastic because now we're getting a real blood bath.

There's no melodrama.

It's just her, like, taking a bath in blood.

Yeah, yeah. Like, it's the thing to do.

A day in the life. Good God.

Is this Pablo Picasso's daughter?

Paloma Picasso, right?

Yeah. Wow. Yeah.

And look how just white and elegant it is

when she comes out.

Oh, God, I love it.

So let's talk about this one.

This is "Countess Dracula." It was a Hammer film.

A little melodramatic sometimes.

But what's cool about some of these

is they got to use all these locations,

because I'm assuming this is not a set and that --

'Cause if they had to build this,

imagine what this would cost to build nowadays.

Okay, now...

Here we go. Get the reveal.

Why are they all freaking out?

She should've just been like, "What's up, motherfucker?"

Yeah, she's not even covered with that much blood.

This is "The Legend of Blood Castle."

This is great.

This is a little more visceral

than the Hammer movie, and this is fantastic.

You know, it's more kind of the story.

Yeah, totally.

And you see more blood, you see more nudity.

You're getting a better payoff.

Does anyone know how many people she actually took out?

No, it's like anything. No one really knows. Yeah.

You know, how do you know? They're saying it's hundreds.

Jesus Christ.

A lot of blood.

Oh, if we do "Drukija,"

there's gonna be way more blood than that.

I cannot wait. It's go--

It's gonna be like the "Conan" movie.

You're gonna have to have tankers of blood.

That's the dream, man. That's the ultimate dream.

Did you ever kind of go full, like,

GWAR on stage

and like cover, you know, yourself and everybody?

Well, in Samhain,

it was before GWAR, we did the blood.

We don't do the whole kind of show that they do.

It was just, we came out covered in blood,

just...

You know, you see it on the record cover,

kind of like -- We'd call it "The Blood Show."

But after that, no.

I save it now for either the videos

or, um, the comics. Yeah.

I remember the first Halloween

that The Misfits did at Irving Plaza.

Happy Halloween!

We had dead animal heads and limbs hanging around.

It stunk like crazy in there,

but it was Halloween and it was creepy,

and you could go up to Hell's Kitchen,

you know, on 9th Avenue, and -- and get that stuff.

Did people freak out or...

Yeah, people were freaked out. Yeah, it stunk.

The fans -- 'Cause, like, I imagine at a show like that,

especially where, like, the fans go crazy and wild.

Well, that's every show. Every show, yeah.

That's -- And that's -- That's the point.

You want them to come to your show

and you want them to have a release. Mm-hmm.

You want them to have a great time.

So, as long as they're not getting too "f'd up... Mm-hmm.

...and they're not f'ing up other people too much,

it's, you know...

And you can tell right away, and, eventually,

you're gonna have to get those people out of there.

Because they're not there to have fun.

They're there to cause mayhem.

Yeah, What's the most mayhem you've ever seen someone cause?

Oh, I've seen some crazy shit.

Back in Samhain days,

we had shootings at shows. That's wild.

I mean, Danzig and Slayer did an infamous show at the Palladium

where a couple people got killed.

Jesus Christ. Yeah.

Well, back in the day, for Misfits or Samhain,

there was no barricade. Really?

Sometimes, there was no stage, so you were right there

with people and, you know, getting punched

and, you know, trying to sing and do a show,

and that's the way it was.

Anybody ever lose any teeth or anything like that?

No teeth, but, you know, you're gonna get a broken nose

here or there, occasionally,

and you're gonna punch people back, too.

Of course, you're gonna, you know --

So, what happens when you're onstage,

you get a fucking broken nose

and then you have to perform again the next night?

You just keep playing. "You just keep playing."

Jesus Chri-- You keep doing it.

But i-it was a different time.

A lot of times, if I was going to collect the money,

'cause I would book the show, but also go collect the money.

I'd have to collect it with, like, you know, weaponry.

Because they just try to fuck you over?

Yeah, they try to steal your money,

or not pay you, or whatever,

or try to lie to you about attendance

and how much they were gonna pay you.

And so, you'd have to go in with the weapon.

I used to wear a arm guard.

People thought it was for stage,

but it was a converted hockey shin guard

that I turned the thing that bends for your --

That would go by my fist,

so I could pretty much punch anything with that thing.

And that would wreck someone's day. Yes.

Did you ever get into a position where you felt, uh,

like in danger for your life in --

in one of those situations? You don't think about that.

Of course, you're in that situation.

Yeah. And you're just...

You're bluffing. Yeah.

Jesus. You know what I mean, 'cause if it's gonna --

and if it's gonna go down, then it's gonna go down,

and whatever happens, happens.

That's the way it's got to be. Jesus.

So, as a kid, we would have karate clubs

and stuff like that. Mm-hmm.

And when I moved out here to California,

I started training in Muay Thai, which is Thai boxing.

Yeah, and do you find that things with martial arts --

Does it have an influence, an impact,

on all of your exploits? Yeah, yeah, yeah.

Martial arts isn't just fighting.

Yeah. It's -- It's the philosophy.

And Bruce Lee's book, which I recommend,

people should read the "Tao of Jeet Kune Do."

Bruce was not just a fighter. He was a philosopher.

Right. And his --

His thing was simplifying things

and making them easier and getting rid of a lot of dogma.

There's so many things Bruce would say

were just so fantastic.

Of course, everyone knows, you know,

empty your cup so that I can fill it. Mm-hmm.

Trying to teach somebody something,

and they think they know everything,

you're pouring the water into the cup and it's already full,

and it's just gonna go out the side. Yeah.

So, you have to empty it so that you could retain

what he's giving you, basically. Yeah.

Eventually, I got an introduction

to one of Bruce Lee's five L.A. C.O.R.E. students

that would train to pass on,

you know, that art that Bruce created,

which is called Jeet Kune Do.

And my teacher was Jerry Poteet.

Jerry's deal was, your first meeting with him

is just a meeting, or it becomes your first lesson.

And so, mine became my first lesson.

It incorporated everything.

Everything from Bruce's art, and then sticks

and, uh, knife fighting, all that. Mm-hmm.

And it changed my life.

That's awesome. That's -- That -- I --

Now I want to do it.

I actually brought one of my knives with me today.

Holy shit.

It's Japanese 440 steel.

It will go through a car door.

Jesus. And it's not a play thing.

No. You know what?

I think it's time for your first lesson.

All right.

Show me what I need to do.

All right, you're gonna throw a punch at me.

All right, and then the rest, you're gonna see, okay?

All right, here we go.

Ready?

That it?

See ya, Mickey. Thanks.

Ohhhhh!

Well, I feel violated.

But I think I like it.

Jim, why don't you tell us

how Mr. Danzig fucked me up so bad?

I'd love to.

Well, first, for the areas where Glenn sliced you in the arm,

we went ahead and just sliced your shirt

and then put in tubing to just spray out.

Pretty simple.

We hooked it up to our big fire extinguisher

at 80 pounds of pressure

and just sprayed the shit out of it.

Old trusty.

And, uh, I think we went through about 2 1/2 gallons on that,

which is pretty awesome.

Um, and then,

for the, uh... the gut slice,

we cut to our body here,

which is basically just a stunt stand-in

that we can spread the gut

and then load the back up with intestines

and then push 'em out.

So, in order to make sure that you don't see my hands,

something we've invented...

Those are the meatloaf mittens.

Meatloaf mittens, or gut gloves.

So, we doused the silicone intestines

with blood and ultra-slime

and then shove 'em through the back.

And then, as you can see here...

if you do happen to see my hand a little bit,

boom, you got gut gloves, so no biggie.

Looks like it belongs.Now, are gut gloves a patented Ojala creation?

Um, they will be.

They'll hopefully be on Amazon by Christmas.

Great. Perfect.

And an important thing

with making silicone intestines is,

it looks cool, they could look, you know, slick

and they're really heavy. Mm-hmm.

They got some nice weight to 'em.

But in the olden days, they would use

real animal intestines a lot.

Like in "Day of the Dead." Like "Day of the Dead,"

where they left 'em in the fridge

and the poor bastard actors were eating rotten guts, you know?

Th-They used them in one of the movies

they did for one of our characters.

-Uh, "Grub Girl," yeah. -Oh, yeah?

Where she kills her pimp, bites off his dick,

and then rips out his guts.

And it was, you know, of course, a fake... Yeah, yeah, yeah.

...stomach there, and then all the guts came out.

But it was a lot of real... Real intestines?

Real stuff in there.Nobody had to put them in their mouth or anything?

Yeah, she was -- Oh, really?

Yeah, she was a trouper. Holy shit.

That's awesome. When I was on set that day,

I was watching, I was going, "Wow."

Have you ever seen the -- the, uh, Euro horror flick

where they're shooting tons of maggots at her face?

Oh, Fulci, "Gates of Hell." Yeah.

Speaking of Fulci, that was some big inspiration

for when we did the eye gouge from M-Morella.

Yeah, especially the side shot

where you think they're gonna move away,

and the girl's eye is not gonna be shown going

into the piece of wood, and they actually close in on it.

That's based on an old comic book censorship issue

when comic books went to trial in the early '50s.

Really?Yeah, the seduction of the innocent

and, uh, Fredric Wertham took comics to court,

and that's how the Comics Code happened,

and all these comic companies, like EC, went out of business.

And some of the smaller horror companies,

they weren't allowed to do that anymore.

But they had this thing that they showed

and introduced into court called

the "Injury to Eye" panel.

So, they actually closed in on the eye

and you saw like a poker or something

pulling the eye out or destroying the eye.

And there's even a comic cover

where you see just a close up of a guy screaming

and his eye being pulled open,

and someone sticking a hot poker in it.

Oh, really?

So, the origins go back to comics.

That's fucking awesome. Did you think that was like,

that scene was an actual throwback to that?

It has -- It has to be, because you can look

in the comic book price guide and it will point out

which comic has injury-to-eye panel.

Which has got a higher value, obviously.

Yes, it had a higher value. Damn. I had no idea.

And if it was cited in the court case for the trial,

it'll go even for more... Wow.

...because it was introduced into court... Yeah.

...as a reason why kids should not be allowed to read comics.

Right. That's awesome.

Did you read comics when you were a kid? Oh, totally.

Okay, and now you're doing guts for a living.

Exactly. It's all -- It's all paying off, you know?

-Yeah. -Full circle.

Oh, yeah.

Yeah, and one of the cool things about the --

the zombie shot is, you know, they --

they use so much of the real actress,

and then, when they cut to the real eye --

I thought I read an interview where it was an animal eye.

Oh, really? Yeah.

May-- Maybe so, 'cause... In -- In "Un Chien Andalou,"

they use a calf eye, and that's pretty fucked up.

Right. 'Cause it's so -- it's almost like jelly.

That's probably the first injury-to-eye scene.

And it's horrible. It's -- Dali is just crazy in that.

To really slice open this eye, it's awesome.

Yeah, we were so inspired by that, we kept --

we kept kind of looking at that, and it was like,

"Oh, like, what if we could, like when Morella --

Morella's, uh, nail goes into the eye,

if we could actually pre-load it

so, like, there's actually blood

that comes out of it, too?" It's not coming out enough.

Let's try it on Mickey. Come over here. Yeah, yeah, yeah.

Let's see the comparison to a real eye.

I think part of what sells the zombie scene so well

is that they utilize as much of the actor as possible.

Mm-hmm.We try to do that with -- with these characters,

so we actually tubed Morella underneath her fingers,

so we can actually see her fingers

digging into the eye sockets, with blood raining down.

And then, just for th-that quick impact shot

where we see the nails actually go into eyes

and dig them out, we cut to our silicone head here,

that looks like it's in some pain.

Yeah.

And then, we also have tubes that go behind her eyes,

so they actually shoot blood behind the eyes, as well,

so we can have it rain down. Yes, We need lots of blood.

And then, for this guy?

That's just another arm we made for you,

so in case we wanted an insert of like,

we cut that thing open.Yeah, I have my knife still, by the way, so be good.

Yeah, let's -- let's see it. We can see how it'd really go.

Let's see how sharp this knife is. Yeah.

Let's see if it'll go through this stuff.

Yeah, go crazy with it.

-Oh! -Oh, nice!

That is perfect. Right there.

-Totally. God! -Yeah.

So, that's what really would've happened to you.

Yeah, yeah. If I had been stuck. Look at that.

If that had happened to you, you'd be in a hospital.

Or you're dead. Done, right?

You think? Just that one slice,

he -- he'd probably be done for, right? Yeah, of course.

Well, the first hit would've been here,

and your arteries are all there. Yeah.

And so, you can see, it's like, phew.

But, of course, it doesn't even matter,

'cause by the time I got to his side...

What hospital you go to?

You're gonna be like, "Uh, well, here's his guts, too. Right.

By the way. Can you save him?"You can reconnect them to something.

Yeah. Yeah. Would've been a pretty badass way to go, though.

And so, does this -- does this meet the standard of approval

in terms of color?Yeah, it looks good. Yes, this is good.

Yeah.It always bugs me when some people do the fake blood...

Mm-hmm....and it's real thick and cakey and red

and it looks like candy apple. Yeah, exactly.

Yep, fake blood still tastes the same. Yeah, right.

And sometimes, you'll see where they're trying to be,

like, too badass, and they make it almost like dark brown.

And it's like, "Well, it's not brown," you know? Yeah.

When we shot some of the early

black-and-white Danzig videos,

we would use Hershey's chocolate for the blood.

Oh, serious? That's awesome. Nice.

Yeah, a little trick, because it's dark,

and you're just shooting black and white anyway.

It's not gonna pick up the red, so you would just use -- So, like...

Hershey's chocolate in the can. Okay, so, like the "Mother" video,

like, when you split the chicken?Yeah, that's Hershey's chocolate.

That's Hersh--? Oh, that's awesome. The Hitchcock classic.

That's awesome. Yeah. Yeah.

Glenn, it sincerely has been an honor

to be killed by you, and thank you so much. Well, you're not dead yet.

Yeah. Exa-- There's plenty of time.There's still a couple more minutes of the show.

I ain't no God damn son of a bitch, Sam.

I brought your tapes back.

Thank you, Mickey, for the tapes

and the ham-fisted Misfits reference.

I thought it was organic, but, you know,

potato, patato.

And it's a good thing you got them in

just on time. Oh, yeah?

Because you don't want to know

what I collect for late fees.

All right, I'll turn 'em in on time from now on.

Got it. Jesus.

You always keep that thing back there?

Yeah.

So, what do you got for me?

Well, Danzig's knowledge of exploitation cinema

is inspiring,

so let's take a look at some of the messiest,

bloodiest, carnagiest titles on Shudder?

Sure. All right.

Can we talk about blood, guts, and exploitation

without talking about Italy? I don't think so.

We gotta talk about the main man, Fulci.

Ohhhh, baby.

A classic double -- "Zombie" and "The Beyond."

I love it already.

"Zombie" -- A.K.A "Zombie 2."

One of the great zombie films of all time,

with only the greatest gore shots of all time,

of that big wooden splinter piercing through an eyeball.

It's absolutely revolting, and it's absolutely wonderful.

"The Beyond."

My favorite zombie movie of all time.

Dream logic, gore, head explosions,

an absolutely stunner of an ending.

You can't go wrong, and you can't get bloodier.

Ah. Mr. Fulci, I'm ready to have my eyes...

That's offensive.

I'm not even gonna say what I was thinking.

"We Are the Flesh."

Oh, I've heard of this one.

It's a new film from Mexico.

It's a Shudder exclusive,

by Emiliano Rocha Minter.

The beauty of this film

is that it feels utterly satanic.

But it's not robes. It's not daggers.

It's not symbols. It's not rituals.

This film feels evil,

and it's just something really special.

And if you want, uh, your eyes, which have just been splintered,

to then bug out, this is what you watch.

My poor eyes.

"Macabre."

This is from the Mo Brothers --

Kimo Stamboel, Timo Tjahjanto.

You might know Timo Tjahjanto

from his "Safe Haven" segment of "V/H/S/2."

Okay. Folks get stuck with a cannibal family,

and it is just fountains and fountains

and fountains of the red stuff.

It's brutal. It's wild. It's very, very cool.

And it's cool to see what they're up to in Indonesia.

"House of Whipcord."

This is really great, working-class British sadism.

If Hammer and Amicus

often worked in the high gothic,

Pete Walker worked in the low, on the street level.

Young, pretty things get kidnapped,

dastardly S&M goes on in the basement.

It's something really freaky.

Well, Sam, these recommendations stand

for a truly unsettling, provocative night.

They are. Uh.... Hey, Mickey.

These aren't rewound.

Gotta go feed my cat! Bye, Sam!

You know what -- I get it now.

Bliss.