Ep 282: Frankensweetie (w/Philip Faiss, host of Netflix & Phil)

It’s a tale as old as time… well, as old as 1818 at least, since that’s when Mary Shelley’s novel was first published. And after multiple film adaptations, Guillermo del Toro is now putting his stamp on this classic monster story. Tune in as we’re joined by Philip Faiss, host of Netflix & Phil, to break down Netflix’s “Frankenstein” — from the many different layers behind this narrative, to the ways del Toro changed the source material, and of course, how Jacob Elordi can be sexy even as The Creature.

Check out Netflix & Phil on YouTube at https://www.youtube.com/@philoween_trends

Episode Transcript

Speaker 1 (00:10):
Hello, Welcome to Happy Hord Time. My name is Tim Murdoch.

Speaker 2 (00:13):
And my name is Matt Emmert, and we are here
today with a very special guest to discuss the new
Netflix horror movie Frankenstein.

Speaker 3 (00:22):
No, it's Frankenstein, but.

Speaker 2 (00:25):
Anyway, it was the perfect opportunity to collaborate with this person.
He has his own show called Netflix and Phil, which
we have had the pleasure of being on, and he
actually interviewed us, which that's something new for us, debt.
It was a ton of fun, so we had to
have him on our show. So I'd like to introduce

(00:45):
Phil Fess.

Speaker 4 (00:47):
Hi everybody, Hi, Tim and Matt High viewers. Phil.

Speaker 2 (00:51):
We're so excited to have you on. I mean, like,
the thing is is that like when I know we
were talking after we were on your show about like, hey,
when can we have you on our show, and I
was looking at the calendar. It's like, Okay, he does
a Netflix show, we gotta have a Netflix horror movie.
And I didn't find anything until this movie. But it
also kind of felt perfect, you.

Speaker 4 (01:10):
Know, I would agree with you. Yeah, appears Netflix is
really leaning into different properties, and I think there's something
contractually going on with Guillermo del Toro because he's putting
a lot of his stuff on there.

Speaker 3 (01:22):
Right Yelmo Dell Netflix.

Speaker 1 (01:24):
I went to his museum like ten years ago. It
was like this huge thing. I didn't realize how how
much he's how much stuff he's put out there.

Speaker 2 (01:32):
Wait, wait, tell me more about this, because I didn't
know there was a Guermo del Toro museum.

Speaker 3 (01:38):
It was where we were last night the Academy. Oh yes, exhibit.

Speaker 1 (01:41):
Yeah, it was an exhibit and there are all these
rooms with all his different movies, and I was like, oh,
I guess I have seen a lot of his movies.

Speaker 4 (01:46):
Yeah, there's a lot of output there which I'll probably
forget during this talk. But he has created so much,
and now he's created Frankenstein, which we're going to dive
into today.

Speaker 2 (01:59):
Yes, but before we do, I want to give you
a chance to tell our viewers and listeners about your
show Netflix and Phil. How it started, what you talk about, Yeah,
give us a little summary.

Speaker 4 (02:11):
I have. It happened quite organically. I for years now
on YouTube have been hosting small videos where it's just
me basically speaking to the camera. I had episodes where
I was holding up my Vinyl records and talking to them.
I was holding up comic books, you know, trying to

(02:33):
find that happy medium where actually would people would actually view,
and I was talking about and then I started a
series where I was reviewing Netflix content, and then it
dawned on me. I was like, I'm an actor part time,
and there were people I knew friends who were actually

(02:53):
on Netflix properties, going as far back as the television
show Glows on Netflix, which was populated by friends of
mine who are in the improv scene, and they portrayed
a couple of the lady wrestlers on that show. So
I interviewed one of them. I interviewed Emma Watson. Is

(03:18):
it not Watson, I'm gonna say the name wrong, but
her first name is Emma and she was on host
that was created in the UK. So there was just
this run of people that I just started interviewing that
obliged me when I would like DM them and say hey,
would you like to come on? And I'm always surprised
when they say yes. So it just continued since that.

Speaker 2 (03:39):
Well you shouldn't be surprised because having been on your show,
you're so much fun to chat with, Like, seriously.

Speaker 1 (03:45):
You did your research.

Speaker 2 (03:46):
Yeah, and you made us feel really comfortable. And just
so people know, I mean, you can find Netflix and
Phil on YouTube and we will put the handle in
the episode description. But about I don't know, was it
eight months ago we were Phil reached out to us
and it was very sweet because he wanted us to
come on the show, but he kind of wanted to
interview us. And again, like Tim and I have interviewed

(04:08):
a ton of people, but we've really never been no interviewed,
So it was interesting being on the other side of that.
But at the same time, like you, you knew your shit.
You were asking us stuff, you knew both of us beforehand.
You were really well prepared and it was just a
lot of fun. So if you want to check out
us on Phil's show, you can find it on his
YouTube page and just probably learn a lot about us

(04:29):
that maybe we haven't even told on our normal, deepest
darkest secret. Yeah, Tim talked about everything in his life.

Speaker 4 (04:36):
We took a deep dive. Well, and I want to
pay you both a compliment because you have You're so
eclectic and fun and have created such a great following
that I envy you and it was so great. It's
probably one of my watch videos is the one where
I interview you both, and it was such a great
time and I just appreciate having the opportunity to talk

(04:59):
to you.

Speaker 2 (05:00):
Well, thank you, like because it's so funny because like
we I'm thinking people who go to your channel like
want to see Netflix, people probably see us and they're like,
who are these two clowns?

Speaker 3 (05:10):
Like they ain't on Netflix?

Speaker 1 (05:13):
A clown on your T shirt?

Speaker 3 (05:14):
I do have a clown. We always wear Tim and I.

Speaker 2 (05:17):
We never plan our shirts together, but we both own
so many horror shirts and we just both happened to
be wearing two very important found footage film.

Speaker 4 (05:28):
Blair Witch Project Blair Witch Nice.

Speaker 2 (05:31):
And I was like, oh my god, and we're talking
about the furthest from a found footage film.

Speaker 3 (05:35):
But we're both like, up, you know, we've a straight
up written film.

Speaker 2 (05:39):
Yeah exactly. So I guess well, first off, again, can't
say it enough. Everybody check out Netflix and Phil and
we are going to jump into uh this new Netflix
movie Frankenstein, which this has been talked about for a
while now because Guerramo del Toro has done so many
really big types of epic I know he did, but

(06:00):
I don't know everything either. I know he did Shape
of Water, which was Oscar nominated and really fucking weird.

Speaker 1 (06:06):
That was weird, like someone had sex with the fish.

Speaker 4 (06:09):
Yeah.

Speaker 2 (06:10):
Absolutely, he also did didn't he do one with Katie
Holmes about a haunted house?

Speaker 4 (06:15):
Oh?

Speaker 1 (06:15):
Yes, in Those Little Creatures?

Speaker 2 (06:18):
Yes?

Speaker 4 (06:18):
I remember it was based on a television movie and
the titles escaping me right now. And I actually quite
enjoyed that movie. But you're right something living in the Walls.

Speaker 1 (06:27):
Do you do the all three of the Lord of
the Rings films?

Speaker 3 (06:30):
It was Don't be Afraid of the Dark.

Speaker 2 (06:32):
No, he didn't know, he didn't, but he did scary
stories to tell in the dark. He did Pan's Labyrinth.
That was like one of his first really big ones.
I did not know. He did both Hellboy movies Hellboy
and Hellboy too. But he also, just a couple of
years ago did Pinocchio, So apparently he's taking on like
really big properties. But he also did Mama, remember that horrormone?

Speaker 4 (06:56):
Yes?

Speaker 1 (06:56):
And I guess the Hobbit film.

Speaker 3 (06:57):
Series, right, did he do the Hobbit?

Speaker 4 (07:00):
He?

Speaker 3 (07:01):
Oh, the Hobbit film series?

Speaker 2 (07:02):
Yeah, yeah, yeah, So there's a he's very eclectic but
all of his films are very I keep using the
word epic, but that's because it's because they're just larger
than life. They're big, they're very visualistic, visually incredible, and
I have never been like a oh my god, I
love germal del Toro person. But at the same time,

(07:24):
I've seen enough of his movies or respect right.

Speaker 1 (07:26):
Like, I appreciate them. I'll see them and then I'm
done with them.

Speaker 3 (07:29):
Have you what's your thoughts or your history with germal
del Toro.

Speaker 4 (07:33):
Honestly, because I remember as far back as Pan's Labyrinth
and Scary Stories to Tell in the Dark is kind
of like a comfort horror movie for me. It has
such feeling and depth to it. I think he's reading
reaching I should say, kind of an apex where I
think we're gonna see more and we're going to see, uh,

(07:54):
things get even better and more exciting. I don't know
what that is that I'm feeling, but he has such
attention to detail, and he has such huge set design
and it's all he's very hands on and it's all
about the color pat palette and uh, what you can
create in just a small frame, which I think is amazing.

(08:15):
I would have loved to have seen this in the theater, Yeah,
as opposed to a television because there's such scope and
depth and just detail.

Speaker 3 (08:24):
Yeah, play here for one week.

Speaker 4 (08:25):
Yeah.

Speaker 1 (08:27):
Yeah.

Speaker 2 (08:27):
It had a very limited theatrical release, which I can't
believe Netflix even agreed to, because usually when it's like
a Netflix exclusive, they don't want people seeing it.

Speaker 1 (08:35):
I think there's such a grandness to it that I
feel like Guilmardlturo, did I say that, right? I don't
think you think like he wants to have it visually
seen on the big screen.

Speaker 2 (08:44):
Yeah, it is the type of movie I will say,
if you have go to the biggest TV in your house,
the most recent one, if you have a four K
TV or whatever, and watch it there, because like, visually
it is just pretty incredible. And so we've talked about
Yama del Toro. Now, how about both of your guys's
histories with Frankenstein. Like there have been I think I

(09:07):
looked up on Wikipedia, like two hundred and something movies
or adaptations that have some sort of Frankenstein like character
in it. But there have also been specific movies called Frankenstein.
Obviously the very early ones in the early nineteen hundreds
and then there was I think the nineteen ninety four
Kenneth Bronou, yeah, with Robert de Niro, Robert de Niro
as the monster and Helena Bonham Carter.

Speaker 3 (09:28):
Did you both see that one? And what were your thoughts?

Speaker 4 (09:31):
Well, Tam, I defer to you, and then I have
some inputs.

Speaker 1 (09:35):
I did see the nineteen ninety four one, and I
saw it once. I couldn't tell you one frame, and
I you know, I enjoyed Franken Hooker much more.

Speaker 2 (09:45):
I love Franken Hooker. That is so funny. You say, wait, wait,
quick sidebar. One of my best frank in college, Kate Well,
we went to college in Boston and she used to
work at her local Massachusetts Videos, and she said they
had a Frankenstein VHS because that's how old we are

(10:05):
that you could press it and it would say wanna date. Yeah,
so they would always press me wanna date.

Speaker 1 (10:12):
I think that movie was more built on the marketing
in the name, which is fine, but it's also pretty funny.

Speaker 4 (10:17):
Well, I it's a blind spot for me and I
need to check it out. My first dance with Frankenstein,
so to speak. My father, my parents were huge mel
Brooks fans, So the only understanding I had of that
mythos was Young Frankenstein and Gene Wilder, Terry Garr, Marty Feldman,

(10:40):
Madeline Kahn, and just the chewing of the scenery, that
whole black and white film, which was just a great
love letter to movies of that era, the early universal
type movies. But it was just layered with comedies. So
that's what I knew, and unders of course I've seen

(11:00):
the other iterations. I know, the Universal Frankenstein with Boris Carloff,
et cetera. I'm a good, a great fan of the
Bride of Frankenstein, which is a lot has a lot
of camp and Elsa Lanchester in the title role. But
I honestly it's Young Frankenstein for me.

Speaker 2 (11:21):
It's just funny you say that because I was just
typing in because I remember so we Tim and I
do now like a horror news commentary every other week
where we will report on like horror news, I mean,
not so much because we're breaking the news, more like
just our thoughts on different things happening. And one of
the things a few weeks ago we talked about was
there is a new show being ordered from mel Brooks

(11:43):
called very young Frankenstein, which I thought of when you
said that, because I feel like you are gonna love
that because I also remember young Frankenstein and the fact
that mel Brooks is like almost one hundred still making stuff.

Speaker 3 (11:55):
He's incredible.

Speaker 1 (11:56):
I want to retire.

Speaker 4 (11:58):
Yeah, he's still taking it, and so we have that,
and he's also producing another space Balls, which is just
mind boggling to me as.

Speaker 3 (12:06):
Well, unbelievable.

Speaker 2 (12:08):
I just like, I see these release dates being like
twenty twenty seven, twenty twenty eight, and it's like, I
think this is morbid the thing. But I'm like, Okay,
he's very old. I really hope he continues to be
in good health through these things.

Speaker 1 (12:21):
I like that he's working up to the end.

Speaker 2 (12:24):
Yeah, well, I mean maybe the end is gonna be
one hundred and twenty, maybe getting.

Speaker 1 (12:27):
The ball rolling for you know, because think about how
many people he's employing, Like that's amazing.

Speaker 2 (12:32):
And maybe he'll be reincarnated as a Frankenstein monster himself.

Speaker 1 (12:35):
Oh no, no.

Speaker 2 (12:37):
No, okay, So my history with Frankenstein it's not that
big of a history actually, I mean I always knew
Frankenstein as like the green headed character. That's one of
the monsters from Halloween and all not from Halloween the movie,
but you know, during Halloween. I saw the nineteen ninety
four film once also, and I have not read Marry

(13:00):
Shelley's novel from eighteen eighteen. Has anybody here read that? No,
that's crazy. You don't go out I'm just not interested.
You don't go out and pick up novels that were
written two hundred years ago.

Speaker 3 (13:13):
I don't go near books.

Speaker 2 (13:16):
No, So I don't have that much of a history
with it. But like everyone knows the story of Frankenstein,
and what I've always found funny is that Frankenstein is
actually the name of the doctor. His monster is actually
Frankenstein's monster, but they've become so synonymous that people just
call the monster Frankenstein.

Speaker 3 (13:36):
You know.

Speaker 4 (13:37):
Interesting you say that because I don't know if it
was tongue in cheek or what. But in this movie,
I almost feel like they're pointing at that and making
fun of it a little bit, if that makes any
sense to you, whatsoever it does?

Speaker 3 (13:51):
But how so explain?

Speaker 4 (13:53):
Yeah, so there's this and again no spoilers, so if
you haven't seen it, check it out first. But there
are these moments and I don't know if they're detailed
in the book, but where the creator Victor Frankenstein and
the monster, he keeps reassuring him, this is my name,
this is my name, and it's always Victor, Victor, Victor

(14:13):
or Victor, and like you said, it's anonymous. They were
sharing the same kind of name or nomenclature, and I
almost thought, you know what, it kind of speaks to
that history with this character that it's kind of funny
that we call him Frankenstein when he's really Frankenstein's Monster.

Speaker 2 (14:31):
I've just always found that interesting, Like, for instance, two
three years ago for Halloween, I was Frankenstein, but technically
I was Frankenstein's Monster.

Speaker 3 (14:42):
So it's like it but nobody calls it that, you
know what I mean.

Speaker 2 (14:44):
It's like, I'm not gonna be what do you I'm
Frankenstein's Monster, Like it just feels pretentious.

Speaker 3 (14:49):
Creation creation.

Speaker 1 (14:50):
Yeah.

Speaker 2 (14:51):
Oh so one thing Phil I wanted to tell you,
and also all of our listeners of yours, notice so
we actually do spoil everything. So it's totally fine because
the way we kind of do our reviews is that
we always have them come out like about ten to
twelve days after a movie releases, So it's kind of
like just because we want to be able to talk

(15:12):
about everything, so spoilers are totally welcome. Our audience knows
that kind of when you listen to Happy Horror Time
movie reviews, you're gonna hear everything.

Speaker 1 (15:20):
So hopefully you've seen it or you just you don't
have no plans to see it.

Speaker 2 (15:23):
A lot of people sometimes, like I've heard from viewers
and that are just like, you know, some people like
knowing what happens and something before they see it. That's,
you know, to each their own. And then some people
are just like I want to hear you review to
decide if I'm gonna see it.

Speaker 4 (15:38):
Yeah, it makes sense, makes perfect sense.

Speaker 3 (15:40):
Yeah.

Speaker 2 (15:41):
But like so a couple quick things before we get
into like the plot of this. Frankenstein won and I
found this really interesting and want to know your guys' thoughts. Apparently,
before Jacob Elordi was cast as the creature Frankenstein's Monster,
originally cast in that role was Andrew Garfield.

Speaker 4 (16:00):
Oh my gosh, now I want to see that version.

Speaker 2 (16:04):
See Okay, So I wanted to get thoughts because for me,
when I think of the monster, I think of this
big hulking, strong person, which is exactly Jacob Alordi like,
no offense to Andrew Garfield.

Speaker 3 (16:15):
Hulking, but Frank the monster.

Speaker 1 (16:17):
No, I don't think Jacob o. Yeah, he's kind of
a skinny guy.

Speaker 2 (16:21):
Yeah, but he's muscular, like I mean, and I'm not
just Thurston after him.

Speaker 3 (16:25):
He's muscular.

Speaker 2 (16:26):
Andrew Garfield to me, isn't as like monstrous in like,
he's not as brutal.

Speaker 3 (16:34):
Yeah, and bulky.

Speaker 2 (16:36):
And so I actually think this was better casting, but
wanted to know your guys thoughts.

Speaker 4 (16:41):
Damn, I have a thought. You go first, and then
I'll add my I.

Speaker 1 (16:44):
Was totally happy he was casting. Definitely made my interest pique.
I mean, you know Andrew Garfield school. I just saw
him in that Julia Roberts movie about the college and everything.
So I was more interested in Jacob just because the
you know, like I was like, oh, can he play this?

Speaker 3 (16:59):
Yeah?

Speaker 4 (17:00):
Me too, I was thinking that you're and I kind
of am feeling that myself. When you mentioned Andrew Garfield,
I think we would have gotten the more sympathetic Frankenstein
that the viewer would probably feel a lot more for.
Not that I hated Alordi's performance but he is so ominous,
and I think he did great work as the newly

(17:22):
conceived monster, and then we see this transition to kind
of the hulking, brutish version that we all kind of
know and understand. But I don't know and Andrew Garfield.
I think would have been I don't know, I would
be more sympathetic toward that actor for some reason.

Speaker 3 (17:39):
I don't know why. That's a good point.

Speaker 2 (17:41):
I mean, I think we all have probably seen Andrew
Garfield in more more movies, I mean, Spider Man, like everything,
the Social Network, He's been in a ton although Jacob
Alordy like his star is rising, like he has been
in a ton of stuff lately and continues to be
in a ton of stuff.

Speaker 3 (17:58):
But I totally see your point.

Speaker 2 (17:59):
I think maybe people would feel more sypathic because they
know Andrew Garfield. But at the same time, maybe that
would have worked against it, because like Jacob Elordi, people
who don't know him could just be like, this is
just a creature and could really not even think of
the actor. Although I will say this, I look, I
find Jacob Elordi incredibly attractive, and it was hard not

(18:21):
to even look at him as this deformed monster, and
still not that he was incredibly attractive.

Speaker 1 (18:27):
It was one shot where I thought, like everyone here
has seen Rob Zombie's Halloween two and like he just
wears like the black cape and his face is kind
of peeling up like the mask was. I was like,
oh my gosh, they made Halloween too Rob Zombie.

Speaker 4 (18:41):
Okay, so now I want to interject this really quick.
So and I won't get the character name right, but
I love the makeup design. I love the aspect of
how they patched together this monster and the symmetry or
it often reminded me of is it Nebula who's the character?
And Guardians of the Galaxy that's the email alien. I

(19:02):
can't think of what the name of the character is
that you guys remember.

Speaker 2 (19:06):
I don't, but I know it's played by the woman
who just won the Oscar right.

Speaker 4 (19:12):
Oh my god, I'm gonna look it up. So talk
amongst yourselves.

Speaker 2 (19:15):
Well, oh wait, so are you talking about the makeup
and how that because it's so funny you mentioned that
because from a makeup perspective, Tim actually brought up a
great reference about the people under the stairs.

Speaker 1 (19:29):
Oh yeah, I just was as I was watching it,
he looked like a very specific person under the stairs,
which is a whole different title, the person under the pairs.

Speaker 2 (19:36):
About the people the person. Yeah, well it looked like
it was the guy who comes out at the end.

Speaker 1 (19:41):
Yeah, yes, yes, yeah.

Speaker 4 (19:43):
You're absolutely right. Well, they had a lot of similarity
to other characters that we've seen before. So yeah, Karen
Gillen's Nebula in Guardians of the Galaxy. I kept seeing
that in Jacob Elordi's Frankenstein.

Speaker 3 (19:55):
For some reason.

Speaker 2 (19:56):
Okay, I'm thinking of the totally different actress then, because
she's not the one new one the Oscar last year
for Supporting Actress, But she's in Guardian the Galaxy. And
I'm totally blanking on names. But we'll move on, so
I don't feel dumber than I am. She's an Academy
Award any actress. She's in all the Avatar movies. Zoe Saldana,

(20:16):
Zoe Saldana.

Speaker 4 (20:18):
I thought it, we're thinking of Zoe. Yeah, but yeah, this,
I don't know why I kept seeing that. Well, there's
a lot of blue and green hues in his makeup design,
and it looks like where she's more mechanical and kind
of an automaton. There's a lot of green and blue
in her makeup, so I'm looking at it now and
she kind of looks like the female Frankenstein monster too.

Speaker 3 (20:38):
It so funny.

Speaker 2 (20:39):
So before we go into like sections in the movie,
just overall thoughts on Frankenstein in general, and I'll start
and just tell you because I'll be completely honest. This
wasn't a movie that I was incredibly looking forward to.
Like there you know, I'm a slasher guy. There's certain
aspects of horror that I'm more interested in. I've never
been interested in, like period pieces about these universal monsters.

(21:04):
I loved the Invisible Man remake with Elizabeth Moss, the
modernized tale of it. So I was just thinking, okay, like,
but I'm intrigued. It's Gieramea del Toro. And I've got
to say, though, I was pleasantly surprised and actually really
enjoyed this. And I surprised myself because I totally thought
I saw two and a half hours. I felt like

(21:25):
tim like, I.

Speaker 1 (21:26):
Am not a fan of the long film, but what
I will say.

Speaker 2 (21:30):
Is that I felt like the movie really moved, It
felt really epic. It was I thought incredible performances across all.
It kept me interested the whole time, and it also
had a very emotional aspect to it that I wasn't
expecting from this type of movie. Like, I felt very
sympathetic to the monster. I felt almost fury eyed at

(21:53):
the end when Victor finally like asked him for forgiveness
for treating him like shit, and the monster kind and
forgives them and they realize that they're both, like, you know,
good people deep down. I felt like there was just
a lot to unpack in the messages it had, and
it just had so much more to it than I
was ever expecting from this movie, so I was pleasantly

(22:15):
surprised it had.

Speaker 4 (22:17):
Layers and check my work, but the movie he did
just before that, I think it's similar to Is Crimson Peak?
Was that del Toro as well? I think so, yes, yes, yeah,
And his crimson Peak is like, is very similar. The
set design, the characters. It's it's almost like Frankenstein on

(22:39):
acid and this iteration of Frankenstein. I feel it has
Crimson Peak like qualities, But some of the performances were
really restrained. I was expecting a real outlandish, kind of
garish Frankenstein I was waiting for Mi a Goth to
go hand at some point, and she didn't because we're

(23:01):
accustomed to that.

Speaker 3 (23:03):
Yes, we talked about that too.

Speaker 2 (23:04):
I'm so used to Mia Goth from the ex trilogy
and just being completely nuts, and she was so grounded
in this movie.

Speaker 4 (23:11):
Such a restrained performance, which I appreciated because we know
at levels she can get to. But I loved her focused,
kind of almost demure, kind of concentrated approach to this role.
The person, the character that did go him was the creator,
Oscar Isaac in this role, who I was pining for

(23:32):
throughout the film. We see a lot. We see more
of him, I think, than we do Jacob Alordi.

Speaker 2 (23:38):
I mean we see naked, we see but we see
butt and we even see pubes. I'm gonna be honest,
I'm throwing it out there. Did we all saw it?

Speaker 1 (23:47):
Right?

Speaker 4 (23:48):
Yes?

Speaker 2 (23:49):
No, he is and you know what I love also
being a man in his forties. We looked up at
Oscar Isaac is a man in his forties and again.

Speaker 3 (23:59):
You know, like, so we still got it.

Speaker 2 (24:01):
People like you can still like lust after people in
their forties and they can still do nude scenes.

Speaker 3 (24:07):
So Tim, get on that camera, I take.

Speaker 1 (24:09):
It off right. I auditioned and they said, no, we
want Oscar Isaacs.

Speaker 3 (24:15):
And then you auditioned for the Monks.

Speaker 4 (24:16):
Yeah.

Speaker 1 (24:16):
Then I auditioned for Frankenstein but it's not really Frankenstein
and they said no, we want to start and I
said what and he said what I did, send me
a god's part and they'd like, it's me a goth's
part and I said, but whatever.

Speaker 2 (24:28):
Yeah.

Speaker 3 (24:28):
So then Tim settled for ship Share number seven.

Speaker 1 (24:34):
Nine and they said, you know what your scene's cut?

Speaker 3 (24:36):
No, no, he's not in it.

Speaker 2 (24:37):
But that is funny because Tim does do background work
and he any time to check it out. You could
he could have definitely been in this if you had
been where they filmed it.

Speaker 1 (24:46):
I know what what country was it?

Speaker 3 (24:48):
You know?

Speaker 2 (24:48):
I I'm that is such a good question because I
was looking about where they filmed this, and apparently it
was in Toronto and also in Edinburgh and in Lincolnshire,
so basically in the UK and in Canada.

Speaker 1 (25:00):
I've never I've been to Canada, And Tim, what were
your thoughts?

Speaker 2 (25:06):
Because I kind of feel like, like me it this
wasn't like, oh my god, I can't wait to see this,
but what were your thoughts on them?

Speaker 1 (25:11):
I was curious because if you drive on Sunset Boulevard,
they have like five huge Frankenstein like billboards. So my
and I like Mia goths, so I was very curious
about it. But you know, watching it, you know, the
CGI in this was like violent CGI, so I was
into that. I like that Victor was a sexy, handsome guy,
so that kept my interest. But you know, like it

(25:32):
wouldn't be my go to like, but I'm so glad
I did see it, and you know that the two
and a half hours or however long it moved. But
actually thought there was gonna be a bigger love story
between me a goth and Jacob, and there wasn't that.
You know, I was waiting, Yes, I know that she
does nudities, so I was like, oh, was there gonna
be some hot nude scene between her and the creature?

Speaker 3 (25:52):
I was wondering that.

Speaker 2 (25:53):
You Well, first off, one thing I did look up
before this is that what they giermntal Toro did some
difference is between his movie and the book and the
nineteen ninety four movie. And I only keep referencing that
because it's like the most recent one that's specifically about Frankenstein,
but the character of Elizabeth was actually married to Victor
Frankenstein in the original book and in the movie, and

(26:17):
she gets killed in both the book and the nineteen
ninety four movie by the Monster. So they totally changed that,
making it his brother's fiance, but still kind of having
him sort of interested in her. But I thought she
was first gonna have an affair with him. She didn't,
which was nice. I'm glad she didn't cheat on the brother.
But then I was like, is she Thurston over the Monster? Well,

(26:38):
but they kept away from that too.

Speaker 1 (26:39):
So the guy that she was marrying, and you know,
obviously she died on her wedding day. I thought, like, again,
I'm not the feminine gay police at all, but I
thought they dressed him and made him. I was like, oh,
he's like I didn't think he was like the most manly,
you know what I mean. Like, I was like, there
was like a little like very.

Speaker 4 (27:01):
Like a younger brother. Which I loved his performance, and
I love that they kind of elevated that character to
kind of be the husband or the soon to be
a husband for me, a Goths character. I I don't
know if I have any real input. But I don't know.
I just hope she comes back as the bride.

Speaker 3 (27:23):
Yeah, it's so funny.

Speaker 2 (27:26):
I didn't notice that so much because in period pieces
and when people are you know, it's very different, like
you almost did you ever hear like the thing where
like there were I think some videos about this it's
like is he gay or is he European? You know,
I mean it's almost like people just see different cultures
sometimes and like oh that's gay or something like. So

(27:46):
I think due to the time period and a difference
of acting, maybe they could come off more feminine or
just difference by today's standards.

Speaker 1 (27:53):
Say that as a man who has been accused or
there could be truth in it. I'm not the most
manly I you know, so like him, I was like, oh,
that's an interesting aspect, like she's marrying, like as I
have like black fingernails.

Speaker 3 (28:07):
Like you know, why is it he manly enough?

Speaker 1 (28:10):
And I actually was a little shocked that he was
pushed into the cabinet and hit his head and died.
So I actually they gave him some good material to
work with at the end when he was giving like
his speech, like hey, like he had like a very
good speech.

Speaker 2 (28:24):
Well, he actually says in a big point of contention
in that movie, and is a really good thing that
we can discuss, is that he says Victor to Victor
his brother as he's dying, you are the monster exactly.
And I was I just think that was such I
made just a quick list of a few things that
were said in this movie that I wanted to bring

(28:45):
up because there's so much to unpact.

Speaker 3 (28:47):
But that was the first one.

Speaker 2 (28:48):
Because we're watching this movie and we're conditioned to think,
you know, the reincarnated person is the monster, because you
know he's reincarnated. He has a lot of rage and
stuff like that. But when you think about it, like
who really was the bad guy in this movie? And
I think it's a very gray area because Victor, the

(29:09):
creator created this monster, gave him life just to chain
him up and then try to burn him to death,
and when he's escaping because he's just not satisfied with
his intellectual development and he's only saying a word and
not even giving him a chance, and then he's hunting
this monster, and then all the monster wants is companionship
and like his creator to love him and all of that.

(29:33):
So who is the monster in Well, I'm going.

Speaker 1 (29:35):
To get deep here for one second. So you know, obviously,
the first half of the movie is like they show
him as a young boy and the dad's very mean
to him, and so like he's abusive to the son,
and so you like, the son's like then you realize
Victor is turning into his father and just as mean
to his creation. So like he has to break the
pattern of like being abusive, but you know, technically he doesn't.

Speaker 3 (29:58):
But that's another thing.

Speaker 2 (29:59):
And another thing I wrote down on my little list
was it's it could like continuing to talk some sort
of toxic cycle of like father son relationships.

Speaker 3 (30:06):
There's so much in this movie.

Speaker 4 (30:08):
That's exactly it. Because del Toro speaks to generational trauma.
There's an adjacent documentary I don't know if you guys
saw on Netflix about how this film was made, and
when interviewed, he's talking about his relationship with his parents
and now his relationship with his children. And you mentioned
it earlier, Matt, and I told you I had props today.

(30:32):
So here's a similar story.

Speaker 3 (30:35):
Pinocchio, which Germo del Toro did the twenty twenty two.

Speaker 4 (30:38):
Film of Yes Absolutely so I don't know why he's
drawn to these sort of stories, but that's something that
fascinates him, the relationships between parents and children and throughout generation.

Speaker 2 (30:51):
So do we think that Victor was the monster or
the monster was the monster? Are they both were monsters
in their own right? Or are we all monsters in
some moments?

Speaker 1 (31:01):
I think Victor was the monster?

Speaker 4 (31:04):
Yeah, I think it. I think if we are going
to go deep, I think it all means that we
have to make amends prior to our passing with oftentimes
our parents or whoever reared us, because sometimes those relationships
can be chaotic and hard to tolerate at times, but
there comes a day where sometimes we have to seek

(31:25):
forgiveness and grab your kleenex. Everybody, but that this is
kind of the feeling that's coming up for me. I
don't know that there was any outright villain in it,
unless it causes your the viewer to kind of reflect
and think, Wow, this is I need to make amends
with my son or my daughter, or my father or mother.
That's kind of what I took away from it.

Speaker 1 (31:46):
Yeah, Holy compare the two Victor and is his name Frankenstein.
We'll just save the creation. I mean the creation, we
get guys like the man who is ditched together.

Speaker 2 (31:58):
Like that.

Speaker 1 (31:58):
It's I would say victory is because he's aware of
what he's doing, where the other guy is a creation,
so he doesn't really know what he's doing and he's
just learning as he goes. But we do know that
he liked Mia Goth, and Mia Goth.

Speaker 2 (32:08):
Liked him well because Mia Goth treated him with us
backair love, understanding qualities that Victor rarely treated him with
until the very end when Victor's on his deathbed. But
I will say, and I know I'm jumping to the end,
but like Ghermo del Toro changed the ending of the
book because in the book Franket, Victor is still hunting

(32:32):
the monster to try to get rid of him to
his death, and then the monster finally finds Victor dead
and just wants to be burned alive with his body.
There's no like forgiveness moment. So Ghermo del Toro totally
change it where finally Victor, before he dies, realizes that
he treated his son he's calling him now badly, and

(32:54):
the monster forgives him, and so it's much more of
a hopeful, optimistic end.

Speaker 4 (32:58):
It is definitely is. I have a question. Check your notes.
Does Mia play Victor's mother in the early scene?

Speaker 3 (33:07):
She does?

Speaker 2 (33:08):
And I read an article where they said she a
couple of reasons, because the thing about Gierma do Tora
that I really respect is that everything he does there's
a reason for, and he has he's thought it all out,
and apparently he wanted first off, he wanted to show
that because Victor as a kid was so enamored by
his mom, that he would kind of fall for someone

(33:30):
that was sort of like his mom. I mean, obviously
he's being played by the same character. And they had
me a goth I think put on some prosthetics to
look a little different. I didn't know until I saw
this article.

Speaker 3 (33:41):
Did you the no?

Speaker 1 (33:41):
You text messaged me this morning and You're like, guess what,
And I was like what, and then I threw my
phone against the wall.

Speaker 3 (33:46):
You threw it?

Speaker 1 (33:48):
I like the world ending.

Speaker 4 (33:50):
Oh yeah, I was surprised, because you're right. I think
she's wearing prosthetics and again, a really understated yet connected
performance with the mother to the son. I again, I
don't know, I don't I'm singing the praises of Mia
Goth and I didn't know that I would. The only
thing that I didn't like is she has beautiful costumes.

(34:12):
But there's one scene in particular where she wears this
headdress that frames her face like and it's the like
the blue feathers, and I'm like, it's just not very flattering.

Speaker 2 (34:23):
It reminded me of like it reminded me a little
bit of Sarah Jessica Parker's wedding dress in the first
Sex in the City movie when she had the big
feather on the side but had a second one.

Speaker 1 (34:33):
I thought all that dialogue, I mean, granted it was
time that time period, but as a soap watcher, it
seemed very soapy to me because everyone's saying something without
saying what they really mean.

Speaker 3 (34:43):
Yeah, sure, I mean.

Speaker 2 (34:44):
And you know, there's another quote from the movie that
the Monster says that I wanted to talk about because
I thought it was so insightful and we anybody can
understand this. In the Grand Scheme of Life, it was
the world will hunt you and kill you just for
being who you are. And I mean it's just you
take one line that has so much meaning to it.

(35:04):
I mean, look at wars, look at discrimination, look at
most violence, and it truly is. It is just like
the monster or the creation, he is being hunted for
just being. He didn't ask for this life. He just
existed because Victor selfishly wanted to conquer death. And that

(35:25):
all stem back from many things. Number one his mom's
untimely death and number two his dad's inability to save
his mom. And number three his dad constantly like testing
him on stuff, so he wanted to be better than
his dad, so he creates this thing with no plan.
It's almost like someone like having a kid but not
really wanting kids, you know, and being like, uh, what

(35:47):
do I do?

Speaker 4 (35:48):
So?

Speaker 2 (35:49):
But but and then the monster is being hunted and
of course even though he just wants companionship. But it
really struck a chord with me because it's like so
many people are persecuted and not to make this tool,
but persecuted, a hunted, discriminated against, and killed just for
being who they are.

Speaker 1 (36:06):
Number four, this movie has it all.

Speaker 4 (36:08):
Yeah, No, I love these parallels to modern times. No,
I'm glad they didn't shy away from that. And you
talked about something that I appreciated that they also didn't
shy away from. When the monsters first created Victor has
them chained up in the bowels of the castle, but
there are moments there where it was just almost like

(36:30):
it was very homo erotic, if we can say that
and not. And of course I thought that was interesting,
but they really were just I don't know, it was
very sexy in a way.

Speaker 1 (36:42):
It was we there was I was like, I know
that there's nothing going on between any man in this movie,
but when the men talk to each other, they talked
very close and almost seductively, and I didn't mind. It
was just I was reading into everything. I was like, oh,
is this going to be a modern day twist.

Speaker 2 (36:58):
It's tough because look, as gay men, which all of
us are, we like we look at male male relationships
probably a little differently than straight males. With that said,
I think, again, you can have love and care and
for someone who is male if you being male, and

(37:20):
it be completely not sexual, but it's still affection. And
I felt like, again there Victor had created this almost
like it's like his child. The child was just seeking
for it was seeking companionship and love from them. So
they did caress like their faces and things like that,
because like that's kind of what like, you know, intimacy

(37:43):
is and it's not always sexual, so like, yes, of course,
I was thinking exactly what we all were thinking, you know,
Jacob Alordi's the monster wearing a loin cloth and the
guy's caressing him.

Speaker 3 (37:51):
But I also knew it wasn't that it was.

Speaker 1 (37:53):
So sad because he's like, hey, this is a leaf,
this is water, and he's like, man, you're boring me.
Let me chain you. I was like, this is a bummer.
I was like, you know, this guy just wants to learn.

Speaker 3 (38:03):
And then you know he wouldn't take the time.

Speaker 2 (38:04):
Yeah, and he wasn't okay with him, like when he
kept But notice the monster only could say his name Victor.
But the second Elizabeth came to him who and treated
him with kindness, he had learned a new word right away,
her name.

Speaker 4 (38:17):
Absolutely, if I could, I did want to touch upon
And I don't know and tell me if I'm wrong.
I don't know if this character exists in the book
or previous iterations of the story. But Christoph Waltz is
the contributor, the financier, if you will, so that this
monster gets created and he has many layers, and then
we learn a surprise about him further along in the movie.

(38:42):
Again an excellent actor, and I loved his performance in this.

Speaker 2 (38:47):
I mean, I'm glad you brought him up, because other
than I mean, we've we've talked about obviously the monster
and Victor and Elizabeth and then even the brother, but
we didn't talk about Christoph Waltz plays Elizabeth. Elizabeth's uncle
who kind of notices what Victor can do. When Victor
gets thrown out of school for two even coming up
with the idea of reanimating a corpse. They think he's

(39:09):
playing god whatever, and he says he'll finance him and
get him this tower and he can do his research
and everything. And the thing is, though, like most people,
there's always an ulterior motive, and like you were saying,
we find out at the very end that the whole
reason he wants Victor to create this like reanimated person
is because he is dying of syphilis and he wants

(39:30):
his brain put in so he can continue life. Unfortunately,
Victor at that point's like all your organs and stuff
are infected.

Speaker 3 (39:39):
I'm putting you in my monster.

Speaker 2 (39:40):
And then Christoph Waltz like is like, okay, well then
I'm fucking up your experiment.

Speaker 1 (39:45):
I was shocked by his death because it was so graphic,
like when you hit the ground in those Brain's hit.

Speaker 3 (39:50):
I was like, ooh, he falls he It's funny.

Speaker 2 (39:54):
They have this this area that's supposed to capture the
lightning and it's almost like a it's just like a
a hole down that there's a fall bunch of stories
and he falls down and slams his head to like
a pulp.

Speaker 4 (40:07):
Yeah.

Speaker 1 (40:07):
I like that Guiermo does not steer clear of like
really violent deaths, but.

Speaker 2 (40:13):
In a way, it's almost like everything is vibrant in
this movie, the colors, the set pieces, the cgi and
so you know, it's almost like why shouldn't the violence
be too, Like I liked like you said that he
doesn't shy away from now, like everything is told in
a very like intense way.

Speaker 4 (40:32):
Absolutely intense.

Speaker 1 (40:33):
Yeah.

Speaker 4 (40:33):
I mean the colors even like the blood is just
very rich and bright. All of the color palette is
just it's just it's a spectacle in a way. It's
very gothic at the same time, but vibrant too.

Speaker 1 (40:46):
Yeah.

Speaker 2 (40:47):
You know, And you also touched on this before when
you said and something that I can't remember if it's
the blind man who tells the creation this, but someone says, forgives,
forgive those.

Speaker 3 (40:58):
Who've harmed you.

Speaker 2 (40:59):
That was another quote I put down because again, you know,
we always hear I think, And I'm not religious, so
I don't know correctly, but I think in the Bible
it's supposed to. Isn't there a passage about forgiving those
who've done harm on you?

Speaker 3 (41:12):
I don't know.

Speaker 2 (41:12):
I feel like everyone has learned morally, religiously, spiritually that
you should forgive. You don't have to forget, but.

Speaker 1 (41:19):
You don't want to carry around the weight of all
this hatred.

Speaker 2 (41:22):
Yeah, And so in a way, I almost feel like
the creation Jacob Elordian this always knew that because he
always wanted to give Victor a chance. But it took
Victor his entire life to learn or sorry, sorry, it
took Victor into entire life to even ask for forgiveness
for what he did.

Speaker 3 (41:42):
You know, who knows?

Speaker 2 (41:44):
Did we ever find out if Victor forgave his father
for being just a total asshole?

Speaker 4 (41:49):
And what also a great character, also so menacing, and
I appreciated that actor's performance too. My favorite scenes are
when Victor is al with his brother in his early life.
The is really quite beautiful and striking that whole section.

Speaker 2 (42:07):
And even the father like again, so many qualities or
so many layers of this that you can compare to
real life, like the preferred child, like obviously as soon
as his younger brother was born, the dad was so
sweet and nice to him. And we all know whether
we're the favorite or our siblings are the favorite. You

(42:29):
can everyone has kind of experienced a little bit of
parents showing favoritism in some aspects, you know what I mean.

Speaker 1 (42:36):
It's tough for me to relate to because I know
I'm the favorite. But I noticed that the one thing
that really affected me I did not like is he's like, oh,
I'm not going to hurt your hands because you need
those to live, but vanity wise, I can smack your face.
I was like, oh, this is disturbing me.

Speaker 4 (42:52):
That is awful. Yeah, I thought there were some chilling moments,
but there were times when I did feel a little
bit cheerful and introspective. Beyond that, I don't know if
there's uh, well, I do have another prop that I
want to show you.

Speaker 3 (43:09):
But I leave to bring it out.

Speaker 4 (43:14):
For some reason this movie, I bought this toy several
years ago, and Jacob's character in the movie reminded me
of this toy I own. So for your viewers, I'm
going to show you technically a zombie, but I think
it really looks like uh, I'm telling.

Speaker 3 (43:35):
You it's it's that tall sort of sexy. I've got
to say, because I do think the monsters.

Speaker 2 (43:42):
I have never thought Frankenstein in any adaptation I've seen
was sexy, but in this one he was so that tall,
dark and handsome. But also because they made him so
sympathetic and because you knew deep down he really just
wanted to be loved, Like those scenes when he just
wanted to hand patting his head, he brought a tear.

Speaker 1 (44:02):
When the blind man was like giving him a hug.

Speaker 2 (44:04):
Yes, there he has, guys, Jacob Elordi, But you know, wait,
one thing I want to ask you about, Phil because
I got the feeling that you really loved everyone's performance
in this but weren't the biggest fan of Jacob Elordi's performance.

Speaker 1 (44:17):
Is that true?

Speaker 3 (44:17):
And is there a reason why not.

Speaker 4 (44:19):
Necessarily remind me of the movie that he was in
recently that had a lot of sort of man on
man fascination.

Speaker 2 (44:29):
Saltburn was was a ton and he was kind of
the object of Barry Hegan's affection. Is that the right
way to pronounce I don't know. Yes, there was a
lot of obvious male on male infatuation.

Speaker 4 (44:41):
Well, and I know he's been in Euphoria and I
saw Saltburn and loved it, and that's kind of my
memory of him and what I knew him from. I
just I guess.

Speaker 3 (44:54):
I think.

Speaker 4 (44:54):
I think I wouldn't have said that had you not
mentioned that, we could have seen an Andrew Garfield Munster.
So I didn't haate his performance. My favorite part is
the when he's first created his childlike quality. And in
this documentary that you can also find on Netflix, he
said he studied a certain type of dance and movement,

(45:17):
and in the bowels of the Castle, he's moving in
a certain way that's very childlike or someone fresh and
new to the world. It was very interesting to me.

Speaker 2 (45:27):
I think that's why I was so. I was very
impressed by all performances in this movie. I didn't think
there was a weak performance. I really can't think of it,
and that's crazy.

Speaker 3 (45:35):
Because usually I can't agree it.

Speaker 2 (45:38):
And the reason why I actually think Jacob ELORDI was
a standout. Is part of it is because of those movements,
because the way he moved felt like, like you said,
like he was really thinking, like it was child issue,
was like someone who's unsure themselves, someone who doesn't quite
know how to navigate the world. And I was like, okay, wow,
it's hard enough to act, I'm sure, but to also

(46:01):
make sure every movement is like that, like that is
pretty admirable.

Speaker 3 (46:05):
To be that dedicated.

Speaker 4 (46:06):
It was poetic. It was almost like ballet. And to
top it off, the understanding is that he would sit
and make up like ten or eleven hours even before shooting,
So I can only imagine you would have to have
so much stamina to not only have to sit through
that and then have to create a performance on top that.
It must have been absolutely exhausted.

Speaker 1 (46:27):
Do you think he had a movement coach?

Speaker 2 (46:30):
I bet he did, But when the article I read
where he mentioned why he moved a certain way, he
didn't talk about that.

Speaker 3 (46:37):
But that doesn't mean he didn't.

Speaker 1 (46:38):
Have right one. Because I just want to refresh everyone's
memory and Wes Craven's film Deadly Friend Christy Swanson had a.

Speaker 3 (46:45):
Movement coach mebe me me.

Speaker 4 (46:47):
Yeah, it's the.

Speaker 2 (46:48):
Same story, really, you know, and she was just as
strong a performance, you know, Deadly Friend.

Speaker 1 (46:54):
I thought I was watching Deadly Friends.

Speaker 3 (46:56):
It really was, and so many layers, just as many layers.
That's great.

Speaker 1 (47:00):
Hit the button before Kielmer.

Speaker 4 (47:01):
I love it.

Speaker 3 (47:02):
You know why I love Phil? Do you know why
I love Tim so much?

Speaker 2 (47:07):
Uh? And there's a lot of reasons, but one is
because Tim will come up with references that would never
cross my mind. And I'm saying that in the best
way possible, because it sparked so many interesting conversations and
so many random references that I had never thought of before.

Speaker 4 (47:24):
Pretty pubescent Phil is lated. You mentioned Deadly Friend with
Chris case Swansa.

Speaker 1 (47:31):
I'm gonna bring it up forever.

Speaker 3 (47:32):
I mean, Jim loves this movie. I I tolerate this movie.

Speaker 1 (47:37):
The same movie we just watched. Frantin is a Deadly Friend.

Speaker 2 (47:41):
I mean it really, to be honest, on that list
of what i'd I say, like two hundred and something
adaptations in some way of Frankenstein any I, I don't
know if it was on there, but it should because
you're right. Any movie where you are bringing some sort
of or reanimating some sort of dead person or corpse
or something is a frank Stein idea. So deadly friend everyone, Betley.

Speaker 4 (48:03):
French check it out. I do want to touch upon
what I found fascinating in this movie, not necessarily scary
but morbid, is that they and again I'm thinking back
to universal black and white Frankenstein Will where they would
rob Graves and they constructed the monster. Here they're taking

(48:26):
victims of war off the battlefield and there's scenes where
you see Victor slicing them apart, and it's so asymmetrical
and you get this kind of patchwork of a frank sign.
You know. It also reminded me of the character of
Sally from A Nightmare for Christmas, like all stitched together.
It was a very similar color palette. Again is just

(48:49):
how they looked to me. But those scenes with all
of the anatomy, etc. Were fascinating.

Speaker 2 (48:56):
Today you want to hear something funny that I think
is like it's like they have to do it certain way?
Is that okay by today's standards with plastic surgeons and
Beverly Hills doctors. If you were doing a twenty twenty
five Frankenstein, the person would be stitched together perfectly or
in such an overly perfect way that we tell idea.

(49:16):
But back then, obviously, like you said, not only did
they not have those skills to make it perfect, but
almost like, because it's a horror story, you have to
make the monster look sort of monstrous or will be like, oh,
that's just a really good looking creation, you know.

Speaker 4 (49:33):
What I mean.

Speaker 1 (49:34):
He was eating berries, so I was like, well, how
correct is his body?

Speaker 3 (49:38):
Oh you mean like, does he have a digestive system?

Speaker 4 (49:41):
Yeah, exactly, well, and that is he anatomically correct?

Speaker 3 (49:45):
Well, but that's the thing, wasn't okay?

Speaker 2 (49:47):
Another thing difference in Gamel del Toro's versus the book
and the nineteen ninety four film is that, apparently, if
I read this correctly, so in this movie, you know,
the monster is trying to get a companion and Victor
just says no. In the other movie and the book,
Victor either does finally construct a companion for him. I
think in the ninety four film it's Helena Bontom Carter

(50:09):
after she dies and then she is just like kills
herself because she knows she's all fucked up, or he starts.

Speaker 4 (50:17):
To do it.

Speaker 2 (50:17):
I think in the book and then gets rid of it.
But anyway, my point of all this is that he
scrapped that from this movie, like there was no Bride
of Frankenstein made. It was mentioned, and then he just
completely just decided not to do it. Now where that
leaves a lot of room is for a sequel. But
we are getting a movie called The Bride next year

(50:38):
by Maggie Gillenhall, so maybe Germo del Toro doesn't want
to touch that aspect.

Speaker 1 (50:43):
You know, it's funny. I saw the Bride trailer and
now we're the talking about it. Now I'm interested. Before
it wasn't really, but now I am.

Speaker 3 (50:50):
And also the twenty twenty five I did like, what
if a Beverly Hill surgeon put together.

Speaker 1 (50:54):
That's an amazing you need to get on it and
write it. But they did Frankenhooker, but that was nineteen
ninety if it took place in Beverly Hills and Victor
was like, who's that guy that the doctor?

Speaker 2 (51:05):
Doctor be doctor like Mark Ruffalo and he puts together
a housewise Yes, amazing. I mean seriously, like I could
see that being a to be original.

Speaker 1 (51:15):
Absolutely. I mean, if the movie show has made anything's possible.

Speaker 4 (51:20):
Let's write this gentleman.

Speaker 2 (51:21):
Oh my god, but can we call it like franken
what's like a more twenty twenty five adaptation of that name.

Speaker 3 (51:27):
Frankenkin Sweetie, frankn sweet is here.

Speaker 4 (51:31):
I love that I write that down. Franknweety people would
pay money to see that frank and Sweetie. One.

Speaker 2 (51:38):
Okay, one other thing I wanted to bring up because
I've gone through the quotes from the movie were that
I wanted to bring up. But I found two quotes
from Germo del Toro about this movie that again, I
just everything he says. He he just seems like a
very smart, insightful guy. But he was talking about the movie,
and what I liked is that he's not afraid of
saying what he meant by different things, like he's not

(51:59):
one of those directors like I'm gonna make you figure
it out, you know.

Speaker 3 (52:02):
He said.

Speaker 2 (52:03):
The first quote I have is Frankenstein is about somebody
accepting life in the absence of death, being blissful any
moment you're alive. Now, obviously, as human beings who die,
we don't get the absence of death, meaning we do
have to face death. But the more important part is,
like almost like taking advantage I think of your life

(52:23):
and making sure you're happy in the moments that you
are alive, because even though we don't get to live forever,
it's still important to find happiness in the moments of
being alive. So anyway, just wanted to get your guys'
thoughts on that, if you have any I've got with.

Speaker 1 (52:40):
Tim, if you have something, well, I think we do
live forever, because you know, in fifty years when they
are making another Frankenstein, maybe they're like, oh my gosh,
look at this podcast on YouTube that I found, and
they're gonna take all of our ideas and they're gonna
be like Franken sweetie.

Speaker 2 (52:53):
I think that they're gonna actually, after Tim and I die,
like in a hundred years, right, they're gonna combine body
part of ours and make a met him.

Speaker 4 (53:01):
Oh my god, he'd be That would be great. Oh
my gosh, you guys should just do this. Now, get
your merchandise together.

Speaker 3 (53:09):
Eating my arm off, I'm ready. The funny thing is Tim,
Who's face would they use?

Speaker 1 (53:15):
It'd be a half and half right.

Speaker 2 (53:20):
Right down the middle, right down the middle, a Tim
att or a Metim Tim frank and sweety starring met
him anyway. Sorry, I totally totally made it humorous. Did
you have any thoughts on that club?

Speaker 4 (53:32):
I mean, I think there is intentionally, as you said,
a lot of messaging that was intentional, and then some
you can derive on your own, and I think, sure, yeah,
live life to the fullest is a message or moral
that could come out of Guermo del Toro's Frankenstein. I
think what I was left with, and I'm only saying this,

(53:52):
is that I think we're often seeking validation from our parents.
And I had a father that horror movies, So this
is where I find myself today. I really subscribe to
his likes and his history. But I was also as
a child seeking a lot of validation from him because

(54:13):
he was what I would call a workaholic and didn't
take a lot of care and time to kind of
I guess develop me or enriched me as a child.
So these are the parallels I'm pulling from the Frankensteins story.
And yes, I do see kind of a live life
to the fullest aspect to it.

Speaker 3 (54:34):
No, I I totally see what you're saying.

Speaker 2 (54:37):
I think all children in some way want validation from
their parents, even people that have really shitty parents, because
I've even and I know people who don't really get
along with their parents, but you can tell deep down
it's about them truly wanting their parents to accept them
and love them for who they are and everything.

Speaker 3 (54:56):
So you're so right, And.

Speaker 2 (54:57):
Even if people don't admit it, I think everyone feel
this inherent drive to get validated from their parents and
to receive love, even if they think their parents are wacko.

Speaker 3 (55:08):
It's just who we are, you know what I mean.

Speaker 4 (55:11):
Yeah, it's it's just watch me and dad, Look what
I can do.

Speaker 3 (55:14):
Mom, watch this.

Speaker 4 (55:15):
It's just I think it lasts even into adulthood. I mean,
I'll be honest, I'm still doing it today. You know,
you want to do your parents proud, and unfortunately my
father has passed, but I still see myself with my mom.
I want to make her proud. And I see a
lot of that in Jacob Elordi's performance.

Speaker 2 (55:33):
And yeah, and that's the thing, Like I feel like,
you know, Tim, both of us, like we are lucky
enough to have both of our parents still alive. But
I feel like we but like I mean, I'm constantly
if anything good happens in my life. I want to
tell my parents, not just to share it and not
to brag, but more like so they'll be proud of me.

Speaker 1 (55:53):
You know, I don't think that ever goes away. And
if you ever go to a pool in the summer,
all you see is kids saying, Mom, Mom, I'm like
at me, jumping up. Mom.

Speaker 3 (56:02):
That's such a good analogy.

Speaker 1 (56:04):
Because I think I was that kid. I was probably
so annoying.

Speaker 3 (56:08):
Let you talk about you're still that kid. Mo, mom,
look at me, Look at me.

Speaker 1 (56:11):
I'm jumping out the diving board.

Speaker 3 (56:12):
They're like great, Mo, mom, I'm doing an episode of
a Frank it'star great. They're like great great.

Speaker 2 (56:17):
One other quote from Gama de Tour I found in
an article love is the capacity to see promise where
before there were disappointments. I'll tell you what my interprets.
I know we're getting real deep here, but like my
interpretation of that is like, if you truly love someone,
you can look past their faults. You can be okay

(56:38):
with the times they disappoint you because you you see
the promise in them, and you see the good and
whatever that you truly love about them, and you can
look past the bad.

Speaker 3 (56:48):
I guess right.

Speaker 1 (56:49):
That's how this podcast works.

Speaker 3 (56:52):
Tim and I look past all the bad qualities of
each other.

Speaker 4 (56:55):
No, and I would say, you guys have deep love
for each other. I'll just say this. I am a
single man and I'm over fifty, and I want to
believe what you say. That there's someone out there for me,
a companion. As Jacob Elordie's monster says in this film,
he's seeking someone to spend his not only lifetime, his

(57:16):
eternity with. And I feel that love exists and I
hope to find it someday. And when I do, I
hope to look past the other person's flaws or gaps,
you know, hopefully they're minuscule and so I can commit
so richly to somebody. I think that could be another

(57:37):
message of this movie, that love is all. It has
such meaning. A life without love is a life half lived.
My name is Phil. I'm here all week.

Speaker 3 (57:49):
Oh yes, and gentlemen, First off, I love that quote.

Speaker 2 (57:51):
And let me just tell you, Phil, I'm not a
fortune teller, but I completely think you are going to
find someone because you're such a bright light of life
like positivity and joy and I don't know how like
you just oose, fun and and and optimism and really
good vibes. I don't know how you couldn't find someone

(58:12):
that would totally appreciate that. Seriously, comment below if.

Speaker 4 (58:18):
It's the love of my life right now, there's half
asleep dog on the SVA.

Speaker 3 (58:24):
Wait, what is your dog's name? Now it's a Hara
Ye the dog will wake up. No, as a dog lover.
And we have Jacob and I. Now that we've said,
Jacob Elordi so much every time.

Speaker 1 (58:37):
That is engaged to Jacob.

Speaker 2 (58:39):
Yes, Jacob Alordied. I don't know if you guys knew
he's gay. He's actually the producer and my fiance. Now yeah, no,
not Jacob Elordi. But Jacob and I have a dog
named Darla, who like is just like an angel and
the other love of our lives too.

Speaker 4 (58:58):
So yeah, can I ask how you can up with
the name Darla?

Speaker 2 (59:01):
Yes, because everyone thinks it's Little Rascals or Darla from
Buffy the Vampire Slayer, and it actually was neither, even
though we are familiar with both, more so the Buffy reference.
Jacob and I were going back and forth on names
and we could not agree on anything, and I was
literally on the Internet looking up like girls' names and

(59:22):
things like that, and I was anything that I kind
of liked for a dog. I would read out him
and we were not agree on anything until I said
Darla and he's like.

Speaker 3 (59:31):
Oh, I kind of like that.

Speaker 1 (59:32):
I was like that story.

Speaker 2 (59:33):
I kind of like that too, and we both are like,
let's do it because we agreed and it's cute, it's
perfect for a dog, and that's how we got it.

Speaker 4 (59:40):
We need to get Darla and Sahara together. Can I
tell you the story of how Sahara got her name?

Speaker 3 (59:45):
Please? You guys were in the desert, going.

Speaker 4 (59:49):
Way off topic. No. I had an opportunity to go
see Magic Mike live at the Sahara Hotel and Casino
here in Las Vegas, and I took my mom. She
got a lap dance. You know, history was made.

Speaker 3 (01:00:06):
That's amazing.

Speaker 4 (01:00:08):
And it was like the next day I went to
the animal Shelter and it was just a rich memory
for me, even though it happened like twenty four hours before.
It's like when I got her, I'm like Magic Mike
at the Sahara Hotel and I was just like, that's
her name, and there she is.

Speaker 1 (01:00:24):
She's mad I'm gonna have to get a dogger. Well,
I can't get a cadamallergic, but I'm gonna name a Frankenstein.

Speaker 3 (01:00:32):
I mean that would be a good name for a dog.
I think I mean to be hard to scream and yell.

Speaker 4 (01:00:37):
You said, frank and Sweetie, Well again, we could go
down another rabbit hole. There's Franken Weeney from Tim Burton.

Speaker 1 (01:00:44):
Yes, those two guys confused.

Speaker 2 (01:00:47):
Yes, I really do have very similar kind of qualities
in the kind of films and things that.

Speaker 1 (01:00:52):
The part of the Rings, that's all I want to know.

Speaker 3 (01:00:54):
That's Peter Jackson.

Speaker 1 (01:00:55):
Okay, I get Okay, I get Gmo, Peter Jackson, and
Tim Burton, all three cans.

Speaker 2 (01:01:00):
So okay, you're on a boat with Giermo Del Toro,
Peter Jackson, and who was the third one?

Speaker 3 (01:01:06):
Oh, Tim Burton. Yeah, one of them has to be
pushed off. Who do you push off?

Speaker 1 (01:01:10):
I guess Peter Jackson. I can't get into those Lord
of the Rings.

Speaker 4 (01:01:13):
Well, I know I would. You guys have probably seen this,
but one of his first movies, and the name is
escaping me right now?

Speaker 1 (01:01:20):
Is it dead alive?

Speaker 4 (01:01:21):
Yes?

Speaker 1 (01:01:22):
Yeah, I read your mind.

Speaker 4 (01:01:24):
What are your thoughts? On that movie. Not a fan.

Speaker 3 (01:01:26):
Really, do I know?

Speaker 1 (01:01:29):
Dead Alive? Okay? The very first guy ever dated tried
to He was like, I said, I like scary movies
and music. You have to watch Dead Alive. And I
watched it and I was like, I don't know what
that f that was?

Speaker 3 (01:01:38):
What is it about? Other than the title?

Speaker 4 (01:01:41):
Matt, your homework is to watch Dead Alive? Peter Jackson
one of his earlier films. It's it's not Lord of
the Rings. It's just it's it's like a Australian New Zealand.
I'm not sure his origins, but uh, it's evil dead.
It's an evil Dead copy, isn't.

Speaker 1 (01:01:59):
It has a cult following. People love it.

Speaker 2 (01:02:01):
Yeah, and it's oh nineteen ninety two film. Yeah, Oh
my god, a young man's mother is bitten by a
Sumatron rat monkey.

Speaker 3 (01:02:11):
I'm in.

Speaker 4 (01:02:13):
Wow.

Speaker 3 (01:02:13):
That is great.

Speaker 2 (01:02:14):
Well, look, before we close this episode, I just wanted
to ask both of you any final thoughts on Frankenstein
or and whether you'd recommend it to people and that
kind of thing.

Speaker 3 (01:02:25):
Phil, do you want to go first?

Speaker 4 (01:02:27):
I'd be happy to. Well, I know miss Jillenhall is
going to do the bride, but I would pay money
to see me a Goth as the bride of Frankenstein,
because this story sets it up quite well where we
could just reanimate her, and we know a reanimated me
a Goth would earn an oscar for her performance would

(01:02:50):
be like so quirky and crazy in the best way possible. Yes, yeah,
that's my butt?

Speaker 3 (01:02:58):
No love it? Hey, okay, Tim, how about you thoughts
on it?

Speaker 2 (01:03:02):
Especially for people who may hear Frankenstein and be like, man,
I'm gonna skip.

Speaker 3 (01:03:06):
What would you?

Speaker 1 (01:03:07):
Actually was in no way was gonna watch this unless
we talked about it, But I'm so glad I did.
I thought it was visually stunning, like the CGI did
not annoy me. I thought the CGI was so violent,
So you know, I'm not again I always say this,
I'm not Bloodthursday for violence, but I thought it was
very cool violence.

Speaker 3 (01:03:26):
Ye's horror?

Speaker 2 (01:03:27):
Yeah yeah, Without that, it would just be an emotional
journey through a creation's life.

Speaker 1 (01:03:32):
There is all the things we talked about the underlayer
of what's going on. I enjoyed the you know, the uh,
if you look deeply, there's something more going on. So
I enjoyed all that, and I thought all the actors.
I was interested in it, and it helps that they're
like OSCAR nominated people.

Speaker 3 (01:03:47):
Yeah, you know.

Speaker 2 (01:03:49):
My final thoughts on this movie are as follows. I
we've been doing this podcast two under eighty something episodes
and Phil most of the time, or ninety percent of
the time, when we talk about a movie, we go
from like plot point to plot point to plot point
because it's there's not enough layers to discuss, like what
does everything mean? Versus just talking about things that happened

(01:04:10):
and commenting on that. I got to say, this is
probably the first movie in a really long time where
we didn't have to go plot point, plot point, plot
point because there was so much to discuss that.

Speaker 3 (01:04:22):
Involved the plot.

Speaker 2 (01:04:23):
But there were so many layers and so much to
unpack in this movie that we just filled an entire
episode with just discussion and that was really nice and
that speaks to I think the movie. And it depends
if you were the type of person that you want
more meaning in your movies. You want more things to
think about, you know, you want something to actually stand for,
something else that you can understand in your life. And

(01:04:43):
I think you're really gonna enjoy this movie. Also if
you just like big epic, visually stunning things with great violence,
and tell me something like the ship was real. Yes,
the ship in the in the Arctic. I think it
was was a real show. It looks like it could
be CG. There's so much it looks like it's CG.
But like I read that, he created entire ship because
he wanted it to look and he put it on

(01:05:04):
like some sort of contraption that would make it like
move back and forth. But anyway, all in all, I'm
just saying for anyone out there who maybe like an
old school universal monster movie that's a period piece wouldn't
appeal to them, I'd say give this a chance, because
I was one of those people, and I was very
much pleasantly surprised by how much I enjoyed it.

Speaker 4 (01:05:25):
Well, and that's great, and Tim, like you, I actually
went into it thinking I wouldn't enjoy it, because I've
been kind of he's hit and miss. For me, Guillermo
del Toro is like every other film I'll enjoy, But
I think he knocked this one out of the park.
And I still would argue that his next project or
projects are really going to be even more amazing. I

(01:05:48):
don't know, why. It's just a feeling I have and
I don't know why.

Speaker 3 (01:05:51):
I think you're right.

Speaker 2 (01:05:51):
And now I actually want to go back and watch
the twenty twenty two Pinocchio movie he did. I'm just
so interested in tell wait what you do? I just like,
I kind of like it's such a funny story. How
do you turn it into a Gamma del Toro movie.
I'm sure it's epic and oh.

Speaker 4 (01:06:08):
My god, it's I had this since I was a kid.
My dad actually got this for me, but it looks
so similar to del Toro's version of it that I thought, oh,
this is it. But this book was like printed in
the seventies.

Speaker 3 (01:06:22):
Will we You've seen del Toro's Pinocchio movie.

Speaker 4 (01:06:25):
Yeah, and again you remember how I said every other
movie kind of hit and miss. This was a miss,
really stunning, amazing, all stop motion. But I have not
seen it in its entirety, So that's bad on me.

Speaker 2 (01:06:37):
Okay, wow, okay, well negative, I mean no, yeah, I
mean I'll check it. That and dead alive. I've got
some home everyone. Yeah, Well, anyway, Phil, thank you so
much for coming on our show. We're so grateful to
just have you as someone who reached out to us,
and we're a fan of yours, and like, we want
everybody to check out Netflix and Phil on YouTube again.

(01:06:59):
You can get this bright, beautiful personality talking to you
about more Netflix stuff, not just Frankenstein Jacob A Lord.
Where do you want to say, Like, where people can
find you on social if they want to stalk.

Speaker 3 (01:07:12):
You or apply to be the love of your life.

Speaker 4 (01:07:14):
Yeah, go to at Philoween on Instagram. That's probably the
best place to find me. Netflix and Phil on YouTube.
I think my user handle is at philloween underscore Trends
because I am a huge Halloween fan like you.

Speaker 2 (01:07:31):
Minutes I was just gonna say, I love that user
name because it has Halloween related to it. And maybe
what if I suddenly change mine to like matt Oween,
I would laugh at you. Listen, Frank and Sweety, deadly friend, deadly,
Frank and Sweety anyway, all of those things.

Speaker 3 (01:07:50):
Anyway, Thank you again, Phil.

Speaker 2 (01:07:53):
We've had a blast talking with you about this multi layered,
deep movie and.

Speaker 3 (01:07:58):
We hope to chat with you again soon.

Speaker 4 (01:08:01):
I look forward to it. Thank you, gentlemen, Thank you,
Happy horror time.

Speaker 1 (01:08:04):
Thanks take care, bye Phil, Bye, Thanks for listening to
another episode of Happy Horror Time.

Speaker 2 (01:08:18):
If you'd like to support the podcast, please sign up
to be a patron at www dot patreon dot com
slash Happy horror Time. As a patron, you get access
to all our bonus content, which now includes two new
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(01:08:38):
us directly, and the chance to review a film with
us in one of our bonus episodes.

Speaker 1 (01:08:44):
Patrons also get all our regular episodes ad free and
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Emmertts and I'm Tim Murdoch, and we hope you have
a Happy Horror Time