Check the Gate - Exorcist III (plus Legion the Cut) - Check the Gate

Episode Transcript
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Speaker 1 (00:00):
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I'd love things that give our characters texture. Yes, and
it's not necessarily a setup to any particular kind of payoff.

(01:08):
It's just it's really good character building dialogue that gives
the two of them a rapport back and forth with
each other and informs us about the character.

Speaker 2 (01:17):
As silly as it sounds, I think this is the
film that, for me was so impactful enough that it
made me fall in love with cinematography and understanding cinematography.

Speaker 1 (01:38):
Sweet Hey, Gretchen, Hey Marden, welcome back.

Speaker 2 (01:42):
Thanks.

Speaker 1 (01:42):
We are here with another episode of the Check the
Gate podcast where Gretchen and I get together and we
watch a movie and then we talk about it, but
we never actually know where the conversation may go. But
I have a pretty good idea where this conversation is
going to go today because I'm super excited about this.
And Gretchen, why don't you tell everyone about what we're
talking about?

Speaker 2 (02:00):
Well, I mean, okay, there are times I look back
at our episodes and see the times where I say,
I love this movie, this is my favorite movie, or
one of my favorite movies, whatever the case may be.
We are actually talking about my favorite movie, hands down,
anytime I'm asked to do a list, anytime I'm tagged
to talk about my favorite horror movie of all times,

(02:23):
and I would just also say my favorite movie because
this is a comfort film for me. Weirdly enough, it's
just such a beautiful film, and I won't hold you
in a suspense anymore. It is Exorcist three.

Speaker 1 (02:38):
Nice. And there's two versions of this, right.

Speaker 2 (02:40):
So Legion cut as well as the theatrical cut, which
is the Exorcist three.

Speaker 1 (02:45):
Yeah, and we watched both. We watched the theatrical cut
first and then we watched the Legion cut. Right, we'll
try to talk about both. We'll talk about whichever one
as much as you want to equally or more than
and the other. I'm kind of excited to talk about
the Legion cut.

Speaker 2 (03:04):
Yeah, I mean it is the most faithful to what
Blatty was looking for and in a film the way
he had written the script for the the He had
written a script for this and it wasn't accepted. They
did the ex or did the Exorcist too. It was
kind of a silly like so he kind of put
it on back burner and then decided to put a

(03:24):
book out, So he did the Legion book and then
that became exactly what we're looking at and the well,
not exactly but close to what we're looking at in
the Legion edition of the film. So, yeah, do.

Speaker 1 (03:36):
You want to talk a little bit about not getting
into Exorcist one or two, But do you want to
kind of set the stage for Exorcists three, Like you know,
we had Exorcist one, Exorcist too, like kind of what
got us to three? And maybe even ninth configuration in there?

Speaker 2 (03:51):
Yeah? The what kind of gets us there is there is?
Blady has this trilogy of faith storyline where he's challenged
religion and challenging the where we put the thought of
evil and death and the the the way that the

(04:17):
church perceives evil. And so that's what these books kind
of explore as well as these films, the first movie
being the nineteen seventy three box office smash Exorcists three.
Will Exorcists I'm sorry exercise Exorcists three? Oh my god, bad,

(04:38):
I'm already like then, yeh, I'm like, let's talk about
my favorite movie now, Exorcists. Yeah, that film was so impactful.
My mom was telling me the story of like standing
in She was at nursing school and she had gotten
into line for all of her friends and got ticket
had to wait in line for like hours to get

(04:59):
tickets for the and ended up buying like six tickets
for all of their buddies to go together. And they
were all like nurses that she was in class with.

Speaker 1 (05:06):
Wow.

Speaker 2 (05:06):
Yeah.

Speaker 1 (05:07):
A lot of times people try to say that nineteen
seventy five's Jaws, which just had its fiftieth anniversary, is
kind of the film that started the summer blockbuster thing.
I don't know what season they released The Exorcists in,
but stories of that makes me think, wow, that was
kind of a like a blockbuster kind of Yeah.

Speaker 2 (05:25):
Yeah, I mean it wasn't quite the sensation that Jaws was,
and the sense that it made, it didn't make it.
I think more than anything, it scared an audience. It
was known for the terrible like the terrifying possession scenes
and you know Linda Lair's head turning backwards and yeah.

(05:47):
But as far as like setting the storyline for our films,
this film, so the first film finds us in this
scenario where we have the father Kearris, who is Damion
Carris is a psychiatrist priest that works for the Roman
Catholic Church that's trying to kind of like he was

(06:07):
there called in for this possession of of Reagan and
ends up at the like ends up having his faith
tested and is at the very end tells the tells
the devil to come into him, and then he ends
up getting knocked out of a window and we're falling
down a long flight of stairs and dying at the end.

(06:31):
The police officer that was on site at the extorcism
was uh Kinderman, who is later in the third movie
played by George C. Scott. So we're left at that
when we have when the first one happens. So that's
Extorsist one. Extorsist two is supposed to happen four years later,

(06:52):
and it's this wild ride of a movie of like,
I mean, who would have thought that we would have
seen a uh, the Paris the bug stuff, and it
just it got weird. I don't know if you've seen
Exorcist Too.

Speaker 1 (07:10):
I have never seen Extorsist Too.

Speaker 2 (07:12):
Ticket is bizarre. It has like James Earl Jones riding
on a giant bug. Yeah, yeah, it's it's really strange.
And so like I always just kind of like gloss Over,
I'm like, on its own, it's a fun it's a
fun watch, but like it's not I would not pull
it into the canon of the stories. And then inadvertently,

(07:33):
I don't know, I mean, I know that he considers
it an intentional slip in, but like having the ninth
Bloody does the ninth configuration, And I forgot to mention
that the first film was shot by freakin. This one
shot by a bladdie. Bloody does the ninth configuration, and
that's kind of a pail of conversation about faith and sanity,

(07:56):
and I think that's kind of There is a a
few characters that have a crossover into Extorcist three, but
it's very minor. It's more as to do with the
State hospital aspects and those kinds of questioning self and
you know the sense of self and like like that't's
power over us? And yeah, so we jump into Exiorocists three,

(08:22):
which picks up fifteen years from the first movie, or
supposed to be fifteen years because that was nineteen seventy three,
but I guess they're calling it like this all happened
in nineteen seventy five in Georgetown.

Speaker 1 (08:33):
Sure, yeah, right, fifteen years.

Speaker 2 (08:36):
I was like, all right, fifteen eighteen years, give or
take whatever. But yeah, so that's where our story Excocist
three starts. As we are. Kinderman is a older, more
curmudgeoned police officer and he is finding a he's being

(09:00):
drawn back into a case that he thought was long gone.
And at its core, this book, the Lesion book, is
very much a police thriller. I mean there are super
there's definitely the supernatural aspects of it, but for the
most part, the story is just a is a really

(09:21):
interesting police thriller, like following the story behind the detective
Kinderman or lieutenant Kinderman. Right, yeah, Well.

Speaker 1 (09:33):
They continue to call him lieutenant in there, and he
makes a note of that. It's like, you keep calling
me lieutenant, and it's anyone who's possessed seems to be
doing that or someone in there. In there, but he's
a detective.

Speaker 2 (09:45):
Yeah, but maybe he's.

Speaker 1 (09:47):
And I don't know rankings very well, yeah right, right, right,
so it very well could be that.

Speaker 2 (09:55):
He is gun handling and things like that. Notice, yeah, Ranks,
I don't.

Speaker 1 (09:59):
Know that stuff means he's a non uniform police officer
and he is a detective correct within the police there.
So so at least at that we know he is
a detective.

Speaker 2 (10:09):
Yeah. I have to say one of the opening scene,
the opening scene for the theatrical version, for me, is
probably the most striking. There's this you know, like a
church and you hear the words Preacher and the eyes
of Jesus like open up, and then there we zoom
in on a a what is it called a priest

(10:32):
callar with a rose and then blood dripping down it,
and then this like crescendo of like voices screaming and
slash singing, and the wind blowing and knocking all the
leaves down, and then we have the I had a
dream of falling down along flight of stairs and roses.

Speaker 1 (10:51):
Yeah, and it's like.

Speaker 2 (10:53):
Chilling, chilling, I have to say, and then rewatching and
then watching the Legion, but that doesn't happen. It's a
little bit different. It's the beginning is the end of
the first film where we see him falling down the
stairs and it's in black and white, and then we
have tubular bells kick in and wow, just I have

(11:16):
there's I'm going to be constantly jumping back and forth.
But there is so much like this film is so
smart in both of them. Honestly, we're so smart as
far as what they were like trying to portray in
this story, and the the imagery that's being used is

(11:37):
also very fun.

Speaker 1 (11:39):
Yeah. Well, so when we when we see we watch
both right and with the director's cut. That's one where
they which is Legion. That's the one where they tried
to piece things back together again with what had been
the original intent of Blattie. But it's but they couldn't
get all of the footage, so like there's some stuff

(11:59):
that pulled from some VHS releases because they didn't have
the original footage. They tried to clean it up, but
that was back in the day when things were box
they were four to three ratios, so they lost the
cinematic look of it. Weren't able to retain that because
the footage didn't exist anymore. The audio is not cleaned
up in different some places they had like a clean

(12:21):
track of adr that they had recorded, but then they
didn't have the clean footage, so you kind of you
watch this, it's very noticeable when you're going in and
out of those, but it is it is an adjust
it's I actually kind of really liked the Legion version,

(12:43):
and we can get into it more when we do it.
But it's interesting to just see how there was this
attempt to recreate this vision that Blodie had, which you
had commented on, which is more procedural cop thriller than
it is supernatural, which the studio really wanted to try
to capture that original feeling of the exorcistem bring the

(13:06):
audience back.

Speaker 2 (13:07):
One of the things that was kind of a big
bummer for Brad Dwarf is that originally this was all
shot with him right like he was like from the
beginning the first time this film went out, it was
all going to be him. They had replaced him in
the pictures to convince us as the audience that we're
looking at Damien Carris, even though we all know this

(13:27):
is not Jason Miller. But whatever that was, that was
not important. His performance was. The expectation was that he
was going to be He was Damien Carris's form and
what the story as the story untold unfolds that you know,
he's possessed by the Gemini killer, the Brad Dwarf, Like

(13:50):
they basically told him they were cutting him out of
the film.

Speaker 1 (13:53):
Yeah, to a certain degree.

Speaker 2 (13:55):
Well, no, I mean originally like he was supposed to
just like they did all they shot it. It was
all his parts. He practiced his monologues for like, he
did twenty minute takes of those monologues that he did
in the film, and he was told like like Bloody
called him, was like, hey, I you know, I think

(14:17):
what you do is really really great. Unfortunately, we're going
to have to go with Jason Miller because that's what
the studio wants, and the audience didn't test well for you,
and so he was just like I'm done with this
film and has moved on, right, And then Jason isn't
able to perform because he has terrible, terrible wet brain

(14:39):
from being an alcoholic. So what they ended up doing
was that cut that we see for the theatrical version,
which quite honestly is ernest in and of itself, because
I have to be saying, I have to say, as
a fan of the franchise, like I, Jason Miller is
pretty much like that's like the fixture I would have taken,

(15:04):
even I would have to have seen like the if
maybe we had seen a completed, edited, gorgeously reshot like
Legion cut, I might have been able to be convinced
that Brad Dorf was supposed to be. I mean even
when you we were when you and I were watching it,
you were like wait what And I was like he's
supposed to be Damian Carris, Yeah, And you were like

(15:25):
oh and so, because like that's the thing is, like
I don't know if I could have been convinced as
a audience member, Like that's probably why I didn't test
wells by using Jason Miller. He's a fixture, He's an
iconic image of the first film. So we want to
see an age version of Damien Carris. Yeah, fifteen years later.

Speaker 1 (15:47):
Yeah, and there's ever take and so, and it's inter
it's it's a lot of intercend a lot of intersecting
pieces here between what's happening in the story and then
what's happening in real life with characters and what's happened. So,
because we have the original Exorcist film into which we
had father Damien Carris is killed after the fall, all

(16:09):
the way down those iconic stairs at Georgetown, that's how
our film kind of wraps up. He's he has made
himself a sacrifice, right, which is one of the great,
the great parts of It's one of the most notable
dogma pieces within Christian and Roman Catholic religion. You know,

(16:31):
that's the whole thing of what Jesus is supposed to
be is the sacrifice here. So here's Damien having this
sacrifice So when we've come to Exorcists three, the intersections
are we have Damian Carris is dead, father, Damien Kerris
is dead. They've all supposedly buried him, they've seen him, yep.
And then the new issue that they're having, which you

(16:52):
had brought up, was that there had been a killer
many years prior known as the Gemini Killer and had
a very set of markers. When they killed someone, they
always took the finger off of a particular hand, they
always did an engraving of the Gemini symbol within the hand.
People were usually very surgically killed or post mortem, they

(17:16):
had some things happened to them, but they all thought
that person was executed around the same time that Damien
Kris was killed in the Exorcist. So what we end
up kind of finding is now this Gemini Killer is
back replicating the same kind of murder style, or there's yeah,

(17:36):
a copycat killer because now we've also there's as it
starts to happen, there are you know, different fingerprints and
different things. So we're kind of left with, oh, what's
going on. But then the intersection with that becomes where
we meet Brad Duraff, who is the new Damien carras,

(17:58):
which was hard for me to understand and in both
the first one and the second one, but it did
make seconds. And I say first and second one when
we have the director's cut and then we have legion.
But yeah, he way more.

Speaker 2 (18:09):
Clear to the audience on and the theatrical cut with
Jason Miller playing Damien Kris. Sure, because it is like
night and day right, like when he does these Brad
Dwarf does these screaming monologues of like I am the
Gemini Killer, I go on, I persist, I live, I breathe. Yeah,
those I feel like almost like because the audience is

(18:34):
not we're not we're not super wise oftentimes when we're
watching a film, and so this having this handed to
us tested well.

Speaker 1 (18:42):
Yeah, and it was essentially a recast that didn't work.
Like they tried to do something right and along the
line in their process, they didn't do something that they
that either the audience or the studio accepted as a
recasting of this character. So that's what brings about Jason
coming back in. That's what brings Jason Miller back in,

(19:04):
and so that then, yeah, so it kind of sets
the stage four in the studio realm of a lot
of decisions having to be made of like how do
we how do we course correct or how do we
do any of this stuff. So that's kind of where
we end up with these two cuts in there.

Speaker 2 (19:22):
I mean, the unfortunate part is there. This is a
prime example of what happens when when production studios and
production companies get to be like make decisions about films. Supposedly,
there is a I have not seen it personally, but
there is a fan edit of this where they have

(19:42):
removed some of the ridiculous possession parts or exorcism parts
and just kept the Jason Miller and Brad Dorf like cuts. Okay,
so the story still flows somewhat similar, but also like

(20:04):
it is, it's removed that kind of the hollywoodization of
the of the film that happens.

Speaker 1 (20:11):
Yeah, that's that was very notable. Yes, and when we
watch it, when we saw the Legion cut, there is
an entire character and an entire major scene and that
does not exist in.

Speaker 2 (20:23):
Legit point that never that gets brought up at the
end that I was like, oh, yeah, that's right, because
I mean I remember reading in the book and also
watching it in the Legion cut, but I kept looking
for it in a theatrical version, forgetting that it wasn't
present in the theatrical version. Anyways, we'll get to that part.
It's kind of towards the end of the story. But yeah, yeah,

(20:44):
so I I again, I love both, you know, so
I can't really pick one or the other. I love
there's aspects about both things. Because when I first saw
this film in nineteen ninety, I guess I was like
the right age. I saw this on the big screen,
and I was like blown away by the intensity of

(21:07):
the story as well as the intensity of Braddorff, like
staring into the camera like eyes unblinking and like tears
rolling down his eyes as he's like screaming and ranting,
and then he would draw back and very charismatically go
oh was I ranting? Raving? Yeah, it was just there

(21:27):
are so many spectacular that there are so many monologues
in this story that are just incredible and are worth sampling.
I think there was like a band called or there's
a sample for the band Skinny Puppy uses in this
like oh yeah, yeah, nice.

Speaker 1 (21:46):
Oh can we talk about Brad Duraff, Yeah? Please, because
so I love Brad Duraff. And so I and I
had seen this film before we decided to do it
for the show, but I didn't know all of the
intricacies in the stories of it, and I hadn't watched
too because most people have said, don't watch. Heretic doesn't matter.
And I watched this for the first time because of

(22:09):
a very famous scene which we can get to, which
is a great scene. It's so amazing. But I loved
seeing Brad Duraff in this because I love Brad Duraff.
He is one of the best parts of the Lord
of the Rings trilogy done by Peter Jackson. His performance
as Worm Tongue is magical and amazing. And that guy

(22:33):
has been of course, he was Chucky in the Child's
Play films for a very long time. I remember him
as kind of the setup person working at a either
a convenience store or a gas station. I think he's
working at a gas station in urban legend. Yeah, And
he's great because he's like this perfect setup because he's

(22:54):
kind of had a track record of like being a
bad guy or being a creepy guy being and he's
playing this really creepy bad guy at a gas station
that's giving really bad vibes to this person and they're trying.
It turns out they're trying to warn somebody that they
saw a person crawl into the back seat of their car.
That looks like they might try to warn him, but
he's he has a speech impediment, he has these issues.

(23:16):
He's not able to get it across. It freaks the
person out. They get into the car and drive away,
and as they're driving away, he finally musters the courage
to be able to yell. They're in the back seat
and the person's already too late, can't hearon driving away,
and then they get killed. And that's the setup for
Urban Legend, And it's he's just he's so good. He's
so good in everything. I've never seen the Western TV

(23:38):
series that HBO had for a long time. I know
everyone has said he's fantastic it. There's a whole bunch
of great people in there. I don't have HBO, so
I haven't been able to see it. It's one of
those where, Yeah, I think I need to like lose
my Netflix so that I can get HBOS so I
can watch The Last of Us and go back and
watch Deadwood. Yeah, which I think The Wire is on

(23:59):
there as well, you know, great stuff. But I've really
wanted to watch dead Wood because the idea of watching
Brad Duraffe in a Western is just amazing.

Speaker 2 (24:08):
So he's a very nice guy.

Speaker 1 (24:10):
I want to meet him so badly if I ever find.

Speaker 2 (24:15):
He's a very nice guy character.

Speaker 1 (24:16):
Oh is he?

Speaker 2 (24:17):
Yeah, I've never met him.

Speaker 1 (24:18):
I would imagine that in real life. He's a very
nice guy. Most people that end up playing characters like
he does are usually just the sweetest, nicest folks. Yeah,
And I just if I ever found a convention where
he is there signing or doing something like that, like
I'm there in a heartbeat, like I would do anything
to meet that guy. I just yeah, he's lovely and wonderful.

(24:40):
So his performance in this and so the director's cut, well,
Legion the theatrical cut, he's great. And it did take
me a little bit to kind of get used to
the cutting back and forth with having the original Damien
Carras in there. It was a little tough for me

(25:02):
to grasp like I hadn't watched it enough times or
really known enough of the backstory that it felt like
it was as if I was watching through the eyes
of our police officer George C. Scott as if he's
seeing the Gemini Killer, that person who they thought they
had executed and didn't. But then we're also seeing father Carris,

(25:22):
who's supposed to be dead but isn't. So I felt
like it was right exactly. And they were close friends, right,
So it was this interesting like flip back and forth
that I That's what I felt like. It was almost
like a borderline POV where we're flipping back and forth
because this is something about the possession aspect that is
making our police officer, our detective, you know, see what

(25:45):
they want them to see. I want to see the
Gemini Killer because I really want to solve this other
case over here. I really want to see Damien Carris
because they were my best friend and they were killed
fifteen years ago, you know, And so I had kind
of made my own interpretation of it, not fully grasping
what it was that they were trying to do. That
Damien Carris was actually a recast. So when we get

(26:09):
to Legion and it's all Brad Duraf, it's just I'm
loving it so much because he is doing the things
that Brad Duraf does so well. He is able to
grasp horror and convey it through his eyes.

Speaker 2 (26:35):
It does an intensity that I think that was what
was perfectly casts because what he brought to that with
his like ravings and then he would do these silent
slow build ups and like lean in and was just
like he is masterful at conveying that like inner darkness,

(26:57):
but also recognizing who the Gemini Killer was us James,
is it McKinnon or Kennerman anyways, that his character, the
Gemini Killer was the victim of abuse, his brother and him.
He had a handicapped brother who was significantly disabled, and uh,

(27:21):
their father was a very abusive preacher. And so he
was able to bring that backstory into this character and
really like make flesh him out. And but also he
never was Damien Carris when he was in Damien Karris's body,

(27:44):
if that makes sense. So like when Raddorff's original role
as a Gemini Killer possessing the body of the priest,
there was never a moment where we're like, well, there's
Damien still there. There was one one when he said
Bill and that was the only time we ever heard

(28:06):
really heard Brad Dwarf as Damien. We only we mainly
only heard him as mister Sunshine slash the Gemini Killer.
In the book, he's called mister Sunshine.

Speaker 1 (28:17):
Oh interesting, but.

Speaker 2 (28:18):
He's also called the Gemini Killer. But like he's mister
Sunshine is the assigned role name they gave him because
he was a John Doe.

Speaker 1 (28:27):
Yeah nice, He's man is just so good.

Speaker 2 (28:31):
He is great.

Speaker 1 (28:32):
Yep, I just.

Speaker 2 (28:33):
He's you know who else is great in this?

Speaker 1 (28:35):
George c great. This, he is so good that man.

Speaker 2 (28:41):
Eats up every scene that he's like he is hungry
for dinner because he is bringing it, like I his
intensity and his emotion with also with Brad Dwarf and this,
like so that there was just so many good acting,
so much great acting happening in general, but like these

(29:02):
two were spectacular. Yeah, I mean just lighting up every scene.

Speaker 1 (29:09):
Great dialogue even with Bread.

Speaker 2 (29:12):
The dialogues are fantastic.

Speaker 1 (29:13):
It's good in the book and they're snappy, like they
feel like a lived in world where people are interacting
with each other and people that actually live in that
world and it's so good. Like all the cadences are
so good and they're different between the different people and
you can see that character reacting the way like they
just they feel so lived in This is bloody so.

Speaker 2 (29:35):
Good wrote he directed.

Speaker 1 (29:37):
He wrote this, it's great writing with great casting, Like
they cast the right people to be able to pull
this off.

Speaker 2 (29:43):
But I also feel like, even though like it's so jarring,
Jason Miller, for what it's worth, did a very good
job as what he could do with like he was
Unfortunately because of wet brain like he like I said earlier,
he wasn't able to retain and do the performances completed
to completion. But what they were able to salvage from

(30:06):
that was pretty fucking spectacular. The I don't know if
you know this, but the scenes where he's kind of
like where he looks possessed and he's like like purple
and things like that, that is an actor wearing a
Jason Miller mask that is uncredited.

Speaker 1 (30:26):
I know. I didn't know that. I just thought that.

Speaker 2 (30:30):
I was like, I know one more thing about this
film that I will surprise you with it. Yeah, so
that is.

Speaker 1 (30:35):
It just felt like an overlt Jason Miller where they
had put on too much pancake makeup.

Speaker 2 (30:41):
He's wearing a mask. Wow, that's why it's so like
like drawn and not very emotional, and he's like you
know where he's like looking up and he's Eddie has
that kind of bizarre vocalization, and yeah, that is a actor.

Speaker 1 (31:00):
Third person had to come in because they were removing
the brad Dura stuff. They wanted a Jason Miller idea
in there, but he couldn't pull off the performance, so
they had to bring that.

Speaker 2 (31:10):
Wow.

Speaker 1 (31:10):
What a struggle to get this thing done.

Speaker 2 (31:13):
Isn't that wild? Yeah, but the exorcism was added at
kind of more at the end, like they added Father Morning.
They had to write in this character. Yeah, there's a
I mean, don't get me wrong. The dialogue still really great,
Like the extiorcism dialogue is really great. The unclean spirit,

(31:33):
I've cashed you out, Like we're like, okay, Merlin.

Speaker 1 (31:37):
Caliber Excalibur. Yeah, it's amazing that his blonde hair.

Speaker 2 (31:42):
I was like, it's so alarming thru me.

Speaker 1 (31:45):
Yeah, it's really bizarre. It almost was like albino.

Speaker 2 (31:49):
But I like, somebo comes into the room has it's
such a like a that's an iconic scene and he says,
welcome our father morning, welcome internight you know, and you're like,
oh my god.

Speaker 1 (32:00):
And that character comes out of nowhere. We have not
been any.

Speaker 2 (32:04):
We got shown him earlier. By one moment, we have
a scene where in the I don't know what it's called,
where priests live, right, but like they're monastery or avant
or whatever the fuck it's called. He they have a
he's got a little bird in a in a box
and there's this growling music that kind of goes over everything.

(32:28):
It's done by very devers Veran or something like that,
and he he like does this like there's like this
kind of monster sound, and then the bird dies and
then it's like omnous because we see him picking up
the exorcism rights.

Speaker 1 (32:46):
And yeah, yeah, but that but that is our intro.
It's like all of a sudden, we're with this person.
It's like, wait, we're like halfway through this film or
a little bit more, and now we've got this person
for being introduced to. So here they are, and they're
only in like two scenes.

Speaker 2 (33:04):
I think, Yeah, he gets to have the almost the
final ending, but also yeah, not quite.

Speaker 1 (33:10):
Not quite, because he gets am I remembering right, He
gets taken out and then it's George C. Scott during
the whole like floor opening stuff goes on.

Speaker 2 (33:20):
Yeah, they are little murmurs of rosary beads like that
that conversation, which I just I love all this The
one of my one of the things that was kind
of makes my brain like crackle is every time I
hear the word incidentally, they.

Speaker 1 (33:38):
Use that you were saying that yet.

Speaker 2 (33:40):
So many times, not only I mean in the Legion,
in the book itself, I should get a count, but
I counted four times in the film when they say
the words indidentally, like in a in a single monologue,
but in the book they it'll be like different character,
We'll say incidentally, and you're like, what the fuck? Like

(34:03):
I was like, is this Am I losing my mind?
Am I hearing the word incidentally? Just is it just
standing out? But it just seems like it's It definitely
is very stark, especially in the in the book as
well as the four times it gets used or three
times it gets used in one single monologue. I was like, wow, yeah, incidentally.

Speaker 1 (34:26):
There's a lot of things that are like just by
the way.

Speaker 2 (34:29):
Yeah, yeah, it's so good. Yeah, there and those are
There are so many things that came out of this
film that became iconic as well as giant genre busting moments.
Uh there are There is the there are so many

(34:51):
still like single frame shots that are unbelievably breathtaking, I
mean just breath taking. Like there is this scene in
the in the Uh in the corner's office where they're
having a discussion about the murder weapon that was used
to kill the first victim, which is the little boy

(35:14):
who was killed in outside with the and crucified on
rowing oars. His head is missing, and they've discovered that
the weapon is a surgical tool used to correct rib cages,
possibly not take off heads, but I guess it can
take off heads. But that there's a scene where the

(35:35):
corner is opening this tool so ominously and it's reflecting
back in his glasses and it's we see as the
audience the snapping shut of the of the of the scissors,
and it's like yeah, like oh yeah, that's gonna happen again.

Speaker 1 (35:53):
Yeah, the glare is pretty perfect on there. You could
just see all of that stuff in the gus. Yeah,
it's so I love beautiful stuff like me too.

Speaker 2 (36:01):
It's never lost on me. And this is probably why,
like again I can go back and back and forth
and say like this is one of my favorite films.
The opening scenes of like the Church the wind blowing
through the church.

Speaker 1 (36:13):
The whole opening scene is so so sunny, and.

Speaker 2 (36:16):
Like the creepy eyes of Jesus opening up, and like
the roaring sound and the word preacher and just the
every There are close ups of people having a conversation
that you feel like you're intimately there, Like there is
a scene where they've just gone to go they cheer

(36:37):
each other. I'm sorry, I've jumped the gun a little bit.
There's another character here, father Dier, who is also best
friends with They were kind of like a trio of
friends like Keros, Dier and Kinderman, and I guess these
two have become extra close since the loss of their friend,

(36:57):
and so every year they cheer each other up and
go see them It's a Wonderful Life, or they go
to see a movie together or whatever and go to
see It's a Wonderful Life. And after the movie, or
right before the movie or after the movie, they're having
a conversation and he's like talking about something so in
non incidental but becomes such a moment and that we

(37:19):
get to see into Kinderman's life where he's talking about
his mother in law's visiting and they're eating a carp
but because the carp is such a filthy fish, it
has to be full of impurities that it needs to
have a few days to clean it. And so they've
this carp is living in the bathtub and he is
will not take a shower because if he sees the.

Speaker 1 (37:41):
Carp he will kill it. Right.

Speaker 2 (37:44):
But there the conversation is like he's like, well, you stand,
you're standing very close to me, the father, and you
may notice that I have not had a bath in
three days, and you're like, wow, It's just these little
dialogues are so like juicy and just lovely listen to,
and it it feels lyrical as well as natural. And

(38:05):
I I don't know, it's I've always that always awe
struck me.

Speaker 1 (38:09):
Yeah, yeah, it's a I love that conversation. I love
I love things that give our characters texture. Yes, And
it uh And it's not necessarily a setup to any
particular kind of payoff that that could be a thing
where where he's talking about the carp in the water

(38:32):
and you know that could you could reference something back
a little ways down the line, that would be fine,
But it's it's actually it's it's just it's really good
character building. Dialogue that gives the two of them a
rapport back and forth with each other and and informs
us about the character a lot without having to say, oh,

(38:53):
I set up this one thing here with a carpet
and then we have to do something else. Right, Yeah,
it doesn't it's not not that deep. But it's a
really great moment for us to see our character and
who they are.

Speaker 2 (39:04):
I think for me, I would honestly like, I hate
to say this, but or really, I don't say I
hate to say this, but I think that it's as
silly as it sounds. I think this is the film
that for me was so impactful enough that it made
me fall in love with cinematography and understanding cinematography because

(39:25):
this was like nineteen ninety. I'm in high school when
this or yeah, I'm like a freshman in high school
when this comes out, and I think this was one
of those moments and we go, I've fallen in love
with filmmaking because this, if this is what it's this
is the best of the best, Like this is what

(39:47):
I always want to watch. I mean, I can't say
I can't, but like, I think that this was very
impactful on me, and I think That's why I can
continue to go back to it and always rewatch it
and find something new or something a little more interesting
or whatever to notice. But like going back to the
whole conversations, there is a gnat that keeps landing on

(40:09):
my face. The the the relationships that these characters have
with one another becomes very obvious. The relationship of Kinderman
and his wife. We don't get to see it a
lot in the film, but there's a little bit of
that back and forth in the book. Wow. They have

(40:29):
some spectacular like little notes they write each other. Their
phone calls are very loving. They call each other like
Darling and Dumpling and sweetheart, and it's just we get
a very strong sense of them loving one another, and
I love I love that aspect that I did. You
didn't get that in the film per se, but you

(40:51):
did see their family dynamic like which I think builds
into what makes Bill be able to who deal with
the daily darkness that he deals with as an officer yea,
And it allows him to, I don't know, to have
the strength because he has this beautiful like family that

(41:14):
like one another care. They all kind of support and
care for one another, even as wild mother in law.

Speaker 1 (41:21):
Yeah, yeah, well and yeah they and so that's that
dynamic is a little bit more on the exposition side.
We're kind of told about that. We don't really get
to see the mother in law a lot or a
lot of the dynamic with the family, even though our
kind of last few scenes kind of hinges on stuff
that has the family in it and his reaction to it,

(41:43):
which is fine, it's not it's not done. It's not
done poorly like we need. We've got all the things
that we need to know in that story.

Speaker 2 (41:52):
So he's the good guy.

Speaker 1 (41:53):
Right to be able to make all of that stuff
pay off. What I really appreciate this film for a
lot is how he builds tension, and especially in one
particular scene, which is the whole reason that I actually
went and watched Extorcist three the first time I ever
watched it.

Speaker 2 (42:12):
It kind of I was not going to say that
this is the initial beginning of jump scares, but this
is the penultimate jump scare? Is that what we're talking about?

Speaker 1 (42:22):
Yeah, But I think it's I think that everything that
is a jump scare since then is a cheap interpretation
of what this built with this particular scene and this
is with the nurse that is at the nurses station
making the rounds, and we're in the In Legion, we're

(42:44):
getting the pace is much quicker. In Legion, things happen
a little bit quicker, So it's it feels like it's
a little bit later in the film in Legion where
it happens we're into the third act or we're just
starting to get close to the third act. I think
in the in the original theatrical cut, it happens like
at the midway part somewhere in there. It feels a

(43:06):
little bit different because the pacing is different with that one,
but it is a nurse that we have seen a
few times. We're really not sure who the killer is.
We've been having the interactions with the Brad Duraff, Jason Miller,
Gemini killer slash doctor car or father Kris that's locked

(43:28):
up in the detention wing of this facility, so we're
not sure how the murders are happening.

Speaker 2 (43:33):
We do get a foreshadowing though, in that moment one
of the conversations when he says Amy counting her beads yes,
and he says that he's the Master will be giving
him something tasty, something something not personal to him. That's
something random.

Speaker 1 (43:51):
Right, and we see that in there, but we haven't
really been able to at this point in time figure
out who our killer is or how this could all
be happening. It's a little bit more on the obviously
the possession side For the theater cut. I feel like
it's a little bit less but better better done in

(44:14):
the Legion version of it, because it's because the suspense
is there. But it's that one particular scene with Nurse
Amy where she's at the nurses station, and it's essentially
there's really only two cuts in the whole thing. We've
got everything that happens from a hallway with Amy at
the nurses station's she's there, there's a guard there, there's

(44:36):
some noise that's going on, but we spend a whole
lot of time in just this one single shot and
Nurse Amy comes out, checks a room, comes back down,
there's this creepy noise happening, goes into another room. This
is where our first cut actually happens, where we then
have I guess a jump scare that does happen in there,

(44:56):
but that's not actually like the real.

Speaker 2 (44:58):
She acidentally wakes up a patient, a.

Speaker 1 (45:00):
Patient that's kind of like tucked down and hidden a
little bit, and the noise has been this melting ice
in a glass that's shifting in so loud, Yeah, so
hell loud. She can hear it from the nurses station.
But we have that jump scare when we watched the theatrical version.
I jumped because I had forgotten about that, and you
kind of giggled you did that, Yeah, And it was
exciting because I knew what we were coming to. Yeah,

(45:23):
and then when I got this jump in there, that
got me and I was like, oh, yeah, but really,
it's then what happens after that where she returns to
the hall. We're back in that long shot down the hallway.
There's kind of a big camera Dolly push in. She
goes back to the nurses station. We've got the guard

(45:43):
that's there. It's moving around. Another guard shows up, calls
that guard away, they leave. We hear more stuff. Nurse
Amy is starting to react to that a little bit.
She's kind of going down the hall and goes into
another room to kind of look around. Disappears into there.
Our guard comes back, picks up his stuff, and then leaves,

(46:04):
And now we've got Nurse Amy. In that room comes
out of the room. The door kind of almost closes
but doesn't amy closes it. This is so good. It's
so good. It's the whole reason that I saw it,
because when she leaves and goes down and then that
door flies open and that person in the white sheet
comes out of there with the big shears and goes

(46:24):
down there, and the way that like the screaming crescendo
music sound and all that stuff, it's like, holy fuck,
that's frightening. And I didn't jump. I didn't jump because
I didn't It doesn't feel like a jump scare because
it's you're not in it, like you're not so close
to it that it feels like it's a jump, but
that it's so much more frightening because I don't go.

(46:46):
I go, holy fuck, Holy fuck, Holy fuck, holy fuck.
As that person is like shooting down the hallway after her,
we never we don't see the kill. But man, it's
so good.

Speaker 2 (46:56):
It's so stark too, because it's like we see like
so coloration wise, we have like the green quiet of
the like the calming colors of a hospital, and like
you can see a far distant lighting and there's that
matte painting that is like perfectly aligned to make the
hallway look even long, so it's already has like a

(47:17):
shining kind of vibe. So we're already like feeling it's
feeling ominous, and we just know that the beads about
the fucking happened. And like you said, it was silence
until that moment. It's like the quiet conversations like you
can barely hear the guards kind of talking a back,
like you're like, okay, I'm gonna go grab my stuff.
Like it's everything is so building up to that moment,

(47:41):
and her like wearing white with this red sweater is
such a stark color, and the image of the of
the person with the covered in white sheets with the
big silver like just and we know that these are
the same shears that earlier when he would being talking
to the corner. We started to put the story together.

(48:03):
We're like, okay, these are the shears that are missing,
because when he's having this conversation with a corner earlier
about why is there a printing tag on there? And
he was like, oh, it's a replacement. He goes replacing
what happened to the other ones? He was like, I
don't know.

Speaker 1 (48:17):
We don't know. They're gone.

Speaker 2 (48:19):
Now we know. Yeah, And then we later discover that
Amy has been eviscerated and has had her body cavity
filled with rosary beads and sewn back together.

Speaker 1 (48:31):
Yeah, and her head was removed and her head was removed. Yeah,
and at the same time too, so she's been murdered.
But then we also have a dead physician who is
I guess like the lead facility manager there. He's killed himself.

Speaker 2 (48:52):
Oh yeah, Scott Wilson. Yeah, I wasn't. Oh, yeah, here
we go Scott Wilson.

Speaker 1 (48:58):
Yeah.

Speaker 2 (49:00):
Which again one of those actors that I love so
great and Bloody used him in the Ninth Configuration. He
plays the astronaut that loses his mind at the very beginning.
Has all the terrible things happened to him.

Speaker 1 (49:11):
Yeah. He's been our facility manager in here and has
kind of brought George she Scott around on some tours,
has been kind of the contact for everything in there.
He smokes cigarettes in a very bizarre way, walks around
with this cigarette the whole time this way. For a while,
it's not even it's not even lit for a while,
it's a completely unlit cigarette in there.

Speaker 2 (49:34):
This this body language is just like so unnatural, like
to be smoking like this. Yeah, I mean every once
in a while I find myself doing this when I'm
holding myself, but I've definitely never held a cigarette like this, yeah,
or anything.

Speaker 1 (49:51):
Yep, So it's weird. He ends up being the murderer
of nurse Amy. He's committed suicide, so they connect those two,
but they aren't able to connect him to the Wait,
don't they connect him to the Merders because he's committed
suicide in his office. They're still trying to figure it
out because he doesn't have his fingerprints. Aren't the fingerprints

(50:14):
that end up on Father Dryer Father Dyers cups? So
Father Dyer gets killed in the facility, all of his
blood drained out of him and left in sample cups,
and the thumb print that they finally pull is from
a person who is a patient in there who's mostly catatonic.

Speaker 2 (50:32):
Yeah. Yeah, so I don't remember. I don't think Scott
Wilson was considered the like the facility. He wasn't considered
the one of the killers.

Speaker 1 (50:41):
Oh, I thought he wasn't. I thought he was in
the legion one. I thought that they had connected him,
but they were trying to figure out how that could.

Speaker 2 (50:50):
They thought he was letting him out.

Speaker 1 (50:54):
Oh may then I misunderstood it then, And that actually
kind of makes some sense that he's maybe been letting
this person out into it and that's why he committed suicide.

Speaker 2 (51:02):
Well, and in the book he has a terminal like cancer.

Speaker 1 (51:08):
He has terminal cancer, which they don't bring up in
the film. He's a smoker, perpetual smoker. They do kind
of show it because at one point in time, he's
literally lighting his next drag off of the last cherry,
like he's doing this whole like, here's my cherry on
this one. Yeah, And it's kind of a really bizarre
because he's got a nervousness about him too, where he's

(51:28):
tried to prepare his own statement about something and he's
written it out and he's and it's having a hard
time getting that out. He actually kind of keeps referring
to his own notes while he is in turn also
lighting his next cigarette off of the prior cherry. Yeah,
he was dragging off of. Yeah.

Speaker 2 (51:46):
The death of Father Dyer was also one of those
scenes that was just a beautiful, beautifully shot scene as well,
Like when we have so we're going back a little
bit before the death of Amy. Father Dyer is murdered

(52:08):
and when George C. Scott finds out, our Kinderman finds out.
He goes to the room and there everybody's kind of
standing and they all turn and look at him. There
are those that that moment of paranoia where everybody is
looking at you and they're all like they don't know
what to say. The room is really really clean. There

(52:31):
is just a a table that has all these containers
filled with some substance on them. There's a like a
piece of black plastic over something on the wall. And
this is kind of when we start to confirm that
there is something has happening with this actually with Braddorff

(52:54):
being the Gemini killer, because the they pull the plastic
off and it says because he says, oh this is
that he goes what's in these containers? And he goes
they say, well, this is father Dyer's entire blood supply
except for the writing. And he's like, what writing And
they pull back the sign It's wonderful to El's life

(53:21):
and then they he goes to talk to to Damien
Carris and the cell and Damien goes into this datribe
about how when he's killing somebody and how like he
was so proud of this killing because he had used

(53:43):
sexonal colin and how they had he had thread a
catheter through the vena cava and was squeezing the body
to create.

Speaker 1 (53:57):
It's just squeezed.

Speaker 2 (53:59):
Oh my god. It's so like such a good like
narrative and we as the audience are like, holy crap. Yeah.

Speaker 1 (54:11):
And it's back to that that that performance of Brad Dryff.
He is he has a delicate intensity to him, gleef
because it's I guess.

Speaker 2 (54:21):
Well, he's almost gleeful because he goes He's like and
then I cut their head off and then sometimes when
I see them gawking, I show them their body, right.

Speaker 1 (54:30):
That's the Yeah. The effect of that means that they
can feel everything, but they're paralyzed. And the one last
gift I give them I cut their head off and
they have twenty seconds of consciousness before they completely shut down.
So I show them their body as a last gift.
And he's just delivering that. It's not even matter of

(54:52):
factly because he does have I guess it's a little
bit of glee. Like it's he he's very impressed with himself.
He's very happy about there's a satisfaction.

Speaker 2 (55:05):
He's an artist. Did you know you're talking to an artist.

Speaker 1 (55:10):
Yes, before we ever have a Buffalo Bill or a Hannibal. Yeah,
to have that, we have, we have this, we have well,
And I guess those are all actually relatively around that
same time. I forget when it is that that the
Science of the Lambs came out somewhere around like eighty
six eighty eight.

Speaker 2 (55:30):
So yeah, eighty yeah something.

Speaker 1 (55:33):
Yeah, somewhere in that line is where we had Silence
of the Lambs, so that we so we've.

Speaker 2 (55:38):
Got these less This was less of a like gentleman
killer like agreed, like Hannibal was, and more of a
like a he's not likable, but there is a charisma
to his descriptions of how he kills. Yeah, and I
think that that's what.

Speaker 1 (55:58):
It's something only interest only Brad Duraff could do this, right,
I honestly like there are just times when a character
and a performance happens where it's only this person could
have done this. Other people could have done their version.
That probably would have been quite enjoyable and fine and great,
and that's and that's all good the way that to me,

(56:18):
Worm Tongue could only be one person, and it's Brad
Duraf in that performance. And it's beautiful and it's elegant
and it's ugly and it's and it's just so him.
And this is the same way with Brad Duraf. Only
Brad Duraff could have done this, and it's magnificent.

Speaker 2 (56:36):
His ability to rave is like just I mean, it's
it's it's pretty fucking spectacular. It is like he does
it as Chucky, and I'm like, who, Like, I think
that what brings like makes I was never like a
big Chucky fan, but and I find like I find

(56:56):
them to be those movies are be pretty funny for
the most part there and their holy to me, but
they're not quite so scary. But I think that his
ability to like rage and random and like but also
bring it back down and like like he he has
this range in him that is uh that makes that

(57:17):
film for me. And I think that's why I think
I like. I like both versions, but I think I
will always love the theatrical version first because that's the
first one I ever saw. And yeah, even though like
the silliness of the of the Exorcism aspects of it. Aside,
I think that the fan cut is what I want
to check out that while like like seeing what that

(57:39):
looks like with the with both Jason Miller and Brad Dwarf.
But yeah, the this that killing was one of the
the one of those moments that really made George C.
Scott's character even more like you feel for him because
now he's lost his other best friends and now he's lost.

(58:02):
But prior to the death of his friend, he has
this dream. And one of the things that Bloody explores
in the three are specifically the two like films, which
is the Ninth Configuration and then this one. He explores
this kind of connection that we have with the universe

(58:24):
that tell we're getting we're getting these signals that tell
us that they're warning us and letting us know that
like kind of trying to put the pieces together. Because
Bill has this dream about going into a way station
and it's like a train station or or any kind

(58:44):
of like like a purgatory where they're the Angel of
Death is there. He's folding filling out tarot cards that
are like Death and the Fool, and I think, like
the Tower, I'm not sure exactly which cards I were
or the Devil I think is what I remember seeing.
It was like the Devil and the tower. And he

(59:09):
sees like the little Boy. He's like, oh, I'm so
sorry you were killed, and he's like, it's okay, father,
or it's okay, Lieutenant, and he's like walking with us,
holding his hand, and the big band of angels is playing,
and we see Fabio Bobbyo was an angel. Like I
was like, all right, that has happened. But everybody's looking

(59:32):
at him and it's not like ominous, and but it
also is for telling because he sees Father Dier and
he's got like the stitched neck and he's like, he says,
are we both dreaming? And he goes, I'm not dreaming, Bill.

Speaker 1 (59:51):
Yeah, this is right before Father Dyer is dead. He
is actually imagining. He's had He has the stream of
an interaction which he's that kind of almost a goodbye,
like a matter of fact lea goodbye. It's like it's
already happened.

Speaker 2 (01:00:04):
And we also see the other priest that was killed
in the confessional. Yes, that was the first killing after
the little boy.

Speaker 1 (01:00:16):
Yes, yeah, we kind of get everybody in here. We
have the little boy he's talking to with him, we
see the priest in the confessional.

Speaker 2 (01:00:23):
Yeah, his next stitch back together. Yep, this was I mean,
this was that from that iconic scene where you see
like the statue that's headless. A friend of mine I
had a one year I had a birthday party that
was extra Sist three theme. Do we drink out a
little specimen cups? And yeah? It was good times.

Speaker 1 (01:00:43):
Well and that was so that was our little boy.
His head is cut off. They find the head somewhere
else and it's been replaced from with the head of
a statue of Mary.

Speaker 2 (01:00:52):
I believe Jesus did like a menstrel.

Speaker 1 (01:00:56):
That's right. It was, Yeah, yep, it was a very
racistration on there. And then when we had the priest
that's killed in the confessional, his head is cut off
and set in his lap.

Speaker 2 (01:01:08):
Which is unfortunate that there are films of this.

Speaker 1 (01:01:12):
Yeah, they filmed it. You told me about this. They
filmed it.

Speaker 2 (01:01:15):
They just have pictures.

Speaker 1 (01:01:16):
Yeah, they didn't preserve the footage for that and didn't
use it, so all they had were some stills, and
the stills are pretty cool.

Speaker 2 (01:01:22):
They are. That would have been really cool to get
to have seen.

Speaker 1 (01:01:25):
That there was some really graphic stuff that we don't
so we don't get to see that one. We're only
ever told about the boy who is killed, who is
his head is removed, his blood is removed, the head
is found later. It's got the head of the from
the Jesus statue on there that's painted up like a minstrel.
But then the boy is actually then also crucified on

(01:01:46):
a set of oars that were taken out of the
boat house from the Georgetown campus of the Jesuit Priests
that have a rowing team. So yeah, so it's it's
fairly gruesome in there. Yeah, we didn't see it, it's
we're told about it. But that's I.

Speaker 2 (01:02:02):
Think I think that I think that was a smart choice.

Speaker 1 (01:02:06):
I agree.

Speaker 2 (01:02:07):
I think that using that, like having that off screen
happen off screen and just being having the like hints
at it creates more on our head. We're like like
how bad this would look and like how terrifying because
we get flashes of it, Like we'll get a flash
of like the the way that Jesus statue head looks

(01:02:30):
painted in a minstrel. One of the other really cool
like dialogues that we get in the is the there
are these conversations with the crazy the ketatonic word, which
is where our where we kind of first discover broad dwarfs.

Speaker 1 (01:02:52):
Are you here to fix radio?

Speaker 2 (01:02:54):
Oh my gosh, she is my favorite? Oh yeah, yeah,
I love that story that. I love that little like
interaction and because she's so like what was her name,
uh Clelia, she has like George Scott's going to question
her because they find her fingerprints on the interior of
the panel sliding back and forth on the where the

(01:03:17):
priest was killed.

Speaker 1 (01:03:18):
No, that was didn't they find hers on the cups?

Speaker 2 (01:03:22):
Oh?

Speaker 1 (01:03:23):
Yeah, why were you in the room.

Speaker 2 (01:03:25):
Yeah, there was another lady who they found on that one.
But yeah, Like so he goes to question her and
she's she hands him. She's like, are you a petty
radio repairman? And he's like yes, and she's like, well,
my radio isn't working. It only has dead people talking.
And he's like, oh. He goes to take this invisible

(01:03:50):
radio and she goes, it's a telephone. I knew you
weren't a radio repair man. It's okay, everybody makes that mistake. Yeah,
just like but my, I love there's a famous there's
a phrase that she says, nobody fixes anything around here.
It's all just a bunch of pies and anchovies. And
I just like, I like, there's no reason to put

(01:04:13):
those two things together. Yeah, And I just think it's
such an absurd like on comparison, but it's one of
my favorite I haven't use it as my Facebook like
bio it's like I'm just a bunch of pies and
anchovies because I just think it's so ridiculous and like
such a contrast. It's like the whole Raven and writing desk.
Mm hmm, like what's the difference, Like, Okay, there we go,

(01:04:35):
pies and anchovies.

Speaker 1 (01:04:37):
I've tried so hard to find a connection to it.
I haven't looked into any trivia stuff to see I
don't find it. Yeah, and I and yet I find
that very endearing and amusing. I love that it's used
that way. Yes, because as a filmmaker who has had
lines where I have been amused by a thing that
I have written that's in there and people have gone,

(01:04:58):
what does that mean? And I'm like, I don't know
that it really means anything. This person's kind of off
their rocker and they just said something, Well, you've got
to make it mean something? Do I Like, I can
understand that I need to have a very particular series
of setups and all of this stuff, But why can't
I have somebody that just says something that's so absurd
that doesn't mean anything.

Speaker 2 (01:05:16):
I think that was the point. I think that there
wasn't There wasn't supposed to be a like, uh, truly
a connection or a deeper meaning. I think that it
was supposed to be that it was just.

Speaker 1 (01:05:28):
A it's a delusional person.

Speaker 2 (01:05:29):
She's a delusional person, and that this because nothing gets fixed.
This is absurd. Yeah, just a bunch of hies and
inch of these yep. Yeah, but he wasn't a ready
to repair man. But she tells me as a kind face. Yeah,
and there's that moment. I think that was just kind
of spectacular, and that again, another really great monologue by Bloody.

(01:05:52):
I mean seriously, I am saying. I know that he
was probably known for kind of being a butthole at
times of perfectionist, not as much as freaking, but like
definitely yeah yeah, yeah, made some good films though, but yeah,
he I think that he uh this, this is masterful

(01:06:14):
and as far as like dialogue, that feels natural but
also feels otherworldly.

Speaker 1 (01:06:21):
Yeah, it's a great film. This is an excellent choice.

Speaker 2 (01:06:27):
Thank you. Yeah, it's one of my favorites. I mean,
clearly I could rant on and on and on about it.

Speaker 1 (01:06:32):
Yeah, well I'm not stopping you.

Speaker 2 (01:06:36):
Themes I think that are that I love about. Themes
about this film that are in this film that you
see reflected in any other films about like death and
rebirth and the concept of good versus evil. I think
that this is a triumph of showing how good can survive.

(01:07:03):
I mean, we see like the as kind of as
we kind of ramp up at towards the end of
the film. It's where the in the a Legion cut
or in the in the theatrical cut, we have the
introduction of Father Morning. Father Morning is going to take
the spirit of because we've all kind of at least
Georgy's God is now convinced. He's like I believe.

Speaker 1 (01:07:22):
So Father Morning basically goes in there, tries to do
and an exorcism gets killed, and then that is when
Kinderman comes in and they have their big confrontation. The
floor opens up, he gets pinned against the wall, and
then it ends.

Speaker 2 (01:07:34):
Well, what's happening in the same time is that they've
had in the body of there is an identification part
where that happens, where in the theatrical version we don't
see this confirmation happen, but we do see it in
Legion and the Legion cut, and this is where we
finally he is like, I believe that this is Damien

(01:07:56):
Harris because Damien tells him that in the He doesn't
do it in the theatrical version, but in the Legion
cut he says that He's like, I I scared this
other priest half to death, and this as I was
climbing out of my grave, because now we were like, oh,

(01:08:17):
he wasn't actually just picked up walking around, He climbed
out of his.

Speaker 1 (01:08:22):
Grave, right, Yeah. So as the as the they buried
Damien Karris, that father who gets then possessed, and then
that that demon possessed body crawls out of the grave
right scares another priest who has a heart attack and dies.

Speaker 2 (01:08:39):
It was like they who we discover is like was
at the end of his priesthood anyway, was deciding that
he didn't want to be a priest anymore. So they
just kind of assumed that he just kind of fucked off, right,
and he ends up being.

Speaker 1 (01:08:52):
Put in stuffed back into the coffin.

Speaker 2 (01:08:55):
Crunched up, stuffed up. In the book, they make really
detailedscription about the fact that this guy's like six foot
two and that Carras is like a small Italian guy,
and so like boom, he's like folded up into the coffin,
like gruesomely described. And it's we in the theatrical version

(01:09:15):
that's not super clear that this is the body of
They don't really they kind of slowly confirm it, but
like in the theatrical or in the director's version and
the Legion cut, we see like a definite confirmation he's
standing over the grave. They're showing like the perspective of
like them standing up and looking down into the dirt,
and then him being like that's not father Caris and

(01:09:38):
you're like, oh shit, now we believe, yeah, And then
we have the diatribe of I believe I believe in
cruelty and infidelity and suffering and all this stinking awful
things that you know. That scene, which is spectacular both ways,

(01:09:59):
are done well. I feel like it's a little anti
climactic in Legion, whereas the spectacle of it in the
theatrical version is quite more intense because we have like
the coming out of the ground and the lightning.

Speaker 1 (01:10:14):
And the ray and the floor.

Speaker 2 (01:10:17):
Is opening up, and that's very theatrical and kind of spectacular,
and he's he's like praying for himself. He's praying, and
that's when Jason Miller is like the weird version of
Jason Miller is all like your your prayer, your sweaty prayer,
prayers and over memory of beads. It's that voice that

(01:10:41):
like cracks me up that they have him doing that.
I'm like, is that is that him? Or is that
like some old lady? But that that finale kind of
ends the same in a way that he says he
has a moment of clarity and he's like kill me now, Bill,

(01:11:03):
kill me now, and Bill shoots him and then he
shoots him in the brain so that he can't be
rebuilt and brought back and has to say goodbye to
all of his friends. And it's so devastating that to

(01:11:25):
watch him have to like to have to have him
kill his friend because he he talks about him like
prior to that, in like earlier scenes where he's like
my he was like he was a wonderful human being,
like cared deeply for humans and was sensitive to the
spirit of people's you know, fragility of mentality, of mental fragility,

(01:11:51):
and just how wonderful of a person he was.

Speaker 1 (01:11:53):
Yeah, he sacrificed himself in the original term.

Speaker 2 (01:11:57):
And that's the sad part is that his like and
that's what the element of evil in this is, right,
Like that he was such a good person and tried
to save Reagan and was able to but then his
payback was that he was brought back to life and

(01:12:19):
made to suffer, made to be tormented. Wow, what a bomber. Yeah,
but yeah, this is my favorite movie.

Speaker 1 (01:12:29):
Yeah, I can see why I really love it. I
honestly can tell you that I deeply wish there had
been a better archival system to keep the original footage.
And it's very typical to have that happen on things,
but man to have had that original footage that could
have been restored and make that legion cut. I actually

(01:12:51):
prefer the legion cut of the two. I really like
the theatrical cut, Yeah, I do. And they did the
very best they possibly could have trying to reshoot things
to insert and then recut that film. But I love
all of the extra of Brad Duriff, And once I
understood that it was a recasting, Yeah, and that's what

(01:13:12):
we were dealing with, then is a recast of that.
I liked the more Brad Duraff stuff.

Speaker 2 (01:13:18):
Well, it's funny, like I was reading, I was watching
this interview with Braddorff talking about this film and how
like how disappointed he was when they were like, yeah,
we're done, We're going to go with Jason Miller because
this is what the audience testing well with blah blah
blah blah blah, and how when they told him to
come back, like he was working on their projects and

(01:13:38):
he was like he came back and he was like
I need two days and a slave slash a pa
and basically to somebody to run lines with. And he
went through and re like that's why there was a
more extreme intensity and like in the.

Speaker 1 (01:13:54):
So even he did reshoots, yeah, because after the Jason
Miller stuff, because they had to then reshoot.

Speaker 2 (01:14:00):
Because Jason Miller had to do his what they were
able to basically they were able to take of Jason
Miller's performance and they were like, all right, so we
need Brad Dwarf to do this version and then we'll
put the two together. And I thought that they did
a really good job because honestly, if I had never

(01:14:20):
known that this was there was this was part of
a bigger project. I mean, because in the nineties, I
didn't know this was the only version I had, And
so I think that I that's why I still love
like the theatrical version, because I think that there was
some it was some seamless like transitions between the two

(01:14:42):
of them because they weren't using basically the old stuff.
They were just doing the resh This was the reshoots period.

Speaker 1 (01:14:52):
Wow.

Speaker 2 (01:14:52):
Yeah, that's why when we see like the the Legion cut,
there's reshoots that are they're the reshoots for from the
theatrical version that are being used. And there's some like
sound stuff where we have like the spectacular like sound
work that he's doing. Yeah, and then like the growls
and the I do wish they got to keep. There's
a few things like going back. Incidentally, there's a few

(01:15:16):
things I would like to have seen them have done
in the original that were done or put in the reshoots,
which was like the impressions that he does he does
one like he has the like the oh but one
like the Aria one, and there is also his little

(01:15:37):
his brother. Those voices would have been kind of cool
to see. But he does this like kind of neat
like animal impressions and train locomotive impressions and those are
really cool. And the and the Legion cut. That would
have been cool to have seen those in the theatrical
cut because those are and also in the book as well.
So it's like I'm kind of like my brain is

(01:15:59):
like trying to translate which one I'm looking at, because
I'm like I can visualize it now reading having read
the Having read the book, I definitely recommend going and
reading that if you get the opportunity, because it is
again some masterful dialogue and conversations and they're like very natural,

(01:16:22):
like we were saying earlier, Yeah, I really thanks for
watch my favorite film.

Speaker 1 (01:16:28):
I'm so glad that we got to watch this. I'm
so I'm happy that I got to actually watch it
with you now, like both of these versions, having you know,
watched the first one and not fully understood everything, but yeah,
this it was so it was so much fun watching
these films with you. But it's also it's a fantastic
realization of just what happens, how difficult it is to

(01:16:51):
make a film anytime, nineteen seventies, nineteen ninety any of that.
Because here's Bladdie who had a award winning film made
from something that he wrote, The Exorcist, and he gets
to make the ninth Configuration. I don't know how much
of a theatrical release that got or what his budget was. Yeah,

(01:17:11):
here they are trying to either trying to make his
film that he wants to that's a third film in
this series of stories as and then it becomes really
inserted into The Exorcist as Exorcist three because they're trying
to keep that going as a franchise, and it's so

(01:17:31):
difficult to make a movie and the fact that it
got done and then reshoots with Brian Miller, reshoots with
Brad Duraf and trying to cut something together. It's so hard.
It's so hard, and you're trying to make something for yourself,
but you're trying to make something for an audience, but
you're trying to make something for studio executives and get
the next budget or be able to afford your rent,

(01:17:52):
and it's so complicated and so everyone is just a
magic happy moment to get it actually finished out there
for the world.

Speaker 2 (01:18:06):
I think we need to next step. We should try
to find this fan edit that does like the ultimate cut,
because I would be curious as to see like how
that looked. I mean I could see it in my head,
like removing like the father Morning aspects and then but
having those like transitions between Jason Miller and Braddorf.

Speaker 1 (01:18:28):
Yeah, well, I'd like to watch these both more and
maybe maybe more back to back or even just get
to the places. I would really love to watch all
of the Brad Duriff slash Brad Dorff Jason Miller stuff
back to back er against each other. I would like
to see the differences in the performances.

Speaker 2 (01:18:46):
His intensity is, to me, is much more prevalent in
the theatrical version versus the Legion version, because the Legion
version we're looking at dailies and stuff like that, so
they're not, like I don't think they're like the best performances.
And he even says something about like how he would
do like multiple takes, like they would like twenty minutes

(01:19:07):
at a time. He was doing like these takes of
these dialogues and or these monologues, and then they would
have like him, go like can you do it a
little bit differently and doing it well? Add more this
to it. I mean it's like, I mean, I can't.
Acting is hard, man, I'm not an actress. I don't
know how people do it, Like I would be too raw,

(01:19:29):
like touching some of those emotions.

Speaker 1 (01:19:31):
Yeah, yeah, it's it's very difficult. And I've I've taken
acting classes and done performing in front of the camera
with lines. I find this this is easy. I can
I can do this, But trying to become a character, yes,
providing you know, having been provided dialogue to give a
performance for something that is very particular is extremely hard. Oh.

Speaker 2 (01:19:57):
I mean I've done a little bit of voiceover acting,
and that was even in itself, is like how do
I sound like that? Like? How do I sound natural
without sounding like I'm like, I'm trying to do an
impression of something, yeah, because I was trying to do
like a Rosemary's baby impression, and I'm like, how do
I even like access that?

Speaker 1 (01:20:15):
Like, I'm like yeah, And some actors have a very
difficult time coming in and out. I remember one actor
that I worked with a very high end. This was,
you know, a big production and this person and I,
if I were to judge it, I would say, this
character that they're having to come in and out of
isn't necessarily all of that. But when they would have

(01:20:39):
intense scenes, sometimes they would go walk around and they
would pull us aside. And I wasn't directing. I was
actually a production assistant on this. But this actor would
come over to me and we would go over to
the side and they would ask me questions about like, hey,
how come do you ever? Do you know? And they
would ask me personal questions about my life and we

(01:21:01):
would talk. And the first one or two times that happened,
I didn't understand. I thought maybe they were wanting to
get to know me better, but why at this moment
and why this way? And someone said, oh, no, he
actually has a hard time coming out of that character.
So when he's got really intense scenes of a particular kind,

(01:21:25):
he really amps himself up and gets himself really wound
up into a place where he can be and that's
why he's able to give the performance that he does.
But when they say cut, he's still all wound up
and he needs something to kind of come back down
and having a human conversation with somebody helps him and
that's why he does it. And the fact that he

(01:21:47):
keeps coming back to you means that he's found some
human grounding that he that he is that's working for
him to be able to come in and out of that.
So that was interesting and felt really good about that.
But it's but to put himself into a place to
do these things took work, and yeah, it took work
to come out of it.

Speaker 2 (01:22:06):
I could see trying to access this kind of darkness
and also this despair. I mean, like I glossed over.
I feel like George Scott's performances, but they're like my
favorites were the It's not in the file like and
his like crying and like him pulling in like being
a man that's like pulling himself back from crying because

(01:22:28):
he's like, I'm a man and I can't be like
crying in front of my crew. And like those moments
like those were so humanizing and so riveting to watch,
and I think that's what again draws you like into
this story so easily. Man.

Speaker 1 (01:22:46):
Yeah, this is a great film, and I I will say,
to a certain degree, I love the original Exorcist. I do.
I do love that film. I think all attempts to
try to continue to make that a franchise have have
not worked, and I don't they want to, and I

(01:23:08):
know there's continuations of that happening today. Still, there was
Exorcist New Beginning. Is that what that was? What was
that latest film from like a year or two ago.
Oh yeah, Exorcist Believer. That didn't work so well. I
know there's other stuff in the works because they had
I think Blumhouse had bought that they're giving it to.
I think that it is going to Haunting of Hill House. Flanagan, yeah,

(01:23:35):
I think he's been tapped to do that. I don't
know if that's changed or not.

Speaker 2 (01:23:38):
I think that he could do a good job.

Speaker 1 (01:23:40):
He could. Flann again understands storytelling and characters really well
in a horror setting. I think his work is magnificent.
You and I were just talking about Life of Chuck.

Speaker 2 (01:23:51):
Yeah, I would like to see a I feel like
I wanted to see an interpretation. I don't need a
canonically well, I mean, obviously it needs to be some
kind of canonically like like tie, but I don't want
I don't need to see the A redo. Yes, I

(01:24:13):
would like to see a in the universe of.

Speaker 1 (01:24:17):
I am totally happy with that. Like Star Wars, I
don't need to have a Jedi or a Skywalker in something.
Feel free to have something that's happening in that universe
and just give us a good story. Absolutely agree.

Speaker 2 (01:24:28):
Yeah, Yeah.

Speaker 1 (01:24:29):
Flanagan did the sequel to Luija, and he did I
think it's Uija Origin or something like.

Speaker 2 (01:24:38):
I think that one was the better of them, if
I remember proper.

Speaker 1 (01:24:40):
It's excellent. I think it's his first feature for a studio.
I think he had done some independent stuff and that
became his first one before he then did his next film,
which was Oculus. I believe I'd have to look that
back at. Oculus was really good. Karen Gillen, it's I
think that's his first time with Karen gill And. I
don't think she was in uh the Ouija film that

(01:25:04):
but it's I tried to watch that Owija film. It
was just a very typical blah blah blah. But he
gets the sequel and it's and it's a kind of
a prequel to that where we actually get to see it.
It's really good and so he has a way of
understanding characters and dynamics in the world that they're in.
I loved Doctor Sleep.

Speaker 2 (01:25:26):
Oh that's Flanagan.

Speaker 1 (01:25:28):
Flanagan didn't.

Speaker 2 (01:25:28):
That was great.

Speaker 1 (01:25:29):
It was so good and I I love the Shining,
but I also have issues with the Shining. Sure, and
I loved Doctor Sleep. And Doctor Sleep I think is
an excellent He was able to make a sequel to
the book and the film at the same time. Agreed

(01:25:52):
of the Shining and pulled it off.

Speaker 2 (01:25:54):
So good.

Speaker 1 (01:25:55):
It's so good. Yeah, but that's for a different episode.
It's going going into the world of extra Yeah.

Speaker 2 (01:26:03):
The series. I watched the series. I thought the first
season was spectacular with Gina Davis did a fantastic job.
I liked what they were doing. I feel like this,
if Flannagan was gonna it would be kind of interesting
for him to pull some of the the cool storyline
that was starting to happen in the first one versus

(01:26:26):
like the second one, which was a kind of a
falling apart of a family and that was hard to watch.
But like they all kind of were like that. I mean,
the first series was watching a family fall apart, and
then we found out those secret twists, but I'm not
gonna tell you watch that series.

Speaker 1 (01:26:44):
Yeah, I'll have to go and find it and watch those.

Speaker 2 (01:26:46):
Yeah, it's a good it's a good times. It was
a pretty good series. A couple of things came out
that year. It was like Exorcist and then the Damien.
The Omen series was kind of mid but yeah it uh.
I I feel like if we're going to be getting
back into the universe of the of the Exorcists, it

(01:27:06):
would be kind of cool to pull in maybe like
the Ougi board that she used to talk to Captain
Howdie oh, or like you know, something like that, like
bringing it like that way, or somebody finds the headless
statue of Christ and we're like, what is happening there?

(01:27:28):
Like I would love to have give me those little
canonic nods and I will be a very satisfied customer. Yeah,
I will go see your movie. Well.

Speaker 1 (01:27:39):
So with that, though, what ends up being the difference
between all the other Exorcism films, because like there was
like Russell Crowe was just in two exercise films.

Speaker 2 (01:27:50):
Hope, So okay, let me go back. So silly the silliness,
here's a silliness of it, right, So like frea can
talk to. When he was doing The Exorcist, he talked
to an exorcist priest named Father a Mort and became
friends with him and whatnot, and so like he does

(01:28:12):
this documentary called The Devil and Father a Mort and
it's basically the like we get to see supposedly some
exorcism footage. I saw it, I wasn't I am. I
am not a believer, but I'm also not Catholic, so
I'm just not a believer in possession. Yeah, I not

(01:28:36):
in the traditional sense, Like I am fascinated by the
concept of possession in the sense of like this is
a control and a you are have lost your sense
of self and something has mastery over you, whether it
be supernatural or whatever. But I find that to be
and it's just interesting concept. Like I love the movie

(01:28:58):
Possessor for that reason. That was a great interpretation of possession.
But Father and Mort is who Russell Crowe plays in
The Pope's Exorcist, so that's that tie. And then he
somehow is also cast in The Exorcism or something like

(01:29:19):
that or Exorcism, and it's about a fallen actor who
is playing taking on a role of a priest of
an exorcism priest, and it's kind of parallel to the
problems they were having on the first Exorcist film. Incidentally,

(01:29:42):
Joseph Miller is the director of this.

Speaker 1 (01:29:45):
Oh Miller's son, like step son, Yeah, isn't that why?

Speaker 2 (01:29:52):
And so I'm just like okay, okay, okay, okay, okay, okay.
So yeah, that's those are the ties. Yeah, it just
it's very like the troubled set that they were having
bits because I don't know if people know this, but
like the first Extorcism film is considered a cursed film

(01:30:13):
because it some of the actors.

Speaker 1 (01:30:15):
Died and oh I didn't know.

Speaker 2 (01:30:18):
That Whenda Blair got like her back broken in that
there was a lot of like serious issues with that film.

Speaker 1 (01:30:27):
Like the Poultergeist curse then right.

Speaker 2 (01:30:29):
Exactly exactly. It's in that there's a shutter as a
series called cursed films, I think, is what it's like. Really,
it's one of them. It's like, I think the first
one they talk about is that one.

Speaker 1 (01:30:42):
Yeah, yeah, oh, probably got the Twilight movie. Then for
that scene that was film that killed three folks.

Speaker 2 (01:30:50):
Yeah, I don't know about that.

Speaker 1 (01:30:52):
John Landis was filming a scene for the Twilight Twilight
Zone the movie. Yeah, and he and he was emulating
a helicopter crash in Vietnam War pulled back and so
the real life actor is running with two kids that
are supposed to be and the helicopter that has real
rotors rotating on it is supposed to fall over, and

(01:31:15):
it falls over and in a bad rack and it
hits them. Oh man in the filming and so and
they finished the Twilight film and they obviously Twilight Zone the.

Speaker 2 (01:31:26):
Film said Twilight. I was like, twilightight curse.

Speaker 1 (01:31:29):
Movie, Twilight Zone. Yeah, Twilight, twilight Zone the movie. Yes,
it's a good correction because I haven't seen any of
the Twilight films, so yeah, but uh yeah, so I
can see. I could see where there would be a
series of those things where things happen.

Speaker 2 (01:31:44):
Yeah, it was a it was kind of cool. Like
there's a few films of Poltergeist beating one of them
and then like the Extorcist and I'm not sure what
I can't remember the other one. It's been a minute
since I watched that documentary, but yeah, it's it's interesting.
So that's the ties and then like I would like
to see if we're going to continue in the universe
of The Exorcist and to the next films. I would say,

(01:32:10):
please be respectful of fans and thoughtful because the only
tie that they brought in for the for Believer was
Ellen Burston and then they didn't use they just like
they didn't use her like she she's like when she
had the stupidest lines, like what did she say? She

(01:32:33):
was like because of the patriarchy, Well, of course it
is the Catholic Well there's no meaning. It's like that,
why would you even why would that line even exist?
Like why would she even say like the patriarchy stopped
her from doing something? And I'm like, this is a
stupid Why was she given this her she is an
Academy actress. Why is she given garbage lines like she

(01:32:56):
was just there was ridiculous chicks well and then like
and then her to be like going on a press
tour about it and like being like this is gonna
be great, and I'm like, have you seen this movie?
But because I saw this movie and this is not
great and this is not even like worthy of you
putting your name on it, because they immediately blind her

(01:33:18):
and You're like, oh, this fucking stupid Oh have you
seen it? No, it's a garbage fire.

Speaker 1 (01:33:23):
Well, and I haven't seen the prequels the Dominion films,
and I will. I kind of want to hate watch those.

Speaker 2 (01:33:28):
Those aren't that bad, yeah, if you in comparison to really.

Speaker 1 (01:33:34):
Because Rennie Harlan is notorious for making terrible films. I
don't like Renny Harlan films. And he makes the second
Dominion version over the first one that was made, both
of them having scars guard and like, I don't know
what percentage of the film was reshot.

Speaker 2 (01:33:49):
There are some ridiculous like Africa type. I don't. Yeah,
it's not they're not good.

Speaker 1 (01:33:57):
Because they're trying to pre it's it's like they're trying
to do the prequel of Pazuzu stuff.

Speaker 2 (01:34:02):
I think you want to know a fun fun fact
about Pazu. So I know you love the movie Legend, Yes,
so in the swamp in Legend, Yeah, Pazuzu statue is
in the swamp.

Speaker 1 (01:34:12):
Oh there's a Pazuzu statue. Oh I didn't know that. Yeah,
that's Meg's muggle bone. Is that the swamp witch in there?
So that's like I'm just dropping names.

Speaker 2 (01:34:24):
Out of they're like they just had this like weird.
They were like, oh, we need this weird statue for
and then they I don't even think they realized this
was because when was the statue used, Like not until
the Dominion film, right, Well.

Speaker 1 (01:34:38):
There was a wasn't there a statue when we first
see uh in Africa? In Africa? Well yeah, and like
I think they're in North Africa. Yeah, and there's because
I think there is a shot where there's like a
zoom out we see a few things we see our father.

Speaker 2 (01:34:55):
There, like the bed where she's like this, and they
superimposed the.

Speaker 1 (01:34:59):
Right that we kind of saw like a shot of
really quick in the beginning.

Speaker 2 (01:35:03):
Yeah, yeah, okay, Yeah, so they were like they must
have been like shooting Legend and they were like, well
this there's there's that.

Speaker 1 (01:35:10):
Prop, let's use it.

Speaker 2 (01:35:11):
Let's just use it because I mean remember that that
was that that set was like they had to build
that set.

Speaker 1 (01:35:16):
And they had to be well, yeah, they had to
build the Legend set a second time because they burned
the first one down. So it could very well be
that if that was part of the second set that
they had to build, they were just like populated. Yeah,
we got a in the back put it in.

Speaker 2 (01:35:30):
And that's I just thought that was really funny little
trivia i'd read and I was like, I don't remember
that I saw the like and that I saw the
still for it. I was like, holy shit, but it's
a shadow. Yeah, it's just the outline of like the
butterfly looking wings.

Speaker 1 (01:35:43):
I was like, gotta go back and watch legend.

Speaker 2 (01:35:45):
Yeah.

Speaker 1 (01:35:46):
See see there. We say that we don't know where
the conversation is going to go, and this is an
example of that.

Speaker 2 (01:35:52):
It's yeah, but thank you for watching this with me.

Speaker 1 (01:35:55):
Absolutely, thank you for watching this with me and having
me be a part of it. I'm glad this was
part of our selection.

Speaker 2 (01:36:01):
Yeah.

Speaker 1 (01:36:01):
Yeah, which leads us to our next selection, your pick,
my pick, which we are going to watch the Jeremy
Salmier film, his second feature film, and this is called
Blue Ruin, which put Jeremy Salmier on the map. And
I love this film. I'm so excited for you to
see it and.

Speaker 2 (01:36:21):
We talk about it, looking forward to it.

Speaker 1 (01:36:24):
Awesome. Cool, Well until the next episode, Gretchen, thank you
so much and we'll see you.

Speaker 2 (01:36:28):
Then smash and like it to all the things.

Speaker 1 (01:36:32):
Please pay attention to us on all of our channels
and we see it next. Time to Check the Gate
podcast is hosted by Martin Vavra and Gretchen Brooks. The
show is directed, produced and edited by Martin Vavra. Produced
by Galaxy Sailor Productions twenty twenty five. The show is
filmed and recorded at the Propulsion Zone Studio in downtown Portland, Oregon.

(01:36:55):
Special thanks to Adam Carpinelli and Aleandro Barragon. This content
is concredential, which means you can report instances of harassment, abuse,
or other harm on their hotline at six one seven
two four nine four two five five or on their

(01:37:15):
website at Creator Accountabilitynetwork dot org

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Check the Gate - Exorcist III (plus Legion the Cut)

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Check the Gate - Exorcist III (plus Legion the Cut)