Death Car on the Freeway (1979)

Episode Transcript
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Speaker 1 (00:02):
Prepare yourself for the terror, the prison of madness.

Speaker 2 (00:09):
We have few inter and none return. Welcome to Unsung
Horrors with Lunes and Denica. Leave all your sanity behind.

(00:34):
It can't help you now. Welcome to another episode of
Unsung Horrors, the podcast where we discuss underseen horror films,
specifically those with fewer than one thousand views on Letterboxed.
I'm Lance and I'm America and for this episode, We're
going to be chatting about Death Car on the Freeway.
Oh Yes, from nineteen seventy nine, a CBS Tuesday Night

(00:55):
made for TV movie.

Speaker 3 (00:57):
Goodnight on the CBS Tuesday Night Movie. They call him
the Fiddler. His targets women. Hello, He's the death Car
on the Freeway. Shelley Hack is the young newscaster who
tries to stop it.

Speaker 2 (01:12):
George Hamilton r exhus you are scared to death. I
might just make it.

Speaker 3 (01:15):
On my own, with Peter Graves, Dinah Shore, and Hey Lagoda.
In an explosive story of women in jeopardy, The Freeway
Fiddler has killed nine women and will surely killed again.

Speaker 2 (01:28):
Deep Car on the Freeway. It originally aired September twenty fifth,
nineteen seventy nine, directed by the great stuntman turned director,
He'll need him no pants, no pants episode. He's gonna
be just as much fun talking about than the movie itself.

Speaker 4 (01:45):
Yeah, I'm this is gonna be a fun episode because
I feel like, you know, we skirt the line on
horror quite often. It's got the horror tag on it,
but you know, we have the chance here to talk
about someone like how.

Speaker 2 (01:59):
Ney and Bert Reynolds and everybody by association.

Speaker 4 (02:03):
Yeah, and so obviously we will talk about the movie,
but I think there's a lot to talk about with
hell neat him and just that whole I just I
just want to talk about how hot he is.

Speaker 2 (02:15):
My god, he's a good looking man. And I'm surprised
he wasn't more of an actor because he reminded me
of like a tough guy, Christopher George, Like he has
like he's very gruff, he's very but he's so quick
wit and he has a good part in Death Car.
Oh he has a nice little cameo.

Speaker 4 (02:34):
Yeah he does. And I was like, God, damn, what
I wouldn't give to take that course?

Speaker 2 (02:40):
Yeah, defensive driving instructor, He's perfect for it.

Speaker 4 (02:43):
Yeah, I let my guard down with them though.

Speaker 2 (02:45):
Yeah, put your pants back on.

Speaker 4 (02:47):
It's not going to happen.

Speaker 2 (02:51):
Okay, yeah, Death Car. It has three hundred and sixty
six views on Letterboxed at the time of this recording.
You can find it on YouTube without or with commercials
the way it was originally aired. Yep, So what's it about.
It's about a young, ambitious reporter named Jeannette jan Clawson
who takes on and investigates a story about a madman
who's driving on a van on the LA Freeway and

(03:13):
he's targeting women who are driving alone. When he spots
his next victim, sometimes he rubs down his steering woble
with the chlorox white, he puts on his black gloves,
pops in an eight track of this crazy fiddle bluegrass music,
and he puts the pedal to the metal, causing rex
hoping to kill the drivers, which he succeeds at killing

(03:34):
about a dozen women on the road. And as Jan
gets closer to figuring out who this unknown driver is,
she is his next target. Dun, dundun. So yeah, like
you said, this doesn't have a horror zon. It has
the horror genre tag, but it is it's a made
for TV movie, so it has that more. It's more tame.
There's not a lot of graphic gore, more crime thriller

(03:56):
than anything. Yeah, but it doesn't matter. It's eligible, Yes,
so how neat him. Yeah, if anybody's familiar with his
name and his filmography, you know you're going to get
great stunt work and a lot of explosions, which we
get in Death Car. He started his career as a
stuntman in the mid to late fifties, training under John
Wayne stunt Double, and he quickly became one of the top,

(04:18):
if not the top stuntman in Hollywood, regularly doubling for
Clint Eastwood and Burt Reynolds. Of course, we're going to
talk a lot about here in a bit, because how
and Burt Reynolds were best friends. They were best buds.
They lived. How lived in Bert's house for twelve years
in his guest home, and there are some stories of

(04:39):
this being like the ultimate bachelor pad. Both guys were
single during the time. Bert loved to He had mirrors
all over walls and ceilings in his home. He was
a big fan of tile that made. That was a
great passion of his. He mentioned in a documentary.

Speaker 4 (04:55):
I was like, man really likes tile.

Speaker 2 (04:59):
Yeah, he was mirrors entile and apparently a big fan
of the of Native American culture as well. But yeah,
apparently there's some wild times had in there twelve years
of just probably a lot of a lot of shagging.
If I would say, there is a scene in the
documentary where he's I thought he was psych I thought
he had like a grass in his house. Oh my god.

Speaker 4 (05:21):
Yeah, the one with like the big open yeah.

Speaker 2 (05:22):
Yeah, yeah, And I was like, that's a fucking like
four inch shag carpet, Like somebody needs to take a lawnmowderdoe. Yeah. No,
I do want to read his book. So, hol Needham
had a book published in twenty eleven called Stuntman My Car, Crashing,
Plane Jumping, bone Breaking Death, Defying Hollywood Life, which she

(05:44):
read some of.

Speaker 4 (05:45):
Yeah. So I just got it two days ago and
I started it and I will probably finish it, but
you know, we had marathon Day yesterday and so I
couldn't quite get through a lot of it. But I
do want to share one fun anecdote that he wrote
about in it. Unfortunately, he did not write about this
movie at all. Yeah, that's the whole I mean. I

(06:07):
wanted to read the book anyway, Like I knew who
he was, but I became because of smoking the bandit
and all of that. But or I became much more
aware of him after Once upon a Time in Hollywood
came out right and like that whole relationship. So anyway,
he didn't write anything about this movie, which I was
really disappointed. But the book is really fun to read,

(06:28):
and he wrote about this one time where they were
on location in Mexico and one of the actors I
think that you and I both really enjoy was on
the film Richard Farnsworth.

Speaker 2 (06:44):
Oh.

Speaker 4 (06:44):
Yes, So there was a scene where Farnsworth, his character
was supposed to be shooting at people during a fight
or during a battle with arrows, and they were using
like real fucking arrows, Like, so they weren't They weren't
messing around with this, so context for that all right. Next,

(07:06):
the director wanted some of the stuntman to be shot
with arrows to motivate their high falls. We had a
stunt man on the movie named Richard Farnsworth. Oh, I
guess he wasn't like acting in it at the time,
but he was a stuntman. But anyway, he was also
an amateur archer. Let's see, Dick was asked how he
felt about shooting arrows at the stuntman with a camera rolling.

(07:26):
He said he was willing to shoot the arrows, but
he added it would be a good idea to ask
the stunt man if they were willing to let him
shoot at them. After all, forget movie magic and fakery.
Instead of the usual rubber tips, they were going to
be real hunting arrows with steel tips. Several of us
had seen Dick shoot and decided to give it a go.
We would wear a foot square metal plate covered with

(07:48):
two inches of balsa wood under the front of our
costumes and hope Dick hit the target. On Sunday, the
day before we would put our lives in Dick's hands,
we were on the beach, body surfing and enjoying the
site of bikini clad locals parading up and down the sand.
Not far from us, Dick had set up an archery
target with a foot square target on it, the same
size he would be hitting when shooting at us. Dick

(08:11):
practiced for a couple of hours. About half of his
arrows hit the target. The other half always seemed to
be four or five inches lower, which would hit our
crotch area. The more he missed, the closer we watched.
After far too many misses, we had to talk with
him and suggested that maybe this whole thing was a
bad idea. He laughed, picked up his bow, and fired

(08:33):
twenty arrows dead center into the target. We looked at
one another and knew we'd been had. Dick gathered up
his equipment and said, I'll see you tomorrow.

Speaker 2 (08:41):
That's awesome.

Speaker 4 (08:42):
Yeah, I didn't know Richard Farnsworth used to be a spuntman.

Speaker 2 (08:45):
I didn't either. I mean you look at him like
in the Straight Story or something, and his older roles.
Obviously he's a frail guy. Yeah, yeah, I didn't know that.

Speaker 4 (08:53):
I bet he could get it too.

Speaker 2 (08:55):
I bet he could get it too. I'm sure. I
bet he had some parties at that bachelor pad with
Burt and how mm hmm. Yeah, So a little history
on how so he You know, he did stunt work forever,
and he wanted to get out of stuntwork mainly because
of like the physical injuries, at least physically doing the
stunt work himself. He wanted to be kind of an actor,

(09:15):
but he wanted to be a director as well. Yeah.
So he began writing the script for Smoking in the
Bandit and Universal Pictures were hesitant to let a stuntman
direct his first movie, so they said they'd make the
movie if he can get his roomy to star in it. Obviously,
Burt Reynolds was a huge celebrity at that point with
Deliverance along his Yard White Lightning, and he agreed only

(09:36):
of how could direct, so Bert is the reason how
Needham became a director, and a successful one in my opinion,
a very successful one, and especially for Universal because Smoking
in the Bandit was like one of the biggest hits
for Universal at that time, breaking all sorts of records.

Speaker 4 (09:52):
Yeah, it was like the second highest grossing film of
nineteen seventy seven behind Star Wars.

Speaker 2 (09:57):
It's Insane. Yeah yeah, So of course, all hit and
this kind of kicked off his directing career. And of
course they're all action packed, a lot of stunt work,
because that's what his career was, so a lot of
the same stuff. He did say, how said he always
wanted to do action comedies. He felt laughter was contagious
and that people enjoyed watching action, not violence, but action. Yeah,

(10:18):
which is the case for a Smokey the Bandit movies
because there were like these crazy car wrecks where in
real life nobody would survive. But he always shows like
the passengers and the drivers getting out, which is you know,
it adds it makes it very endearing. It adds to
the humor too. Most of them are cops too. I'm like,
just show him down or whatever. But yeah, I mean

(10:40):
we talked about Richard Farnsworth, what I didn't know about.
But I'm a huge fan of stuntman turned directors. You know.
I've talked about Spiro Rizados for a Class of nineteen
ninety nine two, the substitute, and another director we covered
on an episode, Bob Browber for Midnight Ride. So I'd
love to see it happen because especially because stuntmen they

(11:02):
don't get the credit like they that they deserve. Even
in Letterbox they just recently added them to the crew
list and the app and on the site.

Speaker 4 (11:10):
Yeah, I think Needham doesn't even have a proper like
he doesn't have a proper oscar. He has an honorary
one right.

Speaker 2 (11:18):
A Governor's award that we've got in like twenty twelve,
which you know, better late than ever, get on the
Academy for that because he did pass away a year later,
so that was good to see. But yeah, I feel
like if I mean, the fact that stunt work isn't
an Oscar category is dumb because the Olympics, the Olympics
just added breakdancing as a fucking sport. I mean, if

(11:43):
they can add breakdancing, come on, Academy, you could add
stunt works.

Speaker 4 (11:46):
This isn't just another reason why the Oscars are stupid,
and it is you know, like I it's I never watched.
I don't fucking care. I'm like, you're not nominating all
the movies that I care about anyway, so I just
and you're you're not nominating the people who deserve the
most credit.

Speaker 2 (12:01):
So no, I agree. I do. I watch them every year,
though I do have a lot of fun. I do
love Award season. Okay, I don't agree. I never agree.
I'm usually you know, throwing edibles at the screen.

Speaker 4 (12:12):
I hate watching.

Speaker 2 (12:13):
I am hate watching for the most part. Some of
the stuff I like, you know, and you know, like
you said, the pickens are slim when it comes to
Best Picture nominees, but I do pick a favorite that
I might have seen. Hope for that, but like when
Parasite won, that was a good that was a good time. Sure. Anyways,
let's fuck the Academy. Let's let's talk. Let's get back
to one Songhores. Yeah, let's talk about some of the
how Needham films we watch, because we did jump into

(12:35):
his filmography.

Speaker 4 (12:36):
I did a lot because honestly, I had never seen
Smoking in the bandit. Really it was one of those
where I was like, I'm gonna get around to it.
I have my private list on letterboxed of all of
these classic films that I have yet to see. Most
of them are from like early thirties and forties for
the most part. But like, I have some classic films

(12:58):
that I'm like, I'm saving them. I'm spreading them out
because I've said many times on this podcast about, you know,
my anxiety about my own death, and like, you know,
just I have to think about like how many good
years of movie watching I have left, and I don't
want to like go through all of them right away,
and then my last ten or twenty years I'm just

(13:20):
watching like the fucking dregs of TV.

Speaker 1 (13:23):
So like.

Speaker 4 (13:25):
I'm trying to spread them out. And I was like, Okay,
when the opportunity presents itself for me to get to
one of these classics and then I'll do it, And
this was the perfect opportunity for me to do that.
I watched Smoking the Bandit. It was so much fun.
I followed it up by watching The Bandit the documentary
about it. I watched Cannonball Run. This one wasn't high

(13:45):
on my list to get around to. I didn't love it.
I don't know.

Speaker 2 (13:48):
I may have seen it as a kid, but I
don't think I've ever seen any of the Cannonball Run
film and I think there's like three of them.

Speaker 1 (13:53):
Are.

Speaker 4 (13:54):
Yeah, it was, I mean, it was fine. I really
wanted to like it, but it just it was fun.
But I was like, I'm never going to revisit this again.
I will definitely watch Smoking the Bandit again.

Speaker 2 (14:04):
Like that was for sure.

Speaker 4 (14:06):
Rad I hadn't seen since I was a kid.

Speaker 2 (14:09):
Yeah, I probably thirty five years. Yeah.

Speaker 4 (14:11):
I didn't remember it that well, except as soon as
crew showed up. I was like, oh, I remember him
because I remember having a cruise on him.

Speaker 2 (14:21):
Eh that's good.

Speaker 4 (14:23):
No, it's not. You need to you know, we need
like the fucking din't that? So I started the villain.
I didn't finish it. I was like, I don't am
I with Kirk Douglas. Yeah, I was like, I'm not
in the mood for this. I watched Hard Time Hostage
Hotel on Prime. That one had a lot of names
like Daniel Harris, Keith Carroty and Charles Derning, but just

(14:46):
a completely forgettable hostage movie, no notable stunts. I feel
like there was some cgi fire in there. And I
was like, how dare you?

Speaker 2 (14:53):
That's with Burt Reynolds. That's a sequel to a Burt Reynolds.

Speaker 4 (14:56):
Yeah, there's a series of the Yeah, I'm assuming the
is just a paycheck or a favor for Reynolds. I
don't I don't know what it was. But I will
say though, that my favorite watch out of all the
ones I did for how need I'm Directed, you know,
besides death Card Hooper.

Speaker 2 (15:10):
Yeah, that's my favorite. How Needham and Burt Reynolds. It's
so and it's so fun and it's kind of autobiographical
if you think about it, you know, being this old
stunt man.

Speaker 4 (15:20):
Yeah, it's just like a fun stunt man hang out movie.
Needham is all over this and like before we watched it,
John was like, oh, what what are we watching. I
was like, Oh, it's called Hooper, and he was like
Hooper and I was like Hooper and like we were
doing like the Jaws Quint thing. I couldn't help it.
Now I can't not hear it.

Speaker 2 (15:39):
So it's good stop man with his hoop hoop.

Speaker 4 (15:46):
But yeah, that was that was definitely my favorite watch
out of his filmography.

Speaker 2 (15:49):
Yeah, I love Tooper. I'd watched out a couple of
years ago. And yeah, and this is also a fun
episode for me. I'd watched some older movies that i'd
never seen of needam, including Smoking the Band Apart two,
which I feel like I've seen bits and pieces of.

Speaker 4 (16:05):
Yeah, I didn't get to that one.

Speaker 2 (16:06):
And Sarah never wants to watch any movies that I'm
prepping for the podcast ever, and it's understandable. Hell, I
don't want to watch it's a joke. But she loves
Burt Reynolds, she loves all the Smoking the Man, she
loves Gator, you know, white Lighting, all those, she loves it.
And she was all in. So we watch that and
it's not obviously it doesn't have as the level of

(16:28):
charm that the original has. Instead of like hauling Corps.
They're hauling Charlotte the elephant, this elephant that they have
to take over across state lines.

Speaker 4 (16:38):
So double feature with Hannibal Brooks.

Speaker 2 (16:40):
There you go. Okay, that's a good call.

Speaker 4 (16:44):
But don devil feature with the operation Dumbo drop.

Speaker 2 (16:47):
Anything you could throw with Oliver Reed in there, just
watch it. But yeah, it has Don de Luise in
it as a doctor turned veterinarian. He's kind of kidnapped
to take care of Charlotte in the back of the
of the Bandits truck. And I mean he's super over
the top, very campy. It's funny until it isn't. It's like,
I get it. But a lot of the same cast

(17:08):
members pop up. Paul Williams, Pat McCormick, Jackie Gleeson, who
I think is what makes Smoking the Bandit too watchable, Okay,
like the reason to watch it. I think he's that
character is one of the best. And in the documentary
The band It, it sounds like it's never really they
don't get too much into it, but it sounds like
Bert Reynolds wanted the script rewritten because of he didn't

(17:30):
want to be upstaged by Jackie Gleeson.

Speaker 4 (17:32):
Yeah, I think they had. They only had one scene
together at the bar. Yeah, yea, at the bar, and
even at the very end, sorry little little spoiled, not
really spoilery at the very end when he's in his
car and like they're right behind him in the red
red convertible and he's like, oh, I can't lie to you.
We're right behind you, and I'm like, technically they might

(17:54):
not even be in the same scene again there, like
that might be some kind of like camera trick.

Speaker 2 (17:58):
So yeah, yeah, Jackie, I love Buford Buford t Justice.
He is one of the funniest characters to me, and
he's great and spooking the bandit too great stuntwork, of course.
I mean it's not on the level of Part one,
but yeah, you gotta watch it. You should watch it
at some point.

Speaker 4 (18:14):
Okay, I'll get to it.

Speaker 2 (18:16):
I did watch a movie that Hal Needham directed called
Body Slam from nineteen eighty six, and I was kind
of excited about this one because Needham being in stunt work.
I felt like this could be a good fit for
a wrestling movie which stars one of the most famous
wrestlers at that time, Rowdy Roddy Piper. That's your boy,
he's my boy. And this was his first major role.

Speaker 4 (18:38):
Oh okay.

Speaker 2 (18:39):
He had a small uncredited role before this in a
terrible wrestling movie called The One and Only, directed by
Carl Reiner starring Henry Winkler from nineteen seventy eight terrible movie. Sadly,
Body Slam is also terrible.

Speaker 4 (18:55):
Yeah, okay, you can't win them all.

Speaker 2 (18:57):
You can't. I mean it. You know, I took a
back pretty much. Any and all praise I had was
because this is Roddy Piper's first acting credit, his real one,
and that kind of kicked off his career, which he
was destined to be in movies no matter what. But
and in Needham's defense, I've read that the producers didn't
see eye to eye on him with how he wanted

(19:18):
the movie to turn out. So the end product is
very poorly edited. There's added voiceovers, which is terrible. There's
a band called Kick who wrote and played original songs.

Speaker 4 (19:30):
Oh Boy, here we go.

Speaker 2 (19:31):
Yeah, so okay, so they have a big role in
the film, right, So Body Slam. It's about a music
manager named Harry Smilac played by Dirk Benedict, who he's
losing his musical like his clients. He only does music,
so he accidentally gets into wrestling and starts representing these wrestlers.
But the Kick scenes, so they he kind of starts

(19:52):
kind of integrating music. They take a tour on the
road and the integrates musical acts the Kick with wrestling,
so there's some fun scenes of Roddy fighting and stuff.
The soundtrack is not bad. I actually own it on vinyl.
Like when I started watching it, I was do I
have body Slam? And I checked it out in great
cover art, awesome illustrated cover and most of the songs

(20:15):
are from the Kick that were written for this song
or for this film. Not about soundtrack. Check it out.
I think I got it for like four bucks at
a record show, mainly because of cover. Yeah, but it
also has like classic wrestlers. Captain lewel Bano is in it,
Rick Flair, Classy, Freddie Blassie, you know all these people
I'm talking about Eric Alright, Bruno, Sam Martino, the Tonga Kid.

(20:37):
I think fans of WWF will definitely enjoy this more
than anybody else. Okay, but it's still just a bad movie.
And of course we already talked about the bandit, which
I also watched the documentary from twenty sixteen, directed by
Jesse Moss, and yeah, I thought it had a great
insight into burtenhouse relationship. I read some reviews where it's like,

(20:58):
just read How's book, you know, I think just throwing
this on for an hour and a half or whatever,
it's super interesting documentary. Yeah, I do want to, Like
I said, I want to pick up that book or
may have to borrow it from him. And I also
checked on eBay because I want to pick up the
hol Needham stuntman toy.

Speaker 4 (21:15):
Okay, and you have to get the Western movie play
set to go along with that.

Speaker 2 (21:20):
One's tough to find. I did look on eBay and
they mostly have it's just like the individual figure. Some
of them did have that play set with a breaking
balcony and stuff, all over one hundred bucks each each
of them. But one day I will have that playset.

Speaker 1 (21:36):
It's an exciting new Gabriel toy called the Stuntman, and
he is the first real action character because he's got
a unique, fully joined it reflex action body that means
he can tuck and roll like a real stuntman and
do a lot of other things that no other action
figure's ever done before. And when you put him on
his special air Ram launcher, he can dive, puck and

(21:58):
roll and do all kinds of wild Western stunts. Of course,
the little fella ought to be good. How need him personally?
Help design him and the entire set from top to bottom?

Speaker 2 (22:11):
How need him?

Speaker 1 (22:11):
The stuntman one of the greatest of Gabriel's great entertainers.

Speaker 2 (22:15):
Look at him tuck and roll just like a pro.

Speaker 4 (22:18):
It's I mean, how cool is that? Like a stuntman
gets his own action figure. It's the stunt man with
air Ram launcher, tumbling, rolling, leaping, flying, the action figure
that really reacts.

Speaker 2 (22:29):
I love it. Yeah. A few other things that I
found interesting from the Dock was that how was the
first human to test the airbag, becoming the first live
dummy crash dummy. Yeah, so he went to California to
become a stunt man after leaving the military. I mentioned
this because I loved the line in the Dock where,
because he's interviewed, he speaks a lot. It's great to

(22:50):
hear from him, but he says a great line that
he says, quote I headed west to my hat floats.
I love that he created Stunts Unlimited, sting together a
group of the best stuntmen and women, where he completely
innovated stuntwork for film, saying, if you can put a
man on the moon, you sure as hell can figure
out how to do any stunt. And this wasn't in

(23:11):
the dock. I'm wondering if it's in the book. Probably not,
because you said death car sent in the book.

Speaker 4 (23:15):
Not in there now, but.

Speaker 2 (23:16):
After death Car on the Freeway. He directed another TV
movie slash Pilot in nineteen eighty called Stunts Unlimited, about
a group of Hollywood stunt performers who are recruited by
former US intelligence to retrieve a stolen laser from a
notorious arms dealer.

Speaker 4 (23:32):
I know, so I searched high and I searched legal adjacent.
I messaged David and Amanda. I was like, do y'all
have this? I know you guys got like a massive
like TV movie library. Nope, they didn't have it. I messaged.
I went on the Stunts Unlimited website and I was like, that's.

Speaker 2 (23:49):
Still active set, that's still going on.

Speaker 4 (23:51):
No, someone's not updated like they're so. I was like,
maybe send them a message there, but like, yeah, I
sent a message in Sam Degan his discord because like
they have a legal adjacent channel, and I was like, hey,
any line on this crickets, I'm.

Speaker 2 (24:07):
Like, fuck damn. Yeah. I looked for it too, not
as hard as you did, because that sounds amazing. Yeah,
that sounds like it could be his like hidden masterpiece
or something.

Speaker 4 (24:17):
I think. So, yeah, I'm sure it's out there somewhere.
I hope that that one resurfaces at some point.

Speaker 2 (24:23):
Yeah, I do too, same. Yeah. And another few things
from The Bandit, which is it covers Needham's career and
a lot of Burt Reynolds's career. It's mostly about the
making of Smoky in the Bandit, But I had a
lot of fun learning how they picked Fred the Bassett
Hound from Smoking in the.

Speaker 4 (24:38):
Bandit the dog contest.

Speaker 2 (24:40):
Yeah, like open to the public where they were shooting,
and Burt Reynolds was like the judge. Yeah, there's a
Jerry Reid's co star yea. And I love hearing all
the stories of how much of a sweetheart Jerry Reid is. Yeah, Okay.
So Needham also directed four TV movies for a limited
series called Bandit for Universal, which was a nineteen ninety

(25:01):
four reboot of The Smoking in the Bandit starring a
young Brian Bloom and the Bow character. I looked at
some of these films. I didn't watch any, but he
has a different love interest in each episode, which included
Elizabeth Berkley, Kathy Ireland, and Tracy Lords. So maybe one
day I will just I think they're each about an
hour and a half long Bandit Bandit marathon. There you

(25:23):
go for a fun and slash terrible time. Yeah, I mean,
we'll probably keep talking about how Needham, but I think
he's an amazing guy. I mean, like I said, stunt
meantern director. It's a fascinating career for any stunt man. Yeah,
but his is amazing. And more fun facts that I
pulled from when I was looking up his book online

(25:45):
he had He was in three hundred and ten movies.
He broke fifty six bones including his back twice, punctured
a lung, busted out a couple teeth, and like you mentioned,
he was the inspiration for Brad Pitt's Cliff Booth and
Once upon a Time, I guess the whole relationship Cliff
Booth and Rick Dalton that was based on how I
had Burt and like I said. He passed away in

(26:08):
twenty thirteen at eighty two, so again better late than ever.
I'm glad that the Oscars recognized him. The Academy did.
But come on, guys, get stunt work category added. Let's
do it. Yeah, let's make let's make the Oscars that
much more unbearable for Erica to watch, to not watch,
to not watch.

Speaker 4 (26:27):
I'll like watch that one category.

Speaker 2 (26:31):
Even if they do add it, don't they do a
lot of categories off like screen like the day before.
Just do that, like what the fuck?

Speaker 4 (26:38):
Yeah?

Speaker 2 (26:38):
Anyways, okay other crew members. Cinematography is by Bobby Byrne,
who worked on most of Needham's best films, which we've
already mentioned, Smoking in the Bandit Hooper. He also shot
Needham's The Villain, which starred Kirk Douglas and Margaret and
Ardol Schwarzenegger.

Speaker 4 (26:56):
Did you, oh, so something I learned from the book?
Need Him actually passed on Conan the Barbarian?

Speaker 2 (27:02):
Really? Yeah.

Speaker 4 (27:02):
Schwarzenegger handed him the script and need Him read it
and he was like, yeah, I don't get it, but
it's fine.

Speaker 2 (27:08):
I Am not like it would have been a different movie.

Speaker 4 (27:10):
It would have been a totally different movie. I love Conan,
so no, like I didn't need that movie in my life.
I'm glad John Mellius got it, Like that's that's how
it should have been.

Speaker 2 (27:20):
But like that's interesting.

Speaker 4 (27:21):
He was like, yeah, I read it and I was like, no,
not for me. And I was like, yeah, you know what,
that's not your era. You know, you know what's your
best in your life.

Speaker 2 (27:29):
Yeah, there's no car chases in Conan, so that's I
think it's a wise decision. The cinematographer. Burne also shot
Paul Schrader's Blue Collar.

Speaker 4 (27:38):
Which rules that movie is amazing.

Speaker 2 (27:41):
He did Sixteen Candles. He shot John Hughes's Sixteen Candles,
and Ron Shelton's baseball film Bull Durham your Baseball movie
for go Astros. Okay, there's one writing credit for a
death Car, and that's William Wood who He's written some
interesting screenplays. One that I briefly talked about in our
Fear No Evil episode directed by Paul wynd Coos, and

(28:03):
that is Haunt of the Very Rich from nineteen seventy two,
which I think I said, like it was it was
executed a little poorly, but the script was awesome, which
is what I remember it being. And I know you
watch some avoid stuff for you.

Speaker 4 (28:16):
Yeah, well I had seen well, i'd seen one previously,
The City Killer from nineteen eighty four. It's a TV
movie with Heather Locklear. It was fine. I gave it
two and a half. I remember it vaguely. Savages from
nineteen seventy four. John, and I watched this just last
month or so, I think, and before you made your pick,
so like, you know, fortuitous, but this one's really good.

(28:37):
It's got Timothy Bottoms and Andy Griffith in it, and
basically Timothy Bottoms takes Andy Griffith out into the desert
to go hunting, and Andy Griffith accidentally shoots somebody and
then he tries to cover it up and then he,
like Timothy Bottoms, has to try to escape from him,
and it's basically like he's just I don't want to

(28:59):
spoil the rest of it, but like Andy Griffith when
he's like mean, yeah, it's kind of frightening.

Speaker 2 (29:06):
Yeah, he's he's a face in the crowd, right, yeah, yeah,
he's great of.

Speaker 4 (29:10):
That movie is Oh my god, I love that movie.

Speaker 2 (29:13):
I saw a double feature of that with the Network
at Paramount for there's like Summer Class six years and
years ago.

Speaker 4 (29:18):
Yeah, I loved it, but I was like, I don't
know if I can ever watch it again, just because
like the noise, like he's.

Speaker 2 (29:23):
Ay and just.

Speaker 4 (29:25):
Yeah, it was a lot, but one new one I
did watch, just specifically for this. He wrote a movie
called Victims from nineteen eighty two, which is the same
director as A Cold Night's Death and has a score
by Lala Schiffrin. Oh yeah, I know. So I went
into this with pretty high expectations. This is on archive.

(29:47):
There's a lot of people, so if you read reviews,
don't because not for spoilers, but because a lot of
people are getting this movie mixed up with another nineteen
eighty two movie called Victims that's a video nasty and
so they don't know how to letter box properly. Right,
This is not that movie. This is a pretty boring
rape revenge genre with a frustrating ending, And that's what

(30:10):
this is. So it's fine. It's a guy, a rapist
gets off on a technicality and like all the women
are like kind of keeping a tab keeping tabs on him,
and it just and then the end. I just was
really frustrated with it. I was like, that's fine, whatever,
But yeah, I think out of all the other films

(30:31):
that would has written, I really enjoyed Savages.

Speaker 2 (30:34):
Oh nice. Yeah, it has that kind of iconic I
don't know, I don't know if it's iconic, but that poster,
it's something that really stands out.

Speaker 4 (30:42):
It looks a lot like the poster for The Farmer,
like a really close up face and kind of like
the reflection that.

Speaker 2 (30:49):
Yeah, Okay, I have a few more crew members here.
Craig are Craig R. Baxley. He's credited with additional directing
for Death Car and he's another stuntman director. Yeah.

Speaker 4 (31:01):
They had like I think five people listed for stunts
on this film, and like collectively over six hundred film
credits for all of them, and some of them with
like some banging ones like Baxley. His son credits include
A Predator, Yeah, Stone Cold Well he directed directed Sorry, Yes,

(31:23):
he directed that one. Yeah, and Dark Angel from nineteen
ninety with Dolph Lungert and that one, that movie's fucking great.

Speaker 2 (31:28):
Go Astros That's Place to Houston. Yeah, Baxley directed that
one too, and he also directed Into Stunts in Action
Jackson with Carl Weathers.

Speaker 4 (31:38):
I'm not the biggest fan of that.

Speaker 2 (31:39):
I just love Carl Weathers. I love seeing him in
a role like that, So it's not the greatest for sure. No.

Speaker 4 (31:45):
Yeah.

Speaker 2 (31:45):
And then lastly, the original score I have Richard Markowitz,
who most of his work is for westerns and made
for TV movies. He did the score for Monty Hellman's
The Shooting in nineteen sixty six, did The Murder she
wrote television series Oh hell yeah, there you go. And
the score and Death Car is pretty good. It's kind

(32:06):
of silly at times, you know, it does some of
the boy you know, the weird kind of you know,
silly sound effects that a lot of made for TV
movies have.

Speaker 4 (32:15):
I mean, the seventies TV movie scores. They've become a
sort of like comfort food to me, where it's like
they all sound kind of the same, especially the thrillers
and not so much like the drama kind of things.
But yeah, yeah, like it just came on and I
was just like.

Speaker 2 (32:35):
Yeah, it's very it's very kind of soap opery, which
you know, I always love any type of melodramatic, even
when the music's melodramatic. Yeah, there is a melody and
Death car that sounds a lot like York's. It's called
Yoga Yoga song that stay tvymergency. It sounds just like

(32:57):
the intro. Okay, somebody helped me out. Listen to it
and tell me if you hear that.

Speaker 4 (33:02):
If you're Ryan and our discord can probably back you
up on it.

Speaker 2 (33:06):
It's the exact same like melody. I loved it and
it happens a few times and I started busting out
saying it there you go like an idiot. And I
don't know if, if if marko Witz had anything to
do with that wild fiddle song. It sounded. It sounds
like you know that guy strapped to the Semi and

(33:30):
Fury road chasing after furyo like and even like in
the distance, and it's I feel like that's where George
Miller got it.

Speaker 4 (33:37):
I don't know.

Speaker 2 (33:38):
Okay, let's jump to the cast real quick. So the
lead is Shelley Hack who plays the reporter Jan Clawson.
And she's an actor that I think a lot of
people recognize but probably don't know her name personally. I
know her best and love her and The Stepfather, Yes,
where she plays Susan Terry o'quinn's latest wife, which we
just watched it. We love video. Yeah, a couple months ago,

(33:59):
weeks ago.

Speaker 4 (34:00):
Last month, I think Father's Day with June, so yeah,
last NK last month.

Speaker 2 (34:03):
Yeah. Yeah. She's also the mom Anne Potter in John
Carl Beiekler's Troll from nineteen eighty six. She played Kathy
Long and Scorcesei's The King of Comedy in nineteen eighty two,
and I watched this I've watched seen in a long
time ago Byie watched it, and she has a lot
of scenes in it. She plays Jerry Lewis's, or rather

(34:23):
Jerry Langford's secretary, and she repeatedly has to tell de
Niro's Rubert Pupkin that you got to GTFO get out
of the station's office. She's real great in it. But
I did want to watch something of hers that I
had never seen before, and I selected Blind Fear from
nineteen eighty nine, directed by Tom Barry. Yeah, this movie

(34:44):
is from Lance Entertainment, which is the first thing you
see on screen. So I was like, okay, obviously it's
a four star minimum. Right away, I knew i'd like it.
But she plays a blind woman who works the phone
at this old remote Lie that was recently sold and
it's closing for renovation. And as she's staying the last night,

(35:06):
these this group of criminals pop up. And earlier in
the day they had held up and stolen cash from
like one of those big, you know, armor trucks, and
they killed the drivers. So they show up. They killed
this old hotel caretaker who's there with with Shelley Hack
and basically the whole movie is her sneaking around hiding

(35:27):
from them all night like they It takes a while
for him to realize she's there. She even like tiptoes
out the upstairs window and like scales the ledge blind
as a bat. Okay, it's as good as it sounds.
I've really enjoyed. It has those blue, beautiful night you know,
late eighties early nineties thriller Look all the power goes

(35:48):
out during a storm, so I guess it's like you're
kind of experiencing what this blind woman's going through. Kim
Coates plays the good looking psycho of the group.

Speaker 4 (35:56):
Oh I love him.

Speaker 2 (35:57):
Yeah, he's got the roll down, he's and he's rate
in it. It also stars Hidivon Puleski, who plays Carrie,
the girlfriend of one of the Jeremy Irons, Twins Elliott
and Dead Ringers. She's like kind of the badass. She's
also you know, she kind of takes charge of the
group while Kim Coates plays the psycho and Shelly Hack,
though she only has like a couple dozen lines in

(36:18):
it because she's kind of hiding the whole time, you
kind of listening in on these killers. But she plays like,
she does the role extremely well. She plays a bad ass.
She's real powerful. You know, she's basically taking them, each
one of them out. Just kick an ass. I recommend it.
It takes a it takes a bit to move along,
but the ending completely surprised me. Blind Fear blindsided me.

(36:41):
That's stupid, but I did learn. I was looking it up.
I was like, Okay, who's who's involved in this movie
other than Shelly Hack. Michael Melvoin. He is the composer
of one of our favorites, Bloodsucking Furrows in Pittsburgh Off
and he is bringing the goods and blind Fear. He
thinks this is a Nightmare on Elm Street sequel because

(37:02):
it does have that. There's a lot of scenes where
it sounds like not ron Elmstreet well done, but Yeah,
Hack also did. She's done a lot of television series.
She played an angel for a season in Charlie's Angel
in nineteen seventy nine. S Yeah, she definitely has a look.
She was in a Tales from the Crypt episode in

(37:23):
nineteen ninety four called The Assassin, which feels very similar
to Blind Fear. It's hack. She plays a housewife and
then a group of henchmen break into her house and
they hound her and she picks them off one by one.
She's not blind. But the episode also starred Corey Feldman.
Oh yeah, he attempts to rape her on a treadmill.

(37:46):
It's very it's disturbing. William Sadler reprises his role of
the Grim Reaper from Bill and Ted's Excellent or Bogus
or whichever one. But he's in the wrap around with
the Cryptkeeper. Oh shit, so it's it's it's a good episode.
It's uncomfortable. Corey Feldman is always kind of cringey, especially

(38:06):
in his later roles. But yeah, pretty much all her
of Hacks roles in the last thirty years have come
from television.

Speaker 4 (38:14):
Yeah. I watched one of her films called The Finishing
Touch from nineteen ninety two. It's a DTV erotic thriller.
She plays the ex wife or soon to be ex
wife of a angry cop. You know, he's like the
you know, doesn't play by the books cop with the
angry lieutenant. Kind of like very cliche.

Speaker 2 (38:35):
Right.

Speaker 4 (38:36):
Somebody is killing women and they suspect this video artist
of making like snuff films basically, and so they send
Shelly Hack's character in as like undercover, like, oh, find
out if it's him kind of thing, and she falls
for him, and like it becomes a whole thing. And
the video artist is played by I always forget his name.

(38:58):
He's a South African act. He was in the Mummy.
He played the Mummy.

Speaker 2 (39:02):
Oh, I know you're talking about And I don't remember
his name either.

Speaker 4 (39:05):
Yeah, but he's really good in this and I liked it.
It has the horniest opening credits ever ever. And I'm
not fucking I'm not fucking kidding.

Speaker 2 (39:15):
So at least watch the credits.

Speaker 4 (39:17):
Yeah, if you can, they're probably those are probably on
YouTube alone. It's like, hey, you need you need to
rub one out real quick. You're just watch the credits
for this.

Speaker 2 (39:25):
Hold on, let me bookmark that added to spank bake terrible,
but overall, okay, yeah I.

Speaker 4 (39:32):
Liked I liked it. I mean it it checks all
the boxes for that genre of the DTV erotic thriller.
So yeah, it's fine.

Speaker 2 (39:39):
Nice. Yeah, yeah, No, I think Shelly hack is great
in this. Well I'm sure we'll talk about her in
just a minute too more, but first we have to
talk about the very tan George Hamilton. He plays her
on and off again ex husband. I guess they're separated. Yeah,
Ray Jeffries who he's also a TV reporter in this.
I think everybody knows who George Hamilton is.

Speaker 4 (40:01):
Yeah. I didn't watch anything new for him because I
was just like, everyone knows who he is, and yeah.

Speaker 2 (40:06):
He's not really a he's not really a lead man.
I think he was like in the fifties and sixties.
He's like in a lot of television roles. But he's
everything I know him from. It's like he pops up
as playing himself. Yeah, just like he's this debonair Like it's.

Speaker 4 (40:19):
This sort of like caricature of himself, and like he's
never been someone who like I see their name in
the credits and I'm like, oh, I want to watch
that because he's in it.

Speaker 2 (40:28):
Right, you know? Yeah, no exactly. So I looked him
up because I haven't watched a lot of lead lead stuff,
and he did. He did a lot of made for
TV films in the seventies. He starred in Curtis Harrington's
The Dead Don't Die, Gordon Hessler's The Strange Possession of
Missus Oliver starring Karen Black.

Speaker 4 (40:45):
Yeah, that one. I really like that one. I forgot.
I forgot he was in that well because Karen Black is.

Speaker 2 (40:50):
So flushed and she's got a steal.

Speaker 4 (40:51):
I yeah, like, I barely remembered he was in it.
That movie is really great and I.

Speaker 2 (40:56):
Need to watch that one. And i'd kind of been
on a little John Candy kick recently, and I watched
a movie called Once Upon a Crime from nineteen ninety two,
directed by Eugene Levy. I didn't realize Hamilton was in it,
but he pops up and he plays this horny Italian
gambler and his name is Alfonso and he's looking for
a which woman to scan at this casino. It's terrible,

(41:17):
but still funny just looking at all the characters performances alone,
it's really well done. But like the script and the
plot is completely stupid. It also stars Richard Lewis, which
he's like hit or miss for me. Yeah, okay, And
we have Frank Gorshan who plays Ralph Chandler. He's like
the news director editor in chief here. He's best known

(41:40):
as playing the Riddler in the Adam Westbertward Batman television
series obviously from the sixties, which earned him a nomination
for an Emmy Award, which I didn't realize that, but yeah,
another recognizable face. He worked in some feature films, but
mainly television work, a lot of variety shows, talk variety shows.

(42:00):
Alfi wise plays the other reporter named Ace Durham, which
is a great name, and he's acted in a ton
of Needham directed films Hooper, Canniball Run, rad Stroke Race.

Speaker 4 (42:11):
Yeah. I feel like he's in my top actors for
the year now. Really after this week, I was like
this one too.

Speaker 2 (42:21):
I said, I'd never seen the Canniball Run, but he's
credited as Batman in that.

Speaker 4 (42:26):
Yeah, he was in one of the pairs, but I
don't remember his name being Batman, so I'm not entirely sure.

Speaker 2 (42:33):
Yeah, he may it may not even be mentioned.

Speaker 4 (42:35):
Yeah, I do remember seeing him in it because I
was like, man, that guy.

Speaker 2 (42:38):
He's everywhere. Peter Grays plays Lieutenant Haller, best known as.

Speaker 4 (42:45):
The biggest woman victim shamer Ever.

Speaker 2 (42:48):
Yeah, he's I mean acap This whole fucking show is
all the cops are basically like, hey, women, you kind
of deserve what's going.

Speaker 4 (42:57):
Yeah, I just checked my letter box. Alfie Wiss's in
my six. He's number six.

Speaker 2 (43:02):
Now get him up there. There's more right.

Speaker 4 (43:05):
In between George Buckflower and Burt Reynolds.

Speaker 2 (43:10):
But yeah, Peter Graves the captain and airplane. And he's
also Jim Phil Phelps in the Mission Impossible television series.
Recognizable voice, recognizable face. A lot of good work there.
Then lastly, I mean, really this is all the cast recovering.
But I'm sure we'll talk about how Needham Abe Vigoda
has a very odd scene when he pops up. But
Barbara Rush plays Rosemary, who's the senior news reporter who's

(43:33):
kind of a bitch but not. I mean, I think
this movie is great. One of my favorite things is
because all the women are really strong independent women in this. Yeah,
she tells jan that she needs to wear lip gloster
in her reporting segments, but she's acted in a ton
of roles in the fifties and sixties. She won a
Golden Globe for Most Promising Female Newcomer for her lead
role in nineteen fifty three's It Came from Outer Space.

Speaker 4 (43:57):
I didn't realize that was an award.

Speaker 2 (43:58):
Yeah, I don't, that must have been. I don't know
when the Golden Globes, how long they've been around, but
that's probably something that's been canceled. I've never seen that. Yeah,
anybody else on the cast you want to talk about
nop cool, So let's jump in.

Speaker 4 (44:12):
So before we jump into the events of the film,
I feel like I need to drop some LA Freeway knowledge.

Speaker 2 (44:20):
Okay, good, okay. Yeah.

Speaker 4 (44:22):
Now I'm a little rusty because it's been over ten
years since I lived there, so bear with me LA folks,
But I think I can still speak correctly on most
of this. First of all, I am not trying to
victim shame or jump on that bandwagon here. There's a
lot of it in this movie. But two of the
victims in this film are honking at someone to speed up,

(44:44):
and you don't do that on the freeway. You're pretty
much asking for it. If you do that.

Speaker 2 (44:48):
I'm sorry, I mean who Yeah, when you have more
than one lane, it does not make sense. No, But
on the freeway, Yeah, what the fuck.

Speaker 4 (44:56):
You honk on the freeway when you're about to have
an accident or someone's going to hear for cautionary reasons,
you don't honk it people to speed up like that.
Shit gets you in trouble with the LA driving community.
Just don't fucking do it, all right, Agreed, Maybe the
burned up lady didn't deserve it, but still it's just saying. Okay,
So at the very beginning, there's a close up on
the freeway ramp sign for the four h five, and

(45:19):
yes it's the four oh five, just like it's the
five B one oh one. It's not four h five,
it's not fifty five. You need the the on it.
When when talking about LA freeways, okay, I came here
and people were like, yeah, take thirty five. I'm like,
take thirty five? What pills? What are you talking about?

Speaker 2 (45:38):
Well, we don't call it the thirty five? Why because
it doesn't sound as cool as the four h five.
It doesn't. Okay anyway, California, there they they name the
roads cooler.

Speaker 4 (45:49):
I guess I don't know what it is, but here
it was very disconcerting for me. When I moved here
and there was no the in front of thirty five,
I was like, okay, fine. So the movie says that
the freeway Fiddler is driving on the Ventura Freeway. Now
this can mean two things. It's the one oh one Freeway,
which has a different name depending on what city you're

(46:11):
driving through, So it could also be the Hollywood Freeway
being the one on one, but that can be confusing
because the one seventy is also called the Hollywood Freeway.
But literally no one calls them by their names. They
call them by numbers. So if you're getting a traffic
or wore to be like, yeah, traffic is backed up
on the four or five, which it always is. That

(46:32):
leads me to another point regarding, you know, the whole
setup of having the sign of the four or five freeway.
There's no fucking way that the traffic is that light
on the four or five freeway for any of this
to ever happen. So it is reasonable that it is
the Ventura Freeway if we're talking the one on one
once you get outside of La Proper. Now, again confusing

(46:54):
because the one thirty four Freeway is also called the
Ventura Freeway. But relevant to my point, the viewer made
the movie.

Speaker 2 (47:01):
This is becoming an episode of the Californians. Did you
take four five?

Speaker 4 (47:08):
This is like the Charlie Days sign of like okay,
but it's called this.

Speaker 2 (47:13):
I mean she had I'm looking at like dry erase
boards and like threads and strings just hanging all over
this room right now.

Speaker 4 (47:18):
I just want to make sure people understand that she's
not on the four h five Freeway or none of
these women are on the four or five freeway getting
stocked because A the traffic is never that light, and
B like it's just that's just the main thing, Like
there's no b Like, the traffic is never that light
on the four or five freeway. That's not fucking happening.
Like if she's on the ventur Freeway, then it's on

(47:40):
the one oh one, possibly the one thirty four, But
I don't think so outside of LA proper, so like
once you get past I don't know, a thousand oaks
or something like that, so LA people will understand most
of that, I feel like, but I do want to
let people know that the four or five is the
biggest nightmare.

Speaker 2 (47:56):
Yeah, a lot of those scenes did take me out
because there are you know, when they're seeing they're filmed
in the car, you see the drivers usually surrounded by traffic.
With the aerial shots, it's like there's three cars on
the road. So yeah, I do have to say though,
it's nerve racking to watch because everybody's experienced driving on
freeways and busy roads. Nobody likes sitting in traffic, but

(48:17):
those scenes of you know, just merging and trying to
switch lanes and get around, it's nerve wracking. I was
like kind of tense during those scenes.

Speaker 4 (48:26):
Yeah, I mean I learned to drive on those freeways,
and so I'm an extremely defensive driver. John makes fun
of me, and I'm like, look, this is how I
learned to fucking drive. So you know, you've got to
be on your head on a swivel. You're always defensive
when it comes to this kind of driving, so especially
because you know some rape van could pull it behind you.

Speaker 2 (48:44):
And yeah, no, well, I mean anyway, we've already you
already brought it up. But in defense of the fiddler,
the freeway Fiddler, those women were honking his ass off
and they could have just easily gone around.

Speaker 4 (48:57):
I'm like, he's targeting you, not just because you're a
woman driving alone, but also because you're honking.

Speaker 2 (49:02):
So it made me start thinking of Joel Schumacher's falling down,
Like is the freeway fiddler defense, Like is he this
could this work is a double feature. He's going through
what he would when Michael Douglas went through. Yeah, and
with that, like, the stunt work is great. You know
it's going to be great with Needham in there. I
especially liked the scene where I think it's one of

(49:23):
the victims is going to pick up her six son
from school. The freeway Fiddler gets in front of her,
hits the brakes and she gets attached to his hitch. Yeah,
and she's like he's basically just you know, towing her.
And great explosions in that, great cops being you know,
blown up and thrown off motorcycles. Great stunt work which
we'd expect from Needham. Yeah, okay, And I know I

(49:46):
had mentioned and when I made this pick, I called
it a jallo on wheels, And I know a lot
of people get upset when they hear the term giallo
thrown around, Like for thrillers, especially like American.

Speaker 4 (49:58):
I know, but you're it in a framework for people
to understand like the elements that are I would never
call it a jallo, right of course, not I'm not.
You know, like we know that it's a fucking TV
movie with like stunt cars and stuff. I think it works.

Speaker 2 (50:14):
So I felt like there's a lot of similarities even
with like I kept thinking of Bird Crystal Plumage. Yeah,
because you have a protagonist that's kind of going down
this like wild use Chase, and she's interviewing like the
car Club people. She's talking to the psychological like evaluation
from doctor Rita Glass about the Fiddler, and they are

(50:36):
all these like different kind of talking heads, like it's
really leading her nowhere. And it reminded me of all
the characters in Crystal Vialuage.

Speaker 4 (50:43):
No, and I don't disagree that there's a lot of
elements that you could say are just straight out of
the jallo, especially what the fuck ending, because we'll get
to the Black Gloved, We'll get to Lance's whole thing
about no one's going to guess the killer because.

Speaker 2 (50:59):
What you cut out of last episode I did just funny.
I did say something I'm going to say it right here.
I said, if you can guess the killer, I said,
be honest, I will send you not only one hundred
dollars cash in the mail stamped, but an unsung horror pin.
We'll throw this right in the middle of the episode
so nobody hears it.

Speaker 4 (51:19):
But you have to yeah, and you have to cut it. Yeah.
I did because I was like, Lance, come.

Speaker 2 (51:24):
On, and you hadn't watched you hadn't watched Death Car yet.
I was like, I was very confident in that.

Speaker 4 (51:29):
I believe you're I believe in you, but I also
I believe in our regular listeners. But the reason I
cut it was because I didn't want somebody like five
years down the road being like, well, you know, I
need one hundred dollars. I'm just going to message them
and tell them that I guessed it. Like that's why
I cut it out.

Speaker 2 (51:46):
That makes sense.

Speaker 4 (51:46):
I have a little faith in people.

Speaker 2 (51:48):
That's all insane, Okay, that makes I mean, you drove
on the four h five exactly.

Speaker 4 (51:53):
I am a defensive podcaster and defensive driver, so yes,
I do those elements. Though I agree those are all
very Jollo esque and it does remind me of a
lot of it, but like I would never actually call
it that and put it in that genre.

Speaker 2 (52:11):
Right o, Yeah, I agree, I mean it's I think, yeah,
there shares a lot of the tropes. I mean a
lot of there's the red herrings too, obviously, which most
thrillers have. But George Hamilton is made from the very
beginning to be the freeway Fiddler, which is the best
name ever, by the way.

Speaker 4 (52:26):
I mean is he though, because I feel like, if
you're going, I mean not the obvious one is the
to me was the police lieutenant, because really he's angry
at women. He's like, oh well, like he's like the
victim shamer of like, oh well, they had like twelve
moving violations, so it's their fault. And so I was like, oh,

(52:47):
you know, if he really spoiler people, if he really
was the killer, then it would it would be like, oh, well,
he's mad because like, you know, they can't it's basically
like the women can't drive things, yeah, you.

Speaker 2 (53:02):
Know, And the blaming and the mentality of him off
his perspective of women drivers is terrible.

Speaker 4 (53:08):
And then if you're gonna go for the like this
person showed up like once or twice in the movie
and we're just gonna throw like the curveball at you
at the end, and was like, it was this guy.
It's gonna be the other reporter who tells her like, oh,
you're gonna need help with this kind of thing. Yeah,
And I'm like, it's that guy, which is the name?
I don't remember?

Speaker 2 (53:27):
I thought that too. Yeah, he just kind of pops up.
I thought, I mean George. I think it's the focus
is on George Haanilton because he's always like giving looks
and like he gets angry to at her every so often.
But the ultimate red herring is a Pagoda. As soon
as he popped up, I was like, there, that's your
fucking guy. Why is he here? Yeah, obviously like old

(53:47):
CBS or need him a favor or something, playing some
horny patient.

Speaker 4 (53:51):
And speaking of bird. So John was like when I
brought up the whole like what you said about like
you won't figure out the killer thing, John, I was like, Oh,
you know, I actually haven't even been trying to think
of like who the killer is in this. I've just
been like absorbed in the film. And I'm like, actually, yeah,
like I mean I had your thing in my head.
So I was, but he was like, maybe it's a woman,

(54:14):
and I was like, okay, well, maybe it's like the
older broadcaster woman or you know somebody. I was like,
maybe it's the fucking blind Land lady. At the end,
I was like, it's her, Like, oh, I loved her.

Speaker 2 (54:26):
She was one of my favorites. Missus Shiel I think
was her name.

Speaker 4 (54:30):
Yeah.

Speaker 2 (54:30):
Yeah, and she's played by Harriet Nelson from the Adventures
of Ozzie and Harriet. She was great in it. Yeah, yeah, no, it.
I kept thinking that too, Like even in my notes,
I said, like, you know him or her being the
referring to the killer, but did you see him popping up,
popping on gloves? You know, it's a man for the
most part.

Speaker 4 (54:50):
Yeah.

Speaker 2 (54:50):
I mean again, that's that's kind of a gelotrope where
it's you don't know, it's a man.

Speaker 4 (54:55):
Yeah, that's true. So I read Jennifer Wallace's write up
of this in Amanda's book Are You in the House Alone?
The TV movie Compendium, and she talked a lot about
how like the timing of this was when the Women's
Liberation Front was starting to gain some steam, where women
owning their own car even was like a big thing,

(55:18):
and you mentioned it, like all the women in this
are like really strong female characters. Like even the mom
who's going to go pick up her son. Yes, she's
like working with some tools and shit.

Speaker 2 (55:27):
Yeah, like carpentry or something.

Speaker 4 (55:29):
Yeah, And so I think like there there's very much
this element of this being a you know, like a
rape movie in another sense, like he's chasing and terrorizing women,
only in a really safe way for a TV movie. Yeah,
there's a lot of talk about the victim. Like even

(55:49):
the first girl who gets chased by the Fiddler is like,
I'm the first victim. When she's talking about her aut
shown that she's going to.

Speaker 2 (55:56):
Yeah Barnaby Jones, Yeah yeah.

Speaker 4 (55:58):
And then there's like she gets shamed later by I
think it's probably the lieutenant who's like, well, she's an actress.
She's probably just exaggerating this whole thing and like making
a big deal to get some attention and get some
roles for herself kind of thing. But yeah, I did
really quickly want to read Jennifer Wallis's rite up of
this not the whole thing, but let's skip the summary.

(56:20):
Death Car isn't your usual women in terror film up
against the Fiddler is the kx LA news reporter Jan Clausen,
who is keen to prove both her own independence and
her professional worth after separating from her husband as reporter
for the rival station Ray. Her husband or ex husband
is clearly threatened by his wife's developing career. So you

(56:41):
have one feminist element there, telling her not to make
a crusade out out of her search for the Fiddler
and suggesting that she may as well resign, go home
and be a good little girl before she gets fired
by her station managers. Jan is having nothing of it,
spurred on by the messages of the Women's Liberation Front,
who are gaining ground in the US at the time
the film was made, and are directly referenced in a

(57:03):
television interview in which a spokeswoman aligns aligns increasing car
ownership with greater freedom for women. This is essentially a
feminist film. Though it may have been advertised on the
strength of its spectacular car crashes and the search for
a serial killer, it's relatively slow paced. The opening scene,
looking down at a complex freeway system from above, is

(57:25):
particularly uninspiring. The real interest lies in the messages the
film contains, with the attacks on women's cars, seemingly analogous
to rate. That the crimes are motivated by sexual frustration
is suggested by a psychiatrist Gloria Struck interviewed by Jan,
and the blacked out windows of the Fiddler's van evidently
serve a voyeuristic purpose, allowing him to watch without being watched.

(57:49):
In turn, the incompetence of the police. There's another jolo
trope is frequently highlighted. One issues the tickets to a
woman caught speeding and her attempt to escape the Fiddler,
and the classic defensive responses to rape are adapted Accordingly,
women can help themselves by not making themselves a candidate

(58:10):
for the Fiddler. So that was like one example of well,
just don't drive on these freeways. It's like, rhy, does
she know how hard it If I have to take
a different freeway, it's going to add sixty minutes to
my fucking commute. No, like I need to take that freeway.
Let's see, the testimony of a surviving victim is questioned
in light of her career as an actress, and local
women Jan included begin taking defensive driving classes. So yeah,

(58:35):
it's one of the sort of it's I wouldn't call
it a rape revenge movie because it's not like these
women are set out to get revenge on the man
who's running them off the road and all that. But
it has a lot of those beats of it, and
I definitely agree this is a very feminist film where
it's like these women are being blamed for something and

(58:56):
being told like to be put back in their place,
and then you have like who seems to be the
most macho man that you could possibly imagine, how need
them directing it, playing a cameo in this film as
someone who's helping these women gain their independence, like here's
a way like teaching them how to This sounds shitty,

(59:17):
but drive like a man kind of thing, and I
think it's I think it's great for that reason.

Speaker 2 (59:23):
Yeah, yeah, I mean I agree. I do think because
between every scene of like the Freeway Fiddler stalking and
killing these women on the freeway, you might have Jan
in the office or she's talking to her ex husband
and it usually ends with her saying like, no, I'm
not going to do what you're saying, and it kind

(59:43):
of just you're always reminded. At least I was like,
how kind of a kick ass protagonist we have here. Yeah,
I really like her role in this. Yeah, I do
like having that review. I think you said it was
blacked out glass or you know, tinted glass. I like
how they call it in this one way glass, which
I've never heard of for like one way I've heard
one way glass, but never as referring to a car

(01:00:05):
tinted glass, and that it's probably something. It's it's in
everyday life now like most cars come with it, but
back then it was like you had to get it done.
So one thing that really interested me was when jan
starts kind of going after the car makers and the
like the how they advertise and sell their cars and
glamorize speed and recklessness, comparing their car models and naming

(01:00:27):
them after wild animals. Yeah, it's you know it. It
made me think of like you know, the NRA and
gun nuts and stuff. I don't think it compares by
any means like our gear heads as bad as like
gun nuts, No, but it's a very it was very
interesting like things you just kind of sit and think
about because it they do glamorize like this has you know,

(01:00:48):
forty six horse power and goes one hundred and twenty
miles per hour. Yeah, they really sell breaking the law.
You know, there's no place where you can speed like
that in a car. It's completely unnecessary, right, you know
a lot of the guns that are out there. So
it was a very interesting take that this was popping
up in the late seventies.

Speaker 4 (01:01:05):
Yeah, and she yeah, she mentioned during one of her
I think it was her last broadcast before she got fired,
where she was talking about men are being encouraged to
use their weapon through advertising. And if you think about it,
granted I only see commercials on two B, so I
don't know what's happening out in the real world. So sorry,
all this is wrong, but there's a lot of car

(01:01:28):
ads on to B. I don't think I've ever heard
one that is voiced by a woman.

Speaker 2 (01:01:34):
That's true.

Speaker 4 (01:01:35):
Today it's still like, you know, Ford and you know,
does horsepower. I don't know car words. I don't I
don't tires an oil change.

Speaker 2 (01:01:47):
Yeah, I mean I'm not a big like gearhead. I
like cars. I like watching movies from this this decade too,
because still car models are beautiful. You see a lot
of this on the road, like yeah, Dodge and Mustangs.

Speaker 4 (01:01:56):
I could watch Burt Reynolds speed down the fucking Apple
Eachian Mountains, like in that fucking whatever kind of car
it is any day, Like it's a hot thing, like
Steve McQueen, like, I love watching it. And there's something
to be said about that because there is a sexualization
of that.

Speaker 2 (01:02:16):
There is. It's yeah, men get boners for everything. But
when you're talking like a lot of men, when you're
talking about a car, like looking at an engine. Yeah,
that's why car shows and swap meets are crazy, especially
like in in Texas. Yeah, I mean, I'm sure it's
all over I know it's all over the country, but
I would used to go you go to swap meets,

(01:02:37):
you know, to go camping and stuff with Sarah's parents
who are big gear heads. And yeah, I like a
lot of the lot of the guys would lose their
minds looking at cars. Okay, I like love looking at
like it's a work of art.

Speaker 4 (01:02:51):
It's like fifty like I think, just but I'm not
like looking under the hood.

Speaker 2 (01:02:54):
I'm just because these guys are I.

Speaker 4 (01:02:56):
Don't know what I'm looking at. I'm like, this is
a bunch of tubes and wires and metal and makes
it go woo.

Speaker 2 (01:03:04):
Yeah, and there's a lot of country music at these
swap meets. So this bluegrass thing, the fiddler, the mad Fiddler, Yeah,
fiddler had me thinking like what does it represent? I
thought maybe, you know, Deliverance is so well known for
its dueling banjos, does it indicate that the driver might
be some crazy backwoods guy like, hey, get off my roads?
You know this is this is my space. You're invaded

(01:03:25):
in my space.

Speaker 4 (01:03:26):
So I this is a far fetched guess. But La
is very non country and so I think that's just
further establishing him as being an outsider, because you know,
when she goes to visit all like the auto shop,
like on that lead, which is a weird scene.

Speaker 2 (01:03:46):
I love that. That felt like crystal plumage. To me,
it did.

Speaker 4 (01:03:49):
No it was great, but it was weird. And they
were like, yeah, he just kind of kept himself. He
was weird. He didn't really talk to anyone, and that
to me, I was like, Okay, yeah, he's the outsider.
He's like the country boy in La. It's like you
don't it in That was probably part of his motivation,
where he's like he's in a strange place. I don't
think he's from la if. He's listening to to, like,

(01:04:09):
you know, fiddle music. So I think that was part
of just establishing him as more of an outsider.

Speaker 2 (01:04:16):
Yeah, now that that makes sense, and that that car
club scene that you just mentioned is one of my
favorites because it starts off with Jan getting out. You know,
she receives this anonymous call or no, it's not an amos,
it's Bobby Hill. Yeah, that's my purse. But she goes
in and it it zooms in right away to a
guy's tattoo that says born to Speed. It's like this,

(01:04:38):
this rules. And then everybody in the club they're like
all kind of shown its tough guy, but they're all
sweet dorks when they start talking. Even like when when
Bobby's talking to Jan, sid Hague comes up and he
whispers in his ear and he's all and then Bobby says,
do you want a soda or something? Yeah, Like he
walks Over's like offer a drink. It's so sweet. I

(01:05:00):
love that scene so much. Yeah, what are some of
your favorites in this?

Speaker 4 (01:05:04):
I think it's it's definitely that. I thought what was
funny was, you know, you have the first sort of
woman getting run off the road as the actress, and
then the second one who gets burned over sixty percent
of her body and like the mom But then in
the middle of that, there's like this murder montage, like

(01:05:24):
they skip over all these victims, but they're like, well,
here's their craft cars.

Speaker 2 (01:05:27):
Like there's one scene, like, I mean, it is a montage.
There's like, I don't know, they might cramp four accidents
in there, but there's a lady being put into the
stretcher and she has her boot just laying on her chest. Yeah,
don't forget a boot. Throw her in the ambulance.

Speaker 4 (01:05:41):
The end is probably like how like the end stunt
is probably one of my favorites because I was like, oh, sick,
the fucking van on fire. But then I was like, wait,
so it's just the guy on the mailing label.

Speaker 2 (01:05:59):
Yeah, who knows, is it John Evans, who was Yeah,
she was given a magazine and led down this to
this wild goose chase. Yeah we don't know. Yeah, And
that's what I love about the ending. I absolutely love
the ending. I know it'll piss a lot of people off,
which I fucking get.

Speaker 4 (01:06:15):
It happened, and like at first I was like wait
what and then I was like, ah, movie, thanks, because
like the end stunt, it was like you knew that
at some point she was going to have to use
the defensive driving skills that she learned from from Needham's character.
And that's probably one of my favorite scenes is when

(01:06:37):
he's in it, because goddamn of that man is not
just he could just so pants off of it me anytime.
They don't even need to be off. My pants are
already off.

Speaker 2 (01:06:45):
So he's fantastic. That's one of my favorite scenes to
where you know, you don't know that's Needham. It just
cuts to a scene where she's being chased and it
turns out to be a training scene and he's like
she's and she's real frustrated, but he's so sweet. He's like, now,
let me tell you what you did right. Like you
did a lot of things right. You got between the
tree and the dry you know, Like he's very I
was like, I want to learn from the everything.

Speaker 4 (01:07:07):
Teach me about life. Teach me how to climb trees.
That's what he used to do before he he was
a tree trimmer and so like he learned to like
scale trees and stuff, and like that's where he his
like stunt work sort of originated from that and like
his time in the army as a paratrooper.

Speaker 2 (01:07:21):
But I need to read that book because yeah, he like,
like you said, he's just captivating and he's a persona
that you just want to learn more about his charismas so.

Speaker 4 (01:07:30):
It's off the charts, it is.

Speaker 2 (01:07:31):
And I'm like, he's not an actor, like how he
never was a huge actor?

Speaker 1 (01:07:35):
Is?

Speaker 2 (01:07:36):
I get it, I guess, But he's a stump man.

Speaker 4 (01:07:38):
He should have loaned some of his charisma to Michael Dudikov.

Speaker 2 (01:07:41):
Like just off topic, he would still be dead to watch.
Like he is just energy sucker, He's just.

Speaker 1 (01:07:50):
Oh.

Speaker 4 (01:07:50):
Also, I did look up the mailing label at the actual.

Speaker 2 (01:07:54):
Address on the on the magazine.

Speaker 4 (01:07:56):
Because I was thinking. I was like, maybe there's like
some kind of like in joke on that, and no,
it's not a real address. I was like, Okay, well
that's fine. I figured, you know, they did the whole
five five five number, so like of course it's like
a real address. But I was like, I wonder if
there's like some kind of in joke, like maybe that
was like the you know, one of the stuntman's houses
or something like that, but it's not a real car

(01:08:16):
dealership or something. It's something yeah, but yeah.

Speaker 2 (01:08:19):
What what I did like though, is when she starts
kind of kind of narrowing down on who the killer
might be, and she goes over to his apartment at
that address, and instead of like centerfolds of naked women
all over the it's just vans in cars, just plastering
the wall. And like this guy's insane, look at him,
and it's yeah, no, this is this is a fun movie.

(01:08:42):
Like you said, going down. Needham's filmography is what really
made this fun. Yeah, all right, double feature. Pick what
are you gonna pair with with Death Car on the Freeway?

Speaker 4 (01:08:55):
I think there's there's like a few ways you could go,
you know, maybe be one where like the killer isn't
fully revealed, like Town that Dreaded Sundown, or you could
go just like car road horror like Christine or even
the Hitcher. Maybe road Games came to mind. Honestly, I'm

(01:09:15):
just gonna be lazy and pick like the most obvious choice,
and that's Dual nineteen seventy one. Yeah. Well, I would
say one of Steven Spielberg's best movies, I think, Yeah,
I don't give a fuck about Chillner's list. Sorry, I
just don't.

Speaker 2 (01:09:28):
Yeah, I've seen it. I should watch it again.

Speaker 4 (01:09:31):
But yeah, Duel, you know you have like the eighteen
wheeler terrorizing. I think the eighteen wheeler sort of fits
in in the whole Needham universe. Anyway, since we talked
about smoking the bandit you have you never see the
driver's face in this, and any reason to watch Dennis
Weaver and something is pure joy.

Speaker 2 (01:09:51):
Yeah.

Speaker 4 (01:09:51):
Everyone watched Cocaine.

Speaker 2 (01:09:54):
Please, yes that I love it so good.

Speaker 4 (01:09:59):
So yeah, I'm just gonna go with dual. I know
it's the obvious good, but it works.

Speaker 2 (01:10:04):
So yeah. I was thinking again, like, you know, you
could go with the killer vehicle ro oute like the
car from nineteen seventy seven, which is boring. It's a
pretty boring I don't like that one either, thank you. Yeah,
I wasn't a fan. I thought, you know, if you
want to do like a Shelley Hack in a completely
different role, just to kind of showcase her her acting
talents even more blind Fear, I do recommend people watching.

Speaker 4 (01:10:25):
I think how Needham Double would work perfectly too.

Speaker 2 (01:10:29):
Absolutely, Yeah, just with a stunts alone and the car chases.
I think falling Down would fit in because you can
kind of you know, he's the he's the Freeway Fiddler
and in some regard. But I'm going to go with
another made for TV horror slash thriller called Wheels of
Terror from nineteen ninety.

Speaker 4 (01:10:45):
I've never seen this.

Speaker 2 (01:10:46):
It's good. It's directed by Christopher Kin who directed Young Guns,
one of my one of my childhood favorites. But it's
about a woman named joe Ane Cassidy plays a bus
driver and there's a creep driving around town and he's
picking up young girls. He's molesting them, and he's murdering
most of them. He's starting to kill them, and I
think there is I think there's an eligible child killing here,

(01:11:08):
because there they don't. They show one dead child who
is the best friend and in the same grade in
school of joe An Cassidy's daughter, who they specifically say
she's twelve years old, and that's your cutoff, right, twelve,
So I think the dead child shown is twelve years old.
But joe An Casside, she's this bus driver and this

(01:11:31):
guy's driving around, kidnapping and killing young young girls, and
she actually sees her daughter being kidnapped by this Dodge
Charger and she's in her bus, so the chase is on.
There's chasing, and her bus happens to have a race
car engine in it so it can hit hundred in okay,

(01:11:51):
and you know, obviously she there's an in chase. It
leads to an explosive finale. It's very stranger danger. You know,
kids stay away from you know, strangers don't get in cars.
It's also pretty slow, like literally half the movie's in
slow motion. Oh and the car chases are in slow motion,
which is very counterproductive, but it really works. It's like

(01:12:14):
this dream logic.

Speaker 4 (01:12:16):
Is there an alien because I'm looking at the poster.

Speaker 2 (01:12:20):
Now, Yeah, the poster is very like the Wraith, like
the car. The thing is you'll never guess who the
killer is, and I think that's what That's what that
poster might be hinting on. And maybe there's a supernatural
element like it. I think there's even what like a
skull in.

Speaker 4 (01:12:33):
The skull in the clouds and like green headlights, so
it looks like some kind of alien spaceship car.

Speaker 2 (01:12:40):
Yeah, so it's it's an okay movie. It's better than
the car. I think I gave it two and a
half stars. But it's a it's it's a case where
you never all you see is the black cloubs. You're
not going to guess who the killer is. But yeah,
this is this is I think it'll work well with
Death Car. I'd like to imagine too, that the driver
in Death Car got out before the van exploded, maybe

(01:13:02):
and this is him like eleven years later, okay. Or
or perhaps the driver and Death Car had a son
who grew up and wanted to be like their dad
and boom, here you go, wheels of tear. Check it out.
All right, that was fun. Yeah cue the sh August
sound fine?

Speaker 4 (01:13:18):
Yeah, all right, next month it's sh August. And really
what that means is both of the films that we're

(01:13:40):
going to be covering are Shaw Brothers films. Shaw Brothers
horror movies specifically, or at least having the horror movie
tag on it, or being horror ad Jason just close enough,
and for our listeners, we encourage you to watch as
much Shaw Brothers movies as you possibly can. We have
a channel in our discord. We just had a bunch
of new people join us for that reason specifically, So

(01:14:02):
jump in there. There's a link in show notes, share
what you're watching, get recommendations from folks. I know a
lot of the Shaw Brothers movies are kind of difficult
to find and stream, especially the horror ones, but there's
folks in there who can help you find some stuff
to watch too. So first up, for our first Shaugust episode,

(01:14:24):
we are going to be talking about a movie that
we have actually mentioned in previous episodes. We've both seen
it before and in the Vein of Portune in Crystal.
This one moves at one hundred miles an hour and
is absolutely insane. We're going to be talking about Bloody
Parrot from nineteen eighty one O Yes, directed by Huahan.

(01:14:47):
This is more wusha or martial arts than whrror, as
it's about an expert swordsman who's on the trail of
a thief who stole a treasure that was intended for
the Emperor, but it includes many horror elements, including witches,
demonic possession. I think there's a vampire or two in there.
I don't quite remember, but I remember loving this and
I can't wait to rewatch it. This one rarely is

(01:15:09):
actually on YouTube. We'll put a link to that in
our show notes and on Discord. It has four hundred
and eighty nine views on Letterboxed. Yeah, and I'd like
I mentioned this one's a lot like Portune and Crystal
with its pacing. Strap in for a wild one. You're
going to lose track of characters. Just accept that, know
that going in. Yeah, so many jump in at any

(01:15:29):
random time, So just expect that and have some fun
with it. And welcome to sh August.

Speaker 2 (01:15:36):
Yes, it's been a long time. I've been waiting all
year for you, all right.

Speaker 4 (01:15:41):
If you're not already, you can follow this podcast on Instagram, Twitter,
and Facebook all it Unsung Whores. You can follow me
on letterboxed and Instagram and Twitter at Hex Massacre. I
do still have about forty or fifty copies of the
book left. I haven't put up the damaged ones for
sale yet, so there's another twenty or so of those.

(01:16:03):
But there is a Lincoln Show notes to where you
can purchase a copy of the book. Additionally, if you
are in the New York or Philadelphia areas, I will
be there for screenings. On Friday, August twenty third, i'llbeit
the Spectacle in New York for a screening of Run
and Kill nineteen ninety three, the Category three film which

(01:16:24):
I was able to contribute a video essay to the
air forty four to forty four release of that. And
then the next night, Saturday, the twenty fourth, I will
be at Philamocha for a screening of The Untold Story.
Jesse from Diabolic DVD will be there. He'll have a
table set up with tons of stuff for you to buy,
including a curated table of movies with child death in them.

(01:16:48):
So if you're in the area, I hope you can
come out for that, come say hi. I'd love to
see you there.

Speaker 2 (01:16:54):
I'm kind of bummed. I'll be in Philadelphia August thirtieth,
like a week.

Speaker 4 (01:16:57):
After I'll be recovering from well dental surgery. I have
to have I'm sorry Lord.

Speaker 2 (01:17:06):
Okay. You can follow me on Instagram and letterbox at L.

Speaker 4 (01:17:10):
Thanks everyone for listening, and we'll see you back next
episode for sh August n

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