1 00:00:13,125 --> 00:00:14,333 [heart pounding] 2 00:00:14,367 --> 00:00:17,336 [tense music] 3 00:00:17,370 --> 00:00:23,721 ♪ 4 00:00:26,828 --> 00:00:30,211 [all screaming] 5 00:00:42,430 --> 00:00:44,673 ♪ 6 00:00:44,708 --> 00:00:45,916 - With many films, 7 00:00:45,950 --> 00:00:47,124 but particularly with horror films, 8 00:00:47,159 --> 00:00:51,404 there are images that stay with you forever. 9 00:00:51,439 --> 00:00:53,165 And I always find it fascinating 10 00:00:53,199 --> 00:00:56,547 how long they're actually on screen. 11 00:00:56,582 --> 00:00:57,790 I always think about that 12 00:00:57,824 --> 00:00:59,585 with the film "Black Narcissus," 13 00:00:59,619 --> 00:01:01,552 is there's a scene towards the end of the film 14 00:01:01,587 --> 00:01:03,520 where Sister Ruth reappears. 15 00:01:03,554 --> 00:01:05,660 [dramatic musical flourish] 16 00:01:05,694 --> 00:01:09,181 And in my head, that was, like, a whole scene. 17 00:01:09,215 --> 00:01:12,908 When I rewatched it, it was on screen for 1 1/2 seconds. 18 00:01:12,943 --> 00:01:17,913 But the image of it was burned into my brain forever. 19 00:01:17,948 --> 00:01:19,329 So that's a testament to the power... 20 00:01:19,363 --> 00:01:20,399 - [screaming] 21 00:01:20,433 --> 00:01:22,263 - Of images within a film. 22 00:01:22,297 --> 00:01:24,195 [all shouting] 23 00:01:24,230 --> 00:01:26,612 And from, like, movie to movie, 24 00:01:26,646 --> 00:01:30,236 most of the things you would talk about within this series, 25 00:01:30,271 --> 00:01:32,825 there are different reasons why you remember something. 26 00:01:32,859 --> 00:01:34,620 - They're here. 27 00:01:34,653 --> 00:01:36,449 - And obviously, with the horror genre, 28 00:01:36,484 --> 00:01:37,795 a lot of these moments are trading 29 00:01:37,830 --> 00:01:40,384 in sheer nightmare fuel, 30 00:01:40,419 --> 00:01:43,491 all of the terrors of your subconscious made flesh. 31 00:01:44,871 --> 00:01:46,459 - It doesn't seem to matter 32 00:01:46,494 --> 00:01:48,254 whether it's a terribly good movie or not. 33 00:01:48,289 --> 00:01:50,739 [growling] 34 00:01:50,774 --> 00:01:54,364 My friend Mike Finnell, who has produced many of my movies, 35 00:01:54,397 --> 00:01:57,401 used to tell me about this scene that he saw in a movie 36 00:01:57,436 --> 00:01:59,748 when he was a kid that was so terrifying. 37 00:01:59,783 --> 00:02:03,476 It's a guy in a cape, and a light came down on him, 38 00:02:03,511 --> 00:02:05,444 and he fell down in the cape and it was-- 39 00:02:05,478 --> 00:02:06,652 he was a skeleton. 40 00:02:06,686 --> 00:02:09,241 [dramatic musical sting] 41 00:02:09,275 --> 00:02:12,244 And I said, "Mike, that's from 'Plan 9 from Outer Space.'" 42 00:02:13,797 --> 00:02:14,970 When you're a kid, you don't have 43 00:02:15,005 --> 00:02:16,593 those kind of value judgments. 44 00:02:16,627 --> 00:02:18,733 You just--it's just the imagery that gets you. 45 00:02:18,767 --> 00:02:20,390 And it stays with you. 46 00:02:20,424 --> 00:02:23,013 [ant squealing] - [screaming] 47 00:02:23,047 --> 00:02:24,739 - I mean, those giant ants from "Them," 48 00:02:24,773 --> 00:02:26,879 I still see them in my bad dreams. 49 00:02:29,813 --> 00:02:32,781 [ominous music] 50 00:02:32,816 --> 00:02:36,854 ♪ 51 00:02:36,889 --> 00:02:38,408 - Pretty much you can't talk about Japanese horror 52 00:02:38,442 --> 00:02:39,961 without talking about "Ringu." 53 00:02:39,995 --> 00:02:41,756 It is absolutely essential and has 54 00:02:41,790 --> 00:02:43,860 one of the scariest endings ever put on film. 55 00:02:43,896 --> 00:02:45,518 - Tomoko! 56 00:02:46,726 --> 00:02:48,832 [speaking Japanese] 57 00:02:52,456 --> 00:02:54,631 - "Ringu," or "The Ring," as it might be better known 58 00:02:54,665 --> 00:02:56,874 in the United States, it's a film 59 00:02:56,909 --> 00:02:59,774 where there's this cursed videotape, 60 00:02:59,808 --> 00:03:02,466 that if you watch this videotape, 61 00:03:02,501 --> 00:03:04,054 seven days later, you will die. 62 00:03:04,088 --> 00:03:06,367 - [gasps] 63 00:03:09,818 --> 00:03:11,510 - The tape itself is terrifying. 64 00:03:11,544 --> 00:03:12,959 The tape itself is another thing 65 00:03:12,994 --> 00:03:14,340 where you don't really know how to process. 66 00:03:14,375 --> 00:03:15,548 It's essentially video art. 67 00:03:15,583 --> 00:03:19,552 ♪ 68 00:03:19,587 --> 00:03:22,072 And all these eerie images coming at you 69 00:03:22,106 --> 00:03:23,970 that feel cursed, that feel wrong. 70 00:03:26,456 --> 00:03:27,974 - And so, you know, you can joke 71 00:03:28,009 --> 00:03:29,424 that this is a film that's about a fear 72 00:03:29,459 --> 00:03:31,633 of experimental filmmaking. 73 00:03:31,668 --> 00:03:32,807 But on another level, 74 00:03:32,841 --> 00:03:34,567 it's tapping into a register of images 75 00:03:34,602 --> 00:03:38,019 even if you don't quite know exactly what's happening. 76 00:03:39,779 --> 00:03:42,334 But absolutely, it's sort of just--the very nature 77 00:03:42,368 --> 00:03:44,957 of those images themselves are partly what's so terrifying. 78 00:03:46,338 --> 00:03:49,098 [suspenseful music] 79 00:03:49,133 --> 00:03:51,412 ♪ 80 00:03:51,446 --> 00:03:52,930 - So the moment that got everybody is, 81 00:03:52,965 --> 00:03:55,485 you think the movie's over. 82 00:03:55,519 --> 00:03:58,384 You know, our heroine has solved the mystery. 83 00:03:58,419 --> 00:04:00,593 She has found the bones of this girl, 84 00:04:00,628 --> 00:04:03,527 the remains of this girl at the bottom of a well. 85 00:04:03,562 --> 00:04:05,322 All is well. She's back home. 86 00:04:05,357 --> 00:04:06,910 And the movie's still going. 87 00:04:06,944 --> 00:04:08,567 And you're like, "Well, it's not a slasher film, 88 00:04:08,601 --> 00:04:10,948 "so what could possibly happen here? 89 00:04:10,983 --> 00:04:12,122 What's going on?" 90 00:04:12,156 --> 00:04:15,815 ♪ 91 00:04:15,850 --> 00:04:18,887 And it turns out that her ex-husband, 92 00:04:18,922 --> 00:04:20,682 who has seen the tape-- she's passed it on... 93 00:04:22,891 --> 00:04:25,446 He hears the static on his television and looks up. 94 00:04:25,480 --> 00:04:27,413 And, of course, we finally see Sadako 95 00:04:27,448 --> 00:04:29,795 in all of her vengeful glory actually climbing 96 00:04:29,829 --> 00:04:31,037 out of the television. 97 00:04:33,661 --> 00:04:36,698 - To me, the scariest stuff is the stuff you can't explain. 98 00:04:36,733 --> 00:04:38,528 - [gasps] 99 00:04:38,562 --> 00:04:41,496 - When you see that, you can't explain it. 100 00:04:41,531 --> 00:04:44,050 If you could explain it, you can quantify it, 101 00:04:44,085 --> 00:04:46,743 you can measure it, it loses its power. 102 00:04:48,469 --> 00:04:50,919 The idea of this thing that can actually come 103 00:04:50,954 --> 00:04:54,371 out of the well on the TV, 104 00:04:54,406 --> 00:04:57,029 it's kind of, like, the ultimate nightmare. 105 00:04:57,063 --> 00:04:59,031 [heart beating] 106 00:04:59,065 --> 00:05:01,136 - And it's actually sort of a sequence of details 107 00:05:01,171 --> 00:05:03,725 that make it really scary. 108 00:05:03,760 --> 00:05:06,797 So the first thing is, is that she's crawling out of the TV, 109 00:05:06,832 --> 00:05:09,938 breaking that fourth wall in a very good effect, 110 00:05:09,973 --> 00:05:13,839 but also one that only happens for one setup. 111 00:05:13,873 --> 00:05:16,945 The next thing you see is her, like, fingers 112 00:05:16,980 --> 00:05:19,638 on the carpet with no nails. 113 00:05:19,672 --> 00:05:22,779 Because she's, you know, tried to get out of the well, 114 00:05:22,813 --> 00:05:26,921 and, like, her nails have, like, been wrenched out. 115 00:05:26,955 --> 00:05:29,958 Then you've got the backwards performance 116 00:05:29,993 --> 00:05:31,891 where the performer playing Sadako 117 00:05:31,926 --> 00:05:33,859 is obviously filmed in reverse 118 00:05:33,893 --> 00:05:35,654 and then is walking backwards, 119 00:05:35,688 --> 00:05:37,034 and they reversed the film 120 00:05:37,069 --> 00:05:38,173 so she's kind of moving forward 121 00:05:38,208 --> 00:05:39,865 and a really unnatural way. 122 00:05:39,899 --> 00:05:42,695 And that's really creepy. 123 00:05:42,730 --> 00:05:44,525 And then that final image 124 00:05:44,559 --> 00:05:46,561 of, like, just the one eye in the hair. 125 00:05:48,701 --> 00:05:51,014 That's what people see before they die. 126 00:05:51,048 --> 00:05:53,568 All intercut with the actors, 127 00:05:53,603 --> 00:05:56,226 like, sort of completely catatonic, 128 00:05:56,260 --> 00:05:58,090 frozen in fear, 129 00:05:58,124 --> 00:06:00,195 crawling back against the wall, 130 00:06:00,230 --> 00:06:02,094 trying to get away. 131 00:06:02,128 --> 00:06:04,476 Her pursuit is inexorable. 132 00:06:07,548 --> 00:06:10,171 - The worst-case scenario for every horror film 133 00:06:10,205 --> 00:06:12,587 is, the thing that you're terrified on the screen 134 00:06:12,622 --> 00:06:14,555 all of a sudden comes out 135 00:06:14,589 --> 00:06:17,489 and is able to, you know, grab you. 136 00:06:17,523 --> 00:06:18,697 That image stays with people 137 00:06:18,731 --> 00:06:20,802 because it's kind of tapping into, you know, 138 00:06:20,837 --> 00:06:22,114 fear of horror films 139 00:06:22,148 --> 00:06:24,427 or fear of images to a certain extent. 140 00:06:26,290 --> 00:06:30,156 - [screams] 141 00:06:36,024 --> 00:06:38,958 [both speaking Korean] 142 00:06:48,243 --> 00:06:49,762 - "Train to Busan" is interesting 143 00:06:49,797 --> 00:06:51,695 because it is a film 144 00:06:51,730 --> 00:06:54,802 that shows the legacy of melodrama 145 00:06:54,836 --> 00:06:56,735 in South Korean film and television... 146 00:07:01,325 --> 00:07:03,535 - Where it's mostly about families, 147 00:07:03,569 --> 00:07:05,226 and it's about sort of, you know, 148 00:07:05,260 --> 00:07:08,609 these connections and sometimes over-the-top emotions. 149 00:07:08,643 --> 00:07:10,542 [zombies growling] 150 00:07:10,576 --> 00:07:12,198 In some ways, you can say it's kind of like-- 151 00:07:12,233 --> 00:07:13,890 and I don't mean this in a disparaging way-- 152 00:07:13,924 --> 00:07:15,616 but it's kind of like a soap with zombies. 153 00:07:15,650 --> 00:07:17,514 - [screaming] 154 00:07:17,549 --> 00:07:20,034 - But it's all sort of in this context of, you know, 155 00:07:20,068 --> 00:07:24,107 these zombies who are moving incredibly fast. 156 00:07:24,141 --> 00:07:26,523 [screaming] 157 00:07:26,558 --> 00:07:28,076 - Appa! 158 00:07:28,111 --> 00:07:31,079 [intense music] 159 00:07:31,114 --> 00:07:33,012 ♪ 160 00:07:33,047 --> 00:07:35,670 - We've had fast zombies before, 161 00:07:35,705 --> 00:07:38,846 but they were fast zombies in a swarm. 162 00:07:41,020 --> 00:07:44,679 And those two things together are very, very scary. 163 00:07:44,714 --> 00:07:47,682 ♪ 164 00:07:47,717 --> 00:07:50,202 'Cause they're fast and there's too many of 'em. 165 00:07:50,236 --> 00:07:54,206 And so they just look impossible to defeat. 166 00:07:54,240 --> 00:07:58,728 [zombies screeching] 167 00:07:58,762 --> 00:08:00,177 - Granted, we had seen a little bit of that 168 00:08:00,212 --> 00:08:01,834 with "World War Z," 169 00:08:01,869 --> 00:08:05,182 but there was just something highly effective 170 00:08:05,217 --> 00:08:07,219 in seeing it in this movie. 171 00:08:11,050 --> 00:08:12,224 - The way they moved just felt unique. 172 00:08:14,744 --> 00:08:16,193 And that's what I liked about "Train to Busan," 173 00:08:16,228 --> 00:08:18,264 is it just felt fresh. 174 00:08:19,403 --> 00:08:21,578 - When the Shaw Brothers started making movies 175 00:08:21,613 --> 00:08:22,821 in Hong Kong... 176 00:08:22,855 --> 00:08:24,650 - [grunting] 177 00:08:24,685 --> 00:08:26,963 - It was just assumed that if you hired stunt people 178 00:08:26,997 --> 00:08:29,586 or if you hired martial arts people, 179 00:08:29,621 --> 00:08:32,208 they would do whatever you asked them to do. 180 00:08:32,244 --> 00:08:34,384 And they did not have the rules that we have 181 00:08:34,418 --> 00:08:35,972 for stuntmen in America. 182 00:08:36,005 --> 00:08:39,009 [all yelling] 183 00:08:39,044 --> 00:08:42,875 [tense music] 184 00:08:42,909 --> 00:08:46,085 And so people like Jackie Chan did 185 00:08:46,120 --> 00:08:47,984 these incredible physical stunts. 186 00:08:48,018 --> 00:08:52,126 [both yelling] 187 00:08:52,160 --> 00:08:56,268 And this carried over into Korean films 188 00:08:56,302 --> 00:08:57,821 and Thai films... 189 00:08:59,892 --> 00:09:02,308 And mainland China films. 190 00:09:02,343 --> 00:09:04,828 [both grunting] 191 00:09:08,073 --> 00:09:11,214 And obviously, it carried over into "Train to Busan," 192 00:09:11,248 --> 00:09:13,734 because these guys do 193 00:09:13,768 --> 00:09:15,874 death-defying things all the time. 194 00:09:15,908 --> 00:09:18,877 [intense music] 195 00:09:18,911 --> 00:09:21,811 - It showed us images of zombie mayhem 196 00:09:21,845 --> 00:09:24,779 that we had never seen before-- 197 00:09:24,814 --> 00:09:27,817 in particular, the train 198 00:09:27,851 --> 00:09:32,753 dragging an anthill of zombies with it. 199 00:09:32,787 --> 00:09:38,103 ♪ 200 00:09:38,137 --> 00:09:41,347 [somber music] 201 00:09:41,382 --> 00:09:44,178 But that movie already had me, you know, 202 00:09:44,212 --> 00:09:47,077 just based on characters alone. 203 00:09:47,112 --> 00:09:51,185 - [sobbing] Appa! Appa! 204 00:09:51,219 --> 00:09:53,187 - "Train to Busan" has just got so much heart. 205 00:09:53,221 --> 00:09:59,883 ♪ 206 00:09:59,918 --> 00:10:03,369 - It's one of the few films that can actually make me cry. 207 00:10:07,270 --> 00:10:10,791 - The ending of that film, it gets me every time. 208 00:10:18,453 --> 00:10:20,801 [ominous music] 209 00:10:20,835 --> 00:10:24,149 - Listen, Mr. Oswald, if you sleep in this house 210 00:10:24,183 --> 00:10:27,980 it's just gonna do terrible things to your head. 211 00:10:28,015 --> 00:10:30,258 - In "Sinister," Ethan Hawke plays an author 212 00:10:30,293 --> 00:10:33,365 who uncovers these home movies in his home. 213 00:10:35,022 --> 00:10:36,402 And you come to realize 214 00:10:36,437 --> 00:10:37,921 they're supernatural in some way. 215 00:10:40,406 --> 00:10:42,719 At first, Ethan Hawke doesn't know what to make of them 216 00:10:42,754 --> 00:10:44,790 but then is investigating further, 217 00:10:44,825 --> 00:10:46,481 so, of course, you're watching them with him 218 00:10:46,516 --> 00:10:49,726 and exposed to these terrible acts. 219 00:10:51,383 --> 00:10:55,249 - This film is about the act of watching a film. 220 00:10:55,283 --> 00:10:57,009 And we're showing bits of all these home movies 221 00:10:57,044 --> 00:10:59,460 that are involved in killings that have been committed 222 00:10:59,494 --> 00:11:00,806 with these families, and where one 223 00:11:00,841 --> 00:11:02,152 family member has disappeared, 224 00:11:02,187 --> 00:11:03,740 where a kid has been taken away. 225 00:11:03,775 --> 00:11:07,019 ♪ 226 00:11:07,054 --> 00:11:09,125 - The twist of, you know, 227 00:11:09,159 --> 00:11:11,541 where the scariest thing that happens 228 00:11:11,575 --> 00:11:14,820 is the guy sitting and watching moving images, 229 00:11:14,855 --> 00:11:16,304 it's interesting. 230 00:11:18,824 --> 00:11:21,068 - It continues a tradition going back 231 00:11:21,102 --> 00:11:23,380 to Michelangelo Antonioni's "Blow-Up"... 232 00:11:26,901 --> 00:11:29,386 Coppola's "The Conversation"... 233 00:11:29,421 --> 00:11:31,872 - Kill us if he got the chance. 234 00:11:31,906 --> 00:11:33,011 - Brian De Palma's "Blow Out." 235 00:11:33,045 --> 00:11:35,358 [static crackling] 236 00:11:35,392 --> 00:11:38,982 This idea of obsessing over the granular of the image. 237 00:11:39,017 --> 00:11:42,123 And oftentimes that obsession and trying to blow things up 238 00:11:42,158 --> 00:11:43,884 and figure out, "What does this mean?" 239 00:11:43,918 --> 00:11:45,333 is usually what brings about your ruin. 240 00:11:45,368 --> 00:11:46,818 - It was a good scream. 241 00:11:49,096 --> 00:11:50,476 - I mean, I think we can all agree 242 00:11:50,511 --> 00:11:51,926 that the scariest part of "Sinister" 243 00:11:51,961 --> 00:11:54,929 is the lawn mower scene. 244 00:11:54,964 --> 00:11:56,793 [laughs] Wouldn't we all agree with that? 245 00:11:56,828 --> 00:12:00,348 [intense music] 246 00:12:00,383 --> 00:12:03,558 That scene is so disturbing, is so disarming, 247 00:12:03,593 --> 00:12:05,837 because we're all Ethan Hawke in that moment. 248 00:12:08,632 --> 00:12:10,600 We're not guarded in any way. 249 00:12:10,634 --> 00:12:12,360 We just know he's gonna watch something disturbing, 250 00:12:12,395 --> 00:12:13,879 but how disturbing is it gonna go? 251 00:12:17,469 --> 00:12:20,092 - So we look in at this family just having fun in the house. 252 00:12:20,127 --> 00:12:21,853 And then the next thing you see 253 00:12:21,887 --> 00:12:24,441 is, like, this person, like, getting the lawn mower. 254 00:12:26,236 --> 00:12:28,031 And it's, like, a little tiny spotlight, 255 00:12:28,066 --> 00:12:30,033 and you can't really see around it. 256 00:12:30,068 --> 00:12:31,517 And it's silent at first. 257 00:12:33,865 --> 00:12:35,487 - It's so quiet. 258 00:12:35,521 --> 00:12:37,558 What is up with all these quiet things 259 00:12:37,592 --> 00:12:39,456 that just work every time? 260 00:12:39,491 --> 00:12:42,045 All you can hear is your breath. 261 00:12:42,080 --> 00:12:44,185 And that scene with the lawn mower, 262 00:12:44,220 --> 00:12:48,051 it's just going...and going. 263 00:12:48,086 --> 00:12:51,261 - All of a sudden, you see a body laying on the lawn. 264 00:12:51,296 --> 00:12:53,539 The sound makes-- cranks to a 12. 265 00:12:53,574 --> 00:12:55,990 [inhuman shriek] 266 00:12:57,371 --> 00:12:59,097 - They don't show us what happens, 267 00:12:59,131 --> 00:13:00,443 but Ethan Hawke sees it. 268 00:13:00,477 --> 00:13:02,963 - [breathing heavily] 269 00:13:02,997 --> 00:13:06,552 - And the look of abject terror on his face is just so-- 270 00:13:06,587 --> 00:13:08,969 [inhuman shriek] 271 00:13:09,003 --> 00:13:11,419 Man, he can act. 272 00:13:11,454 --> 00:13:14,388 It looks like he saw the worst thing ever. 273 00:13:14,422 --> 00:13:16,908 [projector whirring] 274 00:13:16,942 --> 00:13:18,323 - I don't know that I could process 275 00:13:18,357 --> 00:13:20,359 being laid down in the grass 276 00:13:20,394 --> 00:13:21,602 and a lawn mower running over my head. 277 00:13:21,636 --> 00:13:23,328 That's truly upsetting. 278 00:13:23,362 --> 00:13:26,020 [inhuman shriek] 279 00:13:26,055 --> 00:13:28,057 - But we don't actually see sort of the messiness. 280 00:13:28,091 --> 00:13:29,230 [ominous music] 281 00:13:29,265 --> 00:13:31,198 - [gasping] - Party's over. 282 00:13:31,232 --> 00:13:33,165 - This is not Peter Jackson's "Dead Alive" 283 00:13:33,200 --> 00:13:34,477 or "Braindead"... 284 00:13:34,511 --> 00:13:37,894 [zombies groaning] 285 00:13:37,929 --> 00:13:40,103 Where we do see what a lawn mower can do to people. 286 00:13:42,208 --> 00:13:43,279 Or to zombies, I guess. 287 00:13:45,522 --> 00:13:48,353 What Derrickson is suggesting is really graphic, 288 00:13:48,387 --> 00:13:51,149 but it's usually just the overall atmosphere 289 00:13:51,183 --> 00:13:53,289 and how it stays with us that is really effective. 290 00:13:55,153 --> 00:13:58,466 - Editing is everything in "Sinister," 291 00:13:58,501 --> 00:14:01,055 from the reveal of Ethan Hawke's son 292 00:14:01,090 --> 00:14:02,988 coming out of the box upside down-- 293 00:14:03,023 --> 00:14:04,679 you know, it's just like, how much are you seeing that 294 00:14:04,714 --> 00:14:06,371 before you cut to reactions? 295 00:14:06,405 --> 00:14:09,961 - [screaming] 296 00:14:10,962 --> 00:14:14,034 - I would ask every aspiring horror filmmaker 297 00:14:14,068 --> 00:14:15,104 to watch "Sinister." 298 00:14:17,209 --> 00:14:19,211 I think it's one of the best of that decade. 299 00:14:23,767 --> 00:14:26,149 [ominous music] 300 00:14:26,184 --> 00:14:28,324 - What are you doing here? 301 00:14:28,358 --> 00:14:30,671 - My bed was shaking. 302 00:14:30,705 --> 00:14:33,156 I can't get to sleep. 303 00:14:34,986 --> 00:14:37,022 - "The Exorcist," based on the novel 304 00:14:37,057 --> 00:14:38,575 by William Peter Blatty, 305 00:14:38,610 --> 00:14:42,338 it is such a '70s movie. 306 00:14:42,372 --> 00:14:46,031 [subway rumbling] 307 00:14:46,066 --> 00:14:49,483 So downbeat, so nihilistic. 308 00:14:49,517 --> 00:14:53,107 - She was living by herself, and I guess she was dead 309 00:14:53,142 --> 00:14:55,351 a couple of days before they found her. 310 00:14:55,385 --> 00:15:00,114 - "The Exorcist" says that God is not really there for you. 311 00:15:00,149 --> 00:15:04,153 - [yelling demonically] 312 00:15:04,187 --> 00:15:08,640 - Because the victim in "The Exorcist" is an innocent. 313 00:15:08,674 --> 00:15:10,400 - Yes. 314 00:15:10,435 --> 00:15:14,680 - That was what was so scary about "The Exorcist." 315 00:15:14,715 --> 00:15:16,441 - [growls] - Ah! 316 00:15:16,475 --> 00:15:19,513 - It wasn't the pea soup vomit 317 00:15:19,547 --> 00:15:21,791 or the head turning around. 318 00:15:21,825 --> 00:15:23,137 - Amen. 319 00:15:23,172 --> 00:15:27,383 - [growling] 320 00:15:27,417 --> 00:15:31,490 - It was the fact that it was a little girl. 321 00:15:31,525 --> 00:15:34,148 all: ♪ Some people think it's the home of black eyes ♪ 322 00:15:34,183 --> 00:15:37,393 - The pin that unhooks the wheel 323 00:15:37,427 --> 00:15:41,293 that starts the axle breaking of "The Exorcist" 324 00:15:41,328 --> 00:15:44,020 would never have happened without Linda Blair 325 00:15:44,055 --> 00:15:45,608 standing there and delivering the line... 326 00:15:45,642 --> 00:15:47,541 - You're gonna die up there. 327 00:15:47,575 --> 00:15:50,026 - Every single person that watched that film, 328 00:15:50,061 --> 00:15:51,372 the first time you watched that film, 329 00:15:51,407 --> 00:15:53,029 when she said that line, 330 00:15:53,064 --> 00:15:55,411 it stuck right in your heart, 331 00:15:55,445 --> 00:15:57,827 and you were like, "Oh, man, where are we going? 332 00:15:57,861 --> 00:15:59,415 "This is not good. 333 00:15:59,449 --> 00:16:01,624 This is really not good." 334 00:16:01,658 --> 00:16:05,317 - Still today, I don't think a movie has yet 335 00:16:05,352 --> 00:16:08,148 to make me feel so uncomfortable-- 336 00:16:08,182 --> 00:16:11,289 where you see the actors so uncomfortable. 337 00:16:11,323 --> 00:16:12,462 - Regan. 338 00:16:12,497 --> 00:16:14,188 Oh, my God, honey. 339 00:16:14,223 --> 00:16:16,535 - And giving this little girl-- 340 00:16:16,570 --> 00:16:19,780 just her body being taken advantage of, 341 00:16:19,814 --> 00:16:21,437 it's very dark. 342 00:16:23,404 --> 00:16:26,166 - The scene with the crucifix, 343 00:16:26,200 --> 00:16:28,271 you know, it's sort of like "Blazing Saddles." 344 00:16:28,306 --> 00:16:29,583 I don't know if you could do that today. 345 00:16:29,617 --> 00:16:32,344 [laughs] 346 00:16:32,379 --> 00:16:35,451 - Ellen Burstyn is downstairs, hears screaming from upstairs, 347 00:16:35,485 --> 00:16:36,486 goes up. 348 00:16:36,521 --> 00:16:38,488 [screaming, crashing] 349 00:16:38,523 --> 00:16:41,491 Number one, like, the whole, like, room is being trashed. 350 00:16:41,526 --> 00:16:43,528 - Let Jesus fuck you! Let Jesus fuck you! 351 00:16:43,562 --> 00:16:46,393 - And then Regan is masturbating with a crucifix. 352 00:16:46,427 --> 00:16:48,083 [both screaming] 353 00:16:48,119 --> 00:16:49,603 And then grabs her mother's head 354 00:16:49,637 --> 00:16:52,468 and puts her mother's head into her crotch... 355 00:16:52,502 --> 00:16:54,332 - Lick me! 356 00:16:54,366 --> 00:16:56,299 - And throws her across the room... 357 00:16:56,333 --> 00:16:59,164 - Ah! - [screaming] 358 00:16:59,199 --> 00:17:00,752 - In, like, a really gnarly-looking stunt 359 00:17:00,786 --> 00:17:02,754 where I think Ellen Burstyn actually hurt herself. 360 00:17:04,237 --> 00:17:07,862 - [screaming] 361 00:17:07,897 --> 00:17:09,657 - And then her head spins around. 362 00:17:09,691 --> 00:17:10,864 And then she says.. 363 00:17:10,900 --> 00:17:13,902 - You know what she did, 364 00:17:13,937 --> 00:17:15,629 your cunting daughter? 365 00:17:15,662 --> 00:17:17,389 - [screaming] 366 00:17:17,424 --> 00:17:20,772 - This is all in the space of about 90 seconds. 367 00:17:20,805 --> 00:17:22,601 And so, like, that movie has suddenly, 368 00:17:22,636 --> 00:17:24,810 like, just gone from cruising 369 00:17:24,844 --> 00:17:26,708 at a creepy kind of, like, pace 370 00:17:26,743 --> 00:17:29,160 to kind of just going at 200 miles an hour. 371 00:17:29,194 --> 00:17:32,128 ♪ 372 00:17:32,163 --> 00:17:36,477 - I think the thing for me that was always perfect was, 373 00:17:36,512 --> 00:17:39,446 the door was closed to her bedroom. 374 00:17:39,480 --> 00:17:41,655 And whatever happened when you opened it 375 00:17:41,689 --> 00:17:44,175 was worse than whatever you could imagine would happen 376 00:17:44,209 --> 00:17:47,661 when you got on the other side. 377 00:17:47,695 --> 00:17:49,318 - That's the genius of "The Exorcist." 378 00:17:49,352 --> 00:17:51,458 You have to go to the killer. 379 00:17:51,492 --> 00:17:55,945 You have to go to the monster, into the monster's lair. 380 00:17:55,979 --> 00:17:58,258 Because in "Texas Chain Saw Massacre," 381 00:17:58,292 --> 00:18:00,156 it's like, "Don't go in that house." 382 00:18:00,191 --> 00:18:02,607 Or with Jason Voorhees it's like, "Be careful. 383 00:18:02,641 --> 00:18:03,849 Like, Jason's gonna get you." 384 00:18:03,884 --> 00:18:04,954 [nail gun cracks] 385 00:18:04,988 --> 00:18:06,542 - [gasps] 386 00:18:06,576 --> 00:18:07,957 - But in "The Exorcist," 387 00:18:07,991 --> 00:18:09,510 they're trying to solve a problem. 388 00:18:09,545 --> 00:18:10,856 - [growling] 389 00:18:10,891 --> 00:18:13,480 - They want to save Regan. 390 00:18:13,514 --> 00:18:15,965 And the only way to do that is to go into the room. 391 00:18:15,999 --> 00:18:17,553 And they know every time they go into the room, 392 00:18:17,587 --> 00:18:19,555 something terrible is gonna happen. 393 00:18:19,589 --> 00:18:22,523 - [howling] 394 00:18:28,219 --> 00:18:31,187 [eerie music] 395 00:18:31,222 --> 00:18:35,295 - It's just like pictures in a book, Danny. 396 00:18:35,329 --> 00:18:37,504 It isn't real. 397 00:18:37,538 --> 00:18:38,953 - "The Shining"-- 398 00:18:38,988 --> 00:18:40,852 what do you say that hasn't been said? 399 00:18:40,886 --> 00:18:46,306 ♪ 400 00:18:46,340 --> 00:18:48,653 - We watch a man who's maybe had some history 401 00:18:48,687 --> 00:18:51,276 of kind of emotional instability, 402 00:18:51,311 --> 00:18:53,554 who's now in this isolated place, 403 00:18:53,589 --> 00:18:55,591 you know, recently sober-- 404 00:18:55,625 --> 00:18:59,457 - Here's to five miserable months on the wagon. 405 00:19:01,666 --> 00:19:04,738 - With a kind of a fragile, needy wife, 406 00:19:04,772 --> 00:19:06,843 and a son who's just an average kind of, 407 00:19:06,878 --> 00:19:08,431 what, six- or seven-year-old. 408 00:19:08,466 --> 00:19:11,641 [dramatic musical sting] 409 00:19:11,676 --> 00:19:13,333 And we watch him unravel. 410 00:19:13,367 --> 00:19:14,644 - [screams] 411 00:19:14,679 --> 00:19:17,923 [laughs] 412 00:19:17,958 --> 00:19:22,549 ♪ 413 00:19:22,583 --> 00:19:23,791 - I feel like that is a film 414 00:19:23,826 --> 00:19:25,897 that's full of iconic images... 415 00:19:28,727 --> 00:19:29,866 That endure. 416 00:19:34,733 --> 00:19:38,254 - Part of "The Shining" has to do 417 00:19:38,289 --> 00:19:41,292 with this sort of collapse of time-space... 418 00:19:41,326 --> 00:19:43,363 both: Hello, Danny. 419 00:19:43,397 --> 00:19:46,642 - That Danny could look at the hallway 420 00:19:46,676 --> 00:19:47,919 and see the twins, 421 00:19:47,953 --> 00:19:49,955 and then see their corpses, 422 00:19:49,990 --> 00:19:51,750 and then see the twins' ghosts again, 423 00:19:51,785 --> 00:19:54,477 and then see their corpses again. 424 00:19:54,512 --> 00:19:57,894 It's time-space collapsing on itself. 425 00:19:57,929 --> 00:20:00,311 Both of these things are happening simultaneously. 426 00:20:03,314 --> 00:20:07,352 It's the same thing with the woman in 237. 427 00:20:07,387 --> 00:20:11,701 We are all our youngest, most beautiful selves... 428 00:20:14,428 --> 00:20:17,362 And also rotting corpses at the same time. 429 00:20:17,397 --> 00:20:21,401 - [cackling] 430 00:20:21,435 --> 00:20:25,819 And Jack doesn't want to be confronted with that. 431 00:20:25,853 --> 00:20:27,924 - Did you find anything? 432 00:20:27,959 --> 00:20:30,064 - No. Nothing at all. 433 00:20:32,343 --> 00:20:35,104 - Then we follow Wendy. 434 00:20:35,138 --> 00:20:37,762 And she's in this, like, very terrified moment 435 00:20:37,796 --> 00:20:40,661 where she's going to tell him that she is leaving. 436 00:20:40,696 --> 00:20:43,423 [suspenseful music] 437 00:20:43,457 --> 00:20:45,666 And then she walks up to the typewriter 438 00:20:45,701 --> 00:20:48,531 and sees the paper and sees the-- 439 00:20:48,566 --> 00:20:49,981 the repetition of the line. 440 00:20:52,639 --> 00:20:55,020 He has not, in fact, been writing 441 00:20:55,055 --> 00:20:57,506 his great American novel this whole time. 442 00:20:57,540 --> 00:21:01,648 And all of the venom that she has absorbed 443 00:21:01,682 --> 00:21:04,409 from listening to him and kind of doting on him 444 00:21:04,444 --> 00:21:07,101 and trying to give him what it is that he wants 445 00:21:07,136 --> 00:21:09,518 and what it is that he's asking for-- 446 00:21:09,552 --> 00:21:11,105 that all of that was for naught. 447 00:21:11,140 --> 00:21:12,106 - How do you like it? 448 00:21:12,141 --> 00:21:13,694 - [screams] 449 00:21:13,729 --> 00:21:14,971 - We realize in this scene 450 00:21:15,006 --> 00:21:18,734 how, like, completely unhinged he is. 451 00:21:18,768 --> 00:21:20,701 - What do you want to talk about? 452 00:21:20,736 --> 00:21:24,636 - It's not a matter of speculation anymore. 453 00:21:24,671 --> 00:21:26,811 - Have you ever thought for a single, solitary moment 454 00:21:26,845 --> 00:21:29,089 about my responsibilities to my employers? 455 00:21:29,123 --> 00:21:32,506 - One of the scariest scenes to me in that whole movie 456 00:21:32,541 --> 00:21:34,819 is him advancing on her when she has that bat. 457 00:21:34,853 --> 00:21:36,510 - Get away from me! 458 00:21:36,545 --> 00:21:39,893 - 'Cause there is something about someone menacing you, 459 00:21:39,927 --> 00:21:42,654 and you know that you can't do anything. 460 00:21:42,689 --> 00:21:44,656 He's, like, so slowly-- 461 00:21:44,691 --> 00:21:47,141 just taking his time, not in a hurry-- 462 00:21:47,176 --> 00:21:50,973 this beautiful cat and mouse dynamic. 463 00:21:51,007 --> 00:21:52,733 - I'm not gonna hurt you. 464 00:21:52,768 --> 00:21:54,425 You didn't let me finish my sentence. 465 00:21:54,459 --> 00:21:56,944 - You're grabbing your throat the entire time. 466 00:21:56,979 --> 00:21:58,187 Where is this going? 467 00:21:58,221 --> 00:21:59,809 It just keeps you right here... 468 00:21:59,844 --> 00:22:01,466 - I'm not gonna hurt you. 469 00:22:01,501 --> 00:22:04,158 I'm just gonna bash your brains in. 470 00:22:04,193 --> 00:22:05,781 - All the way up until she hits him, 471 00:22:05,815 --> 00:22:07,438 finally, with the bat. 472 00:22:07,472 --> 00:22:09,681 - [shrieks] - Oh, God da-- 473 00:22:09,716 --> 00:22:15,204 ♪ 474 00:22:15,238 --> 00:22:17,206 - Oh, my God. 475 00:22:17,240 --> 00:22:18,828 - [screaming] 476 00:22:18,863 --> 00:22:21,555 - Certain horror scenes just break through 477 00:22:21,590 --> 00:22:23,695 memory and reality in a way 478 00:22:23,730 --> 00:22:25,663 where you can just almost mimic, 479 00:22:25,697 --> 00:22:28,942 and people instantly get what you're talking about. 480 00:22:28,976 --> 00:22:30,875 - No! 481 00:22:30,909 --> 00:22:33,671 - You can even say lines, like, "Here's Johnny." 482 00:22:33,705 --> 00:22:36,121 - Here's Johnny! - [screams] 483 00:22:36,156 --> 00:22:37,847 - And, automatically, somebody will be like, 484 00:22:37,882 --> 00:22:38,986 "'The Shining.' Have you seen 'The Shining'?" 485 00:22:39,021 --> 00:22:40,194 "Oh, no, I haven't seen it, 486 00:22:40,229 --> 00:22:41,644 but I know that's from 'The Shining.'" 487 00:22:41,679 --> 00:22:43,197 - [screams] 488 00:22:43,232 --> 00:22:46,615 - The acting is what saves this from going off the rails. 489 00:22:46,649 --> 00:22:48,651 It could have easily been, 490 00:22:48,686 --> 00:22:51,689 like, Jack Nicholson being crazy. 491 00:22:51,723 --> 00:22:54,243 But, you know, you have Shelley Duvall, 492 00:22:54,277 --> 00:22:57,833 broken as she was filming this thing--and she was aware. 493 00:22:57,867 --> 00:23:01,699 I mean, she was a very, very smart, 494 00:23:01,733 --> 00:23:03,804 very erudite woman. 495 00:23:03,839 --> 00:23:07,014 - I mean, we had the same end in mind. 496 00:23:07,049 --> 00:23:09,707 It was just that sometimes we differed in our means. 497 00:23:09,741 --> 00:23:11,225 - We're fucking killing ourselves out here, 498 00:23:11,260 --> 00:23:12,917 and you've gotta be present. - I am too. 499 00:23:12,951 --> 00:23:14,884 I'm standing right by the door. - Should we play mood music? 500 00:23:14,919 --> 00:23:17,093 - And she knew exactly what Stanley Kubrick was doing 501 00:23:17,128 --> 00:23:18,509 and why he was doing it. 502 00:23:18,543 --> 00:23:20,200 - [screams] 503 00:23:20,234 --> 00:23:23,962 - She just allowed herself to become 504 00:23:23,997 --> 00:23:25,205 totally fucking exhausted. 505 00:23:25,239 --> 00:23:26,758 I mean, 127 takes-- 506 00:23:26,793 --> 00:23:28,208 I don't know. 507 00:23:28,242 --> 00:23:30,659 I don't know if I could do that. 508 00:23:30,693 --> 00:23:32,592 - And by the end, the means met. 509 00:23:32,626 --> 00:23:38,183 ♪ 510 00:23:38,218 --> 00:23:39,909 [tense music] 511 00:23:39,944 --> 00:23:43,499 - Do you know what I do about unhappiness? 512 00:23:43,534 --> 00:23:45,190 I buy it off. 513 00:23:45,225 --> 00:23:47,641 Are--are you unhappy? 514 00:23:49,229 --> 00:23:50,575 - The great thing about "Psycho" is that 515 00:23:50,610 --> 00:23:52,991 it doesn't matter how much you know about it already 516 00:23:53,026 --> 00:23:54,717 or how much you've-- how many times you've seen it. 517 00:23:54,752 --> 00:23:56,236 - [gasps] 518 00:23:56,270 --> 00:23:58,031 - It's such a movie to be admired 519 00:23:58,065 --> 00:24:00,516 that you can see it any number of times 520 00:24:00,551 --> 00:24:04,002 and it's almost like the first time. 521 00:24:04,037 --> 00:24:06,211 - There are shots in that film where they're-- 522 00:24:06,246 --> 00:24:09,042 they're not even the 30th most famous shot, 523 00:24:09,076 --> 00:24:11,734 and yet they're still better than shots 524 00:24:11,769 --> 00:24:13,667 in other directors' whole careers. 525 00:24:13,702 --> 00:24:15,324 I was watching it recently, and there's a shot 526 00:24:15,358 --> 00:24:18,292 in the latter half where Vera Miles is 527 00:24:18,327 --> 00:24:20,122 waiting for kind of some news, 528 00:24:20,156 --> 00:24:22,918 and she's in Sam Loomis' shop. 529 00:24:22,952 --> 00:24:26,059 And she runs towards the camera in silhouette. 530 00:24:26,093 --> 00:24:27,647 And I just remember looking at that shot thinking, 531 00:24:27,681 --> 00:24:28,786 "Oh, my god. 532 00:24:28,820 --> 00:24:30,063 That shot is amazing." 533 00:24:30,097 --> 00:24:32,859 And yet it isn't in the top 20 534 00:24:32,893 --> 00:24:34,757 of most famous shots from "Psycho." 535 00:24:38,174 --> 00:24:40,142 - Well, everybody knows the iconic scene in "Psycho," 536 00:24:40,176 --> 00:24:41,868 which is the shower scene, which is, you know-- 537 00:24:41,902 --> 00:24:44,560 it was designed by Saul Bass, 538 00:24:44,595 --> 00:24:46,113 who did a lot of drawings for it. 539 00:24:46,148 --> 00:24:48,599 And it's pure cinema. 540 00:24:48,633 --> 00:24:50,290 It's all about editing. 541 00:24:50,324 --> 00:24:53,293 It's not about what you see, it's what you think you see. 542 00:24:53,327 --> 00:24:57,021 - Nobody had really attacked-- literally and figuratively-- 543 00:24:57,055 --> 00:25:02,751 a murder scene in this sense, in just a picture puzzle 544 00:25:02,785 --> 00:25:06,064 of a multitude of shots and put them together 545 00:25:06,099 --> 00:25:08,929 in an order that just throws you for a loop. 546 00:25:08,964 --> 00:25:12,657 [suspenseful music] 547 00:25:12,692 --> 00:25:16,178 It becomes frantic as the murder is frantic. 548 00:25:16,212 --> 00:25:18,249 You know, there's a bloodlust and a frenzy 549 00:25:18,283 --> 00:25:21,045 to the construction of this scene 550 00:25:21,079 --> 00:25:24,842 that is belied by the banality of each of those shots. 551 00:25:27,327 --> 00:25:30,261 There's nothing in there that is all that 552 00:25:30,295 --> 00:25:31,849 provocative or transgressive. 553 00:25:34,299 --> 00:25:36,405 It's only when it's been constructed 554 00:25:36,439 --> 00:25:39,857 with that masterful Bernard Herrmann score-- 555 00:25:39,891 --> 00:25:42,653 a black-and-white score that is only strings. 556 00:25:42,687 --> 00:25:44,793 [driving string music] 557 00:25:44,827 --> 00:25:47,071 - [screams] 558 00:25:47,105 --> 00:25:50,764 - It screams at you, and it's unbelievably potent. 559 00:25:50,799 --> 00:25:54,872 [dramatic music] 560 00:25:54,906 --> 00:25:59,255 - Hitchcock creates a great sympathy for Norman Bates, 561 00:25:59,290 --> 00:26:04,882 because we are so in his shoes 562 00:26:04,916 --> 00:26:08,195 when we're dealing with the aftermath 563 00:26:08,230 --> 00:26:12,337 of his mother murdering Marion Crane 564 00:26:12,372 --> 00:26:14,754 and him having to clean up the evidence. 565 00:26:14,788 --> 00:26:16,169 - Do you mind if I look at your book? 566 00:26:16,203 --> 00:26:18,689 - We are bothered and tense 567 00:26:18,723 --> 00:26:21,174 when Martin Balsam is questioning him. 568 00:26:21,208 --> 00:26:23,072 - Did you spend the night with her? 569 00:26:23,107 --> 00:26:26,731 - And we fear that Norman Bates is going to be caught. 570 00:26:26,766 --> 00:26:30,839 We don't want him to be caught, because Alfred Hitchcock is 571 00:26:30,873 --> 00:26:33,358 playing on all of the vulnerabilities 572 00:26:33,393 --> 00:26:37,915 of Anthony Perkins' persona and character at the time 573 00:26:37,949 --> 00:26:40,987 for you to root for the deadliest character 574 00:26:41,021 --> 00:26:42,851 in the narrative. 575 00:26:42,885 --> 00:26:45,129 [ominous music] 576 00:26:45,163 --> 00:26:46,440 - Your anticipation 577 00:26:46,475 --> 00:26:48,995 of Martin Balsam dying is already high. 578 00:26:49,029 --> 00:26:52,032 You know something really bad is gonna happen. 579 00:26:52,067 --> 00:26:53,413 - Bates? 580 00:26:53,447 --> 00:26:55,139 - You know, obviously, there's a killer 581 00:26:55,173 --> 00:26:57,141 and you assume the mother is somewhere there. 582 00:26:57,175 --> 00:26:59,730 But this is a private eye. 583 00:26:59,764 --> 00:27:01,904 This is not a naked lady in the shower, 584 00:27:01,939 --> 00:27:03,147 like, completely helpless. 585 00:27:03,181 --> 00:27:04,769 This is a private eye that is 586 00:27:04,804 --> 00:27:06,046 kind of ready for it, right? 587 00:27:06,081 --> 00:27:07,807 He's ready for the encounter. 588 00:27:07,841 --> 00:27:10,706 He assumes something's wrong. 589 00:27:10,741 --> 00:27:12,190 And as soon as he walks into the house 590 00:27:12,225 --> 00:27:13,916 and he's walking around, 591 00:27:13,951 --> 00:27:15,366 there's nothing more terrifying of that, 592 00:27:15,400 --> 00:27:16,850 of like, walking in someone else's house. 593 00:27:19,404 --> 00:27:22,338 And then just that strange shot of the stairs going up, 594 00:27:22,373 --> 00:27:25,134 which you already anticipate something strange might happen 595 00:27:25,169 --> 00:27:26,170 because Hitchcock puts the camera 596 00:27:26,204 --> 00:27:27,378 in kind of a strange place, 597 00:27:27,412 --> 00:27:29,138 with a strange depth of field. 598 00:27:29,173 --> 00:27:32,141 - The top of these stairs 599 00:27:32,176 --> 00:27:35,282 that the second murder took place. 600 00:27:35,317 --> 00:27:39,424 - The kind of genius move there is, whilst you're waiting 601 00:27:39,459 --> 00:27:41,495 for something terrible to happen, 602 00:27:41,530 --> 00:27:45,120 is, it's the cut to the overhead angle. 603 00:27:45,154 --> 00:27:47,467 Why do they cut to that overhead angle? 604 00:27:47,501 --> 00:27:51,057 Because they don't want to show that the killer is 605 00:27:51,091 --> 00:27:52,921 either Mrs. Bates or Norman. 606 00:27:52,955 --> 00:27:54,888 They don't want to show the face, 607 00:27:54,923 --> 00:27:56,994 so it's a practical decision. 608 00:27:58,271 --> 00:28:00,756 Oh, we'll cut to a high angle, and then you won't 609 00:28:00,791 --> 00:28:02,033 see the face of the killer. 610 00:28:02,068 --> 00:28:04,242 - She came out of the door there, 611 00:28:04,277 --> 00:28:06,210 met the victim at the top. 612 00:28:06,244 --> 00:28:10,317 - But what it does is, it takes you into an unnatural angle 613 00:28:10,352 --> 00:28:12,526 just at the point where you're expecting something terrible 614 00:28:12,561 --> 00:28:14,770 to happen, it cuts to that angle, 615 00:28:14,805 --> 00:28:16,772 and then the door opens and the figure comes out. 616 00:28:16,807 --> 00:28:20,914 And it's so brilliant, because it's not a shock. 617 00:28:22,329 --> 00:28:24,504 Usually, like, a shock moment 618 00:28:24,538 --> 00:28:27,334 is revealing something in frame. 619 00:28:27,369 --> 00:28:29,440 Like, in a "Halloween" film, Michael Myers would 620 00:28:29,474 --> 00:28:31,787 suddenly appear in frame. 621 00:28:31,822 --> 00:28:34,894 - [screaming] 622 00:28:36,896 --> 00:28:38,552 - But here you're cutting to a wide shot, 623 00:28:38,587 --> 00:28:40,209 and the wide shot is scary. 624 00:28:40,244 --> 00:28:43,212 [driving string music] 625 00:28:43,247 --> 00:28:45,318 - Now, by being at that top shot, 626 00:28:45,352 --> 00:28:47,527 you get to see he's coming, but he wouldn't see him, 627 00:28:47,561 --> 00:28:49,391 so then he gets completely blindsided. 628 00:28:49,425 --> 00:28:54,465 ♪ 629 00:28:54,499 --> 00:28:57,502 And then, obviously, you know, the classic-- 630 00:28:57,537 --> 00:28:59,539 which I still don't understand. 631 00:28:59,573 --> 00:29:01,092 What was supposed to be happening? 632 00:29:01,127 --> 00:29:02,611 I think he's just stepping backwards or something. 633 00:29:02,645 --> 00:29:04,371 But it's just--you know, it's a classic, 634 00:29:04,406 --> 00:29:06,304 you know, cinematic moment. 635 00:29:06,339 --> 00:29:09,066 - The victim tumbled and fell with a horrible crack. 636 00:29:09,100 --> 00:29:10,999 I think the back broke immediately 637 00:29:11,033 --> 00:29:13,622 when it hit the floor. 638 00:29:13,656 --> 00:29:15,520 - And then she goes there and stabs him again, 639 00:29:15,555 --> 00:29:17,419 like, which makes it, like-- 640 00:29:17,453 --> 00:29:19,835 you know, you think it's overkill, but no. 641 00:29:19,870 --> 00:29:21,181 He falls down the stairs on his back 642 00:29:21,216 --> 00:29:22,838 and gets stabbed again. 643 00:29:22,873 --> 00:29:25,082 It just--for me, the most scariest thing in that movie. 644 00:29:29,293 --> 00:29:32,227 [light, tense music] 645 00:29:32,261 --> 00:29:36,438 ♪ 646 00:29:36,472 --> 00:29:39,855 - One of my favorite films of all time 647 00:29:39,890 --> 00:29:42,168 is a little movie called "Audition"... 648 00:29:42,202 --> 00:29:45,550 - [groaning] 649 00:29:45,585 --> 00:29:49,209 - By Takashi Miike, one of the great auteurs 650 00:29:49,244 --> 00:29:52,178 of the last 25 years. 651 00:29:52,212 --> 00:29:55,043 That movie just brands your brain in a way 652 00:29:55,077 --> 00:29:57,873 that, once you see it, you're never going to... 653 00:29:59,357 --> 00:30:00,393 Not think about it. 654 00:30:02,602 --> 00:30:04,673 One of the best things about that film 655 00:30:04,707 --> 00:30:07,331 is that the first act really plays out 656 00:30:07,365 --> 00:30:11,438 kind of like a good old indie drama-comedy. 657 00:30:11,473 --> 00:30:15,235 - It's about a widower who wants to find a new wife. 658 00:30:15,270 --> 00:30:17,203 And with the help of a film producer... 659 00:30:18,687 --> 00:30:19,999 - [speaking Japanese] 660 00:30:20,033 --> 00:30:21,966 - Auditions young women-- 661 00:30:22,001 --> 00:30:23,381 and it's notable, I think, 662 00:30:23,416 --> 00:30:25,418 that they're mostly young women-- 663 00:30:25,452 --> 00:30:27,420 for the part of his new wife. 664 00:30:30,181 --> 00:30:31,320 - The title "Audition" refers to the fact 665 00:30:31,355 --> 00:30:33,115 that he's throwing these audition processes 666 00:30:33,150 --> 00:30:34,461 in front of a video camera 667 00:30:34,496 --> 00:30:36,015 completely under false pretenses. 668 00:30:36,049 --> 00:30:37,706 He's looking for, you know, his next soul mate. 669 00:30:37,740 --> 00:30:39,156 You know, these girls think, "Oh, no. 670 00:30:39,190 --> 00:30:40,329 I'm going for an audition," you know, 671 00:30:40,364 --> 00:30:41,399 which in itself is a lie. 672 00:30:45,162 --> 00:30:47,060 - And so there's sort of these inklings 673 00:30:47,095 --> 00:30:50,546 of, you know, this romantic story. 674 00:30:50,581 --> 00:30:52,307 You know, is there sort of this-- 675 00:30:52,341 --> 00:30:55,482 this hope of a happy ending here? 676 00:30:55,517 --> 00:30:57,622 You know, when he first meets Asami... 677 00:31:02,179 --> 00:31:03,663 - It's almost too good to be true. 678 00:31:03,697 --> 00:31:06,217 And then it turns out it was too good to be true. 679 00:31:06,252 --> 00:31:07,736 [ominous music] 680 00:31:07,770 --> 00:31:10,463 - There's a really famous scene in that film 681 00:31:10,497 --> 00:31:13,569 where she is waiting by the phone. 682 00:31:13,604 --> 00:31:19,368 And we get our first real view of her in her element. 683 00:31:19,403 --> 00:31:21,646 And she's in this room, 684 00:31:21,681 --> 00:31:23,752 and there is a bag on the floor. 685 00:31:23,786 --> 00:31:26,168 And you don't know what's in the bag, 686 00:31:26,203 --> 00:31:27,376 but you know it's not good. 687 00:31:27,411 --> 00:31:31,208 [phone ringing] 688 00:31:31,242 --> 00:31:34,004 - The phone is ringing, and she's slowly, 689 00:31:34,038 --> 00:31:36,075 like, raising her head 690 00:31:36,109 --> 00:31:38,525 as if she's about to pick up the phone. 691 00:31:38,560 --> 00:31:40,148 [phone ringing] 692 00:31:40,182 --> 00:31:43,220 And the genius of that shot is, 693 00:31:43,254 --> 00:31:46,499 you're fully concentrating on her reaction. 694 00:31:46,533 --> 00:31:49,053 [phone ringing] 695 00:31:49,088 --> 00:31:51,469 - [growling] 696 00:31:51,504 --> 00:31:55,197 - And it's at that point that the bag moves really violently, 697 00:31:55,232 --> 00:31:57,717 that there's obviously somebody still alive inside the bag. 698 00:31:57,751 --> 00:31:59,443 [phone ringing] 699 00:31:59,477 --> 00:32:02,480 You're already kind of, like, feeling uneasy. 700 00:32:02,515 --> 00:32:04,551 And then your worst fears are confirmed 701 00:32:04,586 --> 00:32:06,519 whilst you were concentrating on something else. 702 00:32:06,553 --> 00:32:09,004 - [growling] 703 00:32:09,039 --> 00:32:12,076 - It's really, really terrifying, 704 00:32:12,111 --> 00:32:14,699 but not quite as terrifying as the last 30 minutes. 705 00:32:14,734 --> 00:32:18,151 [suspenseful music] 706 00:32:18,186 --> 00:32:20,395 - The first half of "Audition" is like a Lifetime 707 00:32:20,429 --> 00:32:21,465 Movie of the Week. 708 00:32:26,470 --> 00:32:28,748 And then it turns vicious and strange 709 00:32:28,782 --> 00:32:32,165 and kind of wonderfully violent. 710 00:32:32,200 --> 00:32:34,029 - [yelling] 711 00:32:34,064 --> 00:32:37,446 - The scenes where Asami uses the acupuncture needles... 712 00:32:37,481 --> 00:32:40,208 - [groans] 713 00:32:40,242 --> 00:32:43,556 - Are among the most disturbing images 714 00:32:43,590 --> 00:32:44,764 ever put on film. 715 00:32:51,219 --> 00:32:53,531 - [groaning] - But it's very effective. 716 00:32:55,326 --> 00:32:57,259 - "Audition" is sort of a critique of rom-coms, 717 00:32:57,294 --> 00:32:58,847 because if you look at them, most romantic comedies 718 00:32:58,881 --> 00:33:00,331 are pretty screwed up. 719 00:33:00,366 --> 00:33:01,608 I mean, they're about very sick people 720 00:33:01,643 --> 00:33:02,816 who probably should not be together, 721 00:33:02,851 --> 00:33:04,611 when you really break it down. 722 00:33:04,646 --> 00:33:06,337 Because they usually involve people lying to each other. 723 00:33:06,372 --> 00:33:07,718 - I'm a writer for "The Baltimore Sun" 724 00:33:07,752 --> 00:33:09,582 and a friend of Laurie Johnson's. 725 00:33:09,616 --> 00:33:12,274 I'm doing a piece on how people handle bereavement, 726 00:33:12,309 --> 00:33:14,518 and I understand you had a caller the other night, 727 00:33:14,552 --> 00:33:15,657 some guy from Seattle. 728 00:33:15,691 --> 00:33:16,796 - But we've been trained by movies 729 00:33:16,830 --> 00:33:18,108 to think, "Oh, that's great. 730 00:33:18,142 --> 00:33:19,178 That's what I should want from a partner," 731 00:33:19,212 --> 00:33:20,213 which doesn't make any sense at all, 732 00:33:20,248 --> 00:33:21,042 because no, you don't want that. 733 00:33:21,076 --> 00:33:22,733 No rational person wants that. 734 00:33:22,767 --> 00:33:24,700 - It was right. It was real. 735 00:33:24,735 --> 00:33:27,082 It was-- - A movie. 736 00:33:27,117 --> 00:33:29,188 That's your problem. You don't want to be in love. 737 00:33:29,222 --> 00:33:31,535 You want to be in love in a movie. 738 00:33:31,569 --> 00:33:33,847 - Romantic comedies kind of destroyed 739 00:33:33,882 --> 00:33:37,161 a lot of people of, like, how they think things should work. 740 00:33:37,196 --> 00:33:38,714 Oh, a girl doesn't want to go out with you? 741 00:33:38,749 --> 00:33:40,233 Keep on asking her. 742 00:33:40,268 --> 00:33:41,510 A girl breaks up with me? 743 00:33:41,545 --> 00:33:44,237 She just needs to be convinced to. 744 00:33:44,272 --> 00:33:46,619 Get a boom box, put it over your head, you know, 745 00:33:46,653 --> 00:33:49,139 which is, you know, harassment and stalking. 746 00:33:49,173 --> 00:33:50,485 And, you know, she says she wants to break up with you, 747 00:33:50,519 --> 00:33:51,624 tell her she's wrong. 748 00:33:53,936 --> 00:33:55,559 - And that's what's so great about "Audition," 749 00:33:55,593 --> 00:33:57,112 is just that--all right. 750 00:33:57,147 --> 00:33:58,217 You want to try and do that stuff? 751 00:33:58,251 --> 00:33:59,287 You want to try and, you know, have 752 00:33:59,321 --> 00:34:00,909 this kind of romantic comedy life? 753 00:34:00,943 --> 00:34:03,256 Well, they're not gonna to go as planned. 754 00:34:06,190 --> 00:34:07,640 - [screams] 755 00:34:09,711 --> 00:34:11,920 [ominous music] 756 00:34:11,954 --> 00:34:14,371 - Why are you scared of me? 757 00:34:14,405 --> 00:34:16,856 - I never wanted to be your mother. 758 00:34:16,890 --> 00:34:19,721 - [laughs] "Hereditary." 759 00:34:19,755 --> 00:34:21,378 - Then why did you have me? 760 00:34:21,412 --> 00:34:24,139 - It wasn't my fault! I tried to stop it! 761 00:34:24,173 --> 00:34:25,623 - Every time I think of that movie, I laugh and laugh. 762 00:34:25,657 --> 00:34:27,211 No, I'm kidding. It's not funny. 763 00:34:27,246 --> 00:34:28,902 - I tried to have a miscarriage. 764 00:34:28,936 --> 00:34:32,733 - I laughed so hard at that movie 765 00:34:32,768 --> 00:34:36,702 because I was so terrified. 766 00:34:36,738 --> 00:34:37,842 - You tried to kill me. 767 00:34:37,876 --> 00:34:39,706 - I did not. - You did! 768 00:34:39,740 --> 00:34:41,363 - I love you. - You tried to kill me! 769 00:34:41,398 --> 00:34:43,952 - I feel joy when they terrify me 770 00:34:43,986 --> 00:34:45,574 because they got me. 771 00:34:45,608 --> 00:34:47,197 - Why did you try to kill me? - I love you! 772 00:34:47,231 --> 00:34:48,784 I didn't! I was trying to save you! 773 00:34:48,818 --> 00:34:50,545 - Why did you try to kill me? 774 00:34:50,579 --> 00:34:52,823 - Every aspect of that movie, to me, was joy. 775 00:34:52,856 --> 00:34:54,480 - [crying] 776 00:34:57,448 --> 00:34:59,243 - The first part of the movie, you're kind of thinking, 777 00:34:59,278 --> 00:35:01,590 "Oh, what is this about? There's some little miniatures. 778 00:35:01,625 --> 00:35:03,489 Like, there's something going on with the mother." 779 00:35:05,387 --> 00:35:07,458 It is scary. It's very creepy. 780 00:35:07,493 --> 00:35:09,495 But you don't exactly know where it's going. 781 00:35:11,807 --> 00:35:13,740 But then you get to this part 782 00:35:13,775 --> 00:35:16,260 where Peter, the older brother, 783 00:35:16,295 --> 00:35:18,228 takes his younger sister, Charlie, to a party. 784 00:35:18,262 --> 00:35:19,401 - Oh, shit, look. 785 00:35:19,436 --> 00:35:20,368 They're giving out chocolate cake. 786 00:35:20,402 --> 00:35:21,817 - Not to everyone. 787 00:35:21,852 --> 00:35:23,957 - Yes, to everyone. It's a party. 788 00:35:23,992 --> 00:35:26,546 - And she is kind of a strange girl. 789 00:35:26,581 --> 00:35:28,445 And she has an allergy. She has this allergic reaction. 790 00:35:28,479 --> 00:35:30,550 - Peter. 791 00:35:30,585 --> 00:35:32,552 - Charlie. [coughs] 792 00:35:32,587 --> 00:35:33,898 - And she starts not being able to breathe. 793 00:35:33,933 --> 00:35:35,314 - Are you okay? 794 00:35:35,348 --> 00:35:36,798 - I think my throat's getting bigger. 795 00:35:36,832 --> 00:35:38,386 [suspenseful music] 796 00:35:38,420 --> 00:35:39,490 - So he throws her in the car. 797 00:35:39,525 --> 00:35:40,836 He's driving really fast. 798 00:35:40,871 --> 00:35:42,252 And she's in the back and she's-- 799 00:35:42,286 --> 00:35:43,218 you know, she's choking. 800 00:35:43,253 --> 00:35:44,564 She's--[gasps] 801 00:35:46,532 --> 00:35:48,672 - You're watching her head out the window. 802 00:35:48,706 --> 00:35:49,983 And you know the pole is coming 803 00:35:50,018 --> 00:35:51,571 and you're going, "They're not gonna do this. 804 00:35:51,606 --> 00:35:52,952 They're not gonna do this." 805 00:35:52,986 --> 00:35:55,644 - [gasping] 806 00:35:56,542 --> 00:35:57,819 And then they do. 807 00:35:57,853 --> 00:36:00,787 [tires screeching] 808 00:36:04,584 --> 00:36:06,379 - Every time I've watched it, 809 00:36:06,414 --> 00:36:08,933 whether it's been in the cinema or with other people at home, 810 00:36:08,968 --> 00:36:14,249 the gasp of that happening is extraordinary. 811 00:36:14,284 --> 00:36:16,803 But then what happens next is where Ari Aster 812 00:36:16,838 --> 00:36:18,702 sort of does something unconventional 813 00:36:18,736 --> 00:36:21,291 in terms of subverting your expectations 814 00:36:21,325 --> 00:36:23,948 of what you're going to see, and then un-subverting them. 815 00:36:25,847 --> 00:36:27,676 So the thing that happens after that is, 816 00:36:27,711 --> 00:36:29,678 he leaves the car in the drive, 817 00:36:29,713 --> 00:36:32,750 with his sister's decapitated body in it, 818 00:36:32,785 --> 00:36:33,958 and goes to bed. 819 00:36:33,993 --> 00:36:35,960 [unsettling music] 820 00:36:35,995 --> 00:36:38,618 - He's in shock. 821 00:36:38,653 --> 00:36:41,690 And he just falls into the bed and the camera stays on him. 822 00:36:41,725 --> 00:36:43,313 - I'm running out for some balsa wood. 823 00:36:43,347 --> 00:36:44,797 You want anything? 824 00:36:44,831 --> 00:36:45,729 - And then you hear the parents 825 00:36:45,763 --> 00:36:47,489 start to go downstairs. 826 00:36:47,524 --> 00:36:50,423 And now you're feeling the same--it's not even dread. 827 00:36:50,458 --> 00:36:54,945 It's such a complex, horrific feeling that he's feeling. 828 00:36:54,979 --> 00:36:56,809 Because he hears them going out to the car, 829 00:36:56,843 --> 00:36:58,535 and he knows what they're gonna see. 830 00:36:58,569 --> 00:37:01,710 - [screaming] 831 00:37:01,745 --> 00:37:03,781 - And it's all happening kind of off-camera, 832 00:37:03,816 --> 00:37:05,300 and it stays on him. 833 00:37:05,335 --> 00:37:06,991 It stays on him for the duration. 834 00:37:07,026 --> 00:37:09,615 And it's just--it's grueling and it's human and it's real 835 00:37:09,649 --> 00:37:11,375 and it's just--it's one of the most affecting scenes 836 00:37:11,410 --> 00:37:12,411 I've ever seen in a movie. 837 00:37:12,445 --> 00:37:14,758 - [screaming] 838 00:37:14,792 --> 00:37:18,071 - And then just when you think you've got through the scene, 839 00:37:18,106 --> 00:37:20,557 then he shows you the decapitated head... 840 00:37:20,591 --> 00:37:22,973 - [screaming] 841 00:37:23,007 --> 00:37:24,837 - On a desert road, covered in ants. 842 00:37:24,871 --> 00:37:27,840 - Oh, my God! Oh, my god! 843 00:37:27,874 --> 00:37:29,842 - Oh, my God. - [screaming] 844 00:37:29,876 --> 00:37:31,499 - When you watch that with an audience, 845 00:37:31,533 --> 00:37:34,674 it takes them a long time to recover from that sequence. 846 00:37:34,709 --> 00:37:36,089 Then towards the end of the film, 847 00:37:36,124 --> 00:37:39,023 there's the sequence where Toni Collette 848 00:37:39,058 --> 00:37:41,405 is waiting in the darkness. 849 00:37:41,440 --> 00:37:44,443 - The scare of the scene is 850 00:37:44,477 --> 00:37:46,445 that you're looking at this shot, 851 00:37:46,479 --> 00:37:47,825 and it's a wide shot of the kid, 852 00:37:47,860 --> 00:37:49,620 like, waking up in his bed, 853 00:37:49,655 --> 00:37:51,933 and, you know, he's mainly hit by moonlight or something. 854 00:37:51,967 --> 00:37:53,417 [ominous music] 855 00:37:53,452 --> 00:37:54,901 - Mom? 856 00:37:54,936 --> 00:37:56,455 - And sadly--this is what happened to me. 857 00:37:56,489 --> 00:37:58,008 I was in the movie theater... 858 00:37:58,042 --> 00:37:59,596 - Dad? 859 00:37:59,630 --> 00:38:02,944 - Not seeing anything disturbing, apparently. 860 00:38:02,978 --> 00:38:04,704 You know, it was-- it's a dark scene. 861 00:38:04,739 --> 00:38:07,431 And suddenly I hear this murmur in the audience. 862 00:38:07,466 --> 00:38:10,123 [murmuring incoherently] 863 00:38:10,158 --> 00:38:11,159 What the f-- 864 00:38:11,193 --> 00:38:13,403 oh, shit! 865 00:38:13,437 --> 00:38:16,509 And then your eye sees what's in the corner of the frame. 866 00:38:16,544 --> 00:38:18,925 [suspenseful music] 867 00:38:18,960 --> 00:38:20,479 - It's a testament to that movie 868 00:38:20,513 --> 00:38:21,652 that it creates these images 869 00:38:21,687 --> 00:38:23,620 that are so powerfully shocking 870 00:38:23,654 --> 00:38:26,588 that it then needs, like, half an hour 871 00:38:26,623 --> 00:38:28,935 to reset for the next one. 872 00:38:28,970 --> 00:38:31,421 Because the audience are all completely freaked out. 873 00:38:35,666 --> 00:38:36,805 - [clicks tongue] 874 00:38:40,740 --> 00:38:43,433 - How's it coming in there? 875 00:38:43,467 --> 00:38:44,675 I said, how's it-- 876 00:38:47,540 --> 00:38:50,509 [roaring] 877 00:38:50,543 --> 00:38:53,719 ♪ 878 00:38:53,753 --> 00:38:57,412 - John Carpenter's '82 "The Thing" is 879 00:38:57,447 --> 00:39:01,554 the best monster movie ever made. 880 00:39:01,589 --> 00:39:06,594 - [growling] 881 00:39:06,628 --> 00:39:11,115 He says that it's not as good as the original. 882 00:39:11,150 --> 00:39:15,637 That's because he's a self-effacing, modest guy. 883 00:39:15,672 --> 00:39:17,501 - [growling] 884 00:39:17,536 --> 00:39:21,056 I believe it blows the original out of the water. 885 00:39:23,093 --> 00:39:27,960 And, to this day, there is nothing like it. 886 00:39:27,994 --> 00:39:30,825 - [growling] 887 00:39:30,859 --> 00:39:32,689 - I won't say it was a perfect movie, 888 00:39:32,723 --> 00:39:34,863 but I can't think of another movie that's more perfect. 889 00:39:37,003 --> 00:39:39,730 It's like, everything from the pacing of it, 890 00:39:39,765 --> 00:39:43,216 storytelling, performances, effects-- 891 00:39:43,251 --> 00:39:44,632 I just love that movie to death. 892 00:39:46,703 --> 00:39:49,706 - Isolation horror is one of my favorite kinds of horror. 893 00:39:49,740 --> 00:39:52,467 You're out in this wintry base, 894 00:39:52,502 --> 00:39:56,506 just watching this group of men working together. 895 00:39:59,025 --> 00:40:02,235 And then, all of a sudden, there's a creature. 896 00:40:02,270 --> 00:40:04,065 But what is it? Where is it? 897 00:40:04,099 --> 00:40:05,273 What does it look like? 898 00:40:05,307 --> 00:40:07,482 Oh, it looks like us. 899 00:40:07,517 --> 00:40:09,035 - You see, what we're talking about here 900 00:40:09,070 --> 00:40:11,693 is an organism that imitates other life forms. 901 00:40:11,728 --> 00:40:13,592 And it imitates them perfectly. 902 00:40:13,626 --> 00:40:16,284 - [howling] 903 00:40:16,318 --> 00:40:18,976 - That is scary. 904 00:40:19,011 --> 00:40:22,186 - I just cannot believe any of this voodoo bullshit. 905 00:40:22,221 --> 00:40:25,569 - If the Thing were to imitate you, 906 00:40:25,604 --> 00:40:27,019 you wouldn't even know it wasn't you 907 00:40:27,053 --> 00:40:30,747 until the Thing was threatened 908 00:40:30,781 --> 00:40:33,232 and its sensibility was threatened. 909 00:40:33,266 --> 00:40:35,234 And then it would reveal itself. 910 00:40:35,268 --> 00:40:36,511 - [screeches] 911 00:40:37,719 --> 00:40:41,067 [screaming] 912 00:40:44,243 --> 00:40:47,108 - But until then, it would keep imitating you, 913 00:40:47,142 --> 00:40:48,799 pretending to be you, 914 00:40:48,834 --> 00:40:50,698 to the point where no one around you wouldn't know 915 00:40:50,732 --> 00:40:51,768 it wasn't you. 916 00:40:54,978 --> 00:40:56,600 - All these different sequences 917 00:40:56,635 --> 00:40:58,844 with one of the most imaginative 918 00:40:58,878 --> 00:41:01,812 makeup effects creators ever, in Rob Bottin, 919 00:41:01,847 --> 00:41:08,060 who was unbelievably young and ambitious and brilliant, 920 00:41:08,094 --> 00:41:10,580 and John gave him full steam ahead 921 00:41:10,614 --> 00:41:12,547 to come up with these ideas. 922 00:41:12,582 --> 00:41:15,067 [ominous music] 923 00:41:15,101 --> 00:41:16,827 - One of the most iconic moments-- 924 00:41:16,862 --> 00:41:21,211 I mean, it's endless of iconic moments of "The Thing." 925 00:41:21,245 --> 00:41:23,558 But how you think one of the characters, 926 00:41:23,593 --> 00:41:24,801 after he had a heart attack... 927 00:41:24,835 --> 00:41:27,700 - Clear! 928 00:41:27,735 --> 00:41:29,564 - And it's not bringing him back to life. 929 00:41:29,599 --> 00:41:30,807 [mimics paddles] 930 00:41:30,841 --> 00:41:32,256 It's not working. - Clear! 931 00:41:32,291 --> 00:41:34,845 - And just before they try to revive the guy... 932 00:41:34,880 --> 00:41:36,813 [growls] - Clear. 933 00:41:36,847 --> 00:41:38,608 - [screaming] 934 00:41:38,642 --> 00:41:43,095 - And you just see how the poor man's arms get just eaten. 935 00:41:43,129 --> 00:41:46,201 - [screaming] 936 00:41:46,236 --> 00:41:47,340 - Oh, wow. 937 00:41:47,375 --> 00:41:49,135 That was incredible. 938 00:41:50,965 --> 00:41:53,346 That was some of the most incredible 939 00:41:53,381 --> 00:41:55,348 movie magic I had ever seen. 940 00:41:57,281 --> 00:42:00,733 They had a man who was a double amputee. 941 00:42:00,768 --> 00:42:04,081 I don't think he was as tall as Dick Dysart. 942 00:42:04,116 --> 00:42:08,189 But when they put that wig on him to match Dick's hair, 943 00:42:08,223 --> 00:42:10,156 and they put prosthetic arms on him... 944 00:42:10,191 --> 00:42:12,883 - [screaming] 945 00:42:12,918 --> 00:42:14,713 - In the moment of, "Pow!" 946 00:42:14,747 --> 00:42:18,130 and those arms flew off, and that blood was like--wow. 947 00:42:18,164 --> 00:42:20,995 It was--it was something to behold. 948 00:42:21,029 --> 00:42:25,275 But it was as exciting watching the end product 949 00:42:25,309 --> 00:42:28,692 in the movie as it was 950 00:42:28,727 --> 00:42:30,936 to see the setup in the studio. 951 00:42:30,970 --> 00:42:32,178 It was beautiful. 952 00:42:32,213 --> 00:42:34,180 It was just beautiful. 953 00:42:34,215 --> 00:42:36,148 [suspenseful music] 954 00:42:36,182 --> 00:42:39,220 - And then just, like, green goo explodes. 955 00:42:39,254 --> 00:42:44,156 ♪ 956 00:42:44,190 --> 00:42:46,330 Then the guy's neck starts to rip off 957 00:42:46,365 --> 00:42:48,022 and it becomes a spider. 958 00:42:55,236 --> 00:42:56,893 - You know, I'll never forget it, 959 00:42:56,927 --> 00:42:59,343 because it doesn't contain just one shock. 960 00:42:59,378 --> 00:43:02,795 It contains one enormous shock, 961 00:43:02,830 --> 00:43:06,696 followed by mind-boggling shock after shock... 962 00:43:10,078 --> 00:43:12,840 And actually ends kind of in a laugh. 963 00:43:12,874 --> 00:43:17,051 - You gotta be fucking kidding. 964 00:43:17,085 --> 00:43:19,294 - It's really virtuoso filmmaking. 965 00:43:22,159 --> 00:43:24,196 [contemplative music] 966 00:43:24,230 --> 00:43:25,991 - It never stops fascinating me, 967 00:43:26,025 --> 00:43:27,302 the magic of the movies. 968 00:43:27,337 --> 00:43:29,788 [screaming] 969 00:43:29,822 --> 00:43:32,238 Because it's all about appearances. 970 00:43:32,273 --> 00:43:33,999 It's illusion. 971 00:43:34,033 --> 00:43:38,141 It's what it looks like, not necessarily what it is. 972 00:43:38,175 --> 00:43:42,801 ♪ 973 00:43:44,043 --> 00:43:47,771 - [laughs] I see things. 974 00:43:47,806 --> 00:43:49,980 You laugh at an old man. 975 00:43:50,015 --> 00:43:51,499 [laughs] 976 00:43:51,533 --> 00:43:54,709 There's them that laughs and knows better. 977 00:43:58,299 --> 00:44:01,440 - It's so hard to quantify when people say to me, 978 00:44:01,474 --> 00:44:04,857 "What's the best horror movie of all time?" 979 00:44:04,892 --> 00:44:07,273 If there's something that kind of noses ahead 980 00:44:07,308 --> 00:44:09,448 and is right in there, 981 00:44:09,482 --> 00:44:12,175 it's always Tobe Hooper's "The Texas Chain Saw Massacre." 982 00:44:12,209 --> 00:44:13,832 - [screaming] 983 00:44:13,866 --> 00:44:16,904 - That's the thing that checks all the boxes for me. 984 00:44:16,938 --> 00:44:19,734 - My grandpa's the best killer there ever was. 985 00:44:19,769 --> 00:44:21,736 - It has social commentary. 986 00:44:21,771 --> 00:44:24,049 - [screaming] 987 00:44:24,083 --> 00:44:27,328 - It has horror unlike any unspeakable, 988 00:44:27,362 --> 00:44:30,883 brutal, visceral horror we've ever seen in a film before. 989 00:44:30,918 --> 00:44:32,264 [ominous music] 990 00:44:32,298 --> 00:44:35,474 It's got a monster and a family of monsters 991 00:44:35,508 --> 00:44:38,304 that will haunt you for the rest of your life. 992 00:44:38,339 --> 00:44:40,790 - [screaming] 993 00:44:40,824 --> 00:44:44,725 - And it's funny in its weird, wonderful, wacky way. 994 00:44:47,072 --> 00:44:48,349 - [screaming] 995 00:44:48,383 --> 00:44:50,351 - Get her! 996 00:44:50,385 --> 00:44:53,181 - The movie's as complex as a Hitchcock movie... 997 00:44:53,216 --> 00:44:56,081 [maniacal laughter] 998 00:44:56,115 --> 00:44:57,496 And yet, at one time, just the name 999 00:44:57,530 --> 00:45:00,188 "The Texas Chain Saw Massacre" was considered shorthand 1000 00:45:00,223 --> 00:45:03,191 for the decay of American society, 1001 00:45:03,226 --> 00:45:04,986 the decay of American morals. 1002 00:45:07,092 --> 00:45:08,921 - But I think the most violent thing in the film 1003 00:45:08,956 --> 00:45:12,097 is the title, "The Texas Chain Saw Massacre," 1004 00:45:12,131 --> 00:45:14,271 just the images that it draws up. 1005 00:45:15,928 --> 00:45:17,999 Tobe, my old friend Tobe, 1006 00:45:18,034 --> 00:45:20,588 did such a masterful job doing that. 1007 00:45:20,622 --> 00:45:22,797 ♪ 1008 00:45:22,832 --> 00:45:27,940 - Five friends-- two women, three guys-- 1009 00:45:27,975 --> 00:45:31,185 they're looking to investigate the desecration 1010 00:45:31,219 --> 00:45:35,568 of a grave site of one of the women's grandfather. 1011 00:45:35,603 --> 00:45:39,503 And they go into the wilds of Texas, run out of gas, 1012 00:45:39,538 --> 00:45:42,610 and they stumble upon this house. 1013 00:45:42,644 --> 00:45:44,198 - Anybody home? 1014 00:45:44,232 --> 00:45:45,958 - The buildup of him walking into the house 1015 00:45:45,993 --> 00:45:48,547 and looking around and staying in that wide shot-- 1016 00:45:48,581 --> 00:45:50,583 it just built up so fantastic and just-- 1017 00:45:50,618 --> 00:45:53,103 when he open-- and he has that screech, 1018 00:45:53,138 --> 00:45:54,104 which sounds like a pig squealing. 1019 00:45:54,139 --> 00:45:56,520 - [squealing] 1020 00:45:56,555 --> 00:46:03,458 ♪ 1021 00:46:11,881 --> 00:46:15,194 - It's such a quick, brutal scene. 1022 00:46:15,229 --> 00:46:17,127 And also, having grown up on a farm-- 1023 00:46:17,162 --> 00:46:19,509 sorry, PETA-- but, you know, my family-- 1024 00:46:19,543 --> 00:46:23,444 you know, we killed-- we had to kill animals to eat. 1025 00:46:23,478 --> 00:46:27,206 So I knew that thrash from on a personal level, 1026 00:46:27,241 --> 00:46:29,346 but I'd never seen that 1027 00:46:29,381 --> 00:46:31,210 portrayed so realistically in a film. 1028 00:46:31,245 --> 00:46:33,143 [door slams] 1029 00:46:33,178 --> 00:46:36,284 - The door slam just sticks in everyone's mind. 1030 00:46:36,319 --> 00:46:38,562 And without that sound cue, I don't know if that scene 1031 00:46:38,597 --> 00:46:41,048 would be as iconic as it's become. 1032 00:46:41,082 --> 00:46:43,360 That sound is the sound of death. 1033 00:46:43,395 --> 00:46:45,017 [door slams] 1034 00:46:45,052 --> 00:46:46,536 - You're stunned. 1035 00:46:46,570 --> 00:46:49,056 You thought something might be creepy about the house, 1036 00:46:49,090 --> 00:46:50,436 but that's not what you expected. 1037 00:46:52,335 --> 00:46:54,406 And, from then on, it's like, "Oh, my God. 1038 00:46:54,440 --> 00:46:55,579 What's going on?" 1039 00:46:55,614 --> 00:46:58,859 - [screaming] 1040 00:47:00,067 --> 00:47:02,483 - Probably the most iconic scene in the movie 1041 00:47:02,517 --> 00:47:05,624 is when Leatherface puts Pam on the meat hook. 1042 00:47:05,658 --> 00:47:09,524 - [screaming] 1043 00:47:09,559 --> 00:47:12,079 - That was the number one walker scene-- 1044 00:47:12,113 --> 00:47:13,494 you know, the scene where people 1045 00:47:13,528 --> 00:47:15,358 would walk out of the theater. 1046 00:47:15,392 --> 00:47:18,292 They would actually leave the theater when that happened. 1047 00:47:18,326 --> 00:47:19,465 - [screaming] 1048 00:47:19,500 --> 00:47:22,952 - The way Tobe shot it, 1049 00:47:22,986 --> 00:47:24,677 that hook's perfectly in the foreground. 1050 00:47:24,712 --> 00:47:27,611 You see the hook, he comes through the door, 1051 00:47:27,646 --> 00:47:29,337 and then he raises her up. 1052 00:47:29,372 --> 00:47:31,374 You never see the hook penetrate her back. 1053 00:47:31,408 --> 00:47:34,964 - [screaming] 1054 00:47:34,998 --> 00:47:36,241 - Even when you have the character 1055 00:47:36,275 --> 00:47:38,036 that's in the wheelchair... - Is somebody out here? 1056 00:47:38,070 --> 00:47:39,623 Stop. Stop. - Leatherface shows up. 1057 00:47:39,658 --> 00:47:41,246 [mimics chain saw revving] 1058 00:47:41,280 --> 00:47:45,353 [both screaming] 1059 00:47:45,388 --> 00:47:46,596 You never see anything. 1060 00:47:46,630 --> 00:47:51,152 - [screaming] 1061 00:47:51,187 --> 00:47:53,051 - There's no, like, fake body 1062 00:47:53,085 --> 00:47:54,397 that you're cutting into pieces 1063 00:47:54,431 --> 00:47:55,950 or any of that kind of stuff. 1064 00:47:55,985 --> 00:47:58,228 - [screaming] 1065 00:47:58,263 --> 00:48:01,266 But it's so terrifying, 1066 00:48:01,300 --> 00:48:05,580 because it's what you think you see that is horrific. 1067 00:48:07,168 --> 00:48:10,965 It's such a classic element of cinema 1068 00:48:11,000 --> 00:48:14,244 and filmmaking of that time. 1069 00:48:14,279 --> 00:48:15,970 - Tobe Hooper was a super sweet guy. 1070 00:48:16,005 --> 00:48:17,592 But if anybody's like, 1071 00:48:17,627 --> 00:48:19,525 "Who's captured madness on screen?" 1072 00:48:19,560 --> 00:48:20,733 there you go. 1073 00:48:20,768 --> 00:48:22,149 That's "Texas Chain Saw Massacre." 1074 00:48:22,183 --> 00:48:26,256 - [screaming] 1075 00:48:26,291 --> 00:48:28,155 - When Sally gets away at the end-- 1076 00:48:28,189 --> 00:48:29,397 which I think is, to me, 1077 00:48:29,432 --> 00:48:31,123 the scariest moment in that movie-- 1078 00:48:31,158 --> 00:48:33,332 there isn't the, like--[sighs] 1079 00:48:33,367 --> 00:48:36,680 You look in the eyes of someone who is fucked up for life. 1080 00:48:36,715 --> 00:48:38,475 - [screaming] 1081 00:48:38,510 --> 00:48:41,306 - Just devastated and altered 1082 00:48:41,340 --> 00:48:43,239 in ways that she will never come back from. 1083 00:48:43,273 --> 00:48:45,758 And, like, yeah she got away, but to what end? 1084 00:48:45,793 --> 00:48:47,657 You know? What happens now? 1085 00:48:47,691 --> 00:48:50,108 - [laughing hysterically] 1086 00:48:50,142 --> 00:48:52,006 - That's it. That's all you get. 1087 00:48:52,041 --> 00:48:55,182 And I really appreciate that horror can do that. 1088 00:48:55,216 --> 00:48:59,289 [chain saw buzzing] 1089 00:48:59,324 --> 00:49:01,050 - One of the neat things about the genre 1090 00:49:01,084 --> 00:49:03,397 is that, yes, we love to be startled-- 1091 00:49:03,431 --> 00:49:04,777 - [screams] 1092 00:49:04,812 --> 00:49:07,125 - And yes, we love to be frightened 1093 00:49:07,159 --> 00:49:09,506 and sometimes we love to root for the killers. 1094 00:49:09,541 --> 00:49:11,577 - [hissing] 1095 00:49:11,612 --> 00:49:14,339 - We can pour all of our kind of base instincts 1096 00:49:14,373 --> 00:49:17,342 into sympathizing with the slasher. 1097 00:49:17,376 --> 00:49:18,584 - [cackles] 1098 00:49:18,619 --> 00:49:20,586 - It lets us do so many different things. 1099 00:49:20,621 --> 00:49:23,348 It's cathartic in so many different ways. 1100 00:49:23,382 --> 00:49:26,075 But it also, in all of its expressions, 1101 00:49:26,109 --> 00:49:27,731 is just an invitation... 1102 00:49:27,766 --> 00:49:29,319 [crash] 1103 00:49:29,354 --> 00:49:32,736 For us to be a little bit braver 1104 00:49:32,771 --> 00:49:36,119 in processing what we go through as people, 1105 00:49:36,154 --> 00:49:37,845 whether that's dealing with... 1106 00:49:37,879 --> 00:49:39,329 - No! 1107 00:49:39,364 --> 00:49:41,538 - Loss, trauma, 1108 00:49:41,573 --> 00:49:45,094 violent fantasies, universal fears, 1109 00:49:45,128 --> 00:49:48,856 fear of the unknown, fear of death itself, 1110 00:49:48,890 --> 00:49:51,755 or just fear of what we are capable 1111 00:49:51,790 --> 00:49:53,826 of doing to each other. 1112 00:49:53,861 --> 00:49:55,518 - [screams] 1113 00:49:55,552 --> 00:49:57,175 - All of those expressions of the genre 1114 00:49:57,209 --> 00:50:02,318 all invite us to try to be honest about that 1115 00:50:02,352 --> 00:50:06,080 and to try to be a little bit courageous-- 1116 00:50:06,115 --> 00:50:08,255 just brave enough to make it through the scene, 1117 00:50:08,289 --> 00:50:11,361 just brave enough to make it through the movie, 1118 00:50:11,396 --> 00:50:13,363 just brave enough to make it through the episode. 1119 00:50:13,398 --> 00:50:15,365 [dramatic music] 1120 00:50:15,400 --> 00:50:18,196 And we collectively get that little bit braver. 1121 00:50:18,230 --> 00:50:23,718 ♪ 1122 00:50:23,753 --> 00:50:27,515 I think that's why the genre will always, always endure. 1123 00:50:27,550 --> 00:50:30,518 [heart beating] 1124 00:50:30,553 --> 00:50:33,487 [ominous music] 1125 00:50:33,521 --> 00:50:40,459 ♪