DRACULA HAS RISEN FROM THE GRAVE (Podcast/Discussion)

Episode Transcript
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Speaker 1 (00:08):
Hello, and welcome to Castle of Horror, the show dedicated
to horror movies and awesomeness. We are a feat Spot
top one hundred horror podcast. This week we have a
look at the nineteen sixty eight Hammer Dracula film Dracula
Has Risen from the Grave. This is episode four hundred
and sixty two. Bear in mind if you haven't seen
today's movie, we're going to be talking here about up

(00:29):
from the perspective of horror fans who have seen it,
So warning spoilers ahead. From Denver, Colorado, I'm your host,
Jason Henderson, publisher at Castlebridge Media, home of the Castle
of Horror anthology. With me from Austin is Tony Savaggio,
lead singer and Basins of the band Deserts of Mars
and lead guitarist of the band Rise from Fireus Hey Loo,
Tony Howdy Howdy, also in Austin. Mister Drew Edwards is

(00:51):
the writer creator of the long running underground comic Halloween Man,
which you can find at Global Comics. He is a
Best Writer Ringo nominee, Austin Chronic Best of Boston Award
winner and a member of the Pen American Fellowship Say Hello.

Speaker 2 (01:03):
Drew who has done this thing? Uh?

Speaker 1 (01:11):
And finally also in Denver color. Commentary from a woman
that I walked with on a on a walking tour
of Haunted Denver this weekend, Julia Guzman of Guzman Immigration
of Denver Cy.

Speaker 2 (01:23):
Hello.

Speaker 3 (01:23):
Hello. I have to say that the ghost tour was
led by the host of Kessel Horror podcast, So that
was pretty That's true.

Speaker 1 (01:33):
It was really, it was really a blast. It was
I spent like two weeks studying for that, and then
and then and then we hit and it was it
was great. We all learned all about haunted uh, Haunted
Denver all.

Speaker 3 (01:45):
Right, super entertaining, super interesting.

Speaker 1 (01:47):
Oh thank you. Some of it even brought me to tears.
There was like there's like one element of it that
literally just made me cry every time. So I was
I was really moved by that. Okay. Dracula Has Risen
from the Grave is a nineteen six British supernatural horror
film directed by Freddy Francis and produced by Hammer Film Productions.
Francis was the director of Tales from the Crip, Who's

(02:09):
like one of my favorite Amicus movies. It is the
fourth entry and Hammer's Dracula series third to feature Chris
Furley as Count Dracula. This is number three with Chris
Furlee the and the film stars Rupert Davies as a
clergyman who exorcises Dracula's castle and in doing so, Udding
unwittingly resurrects the Count back from the dead. Dracula Has

(02:31):
Risen from the Grave also stars Veronica Carlson, Barry Andrews,
Barbara Ewing, Ewen Hooper, and the One and Only beloved
Michael Ripper. It was followed by Taste the Blood of
Dracula in nineteen seventy. All right, so let's get our
opening thoughts, just a few thoughts to get us going.
I cannot wait to talk about this movie. This movie

(02:51):
is so beautiful that it has been oftentimes my desktop
on my phone. Let's go Drew, Julia Toni, and then
I'll go monsieur Drew. What are your opening thoughts? Dracula
Has Risen from the Grave.

Speaker 2 (03:03):
I think this is a really really interesting entry in
uh the Dracula the Hammer Dracula canon. I think this
is one of the first that that really seems like
it's aimed squarely at the youth culture, and you have

(03:24):
this much more skewed idea of religion, and you have,
of course a you know, a a main character who
is an atheist, which I think is a really novel
idea for this, this kind of vampire movie. I think
that it's got a lot of really interesting, conflicted kind

(03:45):
of characters, which is really really really great when you
put them up against the in particular the Christopher lee
Uh version of Dracula, who, above anything else about his character,
is definitely not conflicted. You know, when he has a goal,

(04:05):
he goes right for it. You know, everybody else in
this movie is much more, let's say, all over the
place in their journey. I think also, unlike a lot
of the other Hammer movies, and this isn't a knock
necessarily because I enjoy almost I mean, you can go

(04:26):
back through this podcast and listen. I enjoy almost every
Hammer movie we review. But a lot of the characters
have a much more point A to point B kind
of arc to them in this movie. And I, you know,
as somebody that has spent my life writing, I really
appreciate that. And I don't know, I just think it's real.

(04:50):
You know, we'll get more into it, but especially this
time watching it, because this is a movie I have
seen a lot, and it is in fact one of
the first DVD that I ever bought. You know, it's
so it's a movie I've seen a hell of a lot,
but I got even more out of watching it this
time when we were doing it so close to some

(05:13):
of the other Hammer Draculus. You know, I think it's
it's it's an interesting jump in both style and and
you know text as well. And you know, I don't
want to give necessarily my whole thesis statement in my
opening thoughts, because I do have a lot of thoughts,
but I kind of want to save it for the conversation.

(05:35):
But needless to say, I think this is a really interesting.

Speaker 1 (05:38):
Movie, wonderful. Thank you very much for kicking it off.
That's great, Julia. I think you liked this one a lot.
I mean you seem to what are your what are
your thoughts?

Speaker 3 (05:46):
I mean I liked a lot of things about it,
But there was I sort of it was two minds
going through, Like some of the movie felt pretty unoriginal,
and then other then there was a couple of things
where I was like, well that's really interesting, but it's
just kind of I think, I don't know, I didn't
get a whole lot from the script, but I did, like,
I mean, I know you're a big fan of the set, Jason,

(06:08):
and the yeah, the idea, a couple of the ideas
behind it, especially the you know, the atheist hero that
was very interesting. So I think there's some moments that
I'm looking forward to discussing and hearing what you guys
have to say. But I feel like a lot of
it was just kind of like, okay, like checkbox, a
bunch of checkboxes for a Hammer Dracula film, which you know,

(06:29):
I mean, that's that's what makes it a Hammer Dracular film,
is that text boxes. So I think it's fine.

Speaker 1 (06:35):
I love that idea that you could have a Hammer
Dracula film be sort of like a James Bond movie,
that there has to be like points along the way
that you have to do the thing, you have to
have a certain element, you have to have the plot
do a certain thing. And that's really wild that just
you know, this is the third Christopher Lee Dracula movie,
and already there are recognizable elements that they have to hit. Tony,

(06:59):
what are your thoughts.

Speaker 4 (07:00):
Julia, I think Rain actually commented on something really similar,
likes like, how many drag movies do we have? And
how many this, this, this, and this now I I yeah,
there you get I, you know, but even that, like
I was kind of in between you and Drew because
I don't know if this is Mike, this certainly wouldn't

(07:21):
be up there my favorite Dracula movie. But one thing
I love about watching these hammered Dracula is even if
there is kind of hey, Dracula's going to do this
and then this is going to happen, et cetera, he
is going to, you know, seduce this woman, Like there's
I have yet to see one where there isn't like
several things that are fascinating or interesting you know that,

(07:43):
Oh well look, you know this one has a lot
of this rooftop stuff. It's got you know, an.

Speaker 1 (07:49):
Arc for the character.

Speaker 4 (07:50):
It's got a you know, Draculu's helper being a priest,
you know, his Renfield.

Speaker 1 (07:54):
Like Andrew was saying, like.

Speaker 4 (07:56):
That's that's interesting that that doesn't happen very often. So
there's all these bits, you know, the while they do
with while they deal with crosses, there's also a prayer
slash you know, mystical like ritual element to it. As
well for getting rid of a vampire in this So
the way that they go through the mythos as well

(08:18):
is really interesting. So while it's not my favorite, I've
always just really intrigued at how you get something interesting
no matter what, and that that's something you can't say.

Speaker 1 (08:31):
For for kind of every franchise.

Speaker 4 (08:33):
So I really enjoy I enjoy that aspect perhaps the most.

Speaker 1 (08:38):
I really I thank you very much to me. I
really appreciate that there is a continuity such because we've
talked all the time about how films of this era
often wouldn't really bother attempting much at continuity, and so
it's always so wonderful when they actually do, like when
you leave Frankenstein's Monster underground and you find them later
underground and a block of ice, I mean. And so

(09:00):
it's always nice when when you're like, hey, they're they're
doing a continuity thing, even when they know that that
people we barely people of of prior decades before home video,
you know, you had no reason to expect that they
would remember how the last that ends. But I love
that they do this, and and uh so, uh uh,
let's just go right into it, because I want to

(09:22):
talk about Dracula in this So first I want to
talk about how he is resurrected, because Hammer Dracula always
starts out dead and always gets resurrected, well, with a few,
with a few, uh, with some with some exceptions, but
often it feels like the cliche. It feels like one
of the rules of the road that they're hitting.

Speaker 3 (09:42):
And that would be the first one of the ones
I'm talking about where I'm like, oh, here we go
again with somebody just delivering blood to Dracula.

Speaker 1 (09:51):
Yeah. So you remember at the end of Dracula Prince
of Darkness, Uh, Dracula and Barbara Shelley were out on
the eye and the ice was was over a river,
over running water in a moat around Dracula's castle, and
so the the roving anti vampire priest shot at the

(10:13):
ice and Dracula fell in and it was great. I mean,
I just never get enough of the beautiful awesomeness of
that of Dracula's icy demise. It never looks real, but
it looks like you're on a dark ride with Dracula
in it. And I dig that. So in this movie,
Dracula's still under that ice. I just think that's great.

(10:33):
They don't even bother to mention it to his dialogue.
They're just like, Dracula died a year ago and later
we find him in a river.

Speaker 2 (10:40):
Well they say did they say? They do say, did
you know did he not die in your mountain stream
or whether something to the Okay.

Speaker 4 (10:50):
Well, you didn't get he didn't flow that far. That's
the other thing. He's kind of got stuck right outside
the castle, like we expect him to kind of flow
out to see, but nope, he did kind of got
stuck on the grating or something.

Speaker 3 (11:02):
Yeah, I mean so much for running water, Like, doesn't
seem to have run very much right.

Speaker 1 (11:06):
Well, you know, he's sort of large, so he just
get hung up on something and you know, so he's there,
which is so silly. I would have been great there,
Like Dracula, you know, he gets his blood. He's like,
oh crap, I'm just stuck in this bike because rebirth.
I'm here at the bottom of a damn with a

(11:26):
giant catfish. That's just like it's stuck there making friends
with the catfish. And you know when we get out
of here.

Speaker 2 (11:34):
What I love about the beginning of this movie is
you sort of have to accept that deer in all
of the action of uh, Dracula Prints of Darkness. Yeah,
Dracula mosied over to this church, killed a girl, hung
her up, hung her up in the bell tower, and

(11:56):
they went right back into the age.

Speaker 1 (12:00):
It's a really good point because he had been dust
prior to that, until they until they hung up Paul.

Speaker 3 (12:07):
I guess if okay, wait, wait, wait, you've lost me
and I just watched this movie. Why don't we start
from the beginning.

Speaker 1 (12:13):
Okay, Dracula Prince of Darkness the movie before this, Remember,
Dracula starts out as dust because he had turned to
dust at the end of the first movie. Okay, Then
the two couples come to visit Dracula in his castle,
and then in the night, one of them, Paul, is
murdered and hung up by his heels and his throat slit,
and that blood brings Dracula back.

Speaker 2 (12:33):
Right.

Speaker 1 (12:33):
Yes, of course, this movie establishes that wild Racula is
awakened and messing around with those couples and doing all
this stuff he does in that movie. He also went
into this town and killed a girl and hung her
up in a bell tower, and then went back to
the business of Dracula, Prince of Darkness, and then he
got killed on the ice.

Speaker 3 (12:54):
It happened, but before Dracula was killed. It's not something
else I thought maybe I thought maybe it was somebody
another vampire that don't.

Speaker 2 (13:04):
No, there's there's a time lapse, okay, the which is
why we get all the depressed villagers that won't go
the church because the shadow of the castle falls on it.
It's a bit it's a bit convoluted, I admit. But
one of the things that I love about it is
that if it means is if this monsignor had just

(13:27):
let the townspeople not go the church, right, none of
this would have happened.

Speaker 3 (13:33):
Okay, so so so on on playing monign advocate here,
I would say that he would rather save their souls
than save their bodies. Now, of course if they turn advantage.

Speaker 2 (13:47):
Yeah, but he is. But that's the That's the thing
that's kind of fascinating to me about this character is
he's sort of he reminds me a bit of Father
Sandor from from the previous movie, but he's in Sandor

(14:08):
is kind of charming in his abrasiveness. This guy, when
he goes abrasive, just he kind of you know, oscillates
between being very warm and fuzzy and then being a
straight up dickhead. And the way he he sort of
bullies this this drunken priest into going up into the

(14:30):
mountains and performing an exorcism with him is super dickish.
And I I don't know if that was intentional, but
I kind of hope it was because I think this
movie has a much more complex relationship with a religious
authority figure that it's sort of it's sort of getting

(14:54):
you know, if you look at this in the the
Larger Cannon of Hammer vampire films, you know, like you
think think about twins of evil, like Peter Cushing's character
in that who is a minister, but he's also just
a straight up villain. This character, yeah, this character is

(15:15):
not that. But it is showing a sort of a
starting of a strained relationship with with religious faith in
these movies that I find really interesting.

Speaker 1 (15:28):
That's the the I like. I like that you said that.
I just want to point out that this You're right,
that this guy is very conflicted because, for instance, when
they climb up to Dracula's castle and by the way, okay,
one thought at a time when they climb up to
Dracula's castle. He does allow the priest to remain behind.
He's like, look, it's okay if you know, if you

(15:50):
don't have the energy.

Speaker 3 (15:51):
Yeah, because his premise was that he needed a guide,
basically right, But.

Speaker 1 (15:55):
He leaves him behind, and because the guy's too afraid
to go up, and I thought it was it's actually
fairly mention of him to leave him behind, Like he's like,
it's okay, you can you can wait here. You don't
have to go all the way.

Speaker 2 (16:08):
But you know what a bit even more minshi, Yeah,
just letting the people be right and not setting in
motion a Dracula rampage.

Speaker 1 (16:18):
I suppose. I suppose that is true, but I just
wanted to mention.

Speaker 3 (16:22):
That nobody does achieve his task of making the castle
Dracula proof anyway.

Speaker 1 (16:27):
Coaches, Well, that that's sort of Drew's points is that
is that you know these things, every action has an
equal and opposite reaction. Like he goes to exercise the
castle and make it so Dracula can't use it, and
Dracula goes on a gosh darn rampage.

Speaker 3 (16:41):
The only reason Dracula goes on a rampage is because
he accidentally got brought back to life, which was not
the intention of the right.

Speaker 2 (16:48):
Yeah, I'm just saying that this is a movie that
would be better off if everybody in this movie would
have been better off if he had just said, you
know what, you're a drunk priest. Yeah, olive your breath,
best life. You know, let's maybe build a new church
that's not in the shadow of Castle Dracula. I will say,

(17:10):
I will say, you know, I'm not saying any of
this is to the movies detriment. I actually like this
stuff about this movie because I think it makes all
the characters much more interesting because he is well intended,
Like he's not you know, he's not cartoonish when he's
being he thinks he's he thinks he's doing the right thing,

(17:34):
and it's sort of the road the hell is paved
with good intentions.

Speaker 4 (17:39):
We had no idea that, you know, his buddy was
gonna fall down and bleed all over Dracula's.

Speaker 2 (17:47):
That day.

Speaker 1 (17:48):
There's something he.

Speaker 2 (17:49):
Does believe in Dracula. It's not like he's like, you're
a bunch of superstitious so and so's so.

Speaker 4 (17:57):
Well, nobody, I mean, nobody would have been like, yeah,
come up and go, come come with me, come bleed
on Dracula.

Speaker 1 (18:02):
This sounds like a good thing.

Speaker 4 (18:04):
And then when Dracula can't go to his house, he's like, oh, okay,
well now everybody gets a Dracula problem, right, everybody gets
a Dracular problem.

Speaker 1 (18:14):
Now.

Speaker 2 (18:15):
Christopher Lee has more dialogue in this movie than he does.
You know, it's not a lot, but the way he's
he is used, it's so afe, like you know, I
I did it in my opening, you know, but like
the who has done this thing? Who has done this thing?
I love that lying delivery and how super offended he

(18:39):
is that somebody performed an exorcism on his castle. And
I I also, you know, you want to talk about
Dracula in this movie. I love how personal this attack is.
This isn't just him wanting food. You know, he is
mad at this monsignor, and so he's going to go

(19:01):
direct and directly to him and fuck up his life.

Speaker 1 (19:05):
I mean, think about it. That's where Dracula keeps his stuff. Yeah,
you beat this too.

Speaker 4 (19:11):
All my Dracula stuff is in my castle. I got
one cake, now one?

Speaker 3 (19:20):
What would Jason do if I just changed the lock
on his office?

Speaker 1 (19:23):
Right, exactly, Yeah, all my stuff.

Speaker 2 (19:27):
Who has done this thing?

Speaker 4 (19:28):
Exactly, But but it's even more it's even more of
an affront all jokes aside by the fact that it's worms.
I mean, these people are so this Dracula especially, these
people are so below him in every way that he
can think of the fact that they barred it from
his castle home. It's just a I mean triple affront

(19:49):
ten times a front, right, I saw you. Okay, now
that's it. And you you know it's it's just such
a fundamental just it's pas it's petty.

Speaker 2 (20:01):
And I love it when villains are motivated by pettiness.
I I it's it's both grandiose and relatable at the
same time.

Speaker 1 (20:11):
Well, Dracula always is all about revenge, like he often
is is saying, you know, I'm going to take my
time getting my revenge and spreading it across centuries. So
you know, this is a common thing for him to
like pick somebody and really want to want to want
to get him.

Speaker 2 (20:25):
Well, you know, and this it's like, you desecrated my castle,
so I'm going to desecrate your niece.

Speaker 5 (20:32):
Yes, yes, and and exactly so I I I want
to keep talking about Dracula, But I do want to
mention this castle has completely changed now in universe, we
now have a there's no explanation for this at all.

Speaker 1 (20:48):
But in universe, Dracula's castle is now impassable, so there's
there's no road leading up to it anymore. There's no
more mote, there's there's only a castle at the top
of a mountain that you have to climb. So either
the townsfolk have destroyed the road, which I think is
a reasonable assumption, or or magic has happened and caused

(21:09):
the countryside to be totally differently shaped. Doesn't matter. We
now have a completely different surrounding for the castle, and
there's no way to just ride to You can't just
ride a coach up to the castle door anymore, which
makes no sense, but that's what we're going with.

Speaker 4 (21:27):
And I mean it's always kind of been sort of magical, yes,
and you can imagine some kind of a between the
magic and the villagers probably doing something.

Speaker 1 (21:37):
By the way, I did have a question.

Speaker 4 (21:39):
I probably should have looked this up, but you know,
we asked some experts here. How is there any mention
of how they make him so bloodshot? Makeup wise?

Speaker 1 (21:49):
Yeah, he has contact lenses. Contacts like that can have
been fun to wear.

Speaker 4 (21:57):
I was curious, that's what I figured, but I was like, well,
it says.

Speaker 3 (22:00):
In the IMDb that this time around it was they
were better than about the past ones because they're cut smaller,
so they're not like bothering in the inside of his eye. However,
that makes that means that that at one point they're
actually you can actually see the edge.

Speaker 1 (22:14):
Right, I mean, but it's effect.

Speaker 4 (22:16):
It is super bloodshot all the time, and it looks
it adds to the kind.

Speaker 1 (22:21):
Of here I feel like, just gets better and better
every movie, so that you know, he's gorgeous.

Speaker 3 (22:28):
In this film. He's absolutely gorgeous in this movie. No,
he he is presently. Yes, you think you're right about
the wig is he's in great shape, so he looks
very like just strong and fit when he's standing there.
And the lighting is so fantastic every time he shows up.

(22:48):
It's like he always steps out of the shadows and
he's his face is always lit more than anything else
around him. It's just great. He looks fantastic.

Speaker 1 (22:55):
Yeah. Yeah, he has these really long legs, so he's
able to just like heap all over the place. His
sort of animalism is on display, and it's funny to
think of Dracula Christopher Lee Dracket. So when I say Dracula,
unless I say otherwise, I'm just talking about Lee Dracula
in this thing. But so Dracula as he showed up

(23:16):
in nineteen fifty eight was very urbane in that one.
You know, he has a lot of dialogue and he's like, well,
it'd be very agreeable if you would, if you would
look into my library and make sure everything goes to
blah blah blah blah blah. He talks a lot, you know,
and with each movie he's you know, in the previous
one he's completely mute. In this one he has a
few words. We've come up with all kinds of you know,

(23:38):
no prize theories for it. But the bottom line is
these guys don't want this Dracula talking very much, which
I find strange because he has a really great voice.
But on the other hand, this is the this is
the hammer Dracula. This is hoppening.

Speaker 3 (23:51):
Maybe he's expensive to if if you give him lines,
it costs a lot of money.

Speaker 1 (23:55):
You know, That would make a lot of sense to me,
But I don't think that's it, because I because, yeah,
don't know, I don't think that's it. I don't think
that's how you know.

Speaker 2 (24:02):
I I think at least in this one, they probably thought, well,
he was effective as a mute in the last one.
But we don't want to do the exact same thing again.
So what if we just give him a minimal amount
of dialogue so when he does speak it has because
I feel like when he does speak in this it
has a lot of impact. And you know some of

(24:24):
that is just because you know, Christopher Lee has a
great speaking voice. Yeah, but you know two, I think
you know, he seems so like this isn't Dracula just
going around and randomly raising hell, Like this is Dracula

(24:44):
very purposeful and like I'm going to this town, I'm
targeting this specific group of people, and I'm going to
ruin their lives.

Speaker 1 (24:55):
Yes, yeah, it's yeah, that that's like. And the funny
thing is in the in the nineties, eighties and nineties
when the erotic thriller became a big thing, this was
a major plot idea that got transported into like people
in suits. Is this person like laid off my dad
when I was a kid, and so I'm going to

(25:16):
go into their life and ruin everything about their life.
Like that's a that's a common trope for a kind
of I.

Speaker 2 (25:23):
Think it's something that we, you know, because Dracula didn't
like up and honestly up until you know, we've started
to get back to more of a overtly evil Dracula.
But but you know, with with the popularity of Anne Rice,
for a long time, we had the conflicted Dracula, who

(25:45):
wouldn't who wouldn't operate like this, even though in Stoker's novel,
you know, is obviously not conflicted at all.

Speaker 3 (25:54):
And in this film you have the conflicted Renfeld.

Speaker 2 (25:57):
Renfield, he's too and he's great, He's he's wonderful. And
you know, I think I think Dracula, like you know,
there's there's something to be said about maybe you know,
other vampire characters, but I think Dracula works best in
this mode, like I I, at least for my.

Speaker 1 (26:17):
Yes. Yeah, Also it's it's further upfront now that I
remember it, because he has even has to steal a coffin.
That's true, yes, but.

Speaker 4 (26:33):
It's also again coming from Hey, I am Dracula, you
gotta fear me. I have my own cool coffin. Everything
about this has been you know, I've gotten over the ages.
I ruled a school is great, and then now that
is his you know, his house has been exercised. Uh,
he's even got to steal a coffin. It's just I mean,

(26:53):
it's gotta just burn him up the whole time, Like
you can't just can't do that to do you know
who I am, I'm Dracula, But I think that's just awesome.

Speaker 1 (27:03):
That reminds me of there was a there was a
comic mini series about Doctor Doom where Doom winds up
transported to another planet and he winds up there naked
it alone on another planet, and so it's like, what
does Doom do if he has to start from nothing?
And the first thing he does is kills an animal
to make some clothes and a mask, and the next

(27:23):
thing he does is find a gang and take it over.
And then by the end of the first so that
the whole notion was that uber menshed like Dracula and
Doctor Doom. Sure, okay, take it all away. By the
end of the movie, they're going to be built up again.
And yet somehow with the problem is in these little
ninety minute stories. It doesn't quite ever happen for him.

(27:46):
He always winds up somehow killed and back to dust.

Speaker 4 (27:50):
I'm picturing that that could go so many different ways,
Like he could have killed like some cute fuzzy creature
or something he never killed, and like, oh my god,
what's wrong with you? Chinchilla's I pity you. I don't
I don't fear you at all. Gurbals like, oh my god,
it's doctor Doom though, like I understand.

Speaker 2 (28:12):
That tumbles up beneath Doom.

Speaker 4 (28:15):
Yeah, the first encounter is not like, oh man, look
at this guy with his spur and he's you know,
it's not a wolf pelt.

Speaker 1 (28:23):
It's like a bunch of Gerbils and he's together.

Speaker 2 (28:27):
I actually would probably be even more afraid of that guy,
because they would be like, what the hell is wrong with.

Speaker 1 (28:36):
Well, that's what I'm saying it instead of beer, it's pity.

Speaker 3 (28:38):
And also that you'd be like, how long did that
take you.

Speaker 1 (28:43):
To make to make this code of man? Everybody hung
this alien guy? He's really in dire streets. Okay, so
we talked. We talked a little bit about Dracula. I
want to talk some more about the Hammer universe. Once again,
we are back in the Hammer versus. This is only
the third Christopher Le Dracula movie. There aren't very many,

(29:06):
so when we talk about setting the vocabulary, this is
one of them. And boy oh boy. So this rooftop
set by Bernard Robinson. So instead of a small village
in most of this movie, we're in a large city
called Kinnenberg, and it's made up of all of these
very close together buildings and people live in these multi

(29:30):
story town homes and they have these big clay tiled
rooftops that are close together. So the young people sneak
out at night and jaunt around the rooftops of the
city to meet one another. It is the coolest. I
don't know if that's ever. I don't know if that's real.
I don't know if anybody ever lived in a town
where you just sort of wander around the rooftops all night.

Speaker 2 (29:52):
I don't know.

Speaker 1 (29:52):
I don't care. It is a great concept for this movie, Like, yeah,
all right, Connenberg, you just hang out on the roofs
all the time. It is great. It's a neat looking set,
just just.

Speaker 2 (30:03):
Really the sets in this and the whole rooftop set
up to me. Almost feels like they looked at the
end of Curse of the Werewolf with a werewolf having
a rampage across rooftops. Yes, and like the higher ups
and Hammer was like, get me more rooftop action, Yes,

(30:24):
because I mean it.

Speaker 1 (30:26):
Oh you're so right.

Speaker 2 (30:27):
Yeah, absolutely, talk about a movie that makes such good
use of its it sets though, like and it does
really give you a sense of geography, you know, like
because you have the bakery and bar where our hero
Paul lives, you have the Monsignor's apartment, and you get

(30:51):
the sense of kind of how far they are from,
which is not far.

Speaker 1 (30:54):
You get the senses like it's like, you know, probably
like one hundred and fifty yards, like they're they're really
they're really close together. You know. You gotta like turn
a couple of corners so that if you're chasing Dracula,
he can turn a corner and be and be gone. Yeah.

Speaker 2 (31:08):
Oh.

Speaker 1 (31:08):
Also, of course nineteen sixty this is nineteen sixty eight,
So Mary Poppins came out in nineteen sixty four, and
it has a lot of stuff on the rooftops, you know,
so there's there are definitely predecessors. Boy, it's cool I mean,
I just there's also another like so that looks beautiful.
So when Dracula is fleeing onto the rooftops, that's really cool.

(31:30):
There's also a moment when Dracula comes to Veronica Carlson,
who we haven't really talked about yet, and he sort
of stands in her bedroom. She's sitting on the bed
and he sort of stands there half in darkness. It
is so incredibly well constructed as as as a as
an image that it looks almost like a poster, like

(31:51):
it should be a poster. Really locking in all of
this movie is really good.

Speaker 4 (31:57):
And you know, even again back to the room top scenes,
like they decided to do that because it gives you
such a great uh there's so much action that can
happen across those I mean, look at any daredevil anything
right for Mars. Yeah, but you can you know, you
can flow across that so well, and it looks it

(32:18):
looks cool, you know, and it gives us something again,
it gives us something different. Even though there are you know,
horse drawn buggies and carriages and everything like that, they
give us something different here to break that up.

Speaker 1 (32:30):
And that's all the rooftop stuff. You mentioned the horse
drawn carriage.

Speaker 2 (32:35):
You know.

Speaker 1 (32:37):
So Black Park, which had played the woods of Transylvania
many times in these movies, is back again playing Transylvania.
So it's still Black Park. However, the reason everything else
looks different is because we moved from Brace Studios to Pinewood,
and which is where Star Wars would be shot in
like less than ten years. So you know, it's it's

(33:00):
it's a stranger. It's a strange adjustment to to be
in these very different sets. But but part of their
move to Pinewood means that they could build a more
expansive set like that rooftop set. So you know, that's
how that's how it goes. Do you want to talk Drew?
You had some thoughts about Uh, forgive me, I I

(33:21):
don't think that we've covered this. We talked about it
extensively beforehand. But the whole question about the youthfulness of
the main characters, and the the whole question of religion
and debating religion, going to visit your girlfriend's you know,
parental figures and offending.

Speaker 2 (33:37):
Them, so which I think is something a lot of
people can relate to.

Speaker 1 (33:43):
Yeah, I mean, the last movie was a bunch of young.
Married's right, it was ye.

Speaker 2 (33:47):
That they don't they don't feel like this. This feels
much more even though it's it's set in the you know,
the whatever the ham Hammer time period is, this one
is yeah, you know really yepkay huh okay, Well, the

(34:08):
the vague Victorian past of of the Hammer Escape to
use Jason's the use Jason's like, this feels very like
the the you know, the hero kind of looks like
the lead singer of the Who.

Speaker 1 (34:24):
Yes, there's a both. There's a little bit of Jagger
and a lot of Robert Daltrey. Yeah.

Speaker 2 (34:31):
Yeah, and so they've style already styled him to look
a little bit more rock and roll. But he feels
a lot young like, like you know, the the you know,
the characters in in Dracula Prince of Darkness are even
if they're supposed to be comparable age like, they feel

(34:53):
you know, they're they're married, their upper class, you know,
they have a much more establishment feel about them. This guy,
he's a self taught scholar. He's always reading. Yeah, he
says stuff like, well, I'm interested in truth. I'm interested

(35:15):
in truth. He's he's an atheist, which, again incredibly novel
for the incredibly christian Hammer Dracula series, and just you know,
like his whole relationship with every you know, from his
girlfriend to the way he interacts with his boss, to

(35:38):
the fact that he even has a boss, and he's
not like this independently wealthy, you know, nobleman. It just
feels much more contemporary. It feels like Hammer is trying
to do a character that is a little more relatable
and a little bit more you know again, a little

(36:00):
bit more appealing directly to youth culture. Even the fact,
even the fact that he does have a bit of
a scuffle with the older religious authority figure who again
acts acts out. Even though he's he's very polite, he
doesn't you know, necessarily say anything disrespectful. He doesn't say, well,

(36:23):
you're an idiot for being religious. He just says like, well,
I myself am not religious, and the mon signior acts
very petulant about it afterwards.

Speaker 3 (36:35):
Maybe that's the message, but also but also the message
end up being that if you're not religious, then you
can't win, Like because when he's trying, when he actually
gets Dracula because he's an atheist, it doesn't work. But
when he gets killed by a cross and there's a

(36:55):
priest who actually manages not only to be a priest
and believe, but also so break the spell of Dracula
that spelled that Dracula had on him. Then he crosses
himself and that's like he's like, Okay, I get it.
Now I have to be like I was wrong. So
I kind of feel like that's the lesson is maybe
the opposite.

Speaker 4 (37:12):
By the way, before I'm exercised for Dracula's Castle, of course,
I meant Roger Daltrey, and I think I did it wrong.

Speaker 1 (37:19):
But I think you said the right thing. I don't.
I don't.

Speaker 4 (37:22):
I think I I was thinking like about five different
things at once.

Speaker 1 (37:27):
Just in case, just in case. Roger Daltrey, by the way,
did some excellent horror work himself, especially in Legacy, which
was written by Jimmy Sankster. And yeah, really really.

Speaker 4 (37:39):
Yeah, it's very he's very definitely our guy is very
dull Trey in his Oh yeah. And I wonder if
that was if he was if that was purposefuler, I mean,
makes if it was, it was a good idea.

Speaker 2 (37:53):
I have to believe that it was purpose because I
really do think they were trying to release, you know,
and to Julia's point, you know, I you know, ultimately
this is a supernatural vampire movie, so like, you know,
no atheists and fox foxholes. But the fact that they

(38:14):
even like that's his arc is still kind of interesting. Also,
the fact that the fact that you have this rubbing
up against this corrupted priest who is basically bullied into
being the Renfield in this movie is incredibly like I said,
there is a much more even if they do end

(38:38):
on the side of like I said, we're not at
Twins of Evil yet, you know, we're not We're not
there yet. But the fact that this movie even has
a slightly more complicated relationship with Christianity is you know,
does feel light years away from from Prince of Darkness already.

(38:58):
And I just think that that's that's interesting, you know,
you know, and again I'm not saying it's the most
complicated writing ever, but it does it does, you know,
give everything maybe a bit more of a of a
you know, dare I say it bite to it, and
you know the fact that you have a mind. The

(39:20):
Mond Senior, who would have been one hundred percent you know,
even in his bluntness, would have been portrayed as charming
the way Sandor was the fact that he can come
across is kind of petulant and kind of dickish. That
even there is again much more complicated, because as I said,

(39:43):
you know, the young hero, you know, Paul, even when
he's having this conversation like the the you know, the
mon Sior does kind of make him feel like he
can speak freely because he leads into well, I think, yeah,
I think people are don't speak the truth, don't speak
their honesty enough. And so that's that's what Paul does.

(40:04):
And then he kind of gets he literally gets ejected
from their their home, even though again he's perfectly polite
about it. He's not, you know, he's actually very respectful.

Speaker 3 (40:18):
He told his story in the book that people and
this is true for all of us. If I say
to you, you know, you can tell me anything, you know,
be honest with me. I appreciate honesty. And then you
tell me that you like to kill murder rabbits or whatever,
I'm not going to be like, oh, thanks for me,
thanks for sharing. Horrified, be horrified.

Speaker 2 (40:38):
No.

Speaker 3 (40:39):
But my point is, like I'm saying, I wouldn't you know, yeah,
most of us wouldn't. And even and if you would.
It's probably because that's like like I wouldn't let me.

Speaker 2 (40:47):
Put it this way.

Speaker 3 (40:48):
I would never there's never. I'm never horrified by stories
that my clients tell me because I'm fully ready for
their for their story. But if somebody tells me this
in the in the wild, like in my house, I
might be horrified, you know what I'm saying.

Speaker 1 (40:59):
So like that makes for good drama. The fact that
he's that it's a it's a twist. He goes, tell
me your mind and then he's offended. That's actually more
interesting than if he hadn't been.

Speaker 2 (41:09):
Well. This dinner, this dinner sequence is incredibly relatable. Yes,
I mean, it's it's it's so you know, I mean,
who of us has not had a awkward family dinner?
You know, it's it's again, and I just I have
to believe, I have to believe that, you know, that's intentional,

(41:32):
that they were trying to, you know, appeal to people
that you know wouldn't necessarily you know, again, because like
how how far This might only be the third Christopher
Lee and the fourth you know Hammer Dracula movie, but
it's still you know, Hammer had been around and had

(41:55):
been a viable brand in horror movies for for over
a decade at this point. And you know they so
they're trying to, you know, see what they can do
with the formula and maybe broaden their appeal a little up.

Speaker 1 (42:09):
Oh absolutely, and they're always tweaking it. You know that
the the you know that these these are these movies
are coming around really quickly. You know, they're not not
I mean, well except for the big expanse between nineteen
fifty eight nineteen sixty six, But after that, they're like
the Taste the Blood and Scars one year together, you know,
Dracula AD and then Satanic Rites separated by a year.

Speaker 2 (42:33):
Well that's if only you're talking about the Dracula series.
I mean that's not even counting you know, or Frankenstein
movies or standalone hammer horror films like The Reptile or or.

Speaker 1 (42:48):
Right, and that that is the kind of thing that
it fills my heart with delight. I love being able
to anytime you have something that amounts to kind of
a family of filmmakers who keep coming back. And that's
why I talk about the Beach Party movies so much.
I love that those movies came like every six months
like somehow they were able to just churn those things

(43:09):
out using the same people over and over and over again.
It's it's cool, It's it's fun, all right. So let's
see the Let's get back for a moment to the
end of Dracula, like his fall, and then we'll come
around to whatever we'll pick up whenever we missed. But oh,

(43:29):
go ahead, Joy, what is it?

Speaker 3 (43:30):
Well okay, I mean, if you want to come back
to it. But we haven't talked about the females at all.

Speaker 2 (43:34):
Well, let's talk about Veronica, but I definitely want to
talk about the priest more too.

Speaker 1 (43:40):
Yeah, okay, then we can save the big cross impalement
until later. So I do want to talk about the
female stars, So moving in order of lesser importance. The
bar Maid who is ZENI rude.

Speaker 3 (43:56):
I've been telted on behalf of the bar Maid that
she is of lesser important than anything else in this film.

Speaker 1 (44:00):
Yeah, okay, all right, I'm offended on her behalf, So
all right, I love the Barmaide. I think she is
a really neat character. Zina. She's called and she is sassy,
and she has a cool high nineteen sixties wig, and
you know, which makes her so distinctly a hammer creature

(44:22):
basically where she's she's sexy and weirdly semi Victorian, but
also kind of nineteen sixties. It's like, and uh, you know,
she's funny, So I like what she seems like she's.

Speaker 2 (44:34):
Got an unrequited, unrequited crush on.

Speaker 3 (44:38):
Oh sure, yes that, But also I feel like she
just wants to be loved. I mean, is that so wrong?
She to quote downloads? She uh, clearly, you know, is
just make I feel like this character. You know, the
actors are always, not always, but often have backstories for
their character that nobody else knows it was about. I

(45:00):
feel like this actor really has quite an elaborate backstory
for this character because I just there was so much
to her, given that she doesn't have nearly as many lines,
you know, as some of the other characters. But I
really got that she's just, you know, she's trying to
make it in this world. And it's like Alice the
the you know, the TV show Alice, and she doesn't

(45:22):
have uh you know, she doesn't have money, she doesn't
have education. She's a woman, so she can't really do
much except for be a barmaid. And but she wants
to be loved, she wants you know, companionship, and so
this guy, you know, she's really into him. And then
when Dracula, when she's under Dracula spelled, then she's like,
why am I not enough for you? Why do you

(45:43):
need her like you have me? She says it twice.
She gets slapped, and she still says it again. She's like,
you have me. I felt bad for her that character.

Speaker 2 (45:52):
Really, I I agree with you. She's she's very kind
of you know, she's funny, but she's also very trad
and like the way after she gets bit, the way
she's like still going around the bakery with her you know,
neck wound covered up. And then even after Dracula kills her,
you know, you see her corpse and she's got the

(46:14):
little budding vampire frames, but she's got this like frozen
grin almost like she was killed by the Joker on
her face. And Dracula just is like destroy her, you know,
like I don't even want her around as another vampire
you know he has.

Speaker 3 (46:32):
Yeah, he totally throws her away, I mean uses her
and throws her away quite literally uses her and throws.

Speaker 1 (46:37):
Her AWAYA is a user. Here is this horrible person.

Speaker 4 (46:41):
And this is the well, this is kind of the
first time I can remember him actively, not just oh no,
something happened to one of my brides, but just like, no,
you're not good enough.

Speaker 1 (46:50):
I'm moving on.

Speaker 4 (46:52):
Big time and you're not coming along the right the
way the way it's horrible, well.

Speaker 2 (46:59):
The way Dracula, uh, you know, I was talking about
this before we started recording. The way Dracula goes about
the two attacking the two women is very different, Like
he is very abusive towards Zena. But with Maria that
is the character's name, right, Maria. The other.

Speaker 3 (47:20):
I kept saying movie.

Speaker 2 (47:24):
With Maria, he's more tender, and he's more traditionally seductive.
It's more uh you know, reserved. You know, it's not
it's not the sort of uh you know, dominating you know,
and then abusive. Uh you know, because we've seen Lee's

(47:44):
Dracula in this mode somewhat before, Like he is kind
of that way the Barber Shelley's character in in you know,
Prince of Darkness, but he is very mean spirited towards Zena.
And you know that that sort of under under current
of classism that Tony keeps talking about is I think

(48:06):
readily apparent in that relationship. It's like, well, of course
I'm not going to keep you around as one of
my brides. You're you're just a barmaid, you know, Like
you know, I'm Dracula. I could have any woman I want.
I should, I should, you know, have the cream of
the crop, the greatest, you know, you know, like, so

(48:26):
that's why I'm going to go after the monsignor's daughter,
because you know she's she's more innocent, and you know,
of course that's going.

Speaker 3 (48:34):
To and the revenge.

Speaker 2 (48:36):
Revenge, of course, the revenge. The revenge is never fought away,
is it.

Speaker 3 (48:41):
He reminds me a lot in this movie of John
Makovich in Dangerous Liaisons. You know, the way he's the
way he's always a predator, but he's but he's a
predator against different women differently. Is very similar.

Speaker 1 (48:54):
Wow, that's very much. I agreed. Agreed.

Speaker 4 (48:57):
Do you try to make her a little less sympathetic, though,
because even when she's confronted with trying to uh, you know,
get it on with with our hero. Uh, whenever she's caught,
she's like, I was gonna take your manu.

Speaker 1 (49:15):
And each other? Like wait, I know what's going on.

Speaker 4 (49:19):
She's not to touch his crotch, and his girlfriend's like whoa, whoa, whoa.

Speaker 2 (49:25):
That whole sequence to me seems like something that probably
would have been you know, is supposed to be funny.
But but in contemporary lie like because you have the
hero who apparently doesn't drink that much. He says, only beer,
and so he drinks three schnops and is you know,

(49:48):
horned up and drunk, and she's gonna take advantage of him,
which to contemporary eyes probably seems even sketchier than it
does in this movie, because the movie, you know, that
plays out much more lighthearted, even the fact that you know,
he's not entirely opposed to her coming on to him

(50:09):
while he's drunk.

Speaker 4 (50:11):
I mean yes, but also like she knows exactly what
she's doing. Oh no, And to the again she actually
gets caught, it's still like I don't know, I'll see
what I can do, what can I get away with here?

Speaker 1 (50:26):
Ben Hill, Okay, we're talking about a totally different time.

Speaker 3 (50:31):
But like missus Roper, you know.

Speaker 2 (50:37):
And she you know she is. I think it would
be even different if it was an unattractive woman like
she is objectively as attractive as the lead woman, if
not more. I mean she's she's styled differently. Obviously she's
got more, she's got more cleavage. Her clothing isn't as nice,

(50:58):
but you know she you have a you have a
nice girl blonde and a fiery red head.

Speaker 4 (51:03):
That's well, there's there's also like when she comes back
to the the bar, then she's actually standing around with
pretty much just a corset.

Speaker 1 (51:13):
Yeah, weird, like.

Speaker 4 (51:16):
No shirt basically, and so it was it was one
of these things like it's it's a weird again. It
goes back to that class kind of thing, like we're
supposed to see her more. What they're trying to do
is code it more like you know, she would get
seduced by Dracula in a weird way. But it's just
you know, that's her lot, that's she's like, yeah, I'm
you know, her sexuality is part of her character in

(51:40):
that like kind of that's her, that's her brand, you know,
And it contrasts it's very like I said, I think
I said before, like it's a very So she's she's
the Rizzo to our our Maria is Sandra d And
he's definitely definitely the Hey, I'm cool, I'm I'm the
Zuko of the this screw.

Speaker 2 (52:00):
What's what's interesting to me, you know about her is
even though the movie kind of judges her for her
you know, overt sexuality, she doesn't judge herself.

Speaker 1 (52:15):
Oh exactly.

Speaker 2 (52:16):
Yeah, yeah, unless I guess you could read the way
Dracula treats her is her own judgment of her. There's
an interpretation there. But but I am choosing to not
to not slut shame Zena.

Speaker 1 (52:34):
But no, I mean, she's that's her. That's that's her.

Speaker 4 (52:37):
Hey, I've I live in in my own terms, and
I take what I want is her character, right, which
again is why when she tries to use that as
a vampire and gets tossed aside, it is, like you said,
it's more tragic because you know, Draculas used to like, well,
you know, I've got a vampire women in every town.

(52:58):
So the fact that he chose this to just be
super petty and I am completely through with this, this
plaything is yeah, you know triple evil.

Speaker 1 (53:08):
Well said, yeah, it is interesting to me also that
her look, but we talked a little bit about, you
know her, it is it is more distinctly of a
it's kind of a sixties look much more of her
her hair.

Speaker 2 (53:21):
She's kind of got the I mean, this is a
contemporary show, but it was set in this time period.
She's kind of got a Christina Hendricks and Madman hairdo well.

Speaker 1 (53:31):
I was gonna say, it looks like like laughing hair
Like it looks like like you know, Joanne Worley and
all these other people who are wearing these like shaggy
shaggy wigs. It's total it is totally sixties up. Whereas
Veronica Carlson, Sure she's also a sixties girl, but her
hair is more classic. I mean it is long, and

(53:52):
it is it is, you know, as straight as you
can possibly get it.

Speaker 2 (53:56):
And and she's she's kind of got the more boring
part because she she's she's the virginal, innocent who's gonna
be corrupted by Dracula. But you don't even you don't
even get a full corruption the way we saw with
Barbara Shelley in Prince of Darkness. You know, she's you know,

(54:18):
she's she's more of a damsel and distress type.

Speaker 1 (54:22):
She does have an innocent sexuality. I mean, she's perfectly
happy to like sneak out at night and see your boyfriend.
I mean.

Speaker 3 (54:29):
That's why she was cast. I mean they they auditioned
her because James Carrera saw a picture of her coming
out of the waves in a white bikini allah Bo
Derek on the front page of a tabloid and was like,
I want her.

Speaker 1 (54:44):
Yeah, yeah, isn't well.

Speaker 2 (54:46):
And it is implied that she stays overnight with with
with Paul.

Speaker 1 (54:52):
So this is what I mean about in innocent sexuality.
Like they are sexual, but they are not corrupt. They
are there's something in a and and kind of.

Speaker 2 (55:01):
Not well, and they're they're in love and you know,
as it turns out, you know, his love for her,
like you know when when the ship hits the fan,
you know, the Mon Senior realizes that Paul's love for
her is you know, what's really going to save her,
and you know there there's again like that's you know,

(55:23):
the Mond Senior has an arc. You know it's a
small arc. But a character like like like father Sandor,
as much as I enjoy him, does not have an arc.

Speaker 1 (55:33):
That's correct.

Speaker 2 (55:34):
He starts out one way, he ends one way. Peter
Cushing as Van Helsing, as much as I love him,
does not have an arc. In any prior Hammer movie,
the Mond Senior would have begun the movie one way
and ended the movie one way.

Speaker 1 (55:51):
I feel like they're taking your class, and I'm so
thankful for it. Honestly, thank you.

Speaker 2 (55:56):
You're you're so kind. You know, like the mod Senior
has to kind of realize that he was at least
a little bit wrong about Paul. And I love this
movie for that because, I you know it it gives
it a distinct flavor that is slightly different from all
the other Hammer movies. And you know, also the fact that,

(56:20):
you know, the Monsignor is rendered powerless by another priest.
You know, he's he's chasing, you know, across the rooftops
and he literally gets brained in the head by this
This the the Ghoul priest that we've been following through
this entire movie. And again even that character gets an arc.

(56:42):
So you know, it's it's this is a pretty good
structured little movie. You know, it's it's not perfect, but.

Speaker 1 (56:50):
No, I that's a good point. And it's one of
the dangers, of course, because these movies oscillate between different characters.
In the next film, if I recall, there's almost too
much time spent with the supporting characters and not enough
with Dracula. But this one kind of I think sets

(57:11):
the right balance. And by the way, I don't remember completely,
so we'll find out for sure when we watch Taste
the Blood to see if if it's if it is
imbalanced or not all right?

Speaker 3 (57:22):
Before we move away from Veronica Carlton Carlson, do you
want to Jason, do you want to talk about meeting her?

Speaker 1 (57:27):
I mean, I my story of meeting her is probably
no more interesting than you know lots of She was
a very lovely person, and she met many people, and
she was always just incredibly gracious. So Veronica Carlson wound
up being a painter in California and would often go
and do panels. I've I chaired a couple of panels

(57:48):
with Veronica crossing on them, one of them that had
Veronica Carlson and any grid pits actually, and she was
just just an incredibly funny and kind lady. And I
remember once somebody asked a very complicated question, and that
somebody might have been me. So if I were a
better storyteller, I would have said that this question was mine,

(58:10):
But I can't actually remember for sure, But I remember
the question was something like it was something something like,
you know, given the rapid expansion of of you know,
the economy in the mid century, do you think that
your characters were trying to show a change and more?
And and she was like, could you repeat that question?

Speaker 2 (58:30):
Like like.

Speaker 3 (58:32):
It was this it was this sort of like a
dense question.

Speaker 1 (58:36):
What in the absolute hell are you talking about?

Speaker 3 (58:38):
I really, I'm just here for a panel. I'm not
I'm not this is not a prefet I'm not in
a college course.

Speaker 1 (58:46):
Yes, neat lady. You know, she did not brook any
disrespect towards any of her co stars, you know.

Speaker 2 (58:55):
Uh.

Speaker 1 (58:55):
She her her discussions of Christopher Lee were complicated because
she earlier she would always say that when when she
was young, she completely looked up to him, and when
she was older, she was irritated that he was such
a jerkuad about horror movies, you know, and she felt like,
this was the work that we did, you know, and
we were proud of the work that we did. And

(59:17):
if somebody insulted hammer or said something ignorant, like, you know,
and if they were low budgeted or she was like,
these weren't low budget these were major films, you know,
from a from a very important, uh, very important studio
of the era. So she was very quick to even
things out and correct things and going, let me make
let me make clear like what hammer was, and and

(59:39):
and I think Chris has been unfair and here's why.
So she was a neat lady.

Speaker 2 (59:47):
You said this wasn't interesting.

Speaker 3 (59:50):
I know, he sounded so dismissive at first, and then
he goes into like fully documentary level analysis.

Speaker 1 (59:57):
Oh that's kind of neat lady. Hot, my god, even
even yeah, no.

Speaker 3 (01:00:04):
Always, even in her in her older her older years.

Speaker 1 (01:00:07):
Well, the thing is, I'm now probably older than she
was when I when I hosted her, No doubt that's true.

Speaker 2 (01:00:13):
But anyway, anyway, well, I mean, Jason does have an
interesting conception of time. So in his mind, right, he's older.

Speaker 3 (01:00:22):
Yeah, in Jason's mind, I'm sixty five.

Speaker 1 (01:00:24):
So yeah, what are you talking about? What does that mean?

Speaker 3 (01:00:28):
You always you always ate me?

Speaker 1 (01:00:30):
No, no, us, I'll say, you know, you know, we're
pushing sixty when we're not remotely pushing sixty.

Speaker 3 (01:00:37):
So I'm going to be sixty when some day, some day.

Speaker 2 (01:00:42):
Because because Jason is really looking forward to being an
old man, it's like his his he's he's worked his
whole life to reach the stage of scholarly, you know, like,
is you want to be the professor right?

Speaker 1 (01:00:58):
You know, so it's yeah, you know if this is
a ride, though, honestly I think actually I'm ready for
it to stop. That that you're actually right, But I
don't think.

Speaker 2 (01:01:08):
Jason, do you need do you need a do you
need a hug?

Speaker 3 (01:01:11):
He just means he's at he's at the point that
he wants to be at professor wise.

Speaker 2 (01:01:17):
So he wants you want you want this is this
is peak Jason, And you don't want to you don't
want to aid. You just want to stop aging it.

Speaker 1 (01:01:26):
Yeah, yeah he doesn't.

Speaker 3 (01:01:28):
I don't think he's got a death wish.

Speaker 1 (01:01:30):
He just wants to stop.

Speaker 2 (01:01:31):
But that that that briefly came out that way, and
I was like, oh that got dark.

Speaker 1 (01:01:37):
No no, no, no, no, I appreciate. Yeah, Okay, I want
to talk about the death of Dracula.

Speaker 2 (01:01:47):
So no, no, no, no, no, no no no. What else did
we miss and talk about the priest?

Speaker 1 (01:01:51):
Okay? Elwen Hooper obviously he left a bigger impression on you.

Speaker 2 (01:01:56):
Then is the m v P of this this movie
starts with his church dude gets traumatized. He spends the
rest of the movie being abused by everybody he comes across,
and he is so sympathetic to me. You know, he
this actor is doing you know, his character doesn't even

(01:02:19):
have a name. He's just called priest, and he's doing
so much heavy lifting here, you know, like he's basically
bullied by the mind Senior. Then he his his head
wound resurrects Dracula. Dracula. You know, it's not even like
Dracula enthralls him or you know, gives him his blood

(01:02:42):
or anything like, there's none of that. It's just like
just like, okay, bitch, you're my goal now, you know.
And and man like, first of all, like you know,
you're saying, like the ending of this movie would not
have happened the same way with this guy. This guy
also has an arc. He starts out one way and

(01:03:04):
he comes back to his faith at the very end
of the movie. But before that, like the scene where
he has to burn Zena's body, yea so deeply sad,
like it's so messed up and so gnarly. And then
also the scene where he's having to dig up and
dump a body to get a fresh coffin for Dracula.

(01:03:26):
All the facial acting that this guy is doing. You
know that this is one of the reasons why I
love Hammer is they find these like British character actors, which,
by the way, Michael Ripper also great in this movie.
But yeah, but you know this this guy, you know,
he's taking again a very minimal character and he's he's

(01:03:52):
doing so much with it because like they find these
guys with these great faces and they do so much
with it. Like he's so oh deep. This is such
a deeply sad character to me that I I I was.
I just loved it. And you know the way he
he just has this put upon like even when he's

(01:04:14):
trying to pretend to be normal when he enters the
bakery and it's like trying to rent a room, and
he he never looks directly at anybody, like you know,
all the choices the s guy makes gives this character
so much more than you know was probably on the page.

Speaker 1 (01:04:35):
And sorry.

Speaker 4 (01:04:36):
It's also interesting that again, since he's a priest, it's
a it's a twisting of the tail like Dracula I'm
sure directly was like, yo, yeah, this time I got
a priest. How how evil is that? Yeh, Like I
was able to to I don't have my house.

Speaker 1 (01:04:51):
But I have corruption all over well, and it's it's
like the perfect it's the perfect you.

Speaker 2 (01:04:57):
Know, kind of front for Dracula because no one, you know,
even Paul the atheist, you know, at you know, towards
the end of the movie, you know, Paul is like
running back to get his stuff and he runs into
the priest, and of course he takes the priest back
to the mon Senior's house, even though this guy is

(01:05:19):
the person that's caved the mon Senior's skull in. But
you know, people are just trained, especially in this world,
to trust clergy people. So it's kind of a perfect
you know, foil for Dracula and a perfect well not
a foil, but a perfect you know, daytime errand boy

(01:05:42):
for Dracula. No one will suspect this guy.

Speaker 4 (01:05:45):
I mean to the point where even when they try
to do the rituals that they need to do and
he's like, yeah, yeah, I can do that. Oh wait,
I'm corrupted, Like oh I just I mean, it's it
works really well well.

Speaker 2 (01:05:57):
And the way, you know, again going towards where where
you know, Jason wants to end. You know, he's the
one that's saying, like, well, what you know, if you
don't say a prayer, Dracula is not going to die.

Speaker 1 (01:06:10):
Okay, I do want to talk about that, So before
we get to the end, let's talk about that business.
So they come close to killing Dracula at one point,
and Paul.

Speaker 3 (01:06:22):
Fa So this is a new concept and lots of
people have complained about this over the years.

Speaker 1 (01:06:28):
All right, this this concept that that our young hero
can can stab a big old steak through you know,
that Paul can drive a stake through Dracula's heart and
then it doesn't go the way you expect, which is
kind of cool for any horror movies when you're trying
to kill something and it doesn't die the way you expect,
because Dracula starts scrabbling about and hissing and doing all this,

(01:06:52):
but he's not dying. And the priest says, well, you
have to pray. I mean, we've never heard this before.

Speaker 3 (01:06:58):
I know, I think that's consistent. I think that's consistent
because all the other films, it's not nobody prays out loud,
but all the other films whenever somebody puts their fingers
together in the shape of a cross. What makes it
a weapon is the faith. And so I think that's
that's just understood that that people when they're when they're
killing Dracula, it's their faith that's killing Dracula. And so

(01:07:20):
I think even though he's not saying a prayer quote unquote,
they're not saying quite prayers, they're still praying in their
soul or whatever.

Speaker 1 (01:07:27):
I am totally down with that.

Speaker 2 (01:07:30):
But I think an atheist in in this universe is
sort of like a unicorn, you know. I don't think
there is that many atheists in in the.

Speaker 3 (01:07:40):
Hammer louted ones, just like there aren't out gay people.

Speaker 2 (01:07:44):
Yeah, I mean, look at look at the way they
reacted when he said he was an atheist. They basically
was like, well, you're not having any cake, Get the
heck out.

Speaker 1 (01:07:52):
Of here, get out.

Speaker 2 (01:07:54):
Yeah, And you know, you know, I think what's good
about this is it gives you know, both of these
characters something to do in the end of the movie,
because like the priest basically just ends up right back
in the thrall of Dracula. Like the very next scene
he's he's driving the hearse with Maria in tow and

(01:08:18):
in the very end he redeems himself. You know, he's
the one that starts to say a prayer, you know,
even though it seemingly his heart gives out while doing it.
And you know that's even you know, there's some subtle
stuff done with this character visually, like you know, even
though he's he's got the monkering throughout the entire movie.

(01:08:39):
He starts the movie with darker hair, and by the
end of the movie he's got grayer hair, as if
like his service to Dracula is literally just sort of
sucking the life out of him.

Speaker 3 (01:08:52):
Well, and I haven't talked about vampires as a metaphor
for addiction in a while, so let's do that. That
That's the thing is that he is constantly being pulled back,
and he tries to go into recovery, He tries to
go to you know, Dracula rehab, and then he just
gets sucked right back in again. You know, he says,
I'm weak willed or whatever he says, so I can't
exactly what, but he talks about how he's easily you know,

(01:09:14):
he just keeps getting controlled, and then the other guy's like, well,
I'm going to command you. I'm gonna you need to
listen to me. Now, I'm going to take take it
the reins or whatever.

Speaker 2 (01:09:23):
And it's not quite he's literally an alcoholic too, So
like this guy's battling addiction on two fronts and you know,
like he's he's he's a lot more complicated than Clove,
you know who we just and I again so interesting,

(01:09:45):
you know, and again the the the the young hero
isn't really like yeah, I guess he's the one that tosses.

Speaker 1 (01:09:54):
He tosses.

Speaker 2 (01:09:55):
This might be my favorite death of Dracula in any
of these movies because it's the most hardcore Dracula falls.
It gets impailed on a giant cruci.

Speaker 1 (01:10:08):
Yes, and he again with this Dracula is so wild
because he's sexy when he's like kissing Ronica crossing on
the cheeks, and then he is bug like when he
is impaled on this on this cross like he just
is like a spider that's been that's somehow been stuck
through with something and it's he's grotesque.

Speaker 4 (01:10:32):
Yeah, he does, like although it is turned about fair
play because I gotta say Paul gets the award for
most thrown around by Dracula.

Speaker 1 (01:10:40):
Yes, the movie, he's constantly like.

Speaker 4 (01:10:43):
Whoa knocked He gets knocked around our Dracula. Or maybe
this is just the most knockdown Dracula. Contracula knocks down priests,
he knocks down his servants, and he knocks down his
love interests, and he knocks down Paul multiple times, just
throwing him all over the police.

Speaker 2 (01:11:03):
Dracula is not around in this movie.

Speaker 1 (01:11:08):
You're totally ready.

Speaker 2 (01:11:08):
He's he's on a roaring rampage of revenge and he
aroars and he rampages.

Speaker 3 (01:11:14):
I have to read to you guys this this bit
in IMDb. It says Sir Christopher Lee love to recount
the following tale. Hammer was given a Queen's Award to
Industry while shooting the final scenes of Dracula impaled on
the rocks with a group of British government dignitaries watching
as Lee thrashed around, screaming and pouring with gore. After

(01:11:35):
the scene wrapped, a minister turned to his wife and said,
that man is a member of my club.

Speaker 1 (01:11:46):
Gosh, yeah, this is when Christopher Lee is. There are
a couple of times when chrispher Lee really kind of
earns his his pay, like one is when he gets
to do really good monologues, which rarely happens in a hammer,
and then also just all these physical bits. He's very
good at this, you know, And yeah, that's a that's

(01:12:07):
a good ending. Although honestly, if we had to at
this moment name our favorite hammered hammer Dracula deaths, I
think the the one from Dracula a D where he
gets where he gets killed by the wagon wheel is better.
I think that that's that's really that's even cooler. But

(01:12:28):
this is I just.

Speaker 2 (01:12:29):
Think the overkill of him being staked with a giant
cross appeals. And apparently, you know, apparently I wasn't the
only one that this left an impression on, because I
mean this, this gets echoed in Monster Squad because Dracula
gets impelled on a giant cross in that movie as well.
So and you know, I have to believe that's a

(01:12:52):
direct reference. You know, there's somebody should do a h
like a clip reel of all the times dra not
just Christopher Lee, but like every Dracula, like all the
time Dracula has been killed in a movie, and we
could just pick out which which Dracula had the juiciest death.

Speaker 1 (01:13:14):
Yes, indeed, that's a good idea. That would be a
really cool just reel of of Dracula's deaths.

Speaker 2 (01:13:20):
The many deaths of Dracula.

Speaker 1 (01:13:22):
Yeah, alright, I believe that covers the whole of the film.
So I would like to come around, uh and get
our final thoughts and then get into our endorsements. So
where did we did we start with? Drew? It was Drew? Yes,
mister Drew. And you've been Drew. You've done such a

(01:13:43):
good job in this whole discussion of keeping us on
you know, and you know everybody's been so super wise,
but I I appreciate that you've kept us on track,
or kept me on track. And god, no, no, you're
forgetting the awesomeness of this or that.

Speaker 3 (01:13:58):
So not just that, but it was peak Professor Edwards
in this episode.

Speaker 2 (01:14:02):
Oh well, gosh, I I that is what I needed
to hear today. I was having a low self esteem.
Oh and and that this just perked me right back up.
So thank you? I yeah, I what First of all,
what a lovely discussion we got out of this. I

(01:14:23):
In case you could not tell by my enthusiasm throughout
the entire discussion, I really, I really loved this movie,
and you know, I'm glad that this is one of
the first DVDs I ever thought. Yeah, and I'm still
watching that same DVD decades later, so that DVD has

(01:14:46):
held together nicely and has served me served me well.
So thank you hammer Box set I bought in the
early aughts. But uh yeah, this is a fantastic Hammer
horror movie, and I think a transitional vampire film, and
I think, uh yeah, everybody should go out and watch

(01:15:09):
along with us as we work our way through all
these these Hammer horror classics.

Speaker 1 (01:15:14):
Wonderful. Thank you very much. Julia. What are your thoughts?

Speaker 3 (01:15:17):
I think the discussion has made me realize that I
like this movie more than I thought I did so
because there's definitely, like I said, there were some things
that I thought were you know, kind of like cliche,
but but really there's a lot of interesting stuff that
we've kind of uncombed as we've been talking about it.
So very interesting discussion and an interesting, interesting film as well.

Speaker 1 (01:15:38):
Thank you, Tony. What about you?

Speaker 4 (01:15:40):
I think I have come around more. I mean, I
thought it was a good movie, but I think the
discussion really helps. Yeah, it's kind of what's fun about
doing this right, Yeah, watching it coming out of theater
talking about it, it's great. I yeah, I like the
brutality of this Dracula. I really still enjoy the rooftop

(01:16:04):
setting is just something to break it, break things up.
I think that's neat. Overall, it's it's still fun. And
even if it's again, any Hammer Dracula, even if it's
not your favorite Dracula, you're always gonna get something neat
or a twist here and there, and that can't be
said about everything. And that's another reason why I like
those films.

Speaker 1 (01:16:24):
That's that's really that's really wonderful. Thank you so much. Uh,
this one always the first thing that I go to
is just the look of it. But I I feel
like there is no such thing as a perfect Hammer
Hammer film. There are some that are super close, you know.
I feel like Brides of Dracula is probably as close
to a perfect Hammer film as you get. But what

(01:16:45):
it's more like is that there are just many, many
facets of Hammer and everyone has an element of what
would make the perfect Hammer movie. And this one has
several really cool ideas, such as you know, alternating sect
and animalistic Christopher Lee and also these amazing sets and

(01:17:05):
it's this is a really fun one and gosh, I
would love to see this one giant on a giant screen.
I would just that would be so cool. So thank
you very much. I've really enjoyed discussing it all right, endorsements.
Dying to know because it's been a couple of weeks
since we were together, Drew, what do you have for us?

Speaker 2 (01:17:25):
So I watched a Swedish I guess you know, kitty
horror film for lack of a better term, called nelly
Rap Monster Agent on Prime and it was just charming
and delightful. It's about a young girl named Nellie who

(01:17:47):
goes to stay with her odd uncle Hannibal, who, unbeknownst
to her, is what is called a monster agent, which
is basically like a group of monster hunters, and she's
soon drawn into this world of vampires and werewolves and everything.

(01:18:08):
But she ends up befriending a girl, a character that
is what they call a Frankensteiner, which is like their
version of Frankenstein's and who doesn't want to be a monster,
she wants to be a baker. And it's just so
cute and the monster effects were actually surprisingly really well done.

(01:18:31):
Like all the makeup and everything, and I just found
it very, very charming. It is a kid's film, so
you're mileage may vary. But as a new father, I
find that I really enjoy coming across these movies that
are genre adjacent, but I can watch with no trepidation

(01:18:54):
with my daughter. So you know, I could see this
being a go to Halloween movie for and then the
next few years because it's it works very well on
that level.

Speaker 1 (01:19:06):
Wonderful. Thank you very very much, Julia. What about you?

Speaker 3 (01:19:10):
I can't remember what we what we talked about last time,
so I'm going to We've.

Speaker 1 (01:19:15):
Talked about the Honor Farm just before there.

Speaker 3 (01:19:17):
No, no, no, I'm saying last I can't remember what I
already endorsed last time we met, so I don't know
which movies I've seen since then. But yes, no, I
know that the Denver Goes Tour. There's a bunch of
places that the Jason researched, and one of them is
this awesome, such a cool bar that we'll have to
take you guys to when you're in town. That is

(01:19:40):
it's called Honor Farm, which it's a name that I
just keep forgetting because it doesn't it feels like it
should be haunted something or something, but but there's like,
you know, these all these skeletons everywhere, and it's it's
just a really cool place. But no, as far as
things that I've watched, I just went to see the
Life of Chuck, which is actually not at all what

(01:20:01):
I expected it to be. It's very strange. It's a
really strange movie, really cool. I liked it a lot,
super starks that had cast. Even though Tom Hidleston's on
the poster, he didn't show up until like a third
of the way in. So it's very interesting. Based on
a Stephen King novella, and so that explains some of

(01:20:23):
the weirdness of it. But I recommend it. Don't don't
assume anything based on the small trailers that you may
have seen.

Speaker 1 (01:20:31):
Wonderful. Thank you very much, Tony. What about you? So
I'm seeing that tomorrow. I'm stoked.

Speaker 4 (01:20:37):
I did enjoy twenty eight years later. I think it's
a much artsier film than people might think it is,
and bonkers in places that people that were completely unexpected.
But I'll try to take too long. But my big
endorsement is it's Chattanooga Film Festival time and you know,

(01:20:57):
I've talked about it in previous years. Do a great,
just a fantastic job on their virtual fest. It started
when they had to pivot during lockdown and they've kept it.
And it's really hard to get distributors to send their
movies because now they're like, hey, I can see these
in theaters. Now, why would I let you stream my movie?

(01:21:19):
So Chattanooga Film Fest gets a lot of stuff, but
there's you know, I want to say there's close to
thirty at least virtual things, and some of them are
time you know, they show it that specific days for rights.
But I've just really enjoyed Since Friday, I've seen like
fifteen movies, so you know, I you know, I'm fitting

(01:21:40):
them in amongst you know, actually doing stuff adult things
and band stuff and everything like that. But I've tried
to stay up late and watch as many movies as possible.
They also do a great job of they have this
lineup that's midnight movies they call the Red Eye Movies,
and each night there's a movie like a secret movie,

(01:22:01):
and those have been great. Last night was Killer Party,
which was an eighties you know slasher, kind of the
typical slasher boner comedy kind of stuff, you know, with
some fool new wave and also you know hard rock
metal soundtrack, like all the things that make a good
eighties of that time period. There was an anime block.

(01:22:21):
They've shown the Horror Party Beach, So every night this
week I'm looking forward to, you know, since since they started,
I've been looking forward. I've also seen some great movies
that several films that has a documentary extracismode the transgressive
legacy of classificata s and it's about these s classification

(01:22:42):
horror movies and erotic movies that happened after the fall
of Franco right, and that was fascinating. And there's you know,
actors and actresses and directors and and it's just it's
also a history lesson about what was going on in
that era. There's a band and another doc The most
Australian band were about a punk band called the hard Ons.

(01:23:02):
There's you know, there was a music related horror, low
budget horror pittern Oster and the Mission of Light. There's
a Hollywood movie Operation Jaca, Liga Fade and Blood, which
is a weird Collywood plus some people from Israel at
the time. This is a couple of years back, a
year or two back, have a thing and a really

(01:23:25):
fascinating documentary called Bob Morgan's just going to tell some stories.
And Bob Morgan, uh, you know, is in Kentucky and
he lived with he knew Faulkner and is this artist.
And it starts as as you know, him being this
kind of quirky uh you know, found object artist, but
then goes into you know, queer Kentucky and you know

(01:23:48):
what growing up as a gay man in this area
and the further history of that. It that turned out
to be something I had, you know, didn't expect. And
that's the greatness of to me, Chattanooga, I've I've as
a virtual fest has turned out these just a lot
of it's very indie and you know, I don't want

(01:24:09):
to go too long. But a couple of others. There
was one called Hacked, a double entendre, rage fueled karma.
That's you know, crass in the good ways that I
like it things to be crassed. But it started as
this filmmaker got scammed for twenty grand right right when
they were about to buy heat and his wife were
about to buy a house. And so he turns that
scam into part of the movie and then also kind

(01:24:31):
of this revenge on the person who scammed him by
way of the movie. So uh, you know, it's his
own like Catharsis as a movie. There's a crime one
called The Misadventures of Vincent Hick. And again I'm trying
to see as many as much as possible. There's you know,
I talked less about the horror side other than Peter Nostro,
but there's there's a bunch of stuff, and you know, there's,

(01:24:54):
like I said, I'm hoping to see you know, I'm
hoping to catch by the by Friday that it ends.
My goal is to watch all twenty seven or thirty
entries if possible, but we'll see how far I get.
But they do just such a great job, and they're
really passionate about all the good things and you know,
being good people and respecting film. And I can't say

(01:25:19):
enough good things about the way that they run the
virtual fest that if you want to, there's a discord
channel all of this stuff, like being excited about filming
and keeping that hybrid because it's also you can buy
hybrid ticket so you could go watch films in the theater.
There's exclusives to the to the actual in person fest,
and then you can watch as much as you want
on the virtual fest as well, if you If you

(01:25:40):
that's your bag. So I'm always you know, I know
I'm spreading it pretty thick, but you know, these kind
of fests are things that I dig and they give us.
They give a really cool voice to independent filmmakers and
that doesn't always happen regardless, and I think that that's
that's pretty rad. Hopefully I'll all when come back the
next week, I might have more, we might do a

(01:26:02):
wrap up, but I still think that they're just they're
doing good stuff and I think they should be commended
for that in addition to me just loving to watch
a buttload of movies.

Speaker 1 (01:26:14):
That's that's fantastic. What what's the name of the festival again?
The Chattanooga Film Festival. Chat Chat is just simply the
Chattanooga Film Festival, all right. I well, I'll make sure
it gets in the in the show in the show notes.
Chat film Fest is there is their thing, and it's
they're just great. I wish I'd had a chance to
watch the Horror Party Beach with you, because I love

(01:26:36):
I love Yeah. Well, I think they offer I don't know.

Speaker 4 (01:26:40):
In the past, it's also worked that you could rent,
like I bought a I bought a virtual film pass
and they go through events. But there might be you know,
tickets where you can just see, you know, they had
it from I know last year you could buy a
single ticket, but I haven't checked since I already had
a pass.

Speaker 1 (01:26:59):
I needed research that. But yeah, it's super cool, wonderful.
I have two quick endorsements. One is, I don't know
if anybody else will appreciate this the way I do.
But in nineteen ninety five, there was an anthology series
called Picture Windows from Norm Jewison, and I've been looking
for it for years and years and years because it
was an anthology of dramas, often crime or sexy or horror.

(01:27:25):
But the trick was every single story was based on
a famous painting, so like the famous painting of the
clown sitting at a table with a cigarette danging from
his mouth becomes a crime story with Alan Arkin, you know.
And it had it had these great actors and you know,
really good creatives behind it. So nineteen ninety five and

(01:27:47):
then it disappeared, it like just went poof. You couldn't
find picture windows anywhere. Well, anyway, it's all been it's
all been uploaded to YouTube, so you can see all
six episodes, and I'm thrilled. The other thing is Lukasman,
as you know, who is a member of our cast,
is the chair of the American Immigration Lawyers Association in Colorado,
and she spent last week acting as one of the

(01:28:10):
hosts of the national conference for AILA here in Denver, Colorado.
And so she was like dedicating her whole life to
this for like a long, long long time. It was
a really big deal. So I just want to like
endorse that it was an amazing amount of work and
really impressive and I'm just so proud of them.

Speaker 3 (01:28:27):
So there you go, very nice. Thank you of course.

Speaker 1 (01:28:31):
So and that's it. We hope that you're doesn't hate me.
But as you picked that.

Speaker 4 (01:28:38):
In my brain because this is how I think I
am picturing the episode that is that the dogs playing cards?

Speaker 2 (01:28:45):
Yes?

Speaker 1 (01:28:46):
Oh my god, like what would that be? Yes? I
if I ever get another office, because right now in
my office, I used to have a really elegant office
that was painted like a dark, sumptuous red and it
was all wood. And in this office since it was
painted blue, I decorated it with movie posters. But I
think in the future next office I have will be velvet,

(01:29:09):
velvet paintings like yeah, you know, so it'll be dogs
playing poker and Jesus meeting mothers and and.

Speaker 4 (01:29:17):
My very Italian Catholic grandfather had a bullfighter oh boy, yeah.

Speaker 1 (01:29:23):
Oh and and girls with castanets like yeah, yeah all that. Yeah, yes,
Can I decorate one of the rooms with with.

Speaker 3 (01:29:35):
Your your room? You can redecorate your room.

Speaker 1 (01:29:38):
It stays in your room. That's that's our that's our.

Speaker 4 (01:29:41):
Like, I don't care what's in your office because I
don't have to go in there is the nature of
the Beast.

Speaker 1 (01:29:46):
But I know we're talking about that series.

Speaker 4 (01:29:48):
All I could think about is what is the dog play?

Speaker 1 (01:29:50):
Yeah? Well, or you know, it'd be funny if you
did Night Hot. Actually, if you rebooted, because it's a
long time ago now right, if you rebooted Picture Windows.
What I would do is an episode called Nighthawks, But
you can somehow find a way to go from one
Nighthawks to another, So you'd like start with Nighthawks and
then you'd wind up at like the one with Marilyn
Monroe and then you wind up at the one with

(01:30:12):
the monsters, like because there's a million ripoffs of Night
of Night. So yeah, that would that would be really funny.

Speaker 4 (01:30:19):
That would be fascinating. Yes, I mean I'm down with
all of this.

Speaker 1 (01:30:24):
Yeah, so anyway, yeah, picture Windows that I am a
sucker for a late nineties anthology series, so certainly Picture Windows.
But also, what's the one that's a vampire? The Hunger?
Holy shit, The Hunger is so good. Jesus Christ, I
had no idea. It is really good, and nobody ever

(01:30:44):
talks about it like it's like it never existed. So yeah, anyway,
all right, everyone be excellent to one another. Thank you
so much, and we will talk to you really soon.
Come to the Facebook page. Tell us about your favorite
anthologies and and why I'm crazy, uh to to like
The Hunger so much? Byeway by perfect m m

Speaker 2 (01:31:15):
M m hm

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