January 10, 2025 • 56 mins
Every vampire movie feels familiar for a reason. This week, we dive into the OG horror flick - the century-old Nosferatu: A Symphony of Horror (Germany, 1922), a film that's easier to appreciate and admire than enjoy. Plus, we also flag "elder millennial" references in the short film Last Orders (United Kingdom, 2021) on Shortverse, chat about Florence Stoker and Joseph Campbell, and Marcus and Melissa make huge historical errors. One of them is funny; the other came from misremembering Queer for Fear on Shudder, a great documentary mini-series that I should rewatch before misquoting.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Grady, did you finish the short?
I did.
See there was no penises, right?
Not this time.
Oh my God. Argus,
are we going to have to have a talk about
(00:22):
Riverside sound effects board purple.
Can we mute him?
All you had to do was let the porn musicplay and you just started talking and
you took away from that killer baseline.You got to let the baseline go bump.
You know what I'm saying?
Marcus?
Is there any response I can give tothat that won't lead to you playing more
(00:45):
music? Nope. Okay, here we go.
Oh wait, no, which one's the one withthe killer baseline, so it reloaded.
These are all the RiversideReset sound effects and
we were going through 'em whileMelissa beat her laptop to death.
And where was,
which one wasn't the intro transition to?
(01:07):
Was it this one powered by Riversidefm? No, it wasn't that one.
There you go. Powered by Riverside.
Stop encouraging him. No.
(01:30):
So now all I can see is some girl
getting railed by somedude who keeps saying.
That would've been more effectiveif I'd had a button down shirt
said, I just kind of awkwardly tuggedon my shirt collar like a moron.
It really does sound like somebody waslike, okay, I want seventies porn music,
(01:53):
but with a sense of humor andsomehow promoting Riverside
fm.
It's just you can't make a parody ofseventies porn music like seventies porn
music either is or isn't. There'sno irony you can add to it.
A musical equivalent of PO law.
It is a parody of itself by default.
(02:16):
That's sort of the whole thing.
Oh my God. Yeah. Oh God. Oh,
this is our theme song.
You know, it only works if we're notrunning our mouth while we're doing it.
Sorry. The whole post.
(02:36):
We actually hear the music in realtime. We think we're going insane.
Minimize the editing that I have to do.
I was afraid that you weregoing to play porn again.
I'm not playing porn. I'm playingporn music. There is a world of,
it would be weird if I waswatching porn. World of Difference
(03:01):
One is more, well, I guess they'reboth group friendly in a way.
Anyway, welcome to Imported Horror.
This is the podcast that brings you thevery best of musical deconstructions
from erotic films of 50 years ago, plus.
Seventies. What I canonly describe years ago.
(03:22):
Well, seventies porn porn of yesteryear.
I know. That's just.
Yeah.
It's messing with me now. Thank you.
Yes, you're welcome. Yeah.
We also bring you the very best of
haunting millennial. I don'tknow, I didn't do notes.
We meet death and classichorror from beyond the shining
(03:46):
season. Not even classicvintage OG horror.
Real vintage.
Yeah. I'm Marcus. I'mhere with my co-hosts.
Melissa.
And Grady.
And see, I resisted the urge tocall you my vintage. Thank you.
Even though none of us are exactlyspring chickens at this point.
(04:07):
Pretty sure that I'molder than both of you.
Well, it depends on if you're being,well, not young you though. That's.
The thing.
It's not a competition Old. We're notold either. We might not be young,
but we're not old. We're insort of that middle ground.
You mean middle aged? Is that whatyou're saying? Are we middle aged?
I keep moving the bar for middle agedand I don't know if that's us doing it so
(04:30):
that we don't have to call ourselvesmiddle age or old people doing it so that
we don't get benefits.It's difficult to tell.
I prefer the term elder millennial.
So just saying why, I dunno.
It's better than middle aged.
I dunno. It sounds nicer.
(04:56):
Well,
it's relevant to today'sconversation because I knew
the age of the writer director ofyour short film before I looked him up
because he stole a linefrom Gladiator shamelessly,
and the second he did that, I waslike, I know how old you are. How did.
I miss that?
(05:17):
I have no idea.
I may not know the line from Gladiator.I dunno if I've actually ever.
Don't. No, don't evenfinish that sentence.
That sentence should fill you with shame.
Who is in Gladiator.
The other reason that age is relevantis that we're also talking about a movie
that is over a hundred years old.
(05:38):
That too.
Oh.
My.
God. So I was thinking, okay, so whenyou said Gladiator, I was like, oh,
is that Mel Gibson? And thenI realized that's Braveheart,
but I have never seen that oneeither. I just know that face paint.
What.
Episode? Lemme go get my sweats back.
(05:58):
How are you on a movie review podcast when
you apparently don't know thefirst thing about movies? Me?
She doesn't know the first thing aboutthat specific movie that isn't in our
wheelhouse.
Thank you, Grady. And we'recalled Imported Horror.
We're about horror movies. Not whatever.
(06:18):
Gladiator is classified as.
Oh my God,
that's almost as bad as my wife onceConfusing Bruce Springsteen and David
Bowie.
No, no. That will never be as bad as that.
It's almost, it's inthe same neighborhood.
No.
(06:40):
I'm more of a music guy than a filmguy says the third co-host of a podcast
about movies. So I'm going to haveto go with Melissa on this one. Yay.
Thanks Grady. Well, I mean we canjust, I'll just play the porn music.
If only because I don't know howto classify Gladiator either.
What genre even is Gladiator?
(07:01):
Well, it's like a historicalepic as much as anything.
It was done by Ridley Scott.
Was that a question? Yeah, of.
Course it was. Oh. Ohmy God. Who's that guy?
Oh my God. It's Russian Pro.
And Pedro Pascal. Oh my God, it tryso crap. That's the second one. One
(07:24):
I'm stopping now.
Anyway, there used to be a whole genre of
mythic historical epics like Ben Hur,Lawrence of Arabia, that sort of thing.
Gladiator and GladiatorTwo, maybe more so than one,
but our throwbacks tothat in a lot of ways.
I sat through all threehours of Lawrence of Arabia.
(07:47):
It's a great movie. Congratulations. Yeah,
I made a girl we knew in college do that,
and it almost made her leave us thehell alone and never speak to us again.
In retrospect, thatprobably would've been best.
I thought that was your plan. I wasdisappointed when it didn't work.
So this week we've onlygot one coming soon
(08:09):
and Melissa is still short andwe're going to chat Nosferatu,
so should be pretty good.
(08:30):
See, nobody.
That is much creepier having to listento it while we're doing the podcast.
So we've only got one this week. That's.
A good, I'm missing. Missing.Somethings an awesome.
One, which is possible.It is an awesome winner.
It looks really fantastic.I'm excited about it.
(08:52):
This is Get Away and it's written by
Nick Frost,
who was the other guyin the Corno T trilogy,
the one actually eating the Corno.
The one that's not Simon Peg.
Right. And his filmographyis sort of split from Peg.
I think they're still friends,
(09:13):
but Simon Peg is doing a lot more likeMission Impossible style movies and Nick
Frost is still doing.
Continuing the Sean of the DeadMission statement basically.
Basically. Yes. Love it.
Simon Peg was in the Boys.
I did not know that.
And actually the guy whoplays Hugh in the Boys
(09:36):
is a famous Jack Quaid,
and so he made sure on Father's Day
to wish Simon Peg Happy Father's Day.Who plays his father in the boys.
In Neat. Like flashbacks or.
(09:57):
No, no, on X.
Oh, okay.
Because his real dad is Dennis Qua.
Okay. Actually a distant relative of mine,
believe it or not.What? Yeah, I don't remember exactly how,
but my mother knows, and I could callher and ask her. But yeah, distant.
I am distantly relatedto Dennis and Randy Wade.
(10:23):
Anyway, get away from family'svacation to a remote getaway,
takes an unexpected turn when theydiscover the island they're on,
is inhabited by a serial killer.
This was in theaters for a littlewhile, but limited release,
but it's coming to shutter. Thereviews are pretty good from the uk.
(10:43):
I'm excited. I like Nick Frost and I,
he was always the sidekickwhen he was with Peg,
and I like that he sort ofstepped into his own and
he doesn't feel like
the friend or the buddy anymore. It'sactually him doing his own thing. I loved,
(11:04):
was it, oh, not ghosts,
but the TV show he did aboutthe Ghost Chasers. Oh yeah.
That really deserved a secondseason and just got pandemic.
That one's really good.
He and Malcolm McDowell have afantastic rapport in that show.
That's a lot of fun.
I also, again,
and I think I bring this up everytime we mention either one of them,
(11:26):
but Spaced is just a great series andNick Frost I think is really great in
spaced. I think that they have anequal footing there, Simon and him.
Yeah, it's been foreversince I've seen it,
but I know it's basicallywhat started this whole thing.
Yeah.
I feel like I need to go backand rewatch. It's old now.
(11:48):
Well, what did y'allthink of this trailer?
I think it's neat.
And also very noticeably satirizes,
a type of movie we've done for thepodcast before to the point where if this
didn't already exist and if we wereever to actually make an imported horror
movie, this feels like it could bethe imported horror movie like creepy
(12:12):
Scottish Backwood weirdos.
I could see that.
Absolutely.
I could definitely see that.
Absolutely. No, I'm excited. This looks.
I can't wait to watch it and then.
Talk about.
It.
Yeah, I kind want todo that for next week,
assuming it's coming to Shut on time.
January 10th.
Nice. So tomorrow, so.
(12:33):
It's the same day thisepisode drops. Yeah.
Alright.
Let's do Check.
It out. Out on Shutter. I find myself,because I'm a Tubi garbage person,
gravitating more toward Tubi lately,
but that has more to do with me and myschedule and my decrepit personality and
less to do with Shutter's catalog.But this, I'll go back to Shutter for.
(12:56):
Alright.
I was impressed with Tubi becausesomebody on TikTok had asked
the other day
about a movie that waslike a Mind mindfuck,
but was a really good movie.
And Lucky Number seven was one ofthe first ones that came to my mind,
and I haven't watched that movie in solong, so it made me want to watch it.
(13:18):
It's on Tuby. Thank you. Yeah.
Of.
Course.
I watched the movie we'retalking about this week on.
Yeah.
Yeah. There are fourdifferent versions of it.
I'm pretty sure I didn't watch theright one, but we'll get there.
(13:45):
I still don't have a sound effect forhow short Melissa is, but Melissa,
you're short. What's your short Thanks.
What is it? Sorry.
It's a great joke. It never gets old.
I got to pull up my notes now. I'm.
Unlike us apparently.
(14:05):
So the short is called Last Orders.
So interestingly enough,
this director that I found,
he has not put anythingelse on short verse.
I couldn't really find him anywhere.So did you find him anywhere,
Marcus on IMDB?
Yeah, he hasn't done a lot.
(14:27):
He's born 1987 to the surprise of no one.
He's mostly just done a couple of shorts,
not a ton babushka that's coming out.
Do Not Disturb Last Orders,gentlemen in Moscow.
Yeah, so I don't know.
(14:47):
Assuming.
He did make a statementon this particular short,
and I really want to stress this becauseI think it's impressive what he did
with the little time and budget thathe had. And so we made last orders,
this is a filmmaker statementby John James Smith,
who was the filmmaker on this.
(15:07):
We made last orders for a very lowbudget whilst the UK was in lockdown
due to covid. We had next to no money.
But what we did have wasaccess to an old creepy pub,
which couldn't open dueto covid restrictions.
So we wanted to utilize what we had anduse a small window of time to create
something. I wanted to create ahorror film that makes you think,
but without preaching to the audience,
(15:30):
what I really like was pacingwise, it was an odd script,
so I knew it would allhinge on performance,
particularly with the opening scenes.And so funny enough,
I read that before I watched themovie. I normally don't do that.
I normally don't read thestatements before, but I did.
And so I almost went intothis cringing a little bit.
(15:50):
I was worried about bad acting.
I figured with low budget they'd probablyhave to use whoever they could get.
I worried about how it wouldlook, but surprisingly,
I picked this one based on thescreenshot, the blue lighting.
It really did something for me.
I thought it was super cool andI was so pleasantly surprised by
(16:13):
this.
I could watch a full movieif they expanded more into
where this was going,
and I think that he left it,
but also not open-ended.
And I kind of loved that he couldreally do something great with this.
And again, I think whatthey had to film with,
(16:38):
it was shot really well.
It could have been a full on horror movie.
Oh yeah.
So I was impressed and I really hopethat we get to see more from this
guy.
What was interesting for me isI actually was halfway through
(16:58):
the movie when you sent thattext telling us about the pen,
the fact that it was shot ina pandemic and all that stuff.
And that just completely changed the way
that I was looking at this moviebecause it kind of added that feeling of
isolation to it and startedkind of sending my brain
(17:19):
down some paths that I'm not entirelysure that the guy meant for me to go
down, but it was just like, okay,is this storing the lockdown?
Is this all in his head?Is this even a pub?
I thought the same thing in.
Some neat directions.
Well, it he's right.
(17:40):
It hinges on the acting and the location,
which that pub yes gave offbig time Winchester vibes.
Winchester.
Shot of the Dead, but alsoWinchester, Sam and Dean,
because I got big supernaturalvibes from this as well.
I thought way back to the openingscene with the death when we first
(18:04):
see him and oh, death isplaying in the background.
And that character was so strong, andthis is, I feel like such a different way
to interpret
death if that's what he was tryingto interpret that I'm not sure.
I mean, it wasn't even all thatdifferent because, so in Supernatural,
(18:25):
it was Julian Richings,
who was also the guy years earlierwho got cubed in the opening
sequence of Cube and everything he's in,
he makes better. He was also the clown in,
oh, that horror comedy we watched.
(18:47):
Oh.
You know where they're inthe Chinese restaurant?
Yep. Yep.
Shit. Oh, that's going to drive me nuts.
How am I not remembering aclown in a Chinese restaurant?
(19:07):
Oh, vicious fun.
I just found it too. Yeah, yeah.
Yeah, yeah. He's usuallyin the background.
You don't always recognize him,
but he's one of these guys youwill know when you see him,
you just may not put two and two togetherabout how he's been in so many things.
And this clearly the director had
(19:30):
watched that and was pullingfrom that and drawing on that,
and the actor in this onein last orders nailed it.
He gave off all the samevibes that Sam, Steven Elder,
who's been in a bunch of stuff too, been.
Yeah,
there are some actors that can walkinto a room and pull all the attention
(19:52):
on them. And even though this reallyonly had two main characters in it,
the main focus a lot of thetime was on the pub manager.
But when death came in,
he just stole the show.
And I love that because that'swho you need to have somebody
(20:13):
that powerful,
you need to have as an actor if they'regoing to be playing this pivotal role.
Well, and he's not stealing the scenebecause got some six pack or because he's
physically huge or anything.
It's just that panache that gravitas
like, okay, you'veclearly done this before,
and the camera and thelighting and everything else really helped him sell that.
(20:38):
I really liked it. I'm with you.
I think it was hard toseparate the late millennials
from it, because in my head I'm thinking,okay, I know where you got that from,
and it just, I'm grinning becauseI can hear Russell Crow saying it.
What was it that he said?
No, no, no, no, no, no, no.It's basically the punch,
one of the punchlines to Gladiator.
(20:59):
One of the big epic Russell Crow saysit to Joaquin Phoenix. What does he say?
Hey, I can't spoil. Well,
I guess it is like a24-year-old movie at this point.
Yeah. I'm sorry if they haven't seen, I.
Say they.
Haven't seen, I know I'm a part ofthe they. Okay, that's why I'm asking.
(21:19):
It's the line that.
I haven't seen it since college,so it went over my head too.
They paraphrased it a bit, butthat Death smiles at us all,
and all you can do is smile back. Oh,
(21:39):
they added a bit to it forGladiator, given the context
then that obviously thepart of the context,
because they're talking about someother characters that didn't translate,
that didn't carry over to.
This.
But the basic gist of all wecan do is smile back that, yeah,
he lifted from Gladiatorand lovingly it worked.
(22:03):
I could see.
That. I'm not criticizing.It worked really well.
One of the things that I loved,
one of the phrases that he used orconversations that you're having is,
do you remember what I toldyou at the end of your life,
you see your life the wayeverybody else saw you through
everybody else's eyes. Andthat makes you think, right,
(22:26):
because terrifying.
Yes.
I know. Because here's the thing,
it's one thing to relive allthe moments in your life, right?
Because your lifeflashes before your eyes.
But now imagine it throughlenses of other people and that
we can't even imagine that. Andthat is absolutely terrifying.
And that sat with me and that'sstill sitting with me so long
(22:51):
after I've watched it.
Yeah.
This was such an impressive short film.
I would love to see him do somefeature length horror stuff.
I would too. I don'tknow if this particular,
I worry that stretching thisout to a 90 minute movie,
(23:11):
you might have to water it down. Itworks really effectively, is a short,
I don't know if that particularpunchline would stretch,
but the camera work certainly would,and the acting certainly would.
So everybody involved in this,I would love to see more from.
I was seriously sitting on the edge ofmy seat waiting for that first line from
(23:33):
the pub manager going, oh God, pleasedon't let it be high school acting.
Please don't let it be like highschool. And then he spoke and I'm like,
oh my God, these are real actors. Yay.
Well, I, if someone's going to think, oh,
it's locked down.
I need to do something to keep myselffrom going mad from the isolation and
(23:56):
despair, I'm going to make a movie.
I kind of figure if yourbrain immediately goes
there, that's a passion project. Andyou've done this sort of thing before.
Yes.
Yeah.
It's kind of like what happened withDr. Horrible sing-along blog during the
writer's strike.
Yeah.
That was a masterpiecethat came out of boredom.
(24:18):
Yeah, yeah. Basically. Yeah.
Freaking great.
Real quick side note, just talking aboutmy own impressions of this short film,
I was a little bit misled into whatkind of movie it was going to be,
and at the very least, kindof got a chuckle out of it.
(24:38):
This 20 minute short film'sdivided into chapters.
I really like how it opens chapter one,
chapter two,
that made me laugh. Andthis movie is not a comedy.
(25:00):
But no, it disarms you whenyou're not prepared for it.
And it actually workswith it, I think too,
because it shocks youinto paying attention
because you're like, what thehell was that? That just happened?
And honestly,
this was pretty scary just in terms ofisolation and death and everything else.
(25:23):
I'd give this a three on the terrorscale, especially the way it was shot.
It made you feel alone. And that'smore terrifying than anything else.
Yeah, I'm oscillating between athree and a two if only because,
and this is a nitpick,
and I know that I feel like thedeath voice was trying too hard.
(25:46):
Fair enough.
I could see it being alittle too overprocessed.
But that was reason that evenremotely took me out of it.
Yeah, no, I'm totally,
it was definitely spooky and gloomy,
but at least for me in a, well,
(26:08):
I was going to say in a fun way becauseof all the millennial references,
but even then, what it called,
to my mind,
it sounds overly dramatic. Callit a near death experience,
although it technically probablywas. But when I was a kid,
I was sand sledding in theRube. I grew up in Saudi Arabia,
(26:29):
those big red sand dunes.Well, long story short,
I was like a hundred pounds,
and I went way further down thedune than I thought I would.
And the car right in front of me wasa lot closer than I thought it was,
and I should have hit it and brain myself.And probably that would've been it.
And I didn't, can't explainthe physics behind it.
And you could say, my memory's fuzzy.And sure it was decades ago. Maybe it is.
(26:53):
You could say, I'm making it up andI don't know, maybe I know I'm not,
but you don't know I'm not.
But it felt like there was a presencethere and it was not a malevolent one.
And so my head,
the story being all creepy and gloomyand death is really foreboding.
And in my head I was thinking,well, I mean maybe, but
(27:13):
I could see how this couldreally get under somebody's skin.
And it kind of did with me.
And that's why my brain went back tothat as sort of a defense mechanism.
Yeah, definitely. I couldcompletely see that. And
it also runs the line of,
is this really his pub? Ishe in some sort of purgatory,
(27:38):
forced to remember the timeshe met death or his death?
There's just so much going onin this for such a short film
with such little dialogue.
The emotion that it evokes andprovokes from you is incredible.
Highly, highly recommend.
Yes. We'll put a link to it.You saw this on short verse.
(28:01):
Short verse.
I'll put a link to it on theshot. Quick aside, go ahead.
Short verse is an awesomething. It's an awesome site.
I'm glad you introduced it to us, Melissa.
I think once we get all ofour respective acts together,
we should be doing more with itin some kind of official capacity.
Because I'm mentally 12. I keepcalling it sharp verse in my head.
(28:27):
That's all. Carry on.
Wait, I've got a sound effect for that.
Oh God no. Oh,
that is not the sound of that. Thank God.
Okay, fair.
So I watched, and I think y'all did too.
(28:53):
No, a symphony of horror,
or at least I tried to.
So this is 1922,
the OG of OG Horror Movies.
It is German, but from.
(29:13):
Almost.
Got destroyed three Germanysago. Yeah, yeah, yeah.
Is it bad to say that It was boring to me?
Not at all. We will get.
Into that.
Okay.
So the basic plot you've heardbefore, and you've seen it before,
(29:35):
vampire account for Lock expressesinterest in a new residence.
And real estate wife, real estateagent is named Hutter. Now,
I watched the Joe BobBriggs last drive-in on it,
and Joe Bob went into a ton of detailabout the background and everything.
AndHis point was, by this point,
(29:55):
by 1922 Dracula,
the novel wasn't reallya big thing anymore.
And so a bunch of German guysduring the Weimar Republic,
they made it into a sort of an occulthorror movie and made a big deal
out of it.
And they sent cards andeverything to Florence
(30:20):
Stoker to Bra Stoker's widow.
And they even say at the beginning,this was inspired, much of this,
not quite all of it, but much of itwas taken from bra stoker's, Dracula,
Florence Stoker didn'tlike that and had a big,
big lawsuit against it.
And I can understanda lawsuit saying, Hey,
(30:42):
you're profiting offmy dead husband's work.
I want some money off of this that I get.
And she went for the jugularand wanted all of it destroyed.
And that is a bridge too far,
even given everythingFlorence Stoker went through,
because do you know who she was marriedto before she was married to Bra
(31:02):
Stoker?
I know we've talked about this,but I don't remember who it was.
Oscar Wild, like.
Gerald Ford. Oh, Oscar.
Wild.
That's right.
If it makes you feel any better, I wasgoing to guess Jack the Ripper. So I mean
(31:25):
Gerald Ford, I dunno. He.
Was the first name that popped up.
Into my No, no.
Gerald Ford didn't writeDracula. He was assassinated.
And that's what caused the VietnamWar. Get your history right, Melissa.
(31:47):
And Grady, I knew would've been kidding,
but you said that withthe utmost sincerity.
It was the name that popped into myhead at the moment. I don't know why.
Somewhere, somewhere your highschool history teacher is sobbing
uncontrollably and has no idea why.
(32:10):
My lesson,
my high school history teacher probablysobbed through the entire four years
that I was in that school history andgeography were not my strong suits gay.
Wow. Wow.
Wow. So you could.
My high school history teacher, ifhe was still alive, would think,
(32:32):
this is hilarious. I got mostof my deliberately mucking up history for laughs,
humor from him. So.
There's a documentary series on shuttercalled Queer Horror that goes into the
history of literally queer horror.And I haven't seen all of it,
(32:52):
but I did see the first episode whenthey talked about Oscar Wilde and
Bra Stoker and Mary Shelley,
and one of the points that theymade was that after what happened to
Wild Florence Stoker married Bra Stoker,
and you can read the original Dracula very
(33:14):
easily as a gay panic type of thing,
not from an insincere like,oh, the gays are coming,
but if you give into your dark urges, dark
horror will follow.
Which if you're living in the aftermathof what happened to Oscar Wilde,
I can completely see how that would bea reasonable thing to want to articulate
(33:37):
on the page. It's over a hundredyears ago now. For the most part,
our thoughts on queerness havechanged. Maybe not completely, but
sort of an aside. Anyway,
Florence Stoker tried to delete this
Nosferatu from history nearly succeededsome archivists a couple of years
(33:58):
ago,
collected enough copies to crib together a
print, and that's what we're watching now.
But the main reason she didn't succeed
is one country got a hold ofthe film and just completely
ignored any sort ofinternational copyright law.
(34:23):
Say it with me now.
U-S-A-U-S-A-U-S-A-A-U-S-A,
which we don't get a lot, right.On the international stage,
arguably we didn't get this right, butat least we preserved film history,
even if completely out of spite.
(34:43):
That's the best reason to do anything.
Well, and you got to figure at some point,
everything has repeated.
There have been so manydifferent iterations of the same monster over and over
and over again in different forms.
So while I understand wantingto make sure that you're
(35:04):
credited or have some royalties,I feel like you can't,
can't just take away creativelicense from somebody to do
something a little bitdifferent with a character.
Yeah.
It's a fine line to walk,right? Because it's like
in music terms,
(35:24):
we're talking under pressureby Queen and vanilla
ices, whatever the hell thatsong was called. Ice Ice Baby.
See.
Now you're just.
Go.
Ahead. I mean, yeah,
as far as I'm concerned, van Vanilla Ice.
Transformed that song enough that hehad every right to show it as it work.
(35:49):
He took a good song and made it terrible.That makes it demonstrably different.
So true. See,
when Queen and David Bowie'slawyers are saying, oh no,
that impinges their property, they'reimplying that that song is their property.
That's terrible. Why would they dothat to David Bowie and Queen's name?
(36:10):
Well, and I think Vanilla Ice didnot help his case when he was like,
don't you see how differentit is? And then he did the,
that was only one duck.
Then he did the part thathe literally took from the.
Why was his lawyer notleg shut the fuck up,
(36:32):
don't talk.
Many, many lawsuits,
investigations of all kinds would bestopped in their tracks. Just shut up.
Stop talking. It'll go awayif you just stop talking.
Yep. Speaking of someone who worksat a courthouse. Yes, that is true.
(36:52):
That is extremely true.
Melissa is about two seconds awayfrom just stealing from heretic
face verbatim dialoguewise. But that's in part,
which is a really great movie.I really want to see it again.
(37:13):
But Hugh Grant's character in hereticis talking about iterations of different
songs and everything, and he basicallyplays an evil college professor,
but he doesn't show his notes in thesame way that college professors do.
So when he starts talking aboutJar Jar Banks, it's funny,
but he doesn't have time because it's ahorror movie to fill in all the gaps and
(37:34):
talk about Joseph Campbell and theMono Myth and how Star Wars is a thing,
because it was deliberately designed tofeel like everything you've seen before
and the hero with a thousand facessaying that all these fairy tales
from, there's a template. Right, exactly.
There's sort of an organictemplate for religion and
(37:55):
for fairytales and forthe human experience,
and you can use that asvalidation of a creator,
or you can use that as repudiationfor the idea of a creator.
Either way, there's fundiscussion either way.
There's interesting horror potential,
but that's part of the reasonthis feels so familiar.
The other part is that basically so manyDracula movies have stolen from this
(38:18):
as much as from the originalbook over and over and over.
Again. Yeah.
Yeah, absolutely.
Full disclosure, it was very difficultfor me to take this movie seriously.
Even setting aside the fact that it'smore than a hundred years old and
Filmmaking's come a long way
because the very firstvampire movie I saw,
the very first vampire mediathat I was ever exposed to
(38:43):
was Mel Brooks' DraculaDead and Loving It.
And that movie borrows soliberally from Nosferatu
when it's not liberallyborrowing from Francis for Kala's
Dracula, which alsoliberally borrowed Fromto.
This movie is its own grandfather,
(39:07):
but makes it a little difficultfor me to take any vampire mytho.
Seriously.
I mean, fair.
The version of Leslie Nielsen isthe Dracula that imprinted on me.
Haven't, it's a great Dracula.
I know. I was mocking y'all forGladiator. I haven't actually.
(39:28):
I've seen lots of Melbrook movies.I haven't seen that particular one.
It has a reputation of being MelBrooks' worst movie. That's not true.
And I mean, yeah, most of theconversation badmouthing it is,
well, it's not as goodas Young Frankenstein.
Most movies aren't as goodas Young Frankenstein.
(39:50):
Yeah. You can't hold acandle for that. Sorry.
Gothic horror parodies byYoung Frankenstein, 95% of them are going to fail.
Yeah.
Yeah, exactly.
Plus it's a Mel Brooks movie.You know what you're getting.
That's sort of the whole point.
And it's arguably one of thebest things Leslie Nielsen did,
(40:10):
because Leslie Nielsen was hilariouswhen he had the right material to
work with, but his agents didnot exercise quality control.
Yeah. I still love the, Ithink it was in the Naked Gun,
but maybe it was in one of the other ones.
But the Texas switch that he didwhere they got the stunt man to
(40:31):
dive behind the bed, and then he popsout and is so clearly a different person.
I forget how and when thatcame up on the podcast,
but we talked about it because somemovie we talked about used that really
extensively. And I don't knowwhy it's called the Texas Switch,
but I'll take it. So, but anyway, no,
I'm in the same boat. If Ihad seen this in college,
(40:54):
I would have loved togeek out with Dr. Dewi
or any of the other comm faculty,all the other comm students.
We would've had a blastwith it grad. And there's,
in my department now, there's a rotatingfilm genre class that in theory,
just because there aren't thatmany film faculty in theory,
(41:14):
if they keep offering it,
the rotation will be eligible forjournalism faculty and other people.
And I could totally see myself doing athing on horror movies and having those
Ferra two be the first one.
All.
That.
Said, I don't have, it's arguably.
The first one, the survival one, anyway.
But I didn't watch this with a class.
(41:36):
I watched it sleep deprived with atoddler on the other side of my house.
And if you're measuring this on ability,
then it's a 12 out of 10. If you'remeasuring it on, it's a Friday night,
and I just need to watch something totake my mind off things for a little
while. I.
Don't.
Know that this is a good choice.
(41:57):
Yeah. Also,
quick question for both of you.
Did your version,
because there's nine or 10 differentversions of this streaming in various
places, like I said, twoB has four different ones.
Did either of you see a version that.
Had the day and night filters? No.
(42:23):
Side by side or.
Well, because back in the old timey,
in order to distinguish betweenthe day shots and the night shots,
which for one of the veryfirst vampire movies,
a creature that's killedby sunlight, that's.
Pretty.
Important.
Yes.
They had to have an orange filter overthe camera for the day shots and a
(42:45):
blue filter over thecamera for the night shots.
And that's the only way you can tellif it's because they just shot in the
middle of the day all of the shots,what their cameras could do back then.
Without that, you just have no ATUdiet at the end. And it makes no sense.
I don't know, because I didn'tactually make it or luck.
(43:06):
His name's not actually no Atu.
Yeah.
I fell asleep like three timestrying to watch it. I'm sorry.
That is fair.
Joe. Bob did mentionthat Nosferatu, I forget.
May or may not haveswitched to some other,
I was downstairs watching this on mylaptop while I was spending time with my
(43:28):
parents.
My attention was admittedlydivided at best for a good 40% of
this movie. Like I said,
filmmaking's come a long wayin the past a hundred years.
We can respect something for itsplace in history without necessarily
enjoying it or calling peoplePhilistines for not enjoying it.
(43:51):
Right.
Yeah, exactly.
And I get it. The camera workwas inventive at the time.
It did.
Joe Bob said it had a far fewer dialoguecards than most movies of the era.
The acting, I thought, for thelimitations of it was believable.
(44:14):
So.
It didn't quite lean into over the toppantomiming that a lot of silent film
actors did during the time.
Which, so Joe,
part of his rant was that saying thata lot of the reasons people don't like
silent movies today is partlybecause actors were accustomed
(44:34):
to acting for the back of a live audience.
So you kind of have to overdo everything.Whereas if the camera's right there,
you don't, but if you've onlyacted for theater for the stage,
then that's a hard instinct to reign in.
And if you're acting in silent film,
(44:55):
your voice isn't going todo anything. Obviously,
everything has to live and die on whatyou're physically doing in front of the
camera. So everyone suddenly becomessuper animated when they talk.
And German non-unionequivalent, Jonathan Parker,
is just going to look like a clown whenhe goes to the bar and slaps the table
as he orders his martini or whatever. And.
(45:20):
I got to tell you, silent filmsnot for people with a DHD like me,
silent films are not the way to go.
That is fair.
Well, and it's worth,
so I think the recordedmusic did this a disservice
because, not the score itself,but the fact that it was recorded,
(45:43):
because I think with a live orchestra,this would be a different experience.
Yeah. And that was howpeople originally saw it.
I think that would make ita lot more entertaining.
Because remember, silent film,
any sound had to comefrom the theater itself.
(46:05):
So I spent my whole time wondering,
doing my best to ignore the soundthat the hundredth anniversary
version on Tubi put on it. Andjust thinking to myself, okay,
what would happen if this wereplaying at the Fein in Livingston?
Because that was aroundduring the South film.
It was one of the very firstfilm like theaters in East Texas,
(46:26):
and that's why theyhaven't torn it down yet.
And I keep thinking, okay,what would they have done?
There'd probably beconsiderably more banjo,
but it would've worked. Whatwas that movie with, wait,
(46:46):
what was that movie where they playedright of the Valkyrie on Banjo? Yeah.
Well, no, no, that star was Johnny Depp.
Are we allowed to watch movies atStar Johnny Depp again? Oh. Oh, crap.
I just missed 30 minutesof the movie. Yeah.
I was minding my thought processwhile watching knows Ferrato.
Fair.
Enough.
(47:06):
Yeah. So yeah,
I don't know. I wanted to like it undera different circumstance. I get it.
But.
It's a film historian movie inboth a positive and negative sense.
Yeah, yeah.
Exactly.
It did make me think aboutother modern silent ish
(47:30):
movies, one of which I saw recently,
which was on Shutter.
I think it's off it now,but it's got Samara weaving,
and there's hardly any dialogue in thewhole movie. It's just, there's sound,
but there's no dialogue,there's no speaking.
And it worked pretty well.
(47:52):
I didn't like that quite as much as themovie. I think you're about to mention,
Melissa, that had a similargimmick, but no one will save you,
which
there was a watsonian reason for Israel,
why nobody was talkingand no one will save you.
(48:17):
They just felt like being fancy.
More or less. Yeah.
Yeah.Well,
and I think when we're talking aboutthe silent films way back then,
they had no choice. That'swhat they had. So now,
when you are making the choice todeliberately make your film without
dialogue or without music orwithout any kind of sound,
(48:40):
you're making that choice to conveya certain atmosphere or emotion or
something that you want to portray throughthat film. And I think that's what,
number one,
make silence in movies so importantto whatever you're trying to
do, but also two,
why it can make or break the filmthe amount of silence that you have
(49:03):
in that film,
because it allows somebody's mind to put
in different sounds and put in differentwords and think about what they're
actually seeing. And dependingon what your intention is,
it can go really well or really poorly.
Well, and you've got otherelements of film compensating in a
(49:27):
way that because no one will save you,
the lack of dialogue, the soundediting and the sound effects,
and the really visual storytellingall compensates for that and
strengthens it. With Nosferatu,
they were just doing the bestthey could with what they had,
and under the circumstances,they did a really great job.
(49:49):
It's just circumstances have changeddramatically in the intervening a hundred
plus years.
I mean, this is also one of the firstdocumented instances of stop motion.
So.
That.
Was neat.
Yeah.
So Joe Bob talked about that too.
So He said one of the other reasons thatpeople often don't like watching silent
(50:11):
movies is because, so yourbrain, and this is just,
I trust him, but at the same time,
you might want to double checksome of this online, but he said,
your brain can only reallyhandle 10 frames per second in a
movie is really just stillshot, still shot, still shot,
all stacked together. Andthe more frames you have,
(50:34):
it creates an illusion of motion. Butreally on a basic technical level,
it's just still shot, still shot, stillshot, all just mashed together. Well,
back in the day, they woulddo 14 or 16 frames per second,
but at some point theysort of normalize into an
industry standard of 24frames per second for movies.
(50:57):
And these days it's the movie theater.
If the movie theater you're watchingdoesn't have the equipment to
backdate the projector,
so it can run 14 or 16frames per second content
without looking janky, thenit's going to look janky.
There's a backwards compatibility issue.
(51:20):
And when you see warlock jerking around
all erratically, in this case,
that was on purpose because theywere tinkering with the frame rate.
Yeah.
That's not a.
Movie.
This is literally a German filmmakerhaving a mind blowing revelation that,
oh my God, if we stop the filminghere and then resume the filming,
(51:41):
it's going to look likeour vampire teleported.
Yes. Which is fascinating,
especially for the time.
But if you don't know that, you'rejust thinking, oh, it's an old movie,
and that's not deliberate,that's not purposeful.
It just sort of gets lost.
Remember,
this was made in an era where a 22nd
(52:05):
clip of a train comingtoward the camera was A,
considered a remarkabletechnical achievement, and B,
caused people to flee the theater. Theythought a train was about to hit them.
So standards were a little bit,
I don't want to say low, but.
Low might be the right word.
Yeah. This was the beginnerdays of the film industry.
(52:31):
Yes.
Yeah.
So yeah,
I am reluctant to even write it becauseso much context, very difficult.
I don't think we can,
I think that this is one of those movieswhen we're talking about something from
the seventies or sixties,that's a different story.
This is one of those.
(52:51):
Movies. That is what it is.
We can at least imagine being inthat time. This time, I can't,
it's so far removed from thisis literally the start of film
history.
And I think you can appreciateit as that while still
(53:13):
falling asleep during it.
Just the fact that thisexists on streaming and we can
watch it is the whole point.
Yep. 100%.
But I could also totallysee that gothic style
and all the camera work andthe lighting and everything.
(53:35):
I could see that translatingreally, really well.
The giant to that 90% of the things thatwe watch with this podcast Stand on.
Yeah, yeah, yeah.
And I could see all of thatleading into the Robert Eggers
remake that's still in theaters.That's doing actually pretty well,
especially given some prettyheavy handed competition from
(53:59):
other big holiday movies. That'snot your typical Christmas release.
Hello Cat Kitty. I'm assumingthat's a cat and not Dan.
That is a cat. Yeah. Okay.
So I haven't seen the new oneyet, but I really want to,
I'm going to try to do it this weekend,
(54:21):
but it depends on howquickly UT gets beaten to
death by Ohio State. I'mnot, I'd love it if we win,
but I'm not feeling optimistic.Hopefully I'm wrong.
Hopefully I'll eat my words. But theyplay on Friday night, and if it's clear,
we're not going to win that.
I think I may sneak down to the movietheater down the road later Friday night
(54:41):
and try to salvage enough. I'llstill be wearing Bird Orange,
which will probably stand out in the darktheater in suburbia, but that's okay.
So anyway, if you're still listening,
give us a shout out on Threads.
Rate us on Apple Podcasts, oryour podcast Player of Choice.
(55:02):
Send us an email. Tell yourfriends about us. Promote us.
Let us know what you think. Haveyou seen the original Nosferatu?
Did you make it all the waythrough and are you a film snob?
Are you a presidential scholar?
Horrified by Melissa'srecollection of history.
You do know who Gerald Ford was, right?
(55:24):
He was a president. Right.
Of what country?
Of our country.
Yes. Okay.
Okay. Okay.
Let's not ask any follow upquestions. Let's just Please don't.
Grady, did you finish the short?
I did.
See there was no penises, right?
Not this time.
Oh my God. Argus,
are we going to have to have a talk about
(00:22):
Riverside sound effects board purple.
Can we mute him?
All you had to do was let the porn musicplay and you just started talking and
you took away from that killer baseline.You got to let the baseline go bump.
You know what I'm saying?
Marcus?
Is there any response I can give tothat that won't lead to you playing more
(00:45):
music? Nope. Okay, here we go.
Oh wait, no, which one's the one withthe killer baseline, so it reloaded.
These are all the RiversideReset sound effects and
we were going through 'em whileMelissa beat her laptop to death.
And where was,
which one wasn't the intro transition to?
(01:07):
Was it this one powered by Riversidefm? No, it wasn't that one.
There you go. Powered by Riverside.
Stop encouraging him. No.
(01:30):
So now all I can see is some girl
getting railed by somedude who keeps saying.
That would've been more effectiveif I'd had a button down shirt
said, I just kind of awkwardly tuggedon my shirt collar like a moron.
It really does sound like somebody waslike, okay, I want seventies porn music,
(01:53):
but with a sense of humor andsomehow promoting Riverside
fm.
It's just you can't make a parody ofseventies porn music like seventies porn
music either is or isn't. There'sno irony you can add to it.
A musical equivalent of PO law.
It is a parody of itself by default.
(02:16):
That's sort of the whole thing.
Oh my God. Yeah. Oh God. Oh,
this is our theme song.
You know, it only works if we're notrunning our mouth while we're doing it.
Sorry. The whole post.
(02:36):
We actually hear the music in realtime. We think we're going insane.
Minimize the editing that I have to do.
I was afraid that you weregoing to play porn again.
I'm not playing porn. I'm playingporn music. There is a world of,
it would be weird if I waswatching porn. World of Difference
(03:01):
One is more, well, I guess they'reboth group friendly in a way.
Anyway, welcome to Imported Horror.
This is the podcast that brings you thevery best of musical deconstructions
from erotic films of 50 years ago, plus.
Seventies. What I canonly describe years ago.
(03:22):
Well, seventies porn porn of yesteryear.
I know. That's just.
Yeah.
It's messing with me now. Thank you.
Yes, you're welcome. Yeah.
We also bring you the very best of
haunting millennial. I don'tknow, I didn't do notes.
We meet death and classichorror from beyond the shining
(03:46):
season. Not even classicvintage OG horror.
Real vintage.
Yeah. I'm Marcus. I'mhere with my co-hosts.
Melissa.
And Grady.
And see, I resisted the urge tocall you my vintage. Thank you.
Even though none of us are exactlyspring chickens at this point.
(04:07):
Pretty sure that I'molder than both of you.
Well, it depends on if you're being,well, not young you though. That's.
The thing.
It's not a competition Old. We're notold either. We might not be young,
but we're not old. We're insort of that middle ground.
You mean middle aged? Is that whatyou're saying? Are we middle aged?
I keep moving the bar for middle agedand I don't know if that's us doing it so
(04:30):
that we don't have to call ourselvesmiddle age or old people doing it so that
we don't get benefits.It's difficult to tell.
I prefer the term elder millennial.
So just saying why, I dunno.
It's better than middle aged.
I dunno. It sounds nicer.
(04:56):
Well,
it's relevant to today'sconversation because I knew
the age of the writer director ofyour short film before I looked him up
because he stole a linefrom Gladiator shamelessly,
and the second he did that, I waslike, I know how old you are. How did.
I miss that?
(05:17):
I have no idea.
I may not know the line from Gladiator.I dunno if I've actually ever.
Don't. No, don't evenfinish that sentence.
That sentence should fill you with shame.
Who is in Gladiator.
The other reason that age is relevantis that we're also talking about a movie
that is over a hundred years old.
(05:38):
That too.
Oh.
My.
God. So I was thinking, okay, so whenyou said Gladiator, I was like, oh,
is that Mel Gibson? And thenI realized that's Braveheart,
but I have never seen that oneeither. I just know that face paint.
What.
Episode? Lemme go get my sweats back.
(05:58):
How are you on a movie review podcast when
you apparently don't know thefirst thing about movies? Me?
She doesn't know the first thing aboutthat specific movie that isn't in our
wheelhouse.
Thank you, Grady. And we'recalled Imported Horror.
We're about horror movies. Not whatever.
(06:18):
Gladiator is classified as.
Oh my God,
that's almost as bad as my wife onceConfusing Bruce Springsteen and David
Bowie.
No, no. That will never be as bad as that.
It's almost, it's inthe same neighborhood.
No.
(06:40):
I'm more of a music guy than a filmguy says the third co-host of a podcast
about movies. So I'm going to haveto go with Melissa on this one. Yay.
Thanks Grady. Well, I mean we canjust, I'll just play the porn music.
If only because I don't know howto classify Gladiator either.
What genre even is Gladiator?
(07:01):
Well, it's like a historicalepic as much as anything.
It was done by Ridley Scott.
Was that a question? Yeah, of.
Course it was. Oh. Ohmy God. Who's that guy?
Oh my God. It's Russian Pro.
And Pedro Pascal. Oh my God, it tryso crap. That's the second one. One
(07:24):
I'm stopping now.
Anyway, there used to be a whole genre of
mythic historical epics like Ben Hur,Lawrence of Arabia, that sort of thing.
Gladiator and GladiatorTwo, maybe more so than one,
but our throwbacks tothat in a lot of ways.
I sat through all threehours of Lawrence of Arabia.
(07:47):
It's a great movie. Congratulations. Yeah,
I made a girl we knew in college do that,
and it almost made her leave us thehell alone and never speak to us again.
In retrospect, thatprobably would've been best.
I thought that was your plan. I wasdisappointed when it didn't work.
So this week we've onlygot one coming soon
(08:09):
and Melissa is still short andwe're going to chat Nosferatu,
so should be pretty good.
(08:30):
See, nobody.
That is much creepier having to listento it while we're doing the podcast.
So we've only got one this week. That's.
A good, I'm missing. Missing.Somethings an awesome.
One, which is possible.It is an awesome winner.
It looks really fantastic.I'm excited about it.
(08:52):
This is Get Away and it's written by
Nick Frost,
who was the other guyin the Corno T trilogy,
the one actually eating the Corno.
The one that's not Simon Peg.
Right. And his filmographyis sort of split from Peg.
I think they're still friends,
(09:13):
but Simon Peg is doing a lot more likeMission Impossible style movies and Nick
Frost is still doing.
Continuing the Sean of the DeadMission statement basically.
Basically. Yes. Love it.
Simon Peg was in the Boys.
I did not know that.
And actually the guy whoplays Hugh in the Boys
(09:36):
is a famous Jack Quaid,
and so he made sure on Father's Day
to wish Simon Peg Happy Father's Day.Who plays his father in the boys.
In Neat. Like flashbacks or.
(09:57):
No, no, on X.
Oh, okay.
Because his real dad is Dennis Qua.
Okay. Actually a distant relative of mine,
believe it or not.What? Yeah, I don't remember exactly how,
but my mother knows, and I could callher and ask her. But yeah, distant.
I am distantly relatedto Dennis and Randy Wade.
(10:23):
Anyway, get away from family'svacation to a remote getaway,
takes an unexpected turn when theydiscover the island they're on,
is inhabited by a serial killer.
This was in theaters for a littlewhile, but limited release,
but it's coming to shutter. Thereviews are pretty good from the uk.
(10:43):
I'm excited. I like Nick Frost and I,
he was always the sidekickwhen he was with Peg,
and I like that he sort ofstepped into his own and
he doesn't feel like
the friend or the buddy anymore. It'sactually him doing his own thing. I loved,
(11:04):
was it, oh, not ghosts,
but the TV show he did aboutthe Ghost Chasers. Oh yeah.
That really deserved a secondseason and just got pandemic.
That one's really good.
He and Malcolm McDowell have afantastic rapport in that show.
That's a lot of fun.
I also, again,
and I think I bring this up everytime we mention either one of them,
(11:26):
but Spaced is just a great series andNick Frost I think is really great in
spaced. I think that they have anequal footing there, Simon and him.
Yeah, it's been foreversince I've seen it,
but I know it's basicallywhat started this whole thing.
Yeah.
I feel like I need to go backand rewatch. It's old now.
(11:48):
Well, what did y'allthink of this trailer?
I think it's neat.
And also very noticeably satirizes,
a type of movie we've done for thepodcast before to the point where if this
didn't already exist and if we wereever to actually make an imported horror
movie, this feels like it could bethe imported horror movie like creepy
(12:12):
Scottish Backwood weirdos.
I could see that.
Absolutely.
I could definitely see that.
Absolutely. No, I'm excited. This looks.
I can't wait to watch it and then.
Talk about.
It.
Yeah, I kind want todo that for next week,
assuming it's coming to Shut on time.
January 10th.
Nice. So tomorrow, so.
(12:33):
It's the same day thisepisode drops. Yeah.
Alright.
Let's do Check.
It out. Out on Shutter. I find myself,because I'm a Tubi garbage person,
gravitating more toward Tubi lately,
but that has more to do with me and myschedule and my decrepit personality and
less to do with Shutter's catalog.But this, I'll go back to Shutter for.
(12:56):
Alright.
I was impressed with Tubi becausesomebody on TikTok had asked
the other day
about a movie that waslike a Mind mindfuck,
but was a really good movie.
And Lucky Number seven was one ofthe first ones that came to my mind,
and I haven't watched that movie in solong, so it made me want to watch it.
(13:18):
It's on Tuby. Thank you. Yeah.
Of.
Course.
I watched the movie we'retalking about this week on.
Yeah.
Yeah. There are fourdifferent versions of it.
I'm pretty sure I didn't watch theright one, but we'll get there.
(13:45):
I still don't have a sound effect forhow short Melissa is, but Melissa,
you're short. What's your short Thanks.
What is it? Sorry.
It's a great joke. It never gets old.
I got to pull up my notes now. I'm.
Unlike us apparently.
(14:05):
So the short is called Last Orders.
So interestingly enough,
this director that I found,
he has not put anythingelse on short verse.
I couldn't really find him anywhere.So did you find him anywhere,
Marcus on IMDB?
Yeah, he hasn't done a lot.
(14:27):
He's born 1987 to the surprise of no one.
He's mostly just done a couple of shorts,
not a ton babushka that's coming out.
Do Not Disturb Last Orders,gentlemen in Moscow.
Yeah, so I don't know.
(14:47):
Assuming.
He did make a statementon this particular short,
and I really want to stress this becauseI think it's impressive what he did
with the little time and budget thathe had. And so we made last orders,
this is a filmmaker statementby John James Smith,
who was the filmmaker on this.
(15:07):
We made last orders for a very lowbudget whilst the UK was in lockdown
due to covid. We had next to no money.
But what we did have wasaccess to an old creepy pub,
which couldn't open dueto covid restrictions.
So we wanted to utilize what we had anduse a small window of time to create
something. I wanted to create ahorror film that makes you think,
but without preaching to the audience,
(15:30):
what I really like was pacingwise, it was an odd script,
so I knew it would allhinge on performance,
particularly with the opening scenes.And so funny enough,
I read that before I watched themovie. I normally don't do that.
I normally don't read thestatements before, but I did.
And so I almost went intothis cringing a little bit.
(15:50):
I was worried about bad acting.
I figured with low budget they'd probablyhave to use whoever they could get.
I worried about how it wouldlook, but surprisingly,
I picked this one based on thescreenshot, the blue lighting.
It really did something for me.
I thought it was super cool andI was so pleasantly surprised by
(16:13):
this.
I could watch a full movieif they expanded more into
where this was going,
and I think that he left it,
but also not open-ended.
And I kind of loved that he couldreally do something great with this.
And again, I think whatthey had to film with,
(16:38):
it was shot really well.
It could have been a full on horror movie.
Oh yeah.
So I was impressed and I really hopethat we get to see more from this
guy.
What was interesting for me isI actually was halfway through
(16:58):
the movie when you sent thattext telling us about the pen,
the fact that it was shot ina pandemic and all that stuff.
And that just completely changed the way
that I was looking at this moviebecause it kind of added that feeling of
isolation to it and startedkind of sending my brain
(17:19):
down some paths that I'm not entirelysure that the guy meant for me to go
down, but it was just like, okay,is this storing the lockdown?
Is this all in his head?Is this even a pub?
I thought the same thing in.
Some neat directions.
Well, it he's right.
(17:40):
It hinges on the acting and the location,
which that pub yes gave offbig time Winchester vibes.
Winchester.
Shot of the Dead, but alsoWinchester, Sam and Dean,
because I got big supernaturalvibes from this as well.
I thought way back to the openingscene with the death when we first
(18:04):
see him and oh, death isplaying in the background.
And that character was so strong, andthis is, I feel like such a different way
to interpret
death if that's what he was tryingto interpret that I'm not sure.
I mean, it wasn't even all thatdifferent because, so in Supernatural,
(18:25):
it was Julian Richings,
who was also the guy years earlierwho got cubed in the opening
sequence of Cube and everything he's in,
he makes better. He was also the clown in,
oh, that horror comedy we watched.
(18:47):
Oh.
You know where they're inthe Chinese restaurant?
Yep. Yep.
Shit. Oh, that's going to drive me nuts.
How am I not remembering aclown in a Chinese restaurant?
(19:07):
Oh, vicious fun.
I just found it too. Yeah, yeah.
Yeah, yeah. He's usuallyin the background.
You don't always recognize him,
but he's one of these guys youwill know when you see him,
you just may not put two and two togetherabout how he's been in so many things.
And this clearly the director had
(19:30):
watched that and was pullingfrom that and drawing on that,
and the actor in this onein last orders nailed it.
He gave off all the samevibes that Sam, Steven Elder,
who's been in a bunch of stuff too, been.
Yeah,
there are some actors that can walkinto a room and pull all the attention
(19:52):
on them. And even though this reallyonly had two main characters in it,
the main focus a lot of thetime was on the pub manager.
But when death came in,
he just stole the show.
And I love that because that'swho you need to have somebody
(20:13):
that powerful,
you need to have as an actor if they'regoing to be playing this pivotal role.
Well, and he's not stealing the scenebecause got some six pack or because he's
physically huge or anything.
It's just that panache that gravitas
like, okay, you'veclearly done this before,
and the camera and thelighting and everything else really helped him sell that.
(20:38):
I really liked it. I'm with you.
I think it was hard toseparate the late millennials
from it, because in my head I'm thinking,okay, I know where you got that from,
and it just, I'm grinning becauseI can hear Russell Crow saying it.
What was it that he said?
No, no, no, no, no, no, no.It's basically the punch,
one of the punchlines to Gladiator.
(20:59):
One of the big epic Russell Crow saysit to Joaquin Phoenix. What does he say?
Hey, I can't spoil. Well,
I guess it is like a24-year-old movie at this point.
Yeah. I'm sorry if they haven't seen, I.
Say they.
Haven't seen, I know I'm a part ofthe they. Okay, that's why I'm asking.
(21:19):
It's the line that.
I haven't seen it since college,so it went over my head too.
They paraphrased it a bit, butthat Death smiles at us all,
and all you can do is smile back. Oh,
(21:39):
they added a bit to it forGladiator, given the context
then that obviously thepart of the context,
because they're talking about someother characters that didn't translate,
that didn't carry over to.
This.
But the basic gist of all wecan do is smile back that, yeah,
he lifted from Gladiatorand lovingly it worked.
(22:03):
I could see.
That. I'm not criticizing.It worked really well.
One of the things that I loved,
one of the phrases that he used orconversations that you're having is,
do you remember what I toldyou at the end of your life,
you see your life the wayeverybody else saw you through
everybody else's eyes. Andthat makes you think, right,
(22:26):
because terrifying.
Yes.
I know. Because here's the thing,
it's one thing to relive allthe moments in your life, right?
Because your lifeflashes before your eyes.
But now imagine it throughlenses of other people and that
we can't even imagine that. Andthat is absolutely terrifying.
And that sat with me and that'sstill sitting with me so long
(22:51):
after I've watched it.
Yeah.
This was such an impressive short film.
I would love to see him do somefeature length horror stuff.
I would too. I don'tknow if this particular,
I worry that stretching thisout to a 90 minute movie,
(23:11):
you might have to water it down. Itworks really effectively, is a short,
I don't know if that particularpunchline would stretch,
but the camera work certainly would,and the acting certainly would.
So everybody involved in this,I would love to see more from.
I was seriously sitting on the edge ofmy seat waiting for that first line from
(23:33):
the pub manager going, oh God, pleasedon't let it be high school acting.
Please don't let it be like highschool. And then he spoke and I'm like,
oh my God, these are real actors. Yay.
Well, I, if someone's going to think, oh,
it's locked down.
I need to do something to keep myselffrom going mad from the isolation and
(23:56):
despair, I'm going to make a movie.
I kind of figure if yourbrain immediately goes
there, that's a passion project. Andyou've done this sort of thing before.
Yes.
Yeah.
It's kind of like what happened withDr. Horrible sing-along blog during the
writer's strike.
Yeah.
That was a masterpiecethat came out of boredom.
(24:18):
Yeah, yeah. Basically. Yeah.
Freaking great.
Real quick side note, just talking aboutmy own impressions of this short film,
I was a little bit misled into whatkind of movie it was going to be,
and at the very least, kindof got a chuckle out of it.
(24:38):
This 20 minute short film'sdivided into chapters.
I really like how it opens chapter one,
chapter two,
that made me laugh. Andthis movie is not a comedy.
(25:00):
But no, it disarms you whenyou're not prepared for it.
And it actually workswith it, I think too,
because it shocks youinto paying attention
because you're like, what thehell was that? That just happened?
And honestly,
this was pretty scary just in terms ofisolation and death and everything else.
(25:23):
I'd give this a three on the terrorscale, especially the way it was shot.
It made you feel alone. And that'smore terrifying than anything else.
Yeah, I'm oscillating between athree and a two if only because,
and this is a nitpick,
and I know that I feel like thedeath voice was trying too hard.
(25:46):
Fair enough.
I could see it being alittle too overprocessed.
But that was reason that evenremotely took me out of it.
Yeah, no, I'm totally,
it was definitely spooky and gloomy,
but at least for me in a, well,
(26:08):
I was going to say in a fun way becauseof all the millennial references,
but even then, what it called,
to my mind,
it sounds overly dramatic. Callit a near death experience,
although it technically probablywas. But when I was a kid,
I was sand sledding in theRube. I grew up in Saudi Arabia,
(26:29):
those big red sand dunes.Well, long story short,
I was like a hundred pounds,
and I went way further down thedune than I thought I would.
And the car right in front of me wasa lot closer than I thought it was,
and I should have hit it and brain myself.And probably that would've been it.
And I didn't, can't explainthe physics behind it.
And you could say, my memory's fuzzy.And sure it was decades ago. Maybe it is.
(26:53):
You could say, I'm making it up andI don't know, maybe I know I'm not,
but you don't know I'm not.
But it felt like there was a presencethere and it was not a malevolent one.
And so my head,
the story being all creepy and gloomyand death is really foreboding.
And in my head I was thinking,well, I mean maybe, but
(27:13):
I could see how this couldreally get under somebody's skin.
And it kind of did with me.
And that's why my brain went back tothat as sort of a defense mechanism.
Yeah, definitely. I couldcompletely see that. And
it also runs the line of,
is this really his pub? Ishe in some sort of purgatory,
(27:38):
forced to remember the timeshe met death or his death?
There's just so much going onin this for such a short film
with such little dialogue.
The emotion that it evokes andprovokes from you is incredible.
Highly, highly recommend.
Yes. We'll put a link to it.You saw this on short verse.
(28:01):
Short verse.
I'll put a link to it on theshot. Quick aside, go ahead.
Short verse is an awesomething. It's an awesome site.
I'm glad you introduced it to us, Melissa.
I think once we get all ofour respective acts together,
we should be doing more with itin some kind of official capacity.
Because I'm mentally 12. I keepcalling it sharp verse in my head.
(28:27):
That's all. Carry on.
Wait, I've got a sound effect for that.
Oh God no. Oh,
that is not the sound of that. Thank God.
Okay, fair.
So I watched, and I think y'all did too.
(28:53):
No, a symphony of horror,
or at least I tried to.
So this is 1922,
the OG of OG Horror Movies.
It is German, but from.
(29:13):
Almost.
Got destroyed three Germanysago. Yeah, yeah, yeah.
Is it bad to say that It was boring to me?
Not at all. We will get.
Into that.
Okay.
So the basic plot you've heardbefore, and you've seen it before,
(29:35):
vampire account for Lock expressesinterest in a new residence.
And real estate wife, real estateagent is named Hutter. Now,
I watched the Joe BobBriggs last drive-in on it,
and Joe Bob went into a ton of detailabout the background and everything.
AndHis point was, by this point,
(29:55):
by 1922 Dracula,
the novel wasn't reallya big thing anymore.
And so a bunch of German guysduring the Weimar Republic,
they made it into a sort of an occulthorror movie and made a big deal
out of it.
And they sent cards andeverything to Florence
(30:20):
Stoker to Bra Stoker's widow.
And they even say at the beginning,this was inspired, much of this,
not quite all of it, but much of itwas taken from bra stoker's, Dracula,
Florence Stoker didn'tlike that and had a big,
big lawsuit against it.
And I can understanda lawsuit saying, Hey,
(30:42):
you're profiting offmy dead husband's work.
I want some money off of this that I get.
And she went for the jugularand wanted all of it destroyed.
And that is a bridge too far,
even given everythingFlorence Stoker went through,
because do you know who she was marriedto before she was married to Bra
(31:02):
Stoker?
I know we've talked about this,but I don't remember who it was.
Oscar Wild, like.
Gerald Ford. Oh, Oscar.
Wild.
That's right.
If it makes you feel any better, I wasgoing to guess Jack the Ripper. So I mean
(31:25):
Gerald Ford, I dunno. He.
Was the first name that popped up.
Into my No, no.
Gerald Ford didn't writeDracula. He was assassinated.
And that's what caused the VietnamWar. Get your history right, Melissa.
(31:47):
And Grady, I knew would've been kidding,
but you said that withthe utmost sincerity.
It was the name that popped into myhead at the moment. I don't know why.
Somewhere, somewhere your highschool history teacher is sobbing
uncontrollably and has no idea why.
(32:10):
My lesson,
my high school history teacher probablysobbed through the entire four years
that I was in that school history andgeography were not my strong suits gay.
Wow. Wow.
Wow. So you could.
My high school history teacher, ifhe was still alive, would think,
(32:32):
this is hilarious. I got mostof my deliberately mucking up history for laughs,
humor from him. So.
There's a documentary series on shuttercalled Queer Horror that goes into the
history of literally queer horror.And I haven't seen all of it,
(32:52):
but I did see the first episode whenthey talked about Oscar Wilde and
Bra Stoker and Mary Shelley,
and one of the points that theymade was that after what happened to
Wild Florence Stoker married Bra Stoker,
and you can read the original Dracula very
(33:14):
easily as a gay panic type of thing,
not from an insincere like,oh, the gays are coming,
but if you give into your dark urges, dark
horror will follow.
Which if you're living in the aftermathof what happened to Oscar Wilde,
I can completely see how that would bea reasonable thing to want to articulate
(33:37):
on the page. It's over a hundredyears ago now. For the most part,
our thoughts on queerness havechanged. Maybe not completely, but
sort of an aside. Anyway,
Florence Stoker tried to delete this
Nosferatu from history nearly succeededsome archivists a couple of years
(33:58):
ago,
collected enough copies to crib together a
print, and that's what we're watching now.
But the main reason she didn't succeed
is one country got a hold ofthe film and just completely
ignored any sort ofinternational copyright law.
(34:23):
Say it with me now.
U-S-A-U-S-A-U-S-A-A-U-S-A,
which we don't get a lot, right.On the international stage,
arguably we didn't get this right, butat least we preserved film history,
even if completely out of spite.
(34:43):
That's the best reason to do anything.
Well, and you got to figure at some point,
everything has repeated.
There have been so manydifferent iterations of the same monster over and over
and over again in different forms.
So while I understand wantingto make sure that you're
(35:04):
credited or have some royalties,I feel like you can't,
can't just take away creativelicense from somebody to do
something a little bitdifferent with a character.
Yeah.
It's a fine line to walk,right? Because it's like
in music terms,
(35:24):
we're talking under pressureby Queen and vanilla
ices, whatever the hell thatsong was called. Ice Ice Baby.
See.
Now you're just.
Go.
Ahead. I mean, yeah,
as far as I'm concerned, van Vanilla Ice.
Transformed that song enough that hehad every right to show it as it work.
(35:49):
He took a good song and made it terrible.That makes it demonstrably different.
So true. See,
when Queen and David Bowie'slawyers are saying, oh no,
that impinges their property, they'reimplying that that song is their property.
That's terrible. Why would they dothat to David Bowie and Queen's name?
(36:10):
Well, and I think Vanilla Ice didnot help his case when he was like,
don't you see how differentit is? And then he did the,
that was only one duck.
Then he did the part thathe literally took from the.
Why was his lawyer notleg shut the fuck up,
(36:32):
don't talk.
Many, many lawsuits,
investigations of all kinds would bestopped in their tracks. Just shut up.
Stop talking. It'll go awayif you just stop talking.
Yep. Speaking of someone who worksat a courthouse. Yes, that is true.
(36:52):
That is extremely true.
Melissa is about two seconds awayfrom just stealing from heretic
face verbatim dialoguewise. But that's in part,
which is a really great movie.I really want to see it again.
(37:13):
But Hugh Grant's character in hereticis talking about iterations of different
songs and everything, and he basicallyplays an evil college professor,
but he doesn't show his notes in thesame way that college professors do.
So when he starts talking aboutJar Jar Banks, it's funny,
but he doesn't have time because it's ahorror movie to fill in all the gaps and
(37:34):
talk about Joseph Campbell and theMono Myth and how Star Wars is a thing,
because it was deliberately designed tofeel like everything you've seen before
and the hero with a thousand facessaying that all these fairy tales
from, there's a template. Right, exactly.
There's sort of an organictemplate for religion and
(37:55):
for fairytales and forthe human experience,
and you can use that asvalidation of a creator,
or you can use that as repudiationfor the idea of a creator.
Either way, there's fundiscussion either way.
There's interesting horror potential,
but that's part of the reasonthis feels so familiar.
The other part is that basically so manyDracula movies have stolen from this
(38:18):
as much as from the originalbook over and over and over.
Again. Yeah.
Yeah, absolutely.
Full disclosure, it was very difficultfor me to take this movie seriously.
Even setting aside the fact that it'smore than a hundred years old and
Filmmaking's come a long way
because the very firstvampire movie I saw,
the very first vampire mediathat I was ever exposed to
(38:43):
was Mel Brooks' DraculaDead and Loving It.
And that movie borrows soliberally from Nosferatu
when it's not liberallyborrowing from Francis for Kala's
Dracula, which alsoliberally borrowed Fromto.
This movie is its own grandfather,
(39:07):
but makes it a little difficultfor me to take any vampire mytho.
Seriously.
I mean, fair.
The version of Leslie Nielsen isthe Dracula that imprinted on me.
Haven't, it's a great Dracula.
I know. I was mocking y'all forGladiator. I haven't actually.
(39:28):
I've seen lots of Melbrook movies.I haven't seen that particular one.
It has a reputation of being MelBrooks' worst movie. That's not true.
And I mean, yeah, most of theconversation badmouthing it is,
well, it's not as goodas Young Frankenstein.
Most movies aren't as goodas Young Frankenstein.
(39:50):
Yeah. You can't hold acandle for that. Sorry.
Gothic horror parodies byYoung Frankenstein, 95% of them are going to fail.
Yeah.
Yeah, exactly.
Plus it's a Mel Brooks movie.You know what you're getting.
That's sort of the whole point.
And it's arguably one of thebest things Leslie Nielsen did,
(40:10):
because Leslie Nielsen was hilariouswhen he had the right material to
work with, but his agents didnot exercise quality control.
Yeah. I still love the, Ithink it was in the Naked Gun,
but maybe it was in one of the other ones.
But the Texas switch that he didwhere they got the stunt man to
(40:31):
dive behind the bed, and then he popsout and is so clearly a different person.
I forget how and when thatcame up on the podcast,
but we talked about it because somemovie we talked about used that really
extensively. And I don't knowwhy it's called the Texas Switch,
but I'll take it. So, but anyway, no,
I'm in the same boat. If Ihad seen this in college,
(40:54):
I would have loved togeek out with Dr. Dewi
or any of the other comm faculty,all the other comm students.
We would've had a blastwith it grad. And there's,
in my department now, there's a rotatingfilm genre class that in theory,
just because there aren't thatmany film faculty in theory,
(41:14):
if they keep offering it,
the rotation will be eligible forjournalism faculty and other people.
And I could totally see myself doing athing on horror movies and having those
Ferra two be the first one.
All.
That.
Said, I don't have, it's arguably.
The first one, the survival one, anyway.
But I didn't watch this with a class.
(41:36):
I watched it sleep deprived with atoddler on the other side of my house.
And if you're measuring this on ability,
then it's a 12 out of 10. If you'remeasuring it on, it's a Friday night,
and I just need to watch something totake my mind off things for a little
while. I.
Don't.
Know that this is a good choice.
(41:57):
Yeah. Also,
quick question for both of you.
Did your version,
because there's nine or 10 differentversions of this streaming in various
places, like I said, twoB has four different ones.
Did either of you see a version that.
Had the day and night filters? No.
(42:23):
Side by side or.
Well, because back in the old timey,
in order to distinguish betweenthe day shots and the night shots,
which for one of the veryfirst vampire movies,
a creature that's killedby sunlight, that's.
Pretty.
Important.
Yes.
They had to have an orange filter overthe camera for the day shots and a
(42:45):
blue filter over thecamera for the night shots.
And that's the only way you can tellif it's because they just shot in the
middle of the day all of the shots,what their cameras could do back then.
Without that, you just have no ATUdiet at the end. And it makes no sense.
I don't know, because I didn'tactually make it or luck.
(43:06):
His name's not actually no Atu.
Yeah.
I fell asleep like three timestrying to watch it. I'm sorry.
That is fair.
Joe. Bob did mentionthat Nosferatu, I forget.
May or may not haveswitched to some other,
I was downstairs watching this on mylaptop while I was spending time with my
(43:28):
parents.
My attention was admittedlydivided at best for a good 40% of
this movie. Like I said,
filmmaking's come a long wayin the past a hundred years.
We can respect something for itsplace in history without necessarily
enjoying it or calling peoplePhilistines for not enjoying it.
(43:51):
Right.
Yeah, exactly.
And I get it. The camera workwas inventive at the time.
It did.
Joe Bob said it had a far fewer dialoguecards than most movies of the era.
The acting, I thought, for thelimitations of it was believable.
(44:14):
So.
It didn't quite lean into over the toppantomiming that a lot of silent film
actors did during the time.
Which, so Joe,
part of his rant was that saying thata lot of the reasons people don't like
silent movies today is partlybecause actors were accustomed
(44:34):
to acting for the back of a live audience.
So you kind of have to overdo everything.Whereas if the camera's right there,
you don't, but if you've onlyacted for theater for the stage,
then that's a hard instinct to reign in.
And if you're acting in silent film,
(44:55):
your voice isn't going todo anything. Obviously,
everything has to live and die on whatyou're physically doing in front of the
camera. So everyone suddenly becomessuper animated when they talk.
And German non-unionequivalent, Jonathan Parker,
is just going to look like a clown whenhe goes to the bar and slaps the table
as he orders his martini or whatever. And.
(45:20):
I got to tell you, silent filmsnot for people with a DHD like me,
silent films are not the way to go.
That is fair.
Well, and it's worth,
so I think the recordedmusic did this a disservice
because, not the score itself,but the fact that it was recorded,
(45:43):
because I think with a live orchestra,this would be a different experience.
Yeah. And that was howpeople originally saw it.
I think that would make ita lot more entertaining.
Because remember, silent film,
any sound had to comefrom the theater itself.
(46:05):
So I spent my whole time wondering,
doing my best to ignore the soundthat the hundredth anniversary
version on Tubi put on it. Andjust thinking to myself, okay,
what would happen if this wereplaying at the Fein in Livingston?
Because that was aroundduring the South film.
It was one of the very firstfilm like theaters in East Texas,
(46:26):
and that's why theyhaven't torn it down yet.
And I keep thinking, okay,what would they have done?
There'd probably beconsiderably more banjo,
but it would've worked. Whatwas that movie with, wait,
(46:46):
what was that movie where they playedright of the Valkyrie on Banjo? Yeah.
Well, no, no, that star was Johnny Depp.
Are we allowed to watch movies atStar Johnny Depp again? Oh. Oh, crap.
I just missed 30 minutesof the movie. Yeah.
I was minding my thought processwhile watching knows Ferrato.
Fair.
Enough.
(47:06):
Yeah. So yeah,
I don't know. I wanted to like it undera different circumstance. I get it.
But.
It's a film historian movie inboth a positive and negative sense.
Yeah, yeah.
Exactly.
It did make me think aboutother modern silent ish
(47:30):
movies, one of which I saw recently,
which was on Shutter.
I think it's off it now,but it's got Samara weaving,
and there's hardly any dialogue in thewhole movie. It's just, there's sound,
but there's no dialogue,there's no speaking.
And it worked pretty well.
(47:52):
I didn't like that quite as much as themovie. I think you're about to mention,
Melissa, that had a similargimmick, but no one will save you,
which
there was a watsonian reason for Israel,
why nobody was talkingand no one will save you.
(48:17):
They just felt like being fancy.
More or less. Yeah.
Yeah.Well,
and I think when we're talking aboutthe silent films way back then,
they had no choice. That'swhat they had. So now,
when you are making the choice todeliberately make your film without
dialogue or without music orwithout any kind of sound,
(48:40):
you're making that choice to conveya certain atmosphere or emotion or
something that you want to portray throughthat film. And I think that's what,
number one,
make silence in movies so importantto whatever you're trying to
do, but also two,
why it can make or break the filmthe amount of silence that you have
(49:03):
in that film,
because it allows somebody's mind to put
in different sounds and put in differentwords and think about what they're
actually seeing. And dependingon what your intention is,
it can go really well or really poorly.
Well, and you've got otherelements of film compensating in a
(49:27):
way that because no one will save you,
the lack of dialogue, the soundediting and the sound effects,
and the really visual storytellingall compensates for that and
strengthens it. With Nosferatu,
they were just doing the bestthey could with what they had,
and under the circumstances,they did a really great job.
(49:49):
It's just circumstances have changeddramatically in the intervening a hundred
plus years.
I mean, this is also one of the firstdocumented instances of stop motion.
So.
That.
Was neat.
Yeah.
So Joe Bob talked about that too.
So He said one of the other reasons thatpeople often don't like watching silent
(50:11):
movies is because, so yourbrain, and this is just,
I trust him, but at the same time,
you might want to double checksome of this online, but he said,
your brain can only reallyhandle 10 frames per second in a
movie is really just stillshot, still shot, still shot,
all stacked together. Andthe more frames you have,
(50:34):
it creates an illusion of motion. Butreally on a basic technical level,
it's just still shot, still shot, stillshot, all just mashed together. Well,
back in the day, they woulddo 14 or 16 frames per second,
but at some point theysort of normalize into an
industry standard of 24frames per second for movies.
(50:57):
And these days it's the movie theater.
If the movie theater you're watchingdoesn't have the equipment to
backdate the projector,
so it can run 14 or 16frames per second content
without looking janky, thenit's going to look janky.
There's a backwards compatibility issue.
(51:20):
And when you see warlock jerking around
all erratically, in this case,
that was on purpose because theywere tinkering with the frame rate.
Yeah.
That's not a.
Movie.
This is literally a German filmmakerhaving a mind blowing revelation that,
oh my God, if we stop the filminghere and then resume the filming,
(51:41):
it's going to look likeour vampire teleported.
Yes. Which is fascinating,
especially for the time.
But if you don't know that, you'rejust thinking, oh, it's an old movie,
and that's not deliberate,that's not purposeful.
It just sort of gets lost.
Remember,
this was made in an era where a 22nd
(52:05):
clip of a train comingtoward the camera was A,
considered a remarkabletechnical achievement, and B,
caused people to flee the theater. Theythought a train was about to hit them.
So standards were a little bit,
I don't want to say low, but.
Low might be the right word.
Yeah. This was the beginnerdays of the film industry.
(52:31):
Yes.
Yeah.
So yeah,
I am reluctant to even write it becauseso much context, very difficult.
I don't think we can,
I think that this is one of those movieswhen we're talking about something from
the seventies or sixties,that's a different story.
This is one of those.
(52:51):
Movies. That is what it is.
We can at least imagine being inthat time. This time, I can't,
it's so far removed from thisis literally the start of film
history.
And I think you can appreciateit as that while still
(53:13):
falling asleep during it.
Just the fact that thisexists on streaming and we can
watch it is the whole point.
Yep. 100%.
But I could also totallysee that gothic style
and all the camera work andthe lighting and everything.
(53:35):
I could see that translatingreally, really well.
The giant to that 90% of the things thatwe watch with this podcast Stand on.
Yeah, yeah, yeah.
And I could see all of thatleading into the Robert Eggers
remake that's still in theaters.That's doing actually pretty well,
especially given some prettyheavy handed competition from
(53:59):
other big holiday movies. That'snot your typical Christmas release.
Hello Cat Kitty. I'm assumingthat's a cat and not Dan.
That is a cat. Yeah. Okay.
So I haven't seen the new oneyet, but I really want to,
I'm going to try to do it this weekend,
(54:21):
but it depends on howquickly UT gets beaten to
death by Ohio State. I'mnot, I'd love it if we win,
but I'm not feeling optimistic.Hopefully I'm wrong.
Hopefully I'll eat my words. But theyplay on Friday night, and if it's clear,
we're not going to win that.
I think I may sneak down to the movietheater down the road later Friday night
(54:41):
and try to salvage enough. I'llstill be wearing Bird Orange,
which will probably stand out in the darktheater in suburbia, but that's okay.
So anyway, if you're still listening,
give us a shout out on Threads.
Rate us on Apple Podcasts, oryour podcast Player of Choice.
(55:02):
Send us an email. Tell yourfriends about us. Promote us.
Let us know what you think. Haveyou seen the original Nosferatu?
Did you make it all the waythrough and are you a film snob?
Are you a presidential scholar?
Horrified by Melissa'srecollection of history.
You do know who Gerald Ford was, right?
(55:24):
He was a president. Right.
Of what country?
Of our country.
Yes. Okay.
Okay. Okay.
Let's not ask any follow upquestions. Let's just Please don't.
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