Death Bed: The Bed That Eats

0:56Speaker 1:Welcome to the Nightmare USA podcast. Using Steven Thrower's tone as our map, join us as we explore the underbelly of America, one regional horror film at a time. I'm Adam, I'm sim In our fourth episode, we're checking our sense of reality at the door as we enter the fairytale world of George Berry and his phantasmagorical creation Deathbed, The Bed That Eats. Typically, I would start out the episode with some sort of introduction I've written, but after watching this film and staring at a blank page for about a week, I decided to just let Stephen Thrower do the talking here and his intro to his chapter on Deathbed, Thrower writes, George Berry's bizarre and beguiling Deathbed is a fairytale horror store, merging surreal humor, private poetry, and a blithe disregard for the essential strangeness of its own ideas.

2:07Speaker 1:Rough around the edges, off and away in its own world. It's a precious slice of low budget madness that reminds us what we've lost in the current over polished and creatively impoverished horror genre. Thurrow wrote these words sometime between two thousand and one and two thousand and seven Sam Twenty years later, has anything changed in the horror landscape. We've had a time of what's been described as elevated horror. But does a Deathbed remain as singular of a film today as it did fifty years.

2:34Speaker 2:Ago, if not even more? This is one of the movies I always try to get people to watch. This is why I'm very excited that you watched it. It's such if you hear the title, you're like, well, this is going to be like a trauma movie or like, you know, a sub micro budget streaming movie with a title like that, and it's and to be confronted with a movie that has aspirations to being I guess an elevator horror movie and being an art movie without being the cheesy aspects of that. It's a surprising film, Like there's a it's way deeper than it has any right to be. And that's what I love about it.

3:14Speaker 1:Yeah, I had not seen this before I watched it last week, and that was my preconceived notion, I guess was that, you know, is this gonna be silly? This morning? I watched Attack of the Killer Tomatoes, for example. Ah, and so that was kind of the thing that I was thinking it was gonna be, like in a silly, spoofy sort of thing. It is not.

3:35Speaker 2:It is no.

3:36Speaker 1:I mean it has some comedic moments for sure. Watching it, I thought, is this gothic? And then yeah, I said, I said, well, wait, maybe it's more like a fairy tale. Is this folk horror? It's all of these things.

3:48Speaker 2:Really, it's like a hippie movie. It's a regional movie. It does have some funny moments in it. I mean a bed gets up to a bismol because it's sick at one point, which is one of my favorite moments in the movie.

4:04Speaker 1:That's one of my notes. I have the bed drinking peptobysmal dead emoji I put in because it just floored me.

4:12Speaker 2:But it also has like the scene where it's actually eating and you see the wine pouring out underwater and like chicken floating, and and then the piece is rising back up to the bed. It's like surprisingly effective. And then it has such a weird, deep like art side to it, with like there's August despair drawing on the wall at one point, and even the origin of the bed ties in to different artists. It's a confounding movie. And I was so excited that I got to be friends with George Barry briefly, like right before he died.

4:45Speaker 1:And uh, you got me in that article, that's right, And I mean I devoured it like the like the bed devoured that chicken leg. You know, this is great and.

4:54Speaker 2:He would like he, uh, this is the only movie he ever did. He actually ran a bookstore in Again for a long time and he sent me I actually have it on my coffee table, a book of horror movie posters that he thought I would like and just was like A loved movies. And in the interview, like I was so excited because I always think about who was the audience for Andy Milligan when Andy Milligan was actually making movies, and it was George Barry. He said he would drive across state lines to Ohio if he saw a drive in that was playing Butt Thirsty. Butcher's is the one he caught out to me, and he said like he looked everywhere for it and then when he found it, because I always think like in that time, were there people like us obsessed about these movies? And he made me feel good he said, yes, there was, like I had a whole group of people that we hunted down anything weird and tried to see at the theater.

5:43Speaker 1:Yeah. I love that part of that interview. That's what leapt out to me. Whenever, you know, he said you were watching Andy Milligan and he goes off on the story of oh, going out to find Andy Milligan as someone who did not discover Andy Milligan into the last five years or so, and for you know, Milligan was kind of this figure of you know, I watch him, everyone says he's bad, you know, or the movies are bad. Yeah, it's very negative. And then as soon as I watched one, and the first one I watched was A House of Seven.

6:10Speaker 3:Bells, which is a weird place to start.

6:12Speaker 1:With Milligan probably, and we'll get more into Milligan later because I know Blood for sure is in this book, which is a film I absolutely love. Yeah, but just like, what a time to be out there hunting for drive ins that are showing Andy Milligan films first run Andy Milligan.

6:30Speaker 2:I'd love to have been there and did not know, Like there's no internet to connect people or to like collect this info, do you know what I mean? Like in this info exists either in print, if then and then within people's heads. And that's what I'm obsessed with. We talk a lot on the Driving Asylund show that we do off we look at a lot of the ads. What would it be like if you went to a theater, Like some of the stuff we want from the early sixties was still playing in Driving until like eighty five eighty six, And it's like you might see a brand new first run movie and you might see a regional movie that has played a million times under like a completely different title. Like in Detroit, Messiah Evil played as dead people and it played as a return of the living Dead. I'm sure I said that title wrong. Bill come back and hit me for it, but like it played, and and you know, right when Don came out, they even had a whole poster campaign that look just like Don for Messiah of Evil. And I can't imagine if you're going thinking you're going to see another Dawn of the Dead and you get Messiah Evil, which is a

7:34Speaker 2:completely different tonal shift. It's the same thing as this, Like if you came into this movie thinking you're going to get a goofy horror movie, you're getting something more. And that's what I love you know, I mean like it's like unexpected of what you're getting.

7:49Speaker 1:Yeah, And I think Messiah of Evil is a good comparison film for Deathbed because it is so different from what you would expect, and it does have you know, mass Evil another film that we'll get into because that's in the book, but you know, it has those gothic undertones. In that case, it's the gothic of the California Gothic of you know, people going out west and the rush and such. But so I don't know, I don't know where to start with this movie. Where do you want to start?

8:18Speaker 2:So I originally found this movie. I don't know if I got one of the bootlegs or not. Because the amazing thing is like George Berry made this in the seventies. It came out in seven.

8:30Speaker 1:Seventy seven, is to copyright date right, Yeah, and he did like about four years of post production on it.

8:35Speaker 2:And then it can't Originally he wanted to find out when the VHS boom happened, he was like, you know what, maybe I could recoup some of the money from Deathbed finally the thirty grand that I spent on it myself. So he had met with a distributor and they said, well, you need to put professional titles on it, and it's kind of cost this amount of money, and he was like, you know what, there's I'm already thirty grand down. I don't want to put another time, and I think it was about ten grand, which is a ton today, much less then I'm gonna put ten grand down to do titles and then maybe finding a distributor that screws me over.

9:10Speaker 2:So he said no. That company kept the film bootlegged it as Portland Films release it only in the UK and overseas, but somehow a copy ended up in a Uni Mart, which is a like a seven to eleven kind of chain around Pittsburgh, and that's where I first saw it because it was on the shelf. And I would always wrint movies. A lot of folks I'd ran in movies with were like nascent mister science theater kids right where they were love to make fun of movies and you know, stuff out during them, and I'm I do that sometimes, but I also like love these movies and I'm very defensive of them. So seeing that movie and seeing it for the first time is like, this movie is so strange and so wonderful, like I don't want anyone talking over it, like I don't want someone to destroy it, and it just always stuck in my head.

9:54Speaker 2:And then you know, I wrote about it on the site, and then one day I just got an email from George Barry's like, hey, thanks for watching the movie. Glad you liked it. I'm like, oh my god, I have to talk to this person. So I said, oh, would you be one to do an interview? He say, how about tomorrow? And I was like yeah, like mind blowing. And then next thing I know, I'm on the phone talking to the guy and I'm getting to ask all these questions about you know, Deathbed. What's amazing to me is like this was shot in the same woods as Within the Woods, the original sixteen milimeter version of Evil Dead, so like they weren't far apart from each other, and it was really around the same time some of this was being filmed. So the personal connection I have to it, beyond getting to meet George is the Guardwood mansion that's in it. My father in law had died like the year that I watched this the first time, and I was obsessed with the Gardwood manor because Gardwood Mansion. He actually did security there because my father in law had a wildlife. He did a lot of security for rock bands and biker gangs and stuff. And the Garwood Mansion

11:03Speaker 2:where this is filmed was owned by the guy who invented the modern garbage truck, Garwood, and he was incredibly rich and he decided to stop working and be a speedboat racer. So he built this giant mansion on you know, out on Lake Michigan, and it was so big. He hated his wife and they had a child together. They had made the house so big that they would never have to see each other, and the child was taken through tunnels under the house by servants, and whenever both his parents died, Garwood's son was like, I don't want anything to do with that house and let it fall into disrepair. So by the time that Georgia and the film the rest of the crew got there, they were allowed to shoot there because the owners thought they were shooting a porn movie there with because they had the bed and everything, and they're like, oh yeah, do whatever you want, like destroy the house, because they wanted to make the property such a nuisance that it would get condemned and they would be able to not have to pay the back taxes on it.

11:59Speaker 1:So one thing I've loved about maybe all of the movies that we've talked about so far, is are these settings of yeah, don't go in the house at the Strauss Mansion and the crazies when they're the house at the beginning that burn what I can't remember what the was there a store behind that house or was they just were they just burning something? And then yeah, I uh and I drink your blood? Had that hotel that they stand in that again they were like here three like we're destroying this anyway, give us three hundred dollars and just go crazy and destroy for us. So yeah, So for all of these these movies, and that's one thing about the regional horror that you get that maybe you wouldn't get so much on the Hollywood set or these just wonderful locations that are already dilapidated. They're they're probably want to be torn down anyway, and so we're gonna let these filmmakers just have at it and maybe they'll do our job for us.

12:51Speaker 2:What's amazing because where the Garwood Mansion is is like a really rich section of Detroit and uh, you know, imagine there's this giant mansion that no one's in and like Joe Cocker played there, Van Morrison, tons of bands played there, and it had at the time the largest pipe organ and not in a church in the US, and it was still in working order. But George said when they shot there they actually spliced into the line from the power lines and didn't even check to see if they could and the power kept going out. So then when the you know, the owners of the house came, he was like, well, this is it. We're getting thrown out.

13:31Speaker 2:Luckily we got most of the footage and there like, oh, keep filming. If you want to destroy some stuff, if you want to break some things, go ahead. It wasn't until like a really big biker party there that there was actually a lightning storm and a fire and that destroyed most of the house. Now this is all, you know, beautiful property that's been sold and broken up. So that's I think, like you said, of seeing these places that are beautiful or falling into disrepair within these movies, they're not anymore. They were there when this was filmed. So these movies, especially the regionals, become like a document of these places that we'll completely differ now have become homogenized, do you know what I mean? Versus in the same way that films are, and now we have this as like this little time capsule.

14:18Speaker 1:Yeah, and some of the films they'll have locations that you can still visit and some are no longer with us, I guess, so you know, that is what it is.

14:28Speaker 2:My friend Joe Rude actually stayed overnight in the house room Don't Go in the Basement, and he did a documentary about it called Don't and it's like seventeen minutes of him walk around the house in the middle of the night. It's terrifying. It's frightening because it's like, you know, you know, the stuff from the film, but like the people that were there, they're like, oh yeah, do whatever. I think a movie was made here. And he's like trying not to get fan boyish, but he's like, oh yeah, you know, is it okay if I stick around a film?

14:52Speaker 2:Oh yeah, do whatever you want? Like these sites are. I was think about Monrobial Mall. There's people that go there every day to work and it's just this drone place and there's people that go there and are staring at everything like do you know what I mean, like mumbling to themselves like just in awe that they're in this church of horror movies and I love that, Like locations can be both these things to people.

15:14Speaker 1:I'd love don't go in the basement. Is that in this book? I know in their SF Brown Rigg movie that's in this book? I can't remember.

15:22Speaker 2:Maybe my friend Bred did the book Taxis Schlock, which is has a ton about brown rig in it, and he actually worked with brown rig for a while, so like it's, uh, I'm fascinated by his movie. Same as like this is what I love. Like why people don't get his movies or Andy Milligan is like they come to them expecting a traditional horror movie, and like Andy Milligan's movies are mostly about people that hate each other, Like yeah, they might be vampires and they might be werewolves, but they're really just a family that wants to kill each other. Like they're just angry and yelling and it's just the It's what it's like going to a dysfunctional family Christmas, but everybody is super nap.

16:01Speaker 1:I think it's I think that's cathodic for me. Yeah, like the Mother's so horrible. Okay, yeah, I can relate to this, and now I don't have to do with it in real life. I can just see it on the movie and have a release from that and be fine.

16:16Speaker 2:I also love that, like sometimes in Ny Melgan movies, we're asked to believe that it's the eighteen hundreds, but we can see traffic like modern traffic and hear car horns and do you know what I mean? And it's like, oh right, It's like these movies encourage make believe, which is that's what I love about them, versus like a modern movie where everything is glossy and cleaned up. And uh, I'm thinking about it because I watched I found watch back Rooms last night and I didn't hate it, but like I was, it's fine. It's you know, it's got some cool shots, it's got some coitias, but it's all stuff that existed previously on the internet, do you know what I mean? Like these creepypastas, it's fine. Like Messia of Evil is like a liminal space movie to me that it feels and like in a location that can exist but also shouldn't exist, Like with all the paintings in the room. And this movie is too like why do people just roll into this mansion and they're like, wow, there's like this canopy bed and this fireplace and all these paintings, Like all right, no, we should just sit down in this bed and have a picnic. Like I

17:18Speaker 2:love the decisions in this movie. I'm interested to see what.

17:22Speaker 1:You I mean. I just let I have not stopped thinking about it, and for really look now, and I've just absolutely loved it. And like I said, only I'm just adjectives have come around and be singular. You know, there's nothing else really out there like it. I'm gonna read the letterbox synopsis because in the letterbox synopsis is sometimes are very inaccurate.

17:42Speaker 2:This one TV Guide synopsis when it's like horror movie a bet eats.

17:47Speaker 1:People, right, this one sums it up, okay, And well the tagline and I don't know if this movie had a real tagline or if this was retrofitted, but it says, if you want to survive, don't go near the bed. Even that didn't help you. We'll get into that, I guess. But the bed will get you even if you're not near it. But in a one room stone building near a dilapidated mansion. A demon has condemned an artist to living behind a painting in a state of limbo, forcing him to watch in vain as trespassers lives are taken by a ravenous bed. I think that sums it up pretty good the plot.

18:21Speaker 2:Yeah. I like if you told me, hey, you're gonna love this movie about aesthetic artist Aubrey Beardsley, who is a real person who was trappy eye of painting because a demon had rough sex with a girl and kilder and it can't get over it. Okay, I give me that. That's right.

18:42Speaker 1:Let's talk about Aubrey Beardsley since you brought it. Yeah, So, whenever I was watching this film, I did not have any sort of recollection or cognizant idea of this artist being a real person. Yeah, it was an artist. You know. There were some paintings or or I guess they aren't paintings, but they are illustrations that are on the wall of this room in which this artist is trapped behind. So he's able to kind of like a one way mirror fashion. He can see out into the room and no one can see that he's trapped behind the wall, and so I said, well, I wonder if that's based on anyone.

19:21Speaker 1:And so then when I was reading the chapter in Mirror USA, it talks about Aubrey Beardsley, who was someone I had never heard of before.

19:30Speaker 2:Ye.

19:30Speaker 1:So my daughter is she has a degree in art history and she just graduated. She has a art history in English, and she's my art historian. I try to get my money's worth from the college expenses I paid for her. If the world is not going to give her money, I can't give her money, but maybe she can give me some knowledge. So I asked her, I said, do you know this artist Aubrey Beardsley And she's like, oh, yeah, he was in the Art Nouveaux, and you know, he was British and he was hanging out with Oscar Wild and he was kind of like to Lusila Trek with that crew. But he made a print. One of my favorite illustrated prints of all time is his work for salom the Oscar Wild Play. She knew a lot about him to me, but she was like, why did why him?

20:23Speaker 1:You know, like he's not as far as you know, especially Art Nouveau. You know, he's no tellusla trek or anything. You know, he's is he kind of obscure. He died young, so he didn't have a huge body of work. He was twenty five when he died of consumption. First of all, she said, why are you asking me this anyway? I said, oh, well, do you know the movie Deathbed? The Bed that Heat? And she's like, no, I sure don't. And she said, but if you're talking about deathbed, Oscar Wilde has one of the most famous deathbed quotes when he's on his deathbed and he looks around and he said, either these drapes go or I do, and then he died. So it's like me, you know, maybe that would be a movie.

21:02Speaker 1:But Oscar Wilde on his.

21:03Speaker 2:Deathbed, Oscar Wilde said that Beardsley had a face like a silver hatchet and grass green hair, and when he wrote.

21:12Speaker 1:Think that's true. I want to see a color picture of this. Is this like, is there another movie with a kid with green hair?

21:20Speaker 2:With oh the Boy or something? Yeah? Yeah. Also about supposedly he dated his sister for a long time and they had a child together that was silborn.

21:33Speaker 1:This Mayriment is England, so yeah, there's you know, that's that may be too far even for England. A cousin, it's fine, you know, my sister may be going too far to keep it.

21:44Speaker 2:What's wild though, It's like line all the way up until nineteen sixty six a gallery in London got raided for exhibiting his artwork, like you know, forty years after he died, so like.

21:58Speaker 1:Well, they their censorship in England as also crazy, of course, but.

22:03Speaker 2:I had explained the Ninja Turtles not being called Ninja Turtles in England because the word ninja is not allowed to be used nor in nunchucks, so they're called teenage Mutant hero Turtles and they've re recorded every episode. They also had to reanimate the one that has Mike that has the nunchucks. Uh, so he doesn't have those, he has no weapon in the uh in the British versions of Ninja Turtles, which feels insane, but I guess all the Bruce Lee movies were also not allowed to be shown either because they were too violent. Okay, because it's easier to get nunchucks than a gun in England. So yeah, England's a strange place. Forget what else?

22:46Speaker 1:Had another thought about Beardsley, Well, why Why? Did we find out why he used him? In the chapter, Durer kind of asks him why beards Lee, and he's like, I don't know, maybe the actor just kind of looked like him. He didn't really have a good answer. Did you find anything about why?

23:04Speaker 2:No?

23:04Speaker 1:I really artist?

23:07Speaker 2:I really wish I could ask him. I know he was really into art Nouveau's stuff though, and that a lot of the books and stuff we were talked about was that era of artwork. So I'm wondering if he just knew this artist and it would be easier. Here's what I like about it today is that, like you said, well, obviously this isn't a real artist, and then you find out that it is, and you also find out that the strange life that this guy lived was makes sense to be in this also, like a couple two months before he died, he converted to Catholicism and asked for all his work to be destroyed because it was so sexual, and he made two of his friends promise not to sell any of his art, and of course they did.

23:47Speaker 2:They sold. They sold it like crazy after he died and didn't listen to him, So that sure, he feels like someone that could be cursed or haunted, especially dying young and being part of a movement. But like you said, not being done to soil Tracker, Oscar Wad or any of these other characters, Like he's not going to show up in uh in a movie, do you know what I mean? Like or being the lyrics lady.

24:10Speaker 1:Yeah, where's the biopic Beardsley biopic?

24:14Speaker 2:This is as close as we're ever going to get, I think.

24:20Speaker 1:And one thing about that art New Boom movement is how commercialized it kind of became because the artists can actually sell their work in their lifetime. It was it was a way that you could actually make a living being an artist.

24:33Speaker 2:And you'll still find like that stuff if you got to like Michael's or you know what good Yeah, there's always like mc mutua kind of prints or like that look of stuff, and it's it's that's like, you know, oh my first house, what do I buy? You know what I mean? I go to Home Goods and I get this thing that I get a sign that says live laugh, watch movies. I don't know what mine would say if I write, I don't know death bed.

25:10Speaker 1:So there are some Christian speaking of Catholicism, which we talk about every episode too, because well, there's just so much that horror films take from Catholicism for their movie. And this isn't necessarily Catholicism, but just kind of like Christian totems that are in the movie, and that I didn't really think about until I read the chapter, and there really highlights this is that those the typical Christian totems that are used in films, like the cross or crucifix necklace, the Bible itself and it has no effect on the bed. So there's one character who you know, lays down on the bed and actually the bed starts using that necklace to you know, kind of slit her throat.

25:53Speaker 1:And when the whenever the cross goes into the bed, you're gonna think, oh, it's gonna spit it out, something's gonna happen, and you know, nothing, it does nothing. It affects it in no way, or the entire Bible goes into the bed nothing yet it doesn't hurt it. Like in most horror films the monster would be repulsed or weakened by that object and not here. It's it's just an object, no special power.

26:18Speaker 2:It's also amazing how many people find their way to the bed within the movie, like you would think in the location it's at, and like you know, it would be really hard for the bed to wear people there. No, it does it all the time. Like it it even needs a suitcase at one point, like it pulls that whole suitcase into it. It needs it. Like it's very efficient in the way that it uses stuff to break down. Also, I love I want to just make a mixtape of just the moments of stuff being eaten within the bed, like where we see that bubbling liquid is stuff falls into it, especially like when the blood comes out. It ends up looking like a shoegaze album cover like in My Buddy at Valentine album cover. Sometimes and I don't know.

26:56Speaker 2:That's what I like about this movie. It's a good like background movie to on look up and see some of these images.

27:02Speaker 1:I thought you were gonna talk about a playlist, because we talked about it, you know, the Lynn Lowry playlist. Do you have a top bed playlist?

27:09Speaker 2:I need to come up with one.

27:10Speaker 1:I have one song and okay, Barbara Mandrel Sleeping single in a double Bed, that's it.

27:16Speaker 2:Oh when you Sleep by My Buddy Valentine. That's what I'll use for it, like a good, like forty five minute long, droning shoegaze remix of it while we watch people have picnics and then get eaten by a bit.

27:31Speaker 1:Another thing I thought about though, speaking of those scenes, was a movie that you know I love and I know that you love and no one else does his head, The Monkeys movie. Yeah, yeah, it had those psychedelic scenes with the when the food or the people go down and it. Yeah, the song the Monkey song that plays all the scenes of the movie's porpoise songs, and maybe we could, Yeah, I could. I could put them on and put the movie on and see kind of it syncs up, kind of like a Pink Floyd Wizard of Oz sort of.

27:59Speaker 2:Oh, I love this idea. I'm gonna you know what this feels like from now on. I think we should both come in with like a couple of picks and we'll put like a Spotify list out for the movie. I know people get ust like you guys using Spotify, but it's just the easiest way to put songs together. Yeah, we'll do it a little playlist for this. I think I would probably put the end of Knights in White Satin to like the spoken word part where it's like breathed deep, the gathering gloom. That feels like it could play over a lot of this movie.

28:30Speaker 1:So would you describe this movie as folkre? You know, I think that was a big thing we had. We had and then now, yeah, is this frror?

28:42Speaker 2:Yeah, it's weird. It's like if you told me that this was an actual legend of a bed that ate, I would believe you because it feels like if this movie was made today and you know, for like the obsession back rooms kind of audience, they would go crazy. They'd be like, oh my god. Like, So it definitely feels like there's some folk core issue to it. Well, especially when you get in, start to get in real people and start to get in uh like real stories.

29:11Speaker 2:I also love just the scene came up in the background where the woman reading the old woman reading the newspaper in bed and it just says oral lesbians for the newspaper? What newspapers?

29:23Speaker 1:Grandmother was that?

29:24Speaker 2:Did you read this? It's the grandmother of one of the guys in it, Dave Marsha's grandmother. Yeah. Dave marsh who plays the artist in this who's supposed to look like maybe perhaps Yeah, and he was actually a writer for Cream I don't know if you saw this. And he's credited with coming up with the term punk rock. So uh, that's wild that he's in this movie too. I love when it's like what really? But yeah? Also I like I like some of these scenes where I think one of Barry's real skills is we don't always The bed eats people in different ways. My favorite one is when and that girl gets onto the bed and takes off the braces on her legs and then we just eat bubbles faller at the edge of the bed, and it's just like, you know, at this point we've seen enough bed eating that we can just we know what's happening and we can just hear it and see the bubbles and and it works out. Would you say?

30:18Speaker 2:I would say yes to folk wors and the thief note is not based on I'm sure that we'll get someone from a noted folk wore expert will send an email and be like, hey, guys, no, only it's like the people that are the jolly Uh, they can only make jelly in Italy. No movie not made in Italy can be jolly and I'm like, well, there's all these Spanish ones. Those aren't you all? And I'm like, but yeah they are, and right, no they're not.

30:43Speaker 1:Look anytime there's a movie, a movie that has sticks and.

30:47Speaker 2:Yeah, yeah, exactly, or yeah that's there's uh, we're walking under the trees, it feels like fall. It's folk corr big. Now they're like, it's like fever dream and folk horror just the go to words, right, Like if you put those on, people like, oh, I'll watch it.

31:08Speaker 1:The beds are destroyed. I mean she has a pile of a pile of sticks in one end. Yeah, and the fire fire is another. Oh yes, it's just every movie we've had had fire in it.

31:22Speaker 2:Now is this a folk horror podcast?

31:25Speaker 1:Maybe? What have we done the Hammer podcast?

31:29Speaker 2:Well, every Hammer movie has to end with a building burning down.

31:32Speaker 1:The best ones for sure.

31:34Speaker 2:Oh those and the best Corman ones have the same shot from the terror of the house burning down. It's like, you know, why should we burn another house when we already filmed it once? Today movies only end with a girl smoking a cigarette in front of a structure on fire after she's destroyed the patriarchy, Like ready, or not ends that way. There was like eight movies that came out that year that all had the same ending, and I was like, cool, I mean, I'm all for it, but it's like, did everybody get in a room together and be like, you know what, how we should end these movies. I'm sure Carmack got everybody together and is like, we got this shot of a building on fire, that's how the movie ends. And I saw it in a Hammer movie. Just do it.

32:15Speaker 1:So one thing I learned is that only once in every ten years does a demon sleep. That's that said in this movie, and the size are always filled with blood and apparently that was a George Berry's eyes as the deed. Oh wow, what I read?

32:33Speaker 2:I learned from the Son of Satan comic book that the only night the Devil sleeps is Christmas Eve, and I always thought, is it kicks? I read that when I was like five, and I was like, well, tonight's a safe night. Being a Catholic kid, right, Tonight's safe night. The devil sleeping on Christmas Eve? Why would he sleep on that night? I guess maybe he's like, Tomorrow's going to be a really rough day. I got to just sleep then get some get a nap now before these families start fighting and invoking my name.

33:01Speaker 1:I love there's things about this movie that I love in any movie. One is kind of a vignette style that we have here. We get breakfast and then we get dinner or lunch and dinner. I can't remember exactly what the title cards say, but it's broken up until you have one that first couple who come in with the chicken. The bucket of chicken. That's breakfast, and then I guess lunch is our main story of our three ladies who were put together. We don't know why. And apparently some of that got edited out or never filmed.

33:34Speaker 1:I can't remember which one. Yeah, it didn't make it. There was some story on how they ended up together, but it really doesn't make any sense why they are together.

33:46Speaker 2:I like the dinner part with Sharon's brother where his hands get the vowed and he just has the skeletal fingers. That's why this is a fairy tale he kind of movie to me, because it's like, certainly nobody would be able to be able to just sit there and have their hands be scouted hands.

34:00Speaker 1:But yeah, and it's just very sad it's not like he's not in pain or he's just like, oh, I have to sign the pictures.

34:08Speaker 2:Skeleton And that's the picture on the wall over here is just the dude with skeleton hands. And he wrote a note on it for me because he knew how much I like that scenes. I'm like, it's so beautiful, and he's like, we I'll send you a picture so and he also sent me the remake too, which I haven't watched because I don't want to say.

34:25Speaker 1:Oh, I didn't know there was a remake.

34:27Speaker 2:Yeah, there was one made in early two thousands. There's also the release too. The first release of this was in twenty thirteen, the one that has Stephen Thrower's band playing on it. It'sychlobe did all the new music for the movie in that version. That was the film's actual theatrical premiere was in two thousand and three, which is crazy.

34:50Speaker 1:Another thing I like in movies or day for night scenes. There's a lot of this, but actually it's is it day for night or is it neither day nor night. It's hard to tell what time of day it is, and the only way that we know are those inner titles that say if it's breakfast store, if it's the lunch, or if it's dinner, because it doesn't we can't tell about we can't trust the sun or the lighting.

35:13Speaker 2:That's another Messiah evil tie to this, where there's times in that movie you're like, certainly it's at night, Like no, it's four, it's five in the morning. Right where are we at? Like why are all these people in this house? This movie has a lot of that same stuff, And like I'm watching the poker playing scene right now, and it's like it's purple out. It could it could be anytime. It's over a space e liminal space. Yes.

35:41Speaker 1:My favorite death in this is I guess Diane who is She gets partially eaten and escapes and she crawls is for like five minutes. She crawls after trying to crawl out of the building and she gets all the way out and then the sheet comes in. It wraps around her and pulls her back in. Oh.

36:08Speaker 2:I also like the mobster guy whose cigar slowly sinks down into just gel or whatever it is at that point.

36:16Speaker 1:Is that when beards leaves like I haven't had a cigarette in sixty years, he kind of gets to experience some of the leftovers. Yeah, the bed has the all the jewelry he's wearing all the rings, and each every ring tells a story, as I.

36:31Speaker 2:Say, Yeah, and then you get to see a lot of his art after that in the scene some of his pen and in stuff is.

36:41Speaker 1:All black and white, so it's illustrations. He was did a lot of caricatures or kind of in the grotesque way of art, of exaggerations and things that was interesting.

36:52Speaker 2:Yeah, yeah, and I love that, Like after we see these this is why you can tell this is an art movie. Cuts to like a pen floating away in the in the belly of this and then him like having consumption on the bed, and it's like this really dark shot. I always say the difference between art house and grindhouses where you saw where you saw this, Like this movie has pretensions toward art, but it's definitely more on the grindhouse side of things. Like there wouldn't be a girl disrobing on the bed for no reason if this was a full art movie, do you know what I mean? Like we have to at least one person has to get naked, Come on, guys, Like that's so that happens the funniest thing to me is that George finding out that this movie that people had seen. This movie is like he was on movie forums online, like trying to find a movie he had seen on like Turner Classic Movies overnight and he just didn't get the name of it. So he was trying to type it in all the stuff for it, and then he found this forum where people were talking about films they found and somebody was talking about his movie and I'm like,

37:56Speaker 2:he said, it was like being in a dream where he was like, wait, that's sounds a lot like the movie that I filmed that never came out. And he's like, oh my god, it's every plot point like there's no way. And then it mentioned his name, so he's like, I wrote to the guy right away, and the guy got back to me pretty quickly. He was in France, and he was like, that's when he found out the whole story behind like what and he said, you know what, Like, I wasn't even mad. I was just happy that finally somebody saw it. It just didn't belong to me anymore that like somebody the other people out in the world had seen it and were talking about it. And he's, uh, they His wife actually told me that when he died, they founded me he was in front of the computer looking up movies. He had a heart attack watching movies and on two B and uh and looking up stuff.

38:40Speaker 1:I know, right, And when I heard was watching Rat Scratch Fever again on Oh my God, and died.

38:47Speaker 2:I'm gonna make Riverside good nuts now here. I love Rat Scratch Fever so much. I can't even tell you how much I love that movie. Like it's the there's not a lot of difference between the regional films Recovery and SV to me, because they're both insane, and that movie is like not afraid to just go crazy. And you're like, is it really going to have a rat eat its way through a woman, like into her brain but starting between her like of course it is like it's red stretch, Like, oh my god, it's so good.

39:17Speaker 2:My good.

39:17Speaker 1:Riverside has acquiesced to our style because this the last episode was almost two hours long.

39:23Speaker 2:Yeah.

39:23Speaker 1:I asked it, what the suggestions you have and they didn't have any. They're like, this is who you are, just I understand.

39:30Speaker 2:So well, it's funny with us. The drive in that we go to is called the Riverside. So Bill texted me last night after listening to the show and he was like, who from the Riverside was so rude to tell you not to talk about creep Show two? And I'm like, no, it's the program that helps do the show. And he goes, oh, because you guys can talk about creep Show two all you want.

39:48Speaker 1:And I'm like, try to talk about creep Show two right now, because I watched creep Show two this week because talking about it so much, I was like, Okay, I have to watch it. And in our segment what about this movie reminded you of Creep Show too a moment because the raft that last girl gets sucked into the blobb thing, but her she kind of pops back up as a skeleton, and that made me think of the guy who his hands were a skeleton. So you see, we can make we can make every movie about Creep Show to you.

40:21Speaker 2:I actually watched something this weekend and one of the characters in it was from the Raft. Paul Solderfield was in it, and I was like, oh my god, it's the kid from the raft. It pulls the grow up the last second, and I was like, is Creepshow to connecting everything in my life. It really does feel like sometimes Arena. That's what movie I was watching, and he's also in then, But that is a good tie in. Also, as I get older every day, I really I used to see myself as the young Native American kids that come to the town and can't wait to get out of town. And I very much seen myself as George Kennedy.

40:59Speaker 2:Now as I get older, I'm like, I just want to run this store and bunch of kids just behave yourselves.

41:06Speaker 1:I love George and Doorthleyttlemore. Oh my god, they're both so you know, they're not slumming it. They are again, even if they're just there for a check, they are putting in the work.

41:19Speaker 2:Oh and I love that the leader of the Native American tust is the dude from Mine Hunter Bones. Yeah. Oh he is reports but it's great call. Uh but like he uh, I'm gonna get paid in his hair. That's what I've said for years that neither has worked out. I just have long hair. But uh, yeah, I love him and he's the older cop uh and uh Mine Hunter. He turned out to look a lot like George Kennedy. So life is a highway, a circular highway.

41:52Speaker 1:That's a flat circle.

41:53Speaker 2:Yeah, flat. Oh yeah, we're going to.

41:56Speaker 1:Flash Museum here though, where they where they have it. The Arkansas Fine Arts Museum had an Art Nouveaux exhibition recently and they had some Aubrey beards Lely works.

42:08Speaker 2:Oh wow.

42:08Speaker 1:So I'm told by my daughter I did not go, but she was. She actually works at the museum and so she knew. She's like, yeah, he had some pieces there during that exhibition.

42:20Speaker 2:Okay, we're going to Flashback next weekend because they're showing holloween Too with Allen Howarth playing the music live. So we weren't gonna go, and we're like, that seems really a far trip just to go. You know, Pamela shop is there from Hoween Too, and my wife, you know, Chris loves Halloween to It's her favorite movie. But then as soon as they announced her playing the music, she's like, I already bought the tickets and I got a hotel room. I already talked to your friend's wife will be staying with them one night. And I'm like, wow, she planned this whole trip. So that's what we're doing. Also, because Stephen Weber's there. So I'm totally gonna be watch my cry when she meets Stephen Weber, and then I'll be like a dude and be like, oh, you're in an argentle movie. You're in Jennifer.

43:08Speaker 1:I just think about single White Female with him, I guess and.

43:11Speaker 2:Gongs but wings, yeah, single female. This is jolly.

43:17Speaker 1:If you've seen that since it came out. Oh so I need to rewatch that is a movie I haven't. That's probably my least watched Halloween. I kind of skip it for some reason. I don't know why.

43:28Speaker 2:It's my most watched Halloween. My wife loves Howweing too, like the point that she can she has the uh Death Waltz vinyl and she just can do the whole movie while it's playing. It's really amazing. Her and Bill just will talk to each other in whole scenes from Hoween. It's amazing.

43:44Speaker 1:Hm hmmm, I have to rewatch it. It's been I can't remember the last time watching it. I probably haven't logged it on letterbox, which is over ten years at this point.

43:53Speaker 2:Oh my god, don't make me cry, like that's it.

43:55Speaker 1:Last time I went through them. I think I just started with number four. I think I just watched the Thorn Trilogy and went forward through the rest of because I've seen number one. I've seen the first one so many times and oh yeah, and the third one is so, of course not related to the Michael Meyers stuff.

44:12Speaker 2:Yea. I have a super mix of four through six as one cuts, like a movie that they edited everything together. And let me tell you, like three hours of the Thorn Trilogy at once is a lot to take. I really like six, though it is so fucking dumb. People hate it, and like, you know what, that's what I want, Like I would franchises get dumb. That's when I love them.

44:38Speaker 1:Is that the one that has a producer's cut too?

44:40Speaker 2:I can't remember?

44:41Speaker 1:Oh yeah, yes, I think I bought the Blu ray and I haven't watched a producer's cut? Is that the Curse of Michael Myers?

44:51Speaker 2:Yes?

44:51Speaker 1:Yes, is that sick?

44:52Speaker 2:Yeah, I gave it, I have, I have a whole shelf.

44:55Speaker 1:The bottom line up front, This isn't terrible. Actually, I think I liked that one more than than five.

45:03Speaker 2:I hated four when it came out because I was that was like in my prime, seventeen year old edge lord. You know gore. Every movie had to have gore in it, and I can't be to the effects and nothing happens in it, Like there's not a lot of gore. I remember being in Sense. Now when I go back and watch it, I'm like, it has like really cool fall vibes. I dig it. Yeah, they're all nothing's gonna be as good as the first one. But you know, as long as you're fine with that, I don't even want to talk about progressively, each knew holloween it comes out makes the one before it better. Like at this point, I love the rub zombie ones and I hated them, and now I'm like, these are or at least he had a vision. It's kind of like, I'm it's kind of like he's like a cousin or something right where I'm like, I know he did that. But my cousin wanted to be a filmmaker and made a slasher movie when we were kids and said it was all excited to show it to me. Brought to the house and showed it but to me, my brother and my grandmother. And there was a scene where he stabbed a woman in the back of the head and then had sex with her.

46:07Speaker 2:Graphically on screen for like three minutes, and my grandmother said, well, at least he's doing something and he's working on his passions. I can't believe you showed this movie to our grandmother. This was like a beyond a serbian film level of stuff. Oh, he didn't have to send us anywhere, and then likely people would watch it. He would instantly go on a watch list. And yeah, anyways, I would be really interested for younger people to watch Deathbed and see what they think of it, Like, as long as they can get past like and not make fun of it and like actually watch it. Maybe if you did tell him it was folk horror, I think they would be more apt to be like, oh, yeah, this is this is fine.

46:51Speaker 1:Yeah. I just don't know if they had attention spans there to be able to And this is not a long movie and in move I mean I think it moves pretty quick. Yeah, the first part, especially us like, well, like about the first twenty minutes, I'm like, wow, this is just flying by for a yeah, kind of a it's a slower movie, it's a slow burn, but it still kind of moves.

47:13Speaker 2:Yeah, I like that. George said, I don't even remember if I was an observant a dream. But I had this dream where a bed that was engulfing. There's nothing I remember that was just specific with just the engulfing bed. There wasn't any digestion, was just the bed coming in over and over again. And I woke up and I wrote the script, which is cool because this does feel like a dream, especially the scene where all the girls are in front of the fireplace and keep getting up like super imposed over each other. That really points to like early seventies Simon King of the Witch is looking stuff.

47:42Speaker 2:That's what I always call it, like psychedelic filmmaking. Oorhead. I just hit the part where the girl's stuck halfway through the bed and near right. The scene's amazing with her like trying to crawl out in the bed pulling on her.

47:53Speaker 3:It's forever. She crawls for forever.

47:57Speaker 1:And she makes it and then she gets pulled right back in.

48:01Speaker 2:I also love that, Uh, you know, people didn't necessarily know how to make blood back then, because this wasn't like, you know, the Savini effects book hadn't come out, and Dick Smith hadn't put out how he did it, so people are like, oh, well, they just used red pain or ketchup for these movies. Neither of these things film. Well, this looks like Italian blood from Donna the Dead, where it's like bright red. It's like the reddest blood. And then I remember because I asked the guys that did the shot on video slaughter Beach, like, how did you guys?

48:29Speaker 2:There's so much blood in this movie? How'd you guys do it? Like, we didn't know how to make blood, so we just figured if we got red kool aid and did like a fourth of the water that was supposed to go in it, it would look kind of bloody. I said, how'd that turn out? Like? We were dyed red for about a year, Like we didn't our hands, our hair, everything was bright red. This where she's crawling away, it's like, obviously it's the brightest red blood you've ever seen.

48:52Speaker 2:But you know what, that's good. I don't know. I don't want realism and deathbed. That's kind of what I dig about it.

48:56Speaker 1:It's like, the whole point is that, yes, it's a fairy tale, it's not we're not going for realism here at all, so you would expect the dream logic you're in.

49:04Speaker 3:Yeah, it's a bed so a doult fits together.

49:08Speaker 2:I asked George, I said, when you guys got all that blood in that room, you know, with her dragging across the floor. He's like, they told me they wish that we had done more to destroy the house. He was like, I was really shocked, like how much we got away with because the guy was like disappointed that we weren't doing an adult film. He is and he's like, I have never had that reaction before. And I said, well, where are you going to and he's like, I wouldn't even know how to find people to do. It was hard enough to get a movie to be in a movie called Deathbed, much less to do that. He's like, I was just here to make a horror movie.

49:41Speaker 1:Well, I guess that those were in vogue at the time, so yeah, probably it is the horror films.

49:46Speaker 2:Yeah. What's funny is of the cast, Sharon's brother, the one whose hands get eaten is William Rust. He was on Boy Meets World for like one hundred and seventy some episodes and he directed nine episodes of the show. He's also cruising and he was in the original v mini series, so he's done a ton of work. Oh, my god, were.

50:07Speaker 1:You you were like, now, yeah, I was what year was that eighty four?

50:13Speaker 2:I think yeah, I was in fifth grade or sixth grade when.

50:16Speaker 1:Arima eighty three. Yeah, so I would have been about eight, and that was I mean, it just broke my mind, you know, Oh my god, for that time. I remember movie and I was obsessed.

50:31Speaker 2:We were talking about it in school the next day. That's why I remember.

50:35Speaker 1:It was my one of my first crushes between her and maybe uh Bobby Gentry on the cover of the Fantasy album.

50:44Speaker 2:You know what, Our teacher gave us a twenty minute break so that he's like, I guess you kids are going to talk about whatever this movie is, so go ahead and talk about it for twenty minutes. And we just were all like, what's going to happen tonight? Like at the end of the first night when the old guy like spraised the V on the poster. If you told me I had a fight an alien at that point, I'm one would have. I was so excited about whatever was coming fast.

51:06Speaker 1:I mean, talk about jingoism, you know, that's some some raw raw you know America, you know, but just.

51:14Speaker 2:Take the politics out of these movies. They're so political. Go back and watch V like it's a whole movie about it. I gotta tell you the V series that like next to like I think it's episode eleven, Civil Danning comes to take over for Diana, and I, as a kid, I was like, I don't know what this is. I don't know what it's doing to me, this black magic of Civil Danning, and and like I love that, Like there's just publicity picks you could if you go here to con She's got that picture of her hold in the gun. Like god, gosh, darn it. V's so good, and yet it's only like too mini series and like thirteen episodes. That's all we really needed when we're kids.

51:55Speaker 2:Were like, that's enough to obsess me for thirty forty years.

52:00Speaker 1:I remembered the series, and I just remember it was over, and I was confused, like why why is this not on anyway? Why is everyone is watching this right? And I guess, yeah, wasn't.

52:10Speaker 2:I watch a lot of good bad flicks. Has like a thing he does of like five series that everybody forgot that he does every once in a while, and every single time I laugh because I'm like my dad and I watched this show whatever it is like Dark Skies Hunter and we were watching it every week, and it's like if a show lasted ten episodes and was canceled without an ending cliffhangers. I can think of a million other shows that we watched and that's it. That's all Misfits, The Science Manimal, The Highwayman with Sam J. Jones.

52:42Speaker 2:These are all the shows that I was obsessed with as a kid. And I was the same way with like amazing stories and like certainly everybody else is loving this wrong, it's doing horrible.

52:50Speaker 1:And now we get I was listening to something os the one of my favorite podcasts is with Gorley and Rest. I don't know if you ever hearing when the Matt Gorley and Paul Rest and they were he was talking about Paul Russe had created a show on Netflix called Love and they were saying, you know, would that ever kind of come back? And there's this whole talk of you know, Netflix doesn't want to produce shows unless they know they can get X amount of seasons out of them.

53:18Speaker 1:But viewers aren't going to commit to a show unless they know they're going to produce x number of They don't they don't want to just watch a show for one season. They want, you know, to know that this will keep going on because they don't want to spend the time invested in it. And I feel like I'm the opposite, Like I just give me one good season of something, yeah, and you can just stop, and even if you keep going, I may not watch it. Even if I love that first season, I'm good, Just give me one.

53:45Speaker 2:I think. What's funny though, is like I like the second season of twin Peaks so much because you know, when of the first season was on, everybody was watching it, you know what I mean. Like it was a huge thing, which is hilarious to think about today, right that this quirky series is going to be that important. But like the second season, like people were just in rage, like they're not going to solve this fucking murder. No, it's not about that. It was never about that to him.

54:10Speaker 2:So they're gonna do whatever they want. And it's like that, I like these fin experiences. I'd rather have a mini series and then that way I'm through it. That's the worst feeling when you love a show and then by the end the characters you loved it are just shadows of who they were before, and we're just what are we doing?

54:27Speaker 1:Yeah, they need to bring back the mini series, the oh you know, the Winds of War series. Yeah, why don't they do these anymore? That was just I thought that.

54:42Speaker 2:Speaking of a show that like was once dangerous, like I was. I watched I'm doing another movie challenge, Klon's Summer Challenge, and it's horrible cartoons this week. So I did cartoon All Stars of the Rescue, which it Oh my god, did you watch Scruffy's on my list too? That movie is? Is it not the most brutal movie you've ever watched?

55:03Speaker 3:I loved it so much, Scruffy, Scruffy.

55:09Speaker 2:I love with.

55:13Speaker 1:Yes from from childhood, from life.

55:16Speaker 2:Yeah, okay, Oh, I love Joe so much. It's always mean girls, Like anytime Joe was mean to a boy, I'm like, there's just something about that Joe. I love that. When we think Scruffy's life's gonna be okay, when he finds that old actor dude and he's like performing with him and and then the guy he's like, we're going to be together forever, and at that moment he has a heart attack.

55:37Speaker 1:And when you're a kid in the eighties, that's what you got. Very uh, not happy ending.

55:49Speaker 2:It's like torture porne though, because like at one point his mom, you think the mom's going to die in the fire a spoilers for Scruffy, a cartoon from nineteen eighty Get ready riverside to edit this one. Scruffy's mom, you think she's gonna die in that fire. She lives. You think she's going to die in like a flood. She lives. And then like, you know, we should go in the woods where there's these hunters, and I'm like, fuck, they did it, and his mom gets shot off camera and like, please don't show her. They show her. I ran upstairs and held my dog and I was like, if you should go through what Scruffy. There's a review on Letterbox that flipped out about the end of Scruffy, by the way I believe it, where they're like Scruffy was being groomed by that other dog and he met her when she was a puppy and ended up having kids.

56:40Speaker 2:I'm like, fucking dogs, dude, you know what I mean.

56:45Speaker 1:And then actually had a happy ending, which this person, this.

56:49Speaker 2:Person, this person is like the eighties were horrible and male dogs were grooming female dogs. And I'm like, I don't think anyone considered that ever, except for you right now that I'm so glad you watched Gruffy.

57:04Speaker 1:You were saying you watched something else for this.

57:07Speaker 2:Cartoon All Stars to the Rescue, which is the only time that every network played the same show that wasn't news. So it was an anti drug cartoon that unites every major cartoon character introduced by George Bush and Barbara Bush.

57:20Speaker 1:And so it's kind of like Zations played We Are the World at the same times.

57:25Speaker 2:Yeah, and this has like the Ducktails characters, Chippendale, the Ninja Turtles, Alf Garfield, the Smurfs. Everybody's in it except for Bart Simpson, who at nineteen ninety would have been the most popular cartoon. And you know, but when the Simpsons first came on, like, people were very upset by it and they're like, oh, it's a bad role model. And that's what teachers strongly encouraged the makers of this cartoon not to include Bart Simpson because no one would believe that he would he would keep kids up drugs.

57:58Speaker 1:Our school band Bart Simpson t shirt in the early nineties or high school you could not wear. You could not wear Bart Simpson, you cannot wear the Nike swoosh, I said, just too suggestive.

58:11Speaker 2:Oh wow, did you go to a public school or like a Christian school.

58:15Speaker 1:No, he's a public school, but it was in the South, so.

58:18Speaker 2:You know, Ah, okay, say no more. They outwatched slat bracelets at my school too, because kids were slat braceletally and one another with it.

58:30Speaker 1:Yeah, it's too distracting, Okay, it.

58:34Speaker 2:Just seems weird. The problems of today, Like today kids go to school. I'm like, come, don't get shot the problems I had where I hope somebody doesn't slat bracelet me. I hope that nobody beats me up for what I'm wearing. Yeah, it's a lot different, but anyway, not take it too dark. But yeah, the cartoon All Stars Are the Rescue and Scruffy, those were the two big watches I had. Literally I stopped watching TV after Scruffy because I was like, nothing is going to be both better, worse, or more depressing than what I just watched, even though I I know it does have a happy ending. Also based on a true story, which is terrifying.

59:09Speaker 1:Right and wait, that director directed a lot of Disney. Well, he did Charlotte's Web the seventies. Yeah, and a lot of Pluto shorts.

59:21Speaker 2:Yeah, yeah, so he knew dogs. But he was like, you know what that aired on three different weeks, like an.

59:31Speaker 1:Hour a week, Yeah, three weeks.

59:36Speaker 2:Watching first run though, Yeah you didn't see it when you were a little kid.

59:40Speaker 1:No, I would have been five. I mean I would have been like that with what I was watching.

59:45Speaker 2:But yeah, it would have crushed me if I saw it as a kid, Like it's like Watership Down level.

59:51Speaker 1:Like I had watched Watership Down probably about that time, and that was very I.

59:56Speaker 2:Had the book when I was a kid. What a thing to ask your parents for? I could have a I flourish it down, Why it's horrible? I may as well have asked for Jonathan Linson Seagull, speaking of bed seventies stuff, I'm watching the brother pull his hands out of the bed here and I love just like we said, how calm he is that all the nerves in shock. Yeah, he's like this is fine.

1:00:22Speaker 1:And like he was sad. It was like, oh, my hands are gone.

1:00:27Speaker 2:And then we cut to a soap opera sky like The Days of the Week from SCTV. It just cuts to this beautiful sky and then they're just hanging out near the bed if you want to. I think Bill still has copies of the driving Asilum number twenty four. That's the issue that I did the interview with George and he talked a lot about some cool stuff about it. I think one of the really funny things is when we were getting interviewed, he was asking me if I knew other you know, directors, and he's like, do you know what Jess Franco is? And it was like, nobody has ever asked me a better question? By what? Like It's funny because when I set the transcript, but the Bill, he goes, how excited were you when he asked question?

1:01:11Speaker 2:I was like, oh my god, I don't think I've ever been more fired up about something. I think the other thing too, someone asked him like what directors he knew, especially the people in Europe, and they had asked him like have you seen genre Rowlands films? And he's like who, and they're because this feels like one of his movies, And I'm like it does have like that weird, like drug hazy feel of one of his films, Like where you know, we're on a always a beach, always fog always, Vampires come out of grandfather clocks, do you know what I mean? And it's just this like slow languid pace and like you said, what time is it? Is it noon?

1:01:49Speaker 2:Is it midnight? Like? And that's kind of what I like about this so much, especially like the ritual scenes here at the end are really cool the way they're shot.

1:01:57Speaker 1:Yeah, so I was thinking about genre on I thought I was being aerudite and just intelligent and thinking like you know what this is. Well I'm watching it. I'm like, this reminds me of The Iron Rose. Oh yeah, John rere Lan, And I was like, nobody else is gonna make this connection. And then I read the chapter of Nightmare US saying like immediately.

1:02:15Speaker 2:The Iron Rose, Like I love I love The Iron Rose because it's like an hour and a half of just like you could tell the story in a sentence, but it's like you just gotta It's like a doom Metal as a movie, you know what I mean. It's like the same riff over and over again. But it's great. It's a great rift. So like I love it, Like.

1:02:35Speaker 1:I love that they get locked in that cemetery, and then she immediately goes in berserk, like yeah, just immediately.

1:02:42Speaker 2:Like there's no time, has no meaning there, like they could have been there for a thousand years, they could have been there for two minutes. But she goes, you're right, she goes berserk right away. She's also gorgeous. Everything's gorgeous in that movie. It's beautiful.

1:02:58Speaker 1:So the other I thought about the Iron Rows, but I think the movies I really thought about the most, and it's these Again it's European influence, and it's weird that he didn't really he wasn't really influenced by European directors as much. And but I really thought about the films by Urii Hurts, the Czech filmmaker, and the stuff. He'd had a lot of fairy tale movies like Beauty to the East or Moregon. But the one that really jumped out is the Vampire. I don't know if you've seen about the car that that needs blood to run.

1:03:37Speaker 1:That's that's the one that I would probably pair with this one.

1:03:41Speaker 2:I'd pair this with Vowing or we could wonder. Speaking of Shuck movies, which is a Gothic, it's a folk horror movie. I guess right, that's probably a good way of thinking about it. And there's another one that Visilven should just put out, Warren, which is uh has that same feel too. It's like just this weird village and stuff happens here. I'm astounded to by the end of this movie. The fire scenes are really like apocalyptic, Like when the bed finally burns, it looks awesome like they probably they had one shot at getting this tool and they it looks beautiful like and it's especially like as we see the smoke coming in all over the artists and stuff like, it's really you can tell that he spent four years at post production on this, like it was a lot of thinking of how do I make this all come together the right way.

1:04:34Speaker 1:It's a shame that he didn't get to make more films, but I'm glad that no one that that we have. It's also interesting that I guess he never googled himself, Like, you know, do you ever google yourself? But with a generic name like George Berry, maybe it'd be difficult to Yeah, I guess, I guess he just never googled Deathbed. He just had to find it on that random forum. I guess it was early in the internet though.

1:04:57Speaker 2:Yeah, because the DVD release wasn't two thousand and three, so it was pretty early.

1:05:02Speaker 1:Yeah, yeah, yeah.

1:05:03Speaker 2:And also there was a stage play version of this that a couple of guys in the cast did in Detroit, and he gave them consent to do it, which I think is kind of cool. I wish someone had filmed because I'd love to see it. And then a lot of people learned about this because Patton Oswald that it was in his old stand up routine talking about him finally seeing this movie and it like blowing his mind, and then it's a real movie. So that's I know, like a lot of people when there reviews, that's the first thing they say, I discovered this movie out of nowhere, you know what I mean, Like it just arrived to me, versus me hearing it from someone else. And those are the best ones, Like I love whenever you find something and you're like, I can't believe that this is that I'm watching this and it's happening. For Vampire is another great example of that. I was like, what it is kind of like a European riff on the car, which I love, but it's like even better, it's.

1:05:58Speaker 1:A vampire car like Yeah, yeah, that one has more political overtones of corporations or blood secking entities.

1:06:07Speaker 2:There's that Jalli. They have changed their face too. This is a vampire cooperation seven sets. It was surprisingly great.

1:06:16Speaker 1:I thought, yeah, weathern sets, they're kind of hidden, miss a lot of them, but that one, that one really stood out to me.

1:06:22Speaker 2:Well, Lady Frankenston's on one of the sets, so it's really that's probably the only movie I ever need to watch again for the rest of my life.

1:06:29Speaker 1:So do we have anything else about Deathbed?

1:06:31Speaker 2:Please watch Deathbed. That's yes, it's easy. If it's on YouTube, it's easy to find.

1:06:37Speaker 1:It was Actually, if you take all the films in Nightmare USA and sort them by film popularity, at least according to the letterbox, it was the it's the twentieth most popular film on that list out of one hundred and forty seven, So it's I guess it's it's fairly well known, fairly seen. Has about eight thousand log views, which is more than I thought it would be, but not enough.

1:07:00Speaker 2:Yeah. Right, So if you're listening to this and you've never seen it, should just listen to the rest of the show, so get yeah, yeah, yeah, watched it. I really like when older white guys talk about movies. People are saying right now, and it's like, and I've enjoyed hearing YouTube boys talk and and someday I'll watch that movie. So one of my mom's friends is like in her nineties and listens to a lot of my podcasts, and I'm like, oh god, I talk about some apparent movies, like is she gonna go watch a Dark Brothers movie? Now, my mom's like, don't watch any of the movies if he talks about She's like, he makes them sound so interesting.

1:07:35Speaker 2:She's like, yeah, I know they're not, just don't watch them. Hopefully she's not.

1:07:41Speaker 1:So, now where do we go from here? And it's my pick, and you have no idea what I'm going to pick, right. I put a lot of thought into this one, what the next one's going to be, and when, all sorts of different directions. But what I decided was that the next episode will drop and mid to late August, and so I thought, maybe dark August for August, but it's not going to be dark August. It's not going to be dark. Oh I didn't get around to watching. You got me excited next maybe next August we'll be dark unless before then. But I thought, well, you know, school is school will be starting, and this will be the first year where I don't have any bested interest in the beginning of school starting because my daughter graduated from college. And I was like, man, it's like my whole life, either I've been starting school or college or a kid's been in school or college. I said, there's plenty of school based films in this book. So the one I'm going to go with is Girls' Night Out aka The Scare Maker Wow, and that is set in a university. There's some slashing, there's some there's a black glove, there's a bear glove. And I watched it yesterday. I

1:09:02Speaker 1:think I feel like I like it, maybe more than a lot of people. And then I watched it again and I think I like it even more than I did the first.

1:09:08Speaker 2:Okay, I'm going to watch it again so that I can meet you there somewhere.

1:09:13Speaker 1:You did not care for this movie.

1:09:15Speaker 2:I didn't like it the first time I saw it, But I'm going to go back and watch it again. Let me see what I gave it. On a Winter Box. I'm there right now. I gave it. I gave it two and a half. It's not horrible for me, so yeah, I probably dug it.

1:09:28Speaker 1:Yeah, and I think it fits a lot of what we've talked about before of liking slashers that are boring in which not a whole lot happens. Initially, for the first thirty minutes, there's nothing, and it's just a kind of a hangout there, kind of at a party, and then then then the slashing starts and it goes from there to scavenger hunt, just all these things that I like, college parties, scavenger hunts. What year is it? Who knows? So we'll talk about the Loving Spoon and Ohio Express.

1:10:03Speaker 2:Oh and I'm so excited that you like it.

1:10:07Speaker 1:I hope you like it more than you did the last time you watched it.

1:10:10Speaker 2:I like it more than to a while good night, so that I guess that's good.

1:10:13Speaker 1:Right, we'll get to that one maybe right.

1:10:17Speaker 2:I have my pick in my head, but I'll say next episode, we'll do the reveal like that. I'll tell you often. Yeah, but that's how we'll build our audience. Make sure that you share like all the things rate please rate the show. Gosh, I think two people rated it. No one ever rates mine, like you know, that'd be nice.

1:10:35Speaker 1:Yeah, society as a whole has stopped just liking, like giving the likes or reviews or things. My wife's on this all the time, Like when she posted my daughter's wedding photos, She's like, nobody's liked it. Like people just don't. They just don't like it. And now, like on Instagram, if you like something, then you can see, like there's another thing where you can see what they liked. And it's like, well, I don't want people to know what I liked, especially some of the things that I would like, Yeah, want them judging me.

1:11:01Speaker 2:I have like two or three friends that every time there's like, you know, a girl post on there, they're the ones that I'm like, God, those perfts and I'm like, I'm not gonna like this post. And they know who they are. They're listening. I know who you are. Versus the anonymous early days of the internet. Movie you know I could do that, I guess. Yeah, we've been on again a long time though.

1:11:24Speaker 1:Yeah, So if you like, please go like the show, review it on Instagram, follow us on Instagram, and do you have anything. Oh, I saw you. You've updated your website and being this about movies has a new interface or the technical design on it's different, the layouts different.

1:11:42Speaker 2:I love it. Thank you. Yeah. WordPress got rid of a lot of the independent templates that they had, so they put a white block in the middle of my template so you couldn't read any words, and I was like panicking. You know all eight people that come there and you're included, and so I was like, I got to fix it. And then I found that template. I'm like, this is actually cleaner looking, and it made me happy.

1:12:09Speaker 1:So it was not my design. You were forced into this.

1:12:12Speaker 2:Well it was forced into it. But also like I went back and like went through a couple of different iterations and I'm happy where I ended up. And I'm learning I was using the old way of entering stuff in and now I'm actually using the real word press thing. Like before there was like an older way that was easier to see things. Now you have to do a little bit of htmout, but it's fine, it's not hard to do. So yeah, I'm in the middle of finishing. I did USA up on Night Movies in July and then August is going to be simple Danting adventure video for releases. There's like twenty six of them. Yeah, and I'm part way through that. I watched a really great one the other day, killing Machine aka Gordon. To this movie's cast, it's amazing, Like, uh, it's the kind of cast that that only I would would appreciate. I think, well, I think you would appreciate it too. But listen to this cast. Margot Hemingway, Lee van Cleef, Jorge Rivero from Conquest, He's Mace in Conquest. Uh, Anna Obergone from u Bo, Derek's friend in Balero, Alto Simbrelly, Frank Jack Richard, Jekyl, Hugo, Stieglitz.

1:13:30Speaker 2:And then of all those people, what if Willy Ames was in it? Yes, Willy Eames is in it. Uh, he's or Rivero's best friend. What how? What world do we live in? Yeah, it's a trucker terrorist movie about how much Spanish and French truckers hate each other. You know, it's a Lee van Cleef movie. So that's why I watched it. And it's also a simple Danic adventure video one because people would writ those movies because they thought she was in them. Suddenly they're given a movie crusty old dudes like Leavy and Cleef in it. Uh, and they were very upset. People were upset back in the eighties by stuff like that, like give me my three dollars for this rental back today, I'm like, you should be so lucky that you get snared with the wrong movie.

1:14:14Speaker 1:Right, went on the site. Because I listened to your podcast about Piazadora, I suddenly want to watch Butterfly And what was that.

1:14:23Speaker 2:The Only Lady, The Lady the Voyage of the Rock Aliens. Yeah, right, oh my god, And I forgot. I forgot that Carolyn Dfenseca, who's the ghost on my show, is in The Lonely Lady, not voice, She's actually in it. And uh so I'm sure I'll be called out by Carolyn Defenseca on that right, by her ghost. But uh my mom had the Lonely hardback of The Lonely Lady and it was like hidden right because it was like one of those like dirty books. And uh when I found out that there was one on HBO, it would only air at like four ten am.

1:14:58Speaker 2:And I set my alarm port by pillow. We didn't have a VCR, and I snuck down and watched The Lonely Lady. I was like eleven years old, way too young for that movie. Holy shit, I love it so much. It's like very watch original. If you like Valley of the Dolls Good News, it's in the same feels as one of those like Jacqueliness handbooks. It's it's sleeve, it's absolute sleeze.

1:15:24Speaker 1:I remember watching. Well, speaking of HBO, we did have a VCR. We had two VCRs. My wife says we were rich, and I said we weren't rich, but just my parents spent money on things, and then they repossessed our house. But I wouldn't call that they made bad financial choices. But we remember taping The Lady in Red late one night, of course on Cinemax or HBO, thinking it was the Woman in Red, the gm Alder comedy with What Say I Love You from Weird Sign The theme song was I Just.

1:16:01Speaker 2:Called to Say I Love Kelly LeBrock.

1:16:04Speaker 1:That's who it is, Yes, Kelly Lebron. It was so I was expecting a Gene Wilder Kelly Lebron and I get the Lady in Gangs. Yeah, women in Prison, well part of its Women in Prison, So yeah, that was. That was an eye opener for me. Uh as a kid.

1:16:23Speaker 2:My favorite Kelly Lebron references in Ghost House, the Italian horror movie. There's one scene where they're trying to convince you that it's an American movie, and they say, who's the most popular star in your town? Is it Silon Labon or Kelly Lebron And she goes, no, one cares about Silon Lebond anymore. And I'm like, and they're on a Ham radio talking about this, and then they talk about Chili and it's like, kids, we're in America. No you're not. You're fucking Italy. I see right through you.

1:16:52Speaker 2:But yeah, Kelly Brock was a big deal on my town. That's all I'm say so.

1:16:58Speaker 1:And then also drive in Asylum. Think again. By the time this releases, you'll be a couple of weeks late. But I saw you're doing Parents and Empire the Ants.

1:17:06Speaker 2:Is that right?

1:17:06Speaker 1:You have never seen parents.

1:17:08Speaker 2:I've never seen parents either. I've seen Empire of the Ants so many times. I have a big Joan Collins crush, and she is both the She's the human villain of Empire the Ants and I love her so much.

1:17:22Speaker 1:I love yeah, I loved Empower the Ants and John Collins. Apparently John Collins did not love the experience.

1:17:29Speaker 2:No, not at all. It's so funny because we're always like, oh, poor Joan every time we hear in these movies, because like, I don't want to be born as another one. If you've seen that one, I haven't.

1:17:40Speaker 1:It's been on my watch list.

1:17:42Speaker 2:God move it on up. Because there is this small muscular man that works at the strip club with her, that's in love with her, and she keeps leading him on and leading him on and finally tells him she hooks up with the owner and leaves behind stripping and like insults him. He somehow knows black magic, so he curses their child so that he's reborn in their child. It's shit, just gets wild, it's so good.

1:18:09Speaker 1:It's like it's the worst and I just haven't.

1:18:11Speaker 2:Oh, it's like the shittiest Rosemaries baby movie baby in England. But I love it for that. But yeah, I'm so excited to watch ron I've never never seen it. No, I'm excited.

1:18:24Speaker 1:I always loved finding film you haven't seen. I want to where's that letterbox list? Films? Sam Panic is not seen?

1:18:32Speaker 2:We should do that. I think. I guess it's definitely okay.

1:18:35Speaker 1:So join us the next time. We're gonna talk about girls Night Out and we're gonna hope Sam likes it more than he did the first time, and if not, that's okay too. And it's available. I know it's available on the Arrow, I have the Blu Ray and on Era video Player, and maybe available other places. And so join us, then we'll talk to you later.

1:18:56Speaker 2:I've got another if you'd like, let us.

1:19:01Speaker 1:I'm just going to get out right here.