Trascrizione completa di S2 E17 - HAPPY HELLIDAYS w/ADAM MARCUS & MICHAEL FELSHER

00:04:23.019 still able to meet you and Kane and have a great 00:04:23.019 --> 00:04:25.720 time. So just thank you so much for all you do 00:04:25.720 --> 00:04:28.420 for the horror community and for horror fans 00:04:28.420 --> 00:04:32.019 in general on a personal level. Thank you so 00:04:32.019 --> 00:04:34.350 much for all that. Thank you. Thanks, man. No, 00:04:34.370 --> 00:04:37.709 look, by the way, first off, Michael is going 00:04:37.709 --> 00:04:41.170 to be so completely uncomfortable with all of 00:04:41.170 --> 00:04:42.750 this love that's being given to me because he's 00:04:42.750 --> 00:04:44.389 going to be like, Jesus, I know where all the 00:04:44.389 --> 00:04:48.389 bodies are buried, you idiots. That said, that 00:04:48.389 --> 00:04:56.410 said, look, guys, here's the deal. I think that 00:04:56.410 --> 00:05:02.889 anybody who acts above the fray when you are 00:05:02.889 --> 00:05:06.069 in our genre. I think any creator who somehow 00:05:06.069 --> 00:05:08.790 is either too busy or too important or too whatever 00:05:08.790 --> 00:05:13.189 to actually hang and be a fan, I don't understand 00:05:13.189 --> 00:05:16.189 it. Honestly, I think that legitimate horror 00:05:16.189 --> 00:05:18.670 people, legitimate people who love the genre, 00:05:18.870 --> 00:05:21.610 we started as fans, we never end being fans. 00:05:21.750 --> 00:05:23.209 If you stop being a fan, then you shouldn't be 00:05:23.209 --> 00:05:25.870 doing this anymore because you lost the thread 00:05:25.870 --> 00:05:28.889 of why you got into it for the first place. And 00:05:28.889 --> 00:05:33.569 for me, Look, when I was very, very little, when 00:05:33.569 --> 00:05:36.870 I was an infant, in fact, my dad worked in New 00:05:36.870 --> 00:05:38.870 York City. My parents lived in Connecticut. My 00:05:38.870 --> 00:05:41.189 dad worked in New York, and he ran his own company, 00:05:41.250 --> 00:05:43.649 and it was just starting out, and he turned it 00:05:43.649 --> 00:05:45.089 into something extraordinary, but he had to be 00:05:45.089 --> 00:05:47.550 in New York for, you know, ridiculous hours. 00:05:47.790 --> 00:05:50.870 And so he wouldn't get home till 10, 10 .30, 00:05:50.949 --> 00:05:54.089 11, 11 .30 at night back home to Connecticut. 00:05:54.209 --> 00:05:56.689 And so my mom would keep me up so that I could 00:05:56.689 --> 00:05:58.589 see him, so that I could spend time with my pop. 00:05:59.790 --> 00:06:02.230 Because of that, I ended up watching Johnny Carson 00:06:02.230 --> 00:06:05.589 my whole growing up. Literally every night was 00:06:05.589 --> 00:06:09.430 with Johnny Carson. And I remember early on, 00:06:09.529 --> 00:06:11.829 and this is one of my first memories, that Johnny 00:06:11.829 --> 00:06:15.569 was asked about meeting the fans. And Johnny 00:06:15.569 --> 00:06:19.189 Carson was famous for... like he never had an 00:06:19.189 --> 00:06:21.470 entourage. He never had bodyguards. He just walked 00:06:21.470 --> 00:06:24.389 through Los Angeles as just, you know, a person. 00:06:24.449 --> 00:06:26.970 And he never turned down somebody for an autograph. 00:06:27.170 --> 00:06:29.209 He never turned down a person who needed to talk 00:06:29.209 --> 00:06:31.589 to him or hang out for a minute. And his response 00:06:31.589 --> 00:06:34.000 to it was, look. And I'm paraphrasing. It takes 00:06:34.000 --> 00:06:37.379 just as long to be kind as it does to be an asshole. 00:06:37.540 --> 00:06:41.220 Yeah. That stuck with me from really from being 00:06:41.220 --> 00:06:44.660 three years old. I remember that vividly. And 00:06:44.660 --> 00:06:47.439 I remember thinking anyone who is kind to me 00:06:47.439 --> 00:06:50.199 is going to get kindness in return. And the truth 00:06:50.199 --> 00:06:53.600 is that the three of you have been nothing but 00:06:53.600 --> 00:06:56.540 kind to me. And that gets returned. And honestly, 00:06:56.740 --> 00:06:58.819 as long as that becomes a self -perpetuating 00:06:58.819 --> 00:07:01.240 engine, then you just end up with people that 00:07:01.240 --> 00:07:03.040 really like each other and respect each other, 00:07:03.079 --> 00:07:06.139 and you hang. So it's the way I am about my friends, 00:07:06.199 --> 00:07:08.139 it's the way I am about my family, and it's the 00:07:08.139 --> 00:07:11.560 way I am about you guys. So, yeah, and you are 00:07:11.560 --> 00:07:15.699 my friends. What's remarkable is that Michael 00:07:15.699 --> 00:07:18.980 Felsher and I have remained... even though almost 00:07:18.980 --> 00:07:20.699 none of that has occurred between the two of 00:07:20.699 --> 00:07:25.519 us. So that's extraordinary. How did you guys 00:07:25.519 --> 00:07:30.579 meet? I would love to know that. Michael, you 00:07:30.579 --> 00:07:35.939 handsome bastard. Audible pause. Literally, he's 00:07:35.939 --> 00:07:39.660 proving my point. Go on, sir. We met many years 00:07:39.660 --> 00:07:42.300 ago. or actually it's only a few years ago it 00:07:42.300 --> 00:07:44.319 just seems like it's been many years really does 00:07:44.319 --> 00:07:48.839 feel that way yeah no in all seriousness I had 00:07:48.839 --> 00:07:52.000 to audition to be the director of this documentary 00:07:52.000 --> 00:07:54.300 because originally they had another director 00:07:54.300 --> 00:07:57.779 on board. And for reasons not really worth getting 00:07:57.779 --> 00:08:00.120 into, basically just boils down to creative differences. 00:08:00.319 --> 00:08:03.500 They parted ways with that director and a mutual 00:08:03.500 --> 00:08:05.759 friend, Peter Brackey, of course, wrote Crystal 00:08:05.759 --> 00:08:07.980 Lake Memories and was also writing all the questions 00:08:07.980 --> 00:08:10.379 and doing a lot of the interviewing for the documentary. 00:08:10.399 --> 00:08:12.339 And they'd shot pretty much all the interviews 00:08:12.339 --> 00:08:15.480 already at this point. But Peter and I and a 00:08:15.480

--> 00:08:17.939 couple other people were online. pretty much 00:08:17.939 --> 00:08:19.839 three or four times a week playing the Friday 00:08:19.839 --> 00:08:21.959 the 13th video game. It had been for a while. 00:08:22.060 --> 00:08:24.519 We started in like 2016 and I think we played 00:08:24.519 --> 00:08:26.339 that game for almost three, four years straight. 00:08:26.720 --> 00:08:29.259 And we just, and it got down to the point where 00:08:29.259 --> 00:08:32.000 Jason was less a threat than I was because I 00:08:32.000 --> 00:08:33.399 would just run around shooting people with a 00:08:33.399 --> 00:08:36.269 shotgun and running them over with a car. and 00:08:36.269 --> 00:08:39.309 also don't let peter kid you he was the worst 00:08:39.309 --> 00:08:42.769 driver in that game he would there wasn't a fence 00:08:42.769 --> 00:08:47.690 post side of a barn uh a tree that he couldn't 00:08:47.690 --> 00:08:50.129 hit on his way out of the jason would just kind 00:08:50.129 --> 00:08:52.570 of look at him and go well i feel bad even killing 00:08:52.570 --> 00:08:54.169 him this is embarrassing you know it was just 00:08:54.779 --> 00:08:57.980 He was a terrible, terrible driver. Anyway, Adam, 00:08:58.100 --> 00:08:59.519 of course, had been working with Peter on the 00:08:59.519 --> 00:09:02.519 doc. The other director left and he basically 00:09:02.519 --> 00:09:04.639 went to Peter and said, we need a director for 00:09:04.639 --> 00:09:07.440 this thing. And there were a list of names. And 00:09:07.440 --> 00:09:10.539 apparently Peter suggested me first or said I 00:09:10.539 --> 00:09:13.200 was the first person that he should talk to. 00:09:13.279 --> 00:09:15.320 And then Peter, while we were, I think it was 00:09:15.320 --> 00:09:17.320 one of the nights while we were talking or playing 00:09:17.320 --> 00:09:20.240 the game, he said. Hey, Michael, we're looking 00:09:20.240 --> 00:09:21.799 for a director of Hearts of Darkness. Do you 00:09:21.799 --> 00:09:24.240 want to meet with Adam Marcus and the producer, 00:09:24.320 --> 00:09:27.799 Ali Rivera -Quinones, and also Deborah as well, 00:09:27.860 --> 00:09:29.799 and just talk with them about possibly doing 00:09:29.799 --> 00:09:32.320 this? And I have to be honest with you, my initial 00:09:32.320 --> 00:09:35.779 kind of, I had some reluctance because I always 00:09:35.779 --> 00:09:37.919 start my own stuff like from the ground up and 00:09:37.919 --> 00:09:39.340 see it all the way through the end. So coming 00:09:39.340 --> 00:09:41.820 in midway through, actually more than midway 00:09:41.820 --> 00:09:44.669 through. on a project that had already been you 00:09:44.669 --> 00:09:46.570 know hours and hours and hours of footage had 00:09:46.570 --> 00:09:48.250 just been shot and that was just adam's interview 00:09:48.250 --> 00:09:50.730 you know the rest of the interviews went on you 00:09:50.730 --> 00:09:53.370 know you know of a reasonable length adam's interview 00:09:53.370 --> 00:09:56.889 i swear it's five and a half hours long it's 00:09:56.889 --> 00:10:00.049 it just keeps i mean it just kept going and going 00:10:00.049 --> 00:10:02.350 if you fast forward through it you can see in 00:10:02.350 --> 00:10:06.690 the reflection the sun going up down up i mean 00:10:06.690 --> 00:10:09.240 it's just he just It was really something else 00:10:09.240 --> 00:10:12.200 to watch. Anyway, so I was reluctant to kind 00:10:12.200 --> 00:10:14.399 of step into something that was already, through 00:10:14.399 --> 00:10:16.139 my way of thinking initially, kind of already 00:10:16.139 --> 00:10:19.559 done, you know. However, and also there was the 00:10:19.559 --> 00:10:22.259 matter of, well, is it just the making of a Friday 00:10:22.259 --> 00:10:24.159 the 13th movie? Because there had already been 00:10:24.159 --> 00:10:26.600 His Name Was Jason and Crystal Lake Memories. 00:10:26.860 --> 00:10:29.179 Right. And a special edition of Jason Goes to 00:10:29.179 --> 00:10:32.059 Hell that Adam had been. involved with so from 00:10:32.059 --> 00:10:34.539 my perspective it was like okay well if it's 00:10:34.539 --> 00:10:36.639 just about the making of a 13th movie i don't 00:10:36.639 --> 00:10:39.200 know if i'm as a director that interested in 00:10:39.200 --> 00:10:41.679 coming into this but peter provided me some of 00:10:41.679 --> 00:10:43.799 the raw interviews to watch adam's interview 00:10:43.799 --> 00:10:45.860 stephen williams i think kane hotter's a few 00:10:45.860 --> 00:10:48.309 of the others as well And said, look through 00:10:48.309 --> 00:10:52.110 it. And before we have the phone call or the 00:10:52.110 --> 00:10:55.389 Zoom call with Adam and the gang. And I went, 00:10:55.429 --> 00:10:57.970 okay. And I went through it all. And watching 00:10:57.970 --> 00:11:00.549 Adam's, I wasn't able to watch all of it before 00:11:00.549 --> 00:11:04.539 the Zoom call. I only had like two or three days 00:11:04.539 --> 00:11:05.980 and there just wasn't enough time to get through 00:11:05.980 --> 00:11:08.159 all of the interviews or at least Adam's interview 00:11:08.159 --> 00:11:11.679 anyway. And one thing I noted right off the bat, 00:11:11.720 --> 00:11:14.259 it's like this is Adam is such an engaging speaker 00:11:14.259 --> 00:11:16.960 and such a great engaging storyteller. And he's 00:11:16.960 --> 00:11:18.960 talking about his childhood and growing up and 00:11:18.960 --> 00:11:20.779 the types, you know, his family and working with 00:11:20.779 --> 00:11:23.019 his brother and all this stuff. And I realized 00:11:23.019 --> 00:11:25.480 very early on as I was going through as, OK, 00:11:25.720 --> 00:11:28.559 that's the story here. The Friday the 13th movie 00:11:28.559 --> 00:11:31.860 is a great way to get into the story of Adam's. 00:11:32.009 --> 00:11:34.190 life and career, but it's not really going to 00:11:34.190 --> 00:11:36.529 be about, strictly speaking,

it's not just about 00:11:36.529 --> 00:11:38.330 the making of a Friday the 13th movie. That's 00:11:38.330 --> 00:11:40.710 the vessel in which we use to go through this 00:11:40.710 --> 00:11:43.769 other story, which is about a first time filmmaker 00:11:43.769 --> 00:11:46.250 getting his chance to not only make his first 00:11:46.250 --> 00:11:49.889 movie, but to make it in a sandbox that he loves. 00:11:50.669 --> 00:11:54.250 But with that comes expectations, with that comes 00:11:54.250 --> 00:11:57.110 creative differences, with that comes budgetary 00:11:57.110 --> 00:12:00.289 problems, with all the problems that come. Oh, 00:12:00.389 --> 00:12:02.950 yeah. Yeah. Sean Cunningham. I mean, and the 00:12:02.950 --> 00:12:05.129 fraying of relationships, the forging of new 00:12:05.129 --> 00:12:08.730 ones. And it was also inspiring to me that so 00:12:08.730 --> 00:12:10.889 many of the other interviews that I watched were 00:12:10.889 --> 00:12:13.429 with people who were not necessarily at the beginning. 00:12:14.120 --> 00:12:16.279 looking to do a friday the 13th movie at that 00:12:16.279 --> 00:12:18.179 point in their careers some who were relatively 00:12:18.179 --> 00:12:20.320 new in the business some who were industry veterans 00:12:20.320 --> 00:12:23.220 by that point but they all seem to have a commonality 00:12:23.220 --> 00:12:25.080 and that they all went i don't know about this 00:12:25.580 --> 00:12:27.019 They meet with Adam, and then they come away 00:12:27.019 --> 00:12:28.759 going, okay, yeah, I'll do it. And I thought 00:12:28.759 --> 00:12:30.580 that was really interesting. And then there's 00:12:30.580 --> 00:12:33.679 also the aspect of Jason Goes to Hell initially 00:12:33.679 --> 00:12:37.000 did well financially, and it did as well critically 00:12:37.000 --> 00:12:39.220 as any Friday the 13th movie is allowed to do 00:12:39.220 --> 00:12:42.080 in the marketplace. They hate him. Yeah. No, 00:12:42.200 --> 00:12:46.019 and it's pretty much just a form they fill out. 00:12:46.299 --> 00:12:48.519 They just fill in the name of the movie, and 00:12:48.519 --> 00:12:50.519 then they change a couple of the acting credits, 00:12:50.559 --> 00:12:52.340 and then they just submit it. It's, you know. 00:12:52.539 --> 00:12:54.860 Kenneth Turan in the Los Angeles Times said it. 00:12:54.889 --> 00:12:57.029 kept saying about freddie it was about freddie 00:12:57.029 --> 00:13:02.330 yeah that's like um no no it's not nope so yeah 00:13:02.330 --> 00:13:08.070 so you know to try to wrap this up i um i i thought 00:13:08.070 --> 00:13:09.789 okay you know it's worth having a phone call 00:13:09.789 --> 00:13:12.149 with adam and i had oh i had a little bit of 00:13:12.149 --> 00:13:14.370 it's like second i because i had a producer on 00:13:14.370 --> 00:13:16.889 it but i had done the extras for the texas chainsaw 00:13:16.889 --> 00:13:20.370 3d uh blu -ray for lion's gate and deborah and 00:13:20.370 --> 00:13:22.470 adam had done interviews for that but i hadn't 00:13:22.470 --> 00:13:24.600 really had a direct line of communication to 00:13:24.600 --> 00:13:27.399 them right so i was you know but it was one of 00:13:27.399 --> 00:13:28.860 those things where it was like i thought i knew 00:13:28.860 --> 00:13:31.019 adam already like no i how have i not met adam 00:13:31.019 --> 00:13:32.820 at this point you know it's just kind of weird 00:13:32.820 --> 00:13:34.820 so from my perspective it was worth just having 00:13:34.820 --> 00:13:37.139 a conversation just to get to talk to him and 00:13:37.139 --> 00:13:41.500 prior to talking with adam i had seen because 00:13:41.500 --> 00:13:43.700 i produced the blu -ray of the monster squad 00:13:43.700 --> 00:13:46.000 all the many years ago it was a big big hit for 00:13:46.000 --> 00:13:48.779 lionsgate man's got nards yeah well yeah and 00:13:48.779 --> 00:13:51.019 that that I had done a full -length documentary 00:13:51.019 --> 00:13:53.019 on the monsters. It was a really, it was a big, 00:13:53.080 --> 00:13:55.419 big project for me. And then some years later, 00:13:55.679 --> 00:13:58.700 uh, Andre Gower and a couple other people got 00:13:58.700 --> 00:14:00.480 together and did a documentary called Wolfman's 00:14:00.480 --> 00:14:03.799 Got Nards, which looks at the making of the movie, 00:14:03.820 --> 00:14:06.840 but it's about really about the film's reception 00:14:06.840 --> 00:14:09.019 over the years. The fact that it failed initially. 00:14:09.820 --> 00:14:11.940 found this cult following and the impact it had 00:14:11.940 --> 00:14:13.759 on the lives of the people who made it, which 00:14:13.759 --> 00:14:17.220 was both very negative at times and also positive, 00:14:17.340 --> 00:14:19.940 but kind of had a weird kind of a circular path 00:14:19.940 --> 00:14:22.519 for being positive for some people. And it was. 00:14:23.039 --> 00:14:24.639 One of those documentaries when I heard they 00:14:24.639 --> 00:14:26.419 were doing is I don't need to do another documentary 00:14:26.419 --> 00:14:28.620 for Monster Squad. I already did one. And then 00:14:28.620 --> 00:14:31.720 I saw and I went, oh, well, yeah, OK, this is 00:14:31.720 --> 00:14:34.299 really good. But I was reminded of that movie 00:14:34.299 --> 00:14:36.860 when I was watching the footage of Adam and everybody 00:14:36.860 --> 00:14:39.039 for the doc is like there's something similar 00:14:39.039 --> 00:14:41.500 of not it's not the exact same story, but there's 00:14:41.500 --> 00:14:43.879 a similar vibe in terms of it's not about the 00:14:43.879 --> 00:14:46.320 movie. It's really about the creative passion 00:14:46.320 --> 00:14:48.820 that went into it. And by the way, as this is 00:14:48.820 --> 00:14:52.830 happening simultaneously, I had given Ali. and 00:14:52.830 --> 00:14:55.610 Deborah copies of Wolfman Gotten Arts because 00:14:55.610 --> 00:14:58.950 I had seen it in Dublin. It was back to

back 00:14:58.950 --> 00:15:00.950 with Secret Santa many years ago. We were both 00:15:00.950 --> 00:15:03.429 in the same screening and and I fell in love 00:15:03.429 --> 00:15:04.990 with it at that screening and I'd seen it like 00:15:04.990 --> 00:15:06.649 three or four times since then. So I showed it 00:15:06.649 --> 00:15:08.250 to the both of them and I said, look, our first 00:15:08.250 --> 00:15:11.129 director just simply he just didn't have a vision 00:15:11.129 --> 00:15:13.370 of what the movie was like. He was collecting 00:15:13.370 --> 00:15:16.289 footage, but to what end? And so he just never 00:15:16.289 --> 00:15:19.210 really nailed what is the what is the story of 00:15:19.210 --> 00:15:20.590 the movie? And I was like, I don't want to make 00:15:20.590 --> 00:15:23.100 a BTS. That's not. we're gonna do here um this 00:15:23.100 --> 00:15:25.860 isn't an extra on a blu -ray this is a documentary 00:15:25.860 --> 00:15:28.440 there's a feature -length documentary so I showed 00:15:28.440 --> 00:15:31.120 it to Ali and to Deb and said look guys in the 00:15:31.120 --> 00:15:33.559 best of all worlds this is the movie I'd want 00:15:33.559 --> 00:15:36.320 us to make like this is a great documentary about 00:15:36.320 --> 00:15:38.960 filmmaking again much to what Michael is saying 00:15:38.960 --> 00:15:40.980 because it's about people it's not about the 00:15:40.980 --> 00:15:43.580 movie it's that's a vessel for people to have 00:15:43.580 --> 00:15:47.279 relationships and so I had said all of this prior 00:15:47.279 --> 00:15:49.639 to this meeting. We're not five minutes into 00:15:49.639 --> 00:15:54.019 the meeting, me meeting Michael, and he says, 00:15:54.220 --> 00:15:57.870 hey. Have you seen Wolfman Got Nards? Because 00:15:57.870 --> 00:15:59.809 I think it should be that kind of movie. And 00:15:59.809 --> 00:16:02.129 I'm telling you, this is not a joke. Myself and 00:16:02.129 --> 00:16:04.669 Ali, in particular, we were at the end of our 00:16:04.669 --> 00:16:06.970 rope. We had been out of it for three years. 00:16:07.129 --> 00:16:09.549 We were exhausted. We were getting beat up because 00:16:09.549 --> 00:16:11.210 of COVID and because people were like, where's 00:16:11.210 --> 00:16:13.350 my Blu -ray? And I'm like, we can't get in anybody's 00:16:13.350 --> 00:16:15.669 house. Leave us alone. We can't do anything, 00:16:15.830 --> 00:16:19.570 guys. But I was mostly exhausted because we didn't 00:16:19.570 --> 00:16:21.990 have a direction for the film. The minute Michael 00:16:21.990 --> 00:16:23.590 said Wolfman Got Nards, I think it should be 00:16:23.590 --> 00:16:26.710 like that. and i during the zoom call both of 00:16:26.710 --> 00:16:29.230 us start getting tears welling up in our eyes 00:16:29.230 --> 00:16:36.370 it was like this unbelievable experience and 00:16:36.370 --> 00:16:38.549 i'm telling you not 10 minutes later i was like 00:16:38.549 --> 00:16:40.870 michael you're the guy like that i and i told 00:16:40.870 --> 00:16:42.730 peter he had five other filmmakers i wanted to 00:16:42.730 --> 00:16:43.950 meet with me i was like i don't need to meet 00:16:43.950 --> 00:16:45.509 with anybody else this is the guy this is the 00:16:45.509 --> 00:16:47.629 guy i remember on the phone call seeing you guys 00:16:47.629 --> 00:16:49.210 get emotional and i remember thinking to myself 00:16:49.210 --> 00:16:53.620 god what a bunch of um okay yes Both things can 00:16:53.620 --> 00:16:56.860 be true, by the way. Am I going to have to work 00:16:56.860 --> 00:16:59.580 with the, okay. All right. Well, yeah, no, it 00:16:59.580 --> 00:17:01.919 was, it was, it was, I don't remember how long 00:17:01.919 --> 00:17:04.599 the phone, the zoom call was. It was a while. 00:17:04.960 --> 00:17:07.539 Cause we got off on other tangents as we normally 00:17:07.539 --> 00:17:12.059 do, but I got off the zoom call and it was for 00:17:12.059 --> 00:17:14.339 me, it was just like, look, it's worth it for 00:17:14.339 --> 00:17:16.900 nothing else than to get to work with, with Adam 00:17:16.900 --> 00:17:20.190 on this. And. it was gonna and i ultimately decided 00:17:20.190 --> 00:17:22.529 yeah okay i wasn't there for the shooting of 00:17:22.529 --> 00:17:24.329 the interviews and that's something i would have 00:17:24.329 --> 00:17:25.930 liked to have been there for and there was a 00:17:25.930 --> 00:17:28.390 certain amount of direction that was kind of 00:17:28.390 --> 00:17:30.670 set just based on what the interview questions 00:17:30.670 --> 00:17:33.549 were and stuff like that but um i thought oh 00:17:33.549 --> 00:17:35.910 well it might be interesting to step into something 00:17:35.910 --> 00:17:38.750 like this where you're not there and try and 00:17:38.750 --> 00:17:41.730 see okay now you're gonna just go out you have 00:17:41.730 --> 00:17:44.269 no preconceptions i didn't go into this thinking 00:17:44.269 --> 00:17:45.990 okay this is the type of documentary we're making 00:17:45.990 --> 00:17:48.569 i'm just listening to the footage i'm just you 00:17:48.569 --> 00:17:51.319 know it's just it's telling me what the documentary 00:17:51.319 --> 00:17:53.099 is going to be. And that was kind of interesting. 00:17:53.279 --> 00:17:56.220 And I, again, when I realized what the heart 00:17:56.220 --> 00:17:58.779 of the thing was and that covering Jason goes 00:17:58.779 --> 00:18:00.339 to hell, it was kind of like a loss leader to 00:18:00.339 --> 00:18:02.339 get you in the store. You know, that was just 00:18:02.339 --> 00:18:04.829 like. Oh, I want to watch it. Yeah. Friday the 00:18:04.829 --> 00:18:06.490 13th fans are going to watch this, but I can't 00:18:06.490 --> 00:18:07.910 tell you how many people have watched this movie 00:18:07.910 --> 00:18:10.210 who came away going, that was not what I was 00:18:10.210 --> 00:18:13.250 expecting it to be. That was much more emotional 00:18:13.250 --> 00:18:14.789 than

I thought it was going to be. That was much 00:18:14.789 --> 00:18:16.930 funnier than I thought it was going to be. That 00:18:16.930 --> 00:18:18.789 was much more, I don't want to say educational, 00:18:18.849 --> 00:18:21.569 but it was much more about a filmmaking journey 00:18:21.569 --> 00:18:24.230 than it was just about, you know, minutia around 00:18:24.230 --> 00:18:26.769 Jason Voorhees. Although that's certainly in 00:18:26.769 --> 00:18:29.500 there. Oh yeah. But that was something in working 00:18:29.500 --> 00:18:32.779 with the editor, Eric Bietner, who's a multiple 00:18:32.779 --> 00:18:36.920 Emmy Award nominee for The Amazing Race. And 00:18:36.920 --> 00:18:39.720 he's a fantastic editor, a lifelong friend of 00:18:39.720 --> 00:18:42.859 Eric's or of Adam's. And it's just a great, great 00:18:42.859 --> 00:18:44.720 editor. He had the hard part because I would 00:18:44.720 --> 00:18:47.720 sit here and go. go for this, try this, add more 00:18:47.720 --> 00:18:49.980 of this, do less of that, add more of this, buy, 00:18:50.319 --> 00:18:52.380 and then he would have to sort through the 75, 00:18:52.599 --> 00:18:55.400 80 hours of footage. And then along the way, 00:18:55.579 --> 00:18:58.160 they had shot one of the Q &As at the American 00:18:58.160 --> 00:19:01.119 Cinematheque, I think, already. Yeah. and we 00:19:01.119 --> 00:19:03.279 had done already yeah yeah and it was good and 00:19:03.279 --> 00:19:05.500 i liked it but i wanted more of it and i wanted 00:19:05.500 --> 00:19:07.279 it's like well can we have a couple can we have 00:19:07.279 --> 00:19:10.460 another screening and by the way that's how that 00:19:10.460 --> 00:19:13.380 failed convention that was the plan right that 00:19:13.380 --> 00:19:16.779 was the whole thing i i said yes to that because 00:19:16.779 --> 00:19:19.880 they were allowing me to bring my team in to 00:19:19.880 --> 00:19:22.980 bring michael and and our and our group in to 00:19:22.980 --> 00:19:26.500 shoot that event so that michael would have a 00:19:26.500 --> 00:19:29.220 framing device for the entire movie really i 00:19:29.220 --> 00:19:31.430 mean michael was was really creating, was really 00:19:31.430 --> 00:19:35.089 trying to build something that was not only just 00:19:35.089 --> 00:19:37.049 a framework, but would also show sort of the 00:19:37.049 --> 00:19:40.009 interaction now with the fandom. Yeah, that's 00:19:40.009 --> 00:19:43.009 a big part of this because the fan reaction on 00:19:43.009 --> 00:19:44.970 this movie has been a rollercoaster ride to say 00:19:44.970 --> 00:19:47.430 the least. Yeah, it's evolved like crazy over 00:19:47.430 --> 00:19:50.089 the years. Well, it's evolved and it's de -evolved. 00:19:50.089 --> 00:19:52.630 De -evolved and then evolved. Then re -evolved. 00:19:53.089 --> 00:19:55.150 And it's one of those things where you can go 00:19:55.150 --> 00:19:56.910 back and you look, the reaction to the movie 00:19:56.910 --> 00:19:59.220 when it first came out was... in the fan community 00:19:59.220 --> 00:20:01.640 i think it would be fair to say was mixed because 00:20:01.640 --> 00:20:03.400 a lot of people didn't know it was like what 00:20:03.400 --> 00:20:05.940 the fuck is this you know if you were reading 00:20:05.940 --> 00:20:08.240 fangoria magazine you knew a little bit in advance 00:20:08.240 --> 00:20:10.039 of some of the things that were going to happen 00:20:10.039 --> 00:20:12.220 in the movie but there were gags and lines of 00:20:12.220 --> 00:20:13.839 dialogue and things that happened in that picture 00:20:13.839 --> 00:20:17.119 you were not prepared for so but you couldn't 00:20:17.119 --> 00:20:19.220 just go on the internet and register you know 00:20:19.220 --> 00:20:22.240 not everybody had a fucking megaphone so the 00:20:22.240 --> 00:20:24.180 perception was a lot you know it was like ah 00:20:24.180 --> 00:20:26.140 some people liked it some people didn't you know 00:20:26.140 --> 00:20:27.779 and that was kind of how it was but then once 00:20:27.779 --> 00:20:29.660 the internet comes along suddenly the people 00:20:29.660 --> 00:20:32.779 who hated it the most were the loudest yeah and 00:20:32.779 --> 00:20:35.480 it created a narrative that everybody hated the 00:20:35.480 --> 00:20:38.079 movie well so that's the main reason i'm so excited 00:20:38.079 --> 00:20:39.940 about this movie and we are at a disadvantage 00:20:39.940 --> 00:20:42.440 because none of us have has watched it yet but 00:20:42.440 --> 00:20:45.420 um when crystal lake memories came out and i'm 00:20:45.420 --> 00:20:47.279 a little bit tight with daniel ferens i love 00:20:47.279 --> 00:20:49.539 him we've worked together on some stuff he worked 00:20:49.539 --> 00:20:52.640 with shabba doo who i helped do a biography um 00:20:52.640 --> 00:20:56.569 he's a he's a mensch too but I was so disappointed 00:20:56.569 --> 00:21:00.849 on the lack of representation of Jason Goes to 00:21:00.849 --> 00:21:04.130 Hell in the Crystal Lake Memories film. And there 00:21:04.130 --> 00:21:05.869 are many reasons for that. And we just talked 00:21:05.869 --> 00:21:07.809 about one of them, which was the evolving roller 00:21:07.809 --> 00:21:12.569 coaster of fan reaction. And Daniel, I like Daniel. 00:21:12.690 --> 00:21:14.970 Daniel's a good dude. I will tell you, there 00:21:14.970 --> 00:21:17.730 is not one frame in Crystal Lake Memories that 00:21:17.730 --> 00:21:20.210 is footage that was shot for Crystal Lake Memories. 00:21:20.369 --> 00:21:22.789 It's all recycled footage from His Name Was Jason 00:21:22.789 --> 00:21:25.910 and other interviews. They never called me and 00:21:25.910 --> 00:21:28.849 said, and by the way, Daniel owes me. I'm sorry, 00:21:28.869 --> 00:21:31.650 Slinky, what'd you say? On the Jason X DVD, every 00:21:31.650 --> 00:21:34.869 clip from that DVD is footage used in Crystal 00:21:34.869 --> 00:21:37.829 Lake Memories. I know

exactly what you're talking 00:21:37.829 --> 00:21:40.930 about. Right. And everything's from, yeah. And 00:21:40.930 --> 00:21:44.670 then everything in Crystal Lake Memories is from 00:21:44.670 --> 00:21:48.029 His Name Was Jason. So it's like, eh. So for 00:21:48.029 --> 00:21:50.730 Jason Goes to Hell to get its own moment in the 00:21:50.730 --> 00:21:54.079 sun is so exciting for those of us who were sorely 00:21:54.079 --> 00:21:56.799 disappointed at the lack of representation in 00:21:56.799 --> 00:21:58.859 Crystal Lake Memories. Well, it also kind of 00:21:58.859 --> 00:22:00.779 went, I think one of the reasons that happened 00:22:00.779 --> 00:22:03.660 was because the film's reputation had taken such 00:22:03.660 --> 00:22:07.000 a shellacking that I think maybe, and I can't, 00:22:07.000 --> 00:22:08.680 I don't want to speak for Dan Ferencz or anybody 00:22:08.680 --> 00:22:11.079 else, Dan's a friend as well, but it seemed like 00:22:11.079 --> 00:22:12.839 they kind of blew through it because they didn't 00:22:12.839 --> 00:22:14.819 think anybody cared or didn't want to hear about 00:22:14.819 --> 00:22:16.839 it. And it was considered like, well, that's 00:22:16.839 --> 00:22:18.720 that movie that no one likes. They were also 00:22:18.720 --> 00:22:21.420 working with Sean Cunningham who didn't want 00:22:21.420 --> 00:22:24.920 it represented. Right. And Sean has had his own 00:22:24.920 --> 00:22:28.240 interpretation of it. To put it nicely, his own 00:22:28.240 --> 00:22:32.960 interpretation. His own particular take on how 00:22:32.960 --> 00:22:36.059 things went. And the most interesting thing, 00:22:36.099 --> 00:22:38.220 the most consistent thing about that is that 00:22:38.220 --> 00:22:40.900 no one backs him up. Not one person has come 00:22:40.900 --> 00:22:43.599 forward saying that's exactly how it went. Everybody, 00:22:43.660 --> 00:22:47.660 there's a whole bunch of footage in the raw footage. 00:22:47.779 --> 00:22:49.660 And some of it was used in the Sean Cunningham 00:22:49.660 --> 00:22:53.519 extra that's on the dock on the disc where everyone 00:22:53.519 --> 00:22:55.759 gets asked, so was Sean there doing this? Was 00:22:55.759 --> 00:22:59.140 Sean there doing this? Who? Or no? Or yeah, I 00:22:59.140 --> 00:23:01.450 saw Sean once or twice. But no, he was never 00:23:01.450 --> 00:23:03.890 direct. So it's one of those things where it's 00:23:03.890 --> 00:23:08.019 like, this is just a bunch of bullshit. He was 00:23:08.019 --> 00:23:10.799 fanning the flames of this movie was a disaster 00:23:10.799 --> 00:23:13.640 and I saved it. And I had to go through that 00:23:13.640 --> 00:23:15.799 recently on another film that I did a special 00:23:15.799 --> 00:23:17.960 edition for. There was a member of the production 00:23:17.960 --> 00:23:20.660 who was desperately and bitterly trying to rewrite 00:23:20.660 --> 00:23:24.259 history in terms of, you know, oh, the production 00:23:24.259 --> 00:23:26.079 was a disaster and I saved it in the editing 00:23:26.079 --> 00:23:28.799 room. And what was hilarious about that was that 00:23:28.799 --> 00:23:31.319 I was interviewing the editor of the movie right 00:23:31.319 --> 00:23:33.940 after him. He comes in and sits down and go, 00:23:34.019 --> 00:23:37.000 hey, so -and -so said that they saved the. movie 00:23:37.000 --> 00:23:38.480 in the editing room and they were there and he 00:23:38.480 --> 00:23:41.279 just looked at me when he was never in the oh 00:23:41.279 --> 00:23:44.859 my god what are you talking so it's amazing how 00:23:44.859 --> 00:23:48.519 some people are are because of their own issues 00:23:48.519 --> 00:23:51.079 and have sometimes nothing to do with the movie 00:23:51.079 --> 00:23:53.859 itself but they they try to reclaim some sort 00:23:53.859 --> 00:23:56.430 of creative ground or moral rights weird and 00:23:56.430 --> 00:23:58.430 then that happened on jason goes to hell but 00:23:58.430 --> 00:24:00.750 then that also fed a lot of the disinformation 00:24:00.750 --> 00:24:02.950 out there about the movie exactly that's what 00:24:02.950 --> 00:24:05.069 i was going to ask you next was is this this 00:24:05.069 --> 00:24:07.569 also besides jason goes to hell finally getting 00:24:07.569 --> 00:24:10.250 its own thing um is this kind of a chance to 00:24:10.250 --> 00:24:12.109 set the record straight on a lot of the misinformation 00:24:12.109 --> 00:24:14.509 that's been floating around some of it based 00:24:14.509 --> 00:24:17.230 on sean's comments uh some of it based on fans 00:24:17.230 --> 00:24:19.630 just doing guesswork and i'll see adam on these 00:24:19.630 --> 00:24:22.210 forums sometimes the fan groups come in and say 00:24:22.210 --> 00:24:24.769 that may not be exactly like you think it is. 00:24:24.809 --> 00:24:28.490 Right. Look, here's the thing. To Michael's credit, 00:24:28.670 --> 00:24:31.750 because Sean, we asked Sean five times to be 00:24:31.750 --> 00:24:34.349 interviewed. We kept going back to him. And I 00:24:34.349 --> 00:24:36.049 made sure it was on email, so there was always 00:24:36.049 --> 00:24:41.309 a paper trail. And he never responded. He just 00:24:41.309 --> 00:24:42.690 simply wouldn't respond. By the way, including 00:24:42.690 --> 00:24:45.250 to Peter Brackey personally. So Peter asked him 00:24:45.250 --> 00:24:47.579 three separate occasions to... We wanted his 00:24:47.579 --> 00:24:50.160 voice, right? And I don't care if he said, you 00:24:50.160 --> 00:24:52.440 know, Adam's a prick and I can't stand that fucking 00:24:52.440 --> 00:24:55.099 guy and he has no talent. I would have been fine. 00:24:55.180 --> 00:24:56.619 I really would have been fine with it. It's fine. 00:24:57.019 --> 00:25:00.440 The problem was, was that he wouldn't show up. 00:25:00.500 --> 00:25:03.559 He wouldn't show up. And we had all this footage 00:25:03.559 --> 00:25:06.799 from everybody else saying Sean wasn't there,

00:25:06.980 --> 00:25:11.039 including people like Harry Manfredini and our 00:25:11.039 --> 00:25:13.140 editor, David Handman, and our cinematographer, 00:25:13.240 --> 00:25:15.579 Bill Deal, who didn't have an axe to grind. Those 00:25:15.579 --> 00:25:17.460 are two. of those guys are friends with Sean 00:25:17.460 --> 00:25:20.920 and they went no he wasn't no he he let Adam 00:25:20.920 --> 00:25:23.519 make the movie that was the point and so we had 00:25:23.519 --> 00:25:26.680 all of that stuff but where Michael came from 00:25:26.680 --> 00:25:29.200 what on it was look the guy is not available 00:25:29.200 --> 00:25:33.460 to comment so it would be unfair of us to make 00:25:33.460 --> 00:25:36.539 this movie about that And I totally agree with 00:25:36.539 --> 00:25:39.099 him. Now, here's what's amazing. Two of our associate 00:25:39.099 --> 00:25:41.039 producers on the movie, who are the two jackasses 00:25:41.039 --> 00:25:45.140 that actually snookered me into making the movie 00:25:45.140 --> 00:25:48.180 to begin with, T .J. Bowser and Corey Kaufman, 00:25:48.259 --> 00:25:52.400 those two guys went to a convention about a year 00:25:52.400 --> 00:25:57.559 before we started production. And they got Sean 00:25:57.559 --> 00:26:01.359 and Kane on stage at the convention, and they 00:26:01.359 --> 00:26:05.099 asked questions. from the convention floor of 00:26:05.099 --> 00:26:08.819 Sean. And Sean walked right into the wood chipper 00:26:08.819 --> 00:26:12.119 and basically said he reshot 60 % of my movie. 00:26:12.259 --> 00:26:14.680 Ooh. Says it right there. He just says it. And 00:26:14.680 --> 00:26:16.819 it's the biggest lie of all the lies. That and, 00:26:16.819 --> 00:26:18.539 you know, and Adam's the one who said, get the 00:26:18.539 --> 00:26:21.539 hockey mask out of the movie. Yeah. Okay. So 00:26:21.539 --> 00:26:25.660 he says those words. So the extra, which is called 00:26:25.660 --> 00:26:28.779 secrets and lies on the disc, does explore. It 00:26:28.779 --> 00:26:31.619 shows that footage of him doing that. And then 00:26:31.619 --> 00:26:34.039 everybody going. sean was never there what is 00:26:34.039 --> 00:26:36.359 he talking about wasn't there it was it was that 00:26:36.359 --> 00:26:39.059 was one of the things in the editing that i i 00:26:39.059 --> 00:26:41.359 it's like how negative it's not just about how 00:26:41.359 --> 00:26:43.359 negative we get that wasn't really the issue 00:26:43.359 --> 00:26:45.579 it was a matter of the story we were telling 00:26:45.579 --> 00:26:48.660 ultimately there's a tone that you need to set 00:26:48.660 --> 00:26:52.339 and if we get bogged down too much with you know 00:26:52.339 --> 00:26:55.480 fuck sean basically right it's a turnoff and 00:26:55.480 --> 00:26:58.579 it's it's also it doesn't really illuminate the 00:26:58.579 --> 00:27:00.359 story that we were trying to tell at the end 00:27:00.359 --> 00:27:02.720 of the day it really didn't It sounds like you've 00:27:02.720 --> 00:27:04.579 counterbalanced it with one of the things that 00:27:04.579 --> 00:27:07.019 I've loved about Adam's response to fan reactions, 00:27:07.200 --> 00:27:10.859 which is to show often pictures of him when he 00:27:10.859 --> 00:27:13.259 was young and on the set and doing things with 00:27:13.259 --> 00:27:14.220 the actors. Oh, God, we had so many of those. 00:27:14.299 --> 00:27:18.220 Are you kidding me? I mean, his enthusiasm was 00:27:18.220 --> 00:27:20.000 palpable. We had 30 different pictures of Adam 00:27:20.000 --> 00:27:22.759 in various shots. Yes. And then we had footage 00:27:22.759 --> 00:27:25.619 of him on the set directing. Yeah. So it's not 00:27:25.619 --> 00:27:27.539 like, yeah, this isn't one of those situations 00:27:27.539 --> 00:27:30.130 going, where's Adam? right there there's adam 00:27:30.130 --> 00:27:32.910 you know it's just and everyone else was you 00:27:32.910 --> 00:27:35.630 know again it was it was there wasn't one person 00:27:35.630 --> 00:27:38.450 saying that who's adam marcus you know that wasn't 00:27:38.450 --> 00:27:41.759 that never that never came up And it was always 00:27:41.759 --> 00:27:44.519 and it was it wasn't hard to spot Adam on the 00:27:44.519 --> 00:27:47.339 set because as covered in the documentary, he 00:27:47.339 --> 00:27:50.319 had a beard back then, but he shaved it before 00:27:50.319 --> 00:27:53.240 the film started and it made him look like he 00:27:53.240 --> 00:27:56.259 was maybe 15 years old. Right. He does look like 00:27:56.259 --> 00:27:58.619 a baby. No, he looks like a high school student 00:27:58.619 --> 00:28:01.619 that wandered in off a tour group. And I remember 00:28:01.619 --> 00:28:04.519 I had the Fangoria. Yeah, I had the Fangoria 00:28:04.519 --> 00:28:07.539 magazine when I was like 12 for this movie when 00:28:07.539 --> 00:28:09.500 it was coming out and they had a picture of Adam 00:28:09.500 --> 00:28:12.029 Marcus. standing in front of Jason with his arms 00:28:12.029 --> 00:28:13.569 crossed. And I always thought to myself, I was 00:28:13.569 --> 00:28:16.670 like, he's a fucking kid. And I was 12. So that's, 00:28:16.670 --> 00:28:19.529 it was cool because it showed him on set, man. 00:28:19.549 --> 00:28:21.450 I was like, that's awesome. This is the young 00:28:21.450 --> 00:28:24.240 guys directing this badass horror movie. Yeah. 00:28:24.240 --> 00:28:26.259 So there was also, I think, you know, it's funny. 00:28:26.339 --> 00:28:30.220 I think there was also from some fans, you know, 00:28:30.220 --> 00:28:32.140 who's this young kid thinking he has a right 00:28:32.140 --> 00:28:35.140 to go and do his kind of Jason movie. And he 00:28:35.140 --> 00:28:37.799 did. And look, I'll be honest with you. I went 00:28:37.799 --> 00:28:39.380 and saw it because, you know, I was a huge Friday 00:28:39.380 --> 00:28:42.099 the 13th guy. That was my franchise. I love Nightmare 00:28:42.099 -->

00:28:44.440 on Elm Street. But Jason, for some reason, was 00:28:44.440 --> 00:28:46.380 my guy. Even though the Nightmare films are infinitely 00:28:46.380 --> 00:28:49.200 more creative in many ways, they're better made 00:28:49.200 --> 00:28:50.940 in many ways. They got better. I mean, they got 00:28:50.940 --> 00:28:53.240 they really have it all over Friday the 13th. 00:28:53.289 --> 00:28:56.029 in terms of their overall quality. However, I 00:28:56.029 --> 00:28:57.609 don't know. It's just something about Jason Voorhees 00:28:57.609 --> 00:28:59.349 that I fucking love. And I love the continuity 00:28:59.349 --> 00:29:01.650 of the Paramount movies. I love how one would 00:29:01.650 --> 00:29:03.970 sometimes pick up right after the other one or 00:29:03.970 --> 00:29:05.990 pick up a year later. But Jason was right where 00:29:05.990 --> 00:29:07.950 he was supposed to be. He would have all the 00:29:07.950 --> 00:29:09.849 wounds from the previous movies in the mask and 00:29:09.849 --> 00:29:13.069 in the face. I love that shit. So after Jason 00:29:13.069 --> 00:29:15.769 takes Manhattan, I was honestly very curious 00:29:15.769 --> 00:29:17.690 when this series shifted over to New Line. It's 00:29:17.690 --> 00:29:18.950 like, how the hell are they going to explain 00:29:18.950 --> 00:29:23.660 he's lying as a kid in a sewer in New York? How 00:29:23.660 --> 00:29:25.740 are they going to pick up after that? Well, the 00:29:25.740 --> 00:29:28.420 answer was, they're not. They just pretended 00:29:28.420 --> 00:29:30.460 that shit never happened or just didn't acknowledge 00:29:30.460 --> 00:29:32.880 it. And so I was a little bit like, there's no 00:29:32.880 --> 00:29:34.900 continuity. They're not picking up at the street. 00:29:35.099 --> 00:29:37.279 This is bullshit. And then you watch the movie 00:29:37.279 --> 00:29:39.460 and you're like, since when can he body hop? 00:29:39.700 --> 00:29:42.119 When the fuck is this? And then also it's like, 00:29:42.200 --> 00:29:44.240 you know, a little girl in a pink dress taking 00:29:44.240 --> 00:29:46.420 a hot dog through a donut. I'm sorry, the fuck 00:29:46.420 --> 00:29:50.119 you say? And then like the shaving, he starts, 00:29:50.200 --> 00:29:51.779 he straps down the guy and starts shaving the 00:29:51.779 --> 00:29:54.039 dude. And I'm like, what the fuck movie am I 00:29:54.039 --> 00:29:56.539 watching here? And so I get to the end of the 00:29:56.539 --> 00:29:59.539 picture and I walked out kind of like, I don't 00:29:59.539 --> 00:30:02.740 know what the fuck that was. I mean, points to 00:30:02.740 --> 00:30:05.500 creativity, but what, huh? And also people need 00:30:05.500 --> 00:30:08.039 to keep in mind the theatrical version, the one 00:30:08.039 --> 00:30:10.900 that I paid my five or six bucks to go see had 00:30:10.900 --> 00:30:13.200 hardly any gore in it. And the, like the tent 00:30:13.200 --> 00:30:15.759 sequence. Might as well not even been in there.

00:30:15.819 --> 00:30:18.759 But little that was shown. So it wasn't until 00:30:18.759 --> 00:30:21.859 I had let go of anything in my preconceptions 00:30:21.859 --> 00:30:24.000 and my desire for continuity and all that crap 00:30:24.000 --> 00:30:26.599 and rented the unrated tape, which was the first 00:30:26.599 --> 00:30:28.819 time they'd ever done an unrated Friday the 13th 00:30:28.819 --> 00:30:31.900 tape for any of the movies before that. And I'm 00:30:31.900 --> 00:30:33.460 watching it and it's like, oh yeah, that's a 00:30:33.460 --> 00:30:35.079 little bit better. And then the tent scene comes 00:30:35.079 --> 00:30:39.299 up. It's like, Jesus Christ, holy shit. And suddenly 00:30:39.299 --> 00:30:41.039 I had a much better time with the movie because 00:30:41.039 --> 00:30:44.000 I let go of all my crap. And I just judged it 00:30:44.000 --> 00:30:46.730 by. Oh, and I've always said it's a campfire. 00:30:46.789 --> 00:30:49.049 Jason Voorhees is a campfire story now. It's 00:30:49.049 --> 00:30:50.309 a whole bunch of guys sitting around a campfire. 00:30:50.309 --> 00:30:52.809 Well, I heard this story about Jason. Oh, yeah. 00:30:52.890 --> 00:30:55.390 Well, I heard Jason did this. And that's what 00:30:55.390 --> 00:30:58.029 this movie is. It's basically just a guy coming 00:30:58.029 --> 00:31:00.930 up with his own idea of what the legend of Jason 00:31:00.930 --> 00:31:03.470 Voorhees is and adding his own take on it. And 00:31:03.470 --> 00:31:05.650 you can either take it or leave it. But the fact 00:31:05.650 --> 00:31:08.410 that so many people take it so fucking personally 00:31:08.410 --> 00:31:12.089 is what kills me. It's just like you took what 00:31:12.089 --> 00:31:15.180 I loved and you ruined it. Huh? you know it's 00:31:15.180 --> 00:31:17.819 it's it all goes back to that whole george lucas 00:31:17.819 --> 00:31:20.859 raped my childhood right right no it's like you 00:31:20.859 --> 00:31:23.019 know what george lucas you know what the worst 00:31:23.019 --> 00:31:25.319 thing george lucas ever did to me the worst thing 00:31:25.319 --> 00:31:27.460 he ever did to me he made some movies i didn't 00:31:27.460 --> 00:31:29.940 like yeah that's it that's the worst thing that 00:31:29.940 --> 00:31:33.019 that man has ever done to me so Yeah, and Adam 00:31:33.019 --> 00:31:37.220 Marcus did not destroy Friday the 13th. He did 00:31:37.220 --> 00:31:39.359 not ruin anyone's childhood. He made a movie 00:31:39.359 --> 00:31:41.240 you either responded to or you didn't, like any 00:31:41.240 --> 00:31:43.359 other filmmaker does with any other movie. So 00:31:43.359 --> 00:31:47.039 Jason Goes to Hell is not my favorite Friday 00:31:47.039 --> 00:31:50.140 the 13th movie, but it's pretty high on my list. 00:31:50.220 --> 00:31:52.359 And I think Slinky and Aaron, it's pretty high 00:31:52.359 --> 00:31:55.839 on you guys' list too, yeah? Yeah. Well, I'm 00:31:55.839 --> 00:31:58.700 just, I've been a fan since it came out. I remember 00:31:58.700 --> 00:32:00.559 going to the comic book shop when I was 12, buying 00:32:00.559 --> 00:32:02.339 the comic book, because it was a glow -in -the 00:32:02.339 --> 00:32:04.240 -dark cover, man. Like, I was ready for this 00:32:04.240 --> 00:32:07.140 movie. And it was the first Friday the 13th, 00:32:07.140 --> 00:32:08.559 my mom dropped me off at the theater to see this. 00:32:08.700 --> 00:32:11.880 I was like, this movie's a big fucking deal for 00:32:11.880 --> 00:32:15.059 me. And I just love the creativity behind it. 00:32:15.079 --> 00:32:16.960 I love the way Jason looks behind it. I love 00:32:16.960 --> 00:32:20.339 it. I just like it. It's a movie. It's a visual 00:32:20.339 --> 00:32:22.380 feast. There's so much going on. It's crazy, 00:32:22.500 --> 00:32:27.019 man. Finger breaking. Yeah. I love it. fun time 00:32:27.019 --> 00:32:31.519 i love the fact that he's not in the camp i really 00:32:31.519 --> 00:32:34.400 love the fact that you guys did so much different 00:32:34.400 --> 00:32:36.799 stuff here but there's one thing that i really 00:32:36.799 --> 00:32:40.579 love especially as a 46 year old woman is i love 00:32:40.579 --> 00:32:43.000 the fact that the characters are adults like 00:32:43.000 --> 00:32:47.200 i really enjoyed the fact that i related to the 00:32:47.200 --> 00:32:50.720 characters i can't relate to horny teenagers 00:32:50.720 --> 00:32:55.259 just doing whatever and you know dancing with 00:32:55.259 --> 00:32:57.119 whoever they want to dance with and then oh i 00:32:57.119 --> 00:32:59.039 you know i'm sorry i gotta go fuck this guy now 00:32:59.039 --> 00:33:01.279 you know like i i can't i can't relate to that 00:33:01.279 --> 00:33:03.799 as a 46 year old woman in a in a monogamous relationship 00:33:03.799 --> 00:33:09.240 um but i really love i really love jason goes 00:33:09.240 --> 00:33:12.640 to hell because besides you know taking something 00:33:12.640 --> 00:33:16.900 and making it something very unique um it also 00:33:16.900 --> 00:33:20.900 has some fantastic performances i mean just thank 00:33:20.900 --> 00:33:24.920 you just rusty schwimmer and and and and and 00:33:24.920 --> 00:33:28.299 leslie and you know all of those performances 00:33:28.299 --> 00:33:32.259 in it are fantastic nobody is is a there's not 00:33:32.259 --> 00:33:35.359 a there's there's not a what did you say nobody's 00:33:35.359 --> 00:33:37.259 phoning it in yeah there's not a weak performance 00:33:37.259 --> 00:33:39.019 in there there's not a weak performance in the 00:33:39.019 --> 00:33:41.220 film um well the guy the guy who played the deputy 00:33:41.220 --> 00:33:50.980 he wasn't very good yeah that one guy okay he 00:33:50.980 --> 00:33:53.299 was probably a friend of adam's or something 00:33:53.299 --> 00:33:55.579 they just snuck in there i don't know baby i 00:33:55.579 --> 00:33:58.900 love kip so much kip was great it was the other 00:33:58.900 -->

00:34:02.380 guy i go oh adam yeah by the way my brother if 00:34:02.380 --> 00:34:04.160 he ever watches this is gonna have an orgasm 00:34:04.160 --> 00:34:06.180 the minute you say that so thanks for that bro 00:34:06.180 --> 00:34:09.460 oh of course because kip like because of because 00:34:09.460 --> 00:34:12.760 of snow day and and how much i love that movie 00:34:12.760 --> 00:34:16.860 and how near and dear to my heart that film is 00:34:16.860 --> 00:34:19.630 and so you know i love that you still call it 00:34:19.630 --> 00:34:22.070 snow day too i know because it's called it's 00:34:22.070 --> 00:34:24.670 it's depending on where you're at on to be it 00:34:24.670 --> 00:34:28.329 let it snow let it snow yeah but when i was a 00:34:28.329 --> 00:34:30.429 kid it should be the original title was snow 00:34:30.429 --> 00:34:34.469 day yeah yeah was snow day and um and i absolutely 00:34:34.469 --> 00:34:38.230 adore secret santa you know like i love deborah's 00:34:38.230 --> 00:34:40.650 performance i i love how you refer to her as 00:34:40.650 --> 00:34:43.730 a walking work of art you know and she's so fascinating 00:34:43.730 --> 00:34:46.570 to watch and i love the fact that it is this 00:34:46.889 --> 00:34:53.460 functional buffet. I love Kyle. I love that specifically 00:34:53.460 --> 00:34:56.820 because I have a special needs sister and to 00:34:56.820 --> 00:35:01.480 watch this person perform with a stutter. And 00:35:01.480 --> 00:35:04.719 this is, you know, them kind of using their, 00:35:04.760 --> 00:35:07.519 like they're overcoming their disability to be 00:35:07.519 --> 00:35:10.340 able to do this amazing performance. And it's 00:35:10.340 --> 00:35:13.380 fantastic. It's just, it's just so great. And 00:35:13.380 --> 00:35:15.619 like Penny, I just wanted to like punch the shit 00:35:15.619 --> 00:35:18.539 out of her. And that's the mark of a great performance, 00:35:18.800 --> 00:35:23.369 really. No, I love it. it i love the gore um 00:35:23.369 --> 00:35:26.610 it's just awesome i love the fact that the one 00:35:26.610 --> 00:35:28.730 i love the fact that the one character's in aa 00:35:28.730 --> 00:35:31.469 because i'm in aa and so watching that i was 00:35:31.469 --> 00:35:36.199 like i was like yeah summer bitch you know Like, 00:35:36.239 --> 00:35:39.119 I really had such a great time watching it, and 00:35:39.119 --> 00:35:42.420 it's become part of our Christmas tradition now, 00:35:42.639 --> 00:35:47.260 you know, as we watch it on Christmas time. Michael, 00:35:47.400 --> 00:35:51.039 by the way, had pulled a very funny bit with 00:35:51.039 --> 00:35:54.179 me regarding Secret Santa. Oh, yeah. Because 00:35:54.179 --> 00:35:56.019 he had not seen the movie, and he was like, you 00:35:56.019 --> 00:35:57.599 know, he's like, I want to see it. I was like, 00:35:57.639 --> 00:36:00.239 okay, you know, I'll send it to you. But he's 00:36:00.239 --> 00:36:02.440 like, listen, if I hate it, I'm never going to 00:36:02.440 --> 00:36:03.719 bring it up. Like, I'm never going to talk to 00:36:03.719 --> 00:36:06.039 you about it. I was like, okay. you know if i 00:36:06.039 --> 00:36:07.440 like it i'll say something but otherwise i'm 00:36:07.440 --> 00:36:09.179 just never gonna bring it up yeah i'll pull one 00:36:09.179 --> 00:36:10.940 of these hey did you get the movie i did get 00:36:10.940 --> 00:36:13.079 it yes have you watched it yet i haven't had 00:36:13.079 --> 00:36:17.440 time right oh i hope to or or or if i'm cornered 00:36:17.440 --> 00:36:19.239 it was like no seriously did you watch i did 00:36:19.239 --> 00:36:21.619 and it was it was a movie you know something 00:36:21.619 --> 00:36:25.579 like that so so weeks go by and i get a i get 00:36:25.579 --> 00:36:28.880 a text from Michael saying, hey, and we're, you 00:36:28.880 --> 00:36:30.820 know, we're deep into production at this point. 00:36:30.940 --> 00:36:33.920 And he says, hey, I really need to talk to you. 00:36:34.000 --> 00:36:36.019 10 o 'clock at night, my time. So it's one in 00:36:36.019 --> 00:36:37.539 the morning, his time. He's like, we really need 00:36:37.539 --> 00:36:39.320 to, we need to talk. We need to talk. I was like, 00:36:39.400 --> 00:36:41.780 oh my God, what's up? So I called him and he's 00:36:41.780 --> 00:36:43.619 like, yeah, no, no, no, no. We need to be on 00:36:43.619 --> 00:36:47.280 Zoom for this. I can't, I can't. And I'm like, 00:36:47.340 --> 00:36:50.179 mother, and I'm thinking not another director. 00:36:50.280 --> 00:36:52.940 I can't, no, I love this guy. Like this is going 00:36:52.940 --> 00:36:55.579 to break my fucking heart. And so I rushed back 00:36:55.579 --> 00:36:58.150 in. jump on Zoom with Michael, and this is what 00:36:58.150 --> 00:37:03.050 he does. Yeah. I get on there and I'm like, Adam, 00:37:03.070 --> 00:37:05.610 listen, I wanted to tell you this in person because 00:37:05.610 --> 00:37:07.710 it was important that, you know, I didn't want 00:37:07.710 --> 00:37:10.230 to just email you about this or anything. And 00:37:10.230 --> 00:37:12.250 then I hold up the secret and I said, I saw a 00:37:12.250 --> 00:37:14.769 secret. I loved it. It's fucking awesome. And 00:37:14.769 --> 00:37:18.090 he's like, you son of a bitch. And then what? 00:37:18.429 --> 00:37:21.170 Because I popped it in. He sent it to me. I didn't 00:37:21.170 --> 00:37:22.630 watch it for a couple of weeks because I was 00:37:22.630 --> 00:37:24.610 just, and I finally was just like, well, I think, 00:37:24.610 --> 00:37:27.650 and I always, dread when someone i'm working 00:37:27.650 --> 00:37:29.269 with or so a friend of mine gives me something 00:37:29.269 --> 00:37:32.469 that they worked on and it's like i i want to 00:37:32.469 --> 00:37:34.070 watch it and i want to support you but i'm always 00:37:34.070 --> 00:37:36.489 afraid what because i can't lie i'm not very 00:37:36.489 --> 00:37:38.989 good at lying right about it

it's just like you 00:37:38.989 --> 00:37:43.050 watch it i did i sure did what the hell is that 00:37:43.050 --> 00:37:44.789 over there and then you just run and you know 00:37:44.789 --> 00:37:47.360 and it's I didn't want to, I didn't want to do 00:37:47.360 --> 00:37:49.500 that. So I was like, but I can't, I can't avoid 00:37:49.500 --> 00:37:51.559 it. And also I wanted, I did want to see it, 00:37:51.599 --> 00:37:55.179 you know? So I watched it and about halfway through 00:37:55.179 --> 00:37:57.840 it, I just remember thinking, unless he just 00:37:57.840 --> 00:38:00.119 totally shits the bed, this movie is a classic. 00:38:00.280 --> 00:38:02.780 And then it, then it went, cause I was already, 00:38:02.860 --> 00:38:04.599 that was the thing about Secret Santa I love 00:38:04.599 --> 00:38:07.219 the most was like, even before all the crazy 00:38:07.219 --> 00:38:10.079 over the top violent shit happens, I was so invested 00:38:10.079 --> 00:38:13.960 in this horrible, horrible family. Yes. Yes. 00:38:14.019 --> 00:38:17.099 I was just like, you know what honestly if the 00:38:17.099 --> 00:38:19.559 if the horror stuff never happens i'm fine with 00:38:19.559 --> 00:38:22.159 it because this was reminding me of a movie like 00:38:22.159 --> 00:38:25.039 the ref where i was just so invested in just 00:38:25.039 --> 00:38:27.440 the backbiting and the horribleness of these 00:38:27.440 --> 00:38:30.539 fucking people and it was just it was so well 00:38:30.539 --> 00:38:32.360 written and the acting was great it was just 00:38:32.360 --> 00:38:34.599 like oh i'm almost disappointed that the shit's 00:38:34.599 --> 00:38:38.960 gonna hit the fan So I was really happy when 00:38:38.960 --> 00:38:40.960 the movie, when the shit did hit the fan, it 00:38:40.960 --> 00:38:43.659 was awfully entertaining. So yeah, I just called 00:38:43.659 --> 00:38:46.059 up Adam and he was just like, God damn, you set 00:38:46.059 --> 00:38:49.800 me up. I was like, yeah, yeah. I left a party 00:38:49.800 --> 00:38:52.400 to come back to my house to take your phone call. 00:38:54.320 --> 00:38:57.739 But no, Secret Santa is an absolute stone cold 00:38:57.739 --> 00:39:00.300 holiday classic. It's just one of those, you 00:39:00.300 --> 00:39:03.280 put on the Yule log and make some hot chocolates 00:39:03.280 --> 00:39:06.619 and sit and watch the... worst family in the 00:39:06.619 --> 00:39:09.940 fucking america just basically devolve in front 00:39:09.940 --> 00:39:12.980 of your eyes and it's yeah that's one of those 00:39:12.980 --> 00:39:15.099 movies where it's like i'm so glad someone made 00:39:15.099 --> 00:39:18.579 this because i'm glad we got on the secret santa 00:39:18.579 --> 00:39:21.000 because i i wanted to tie everything back to 00:39:21.000 --> 00:39:22.679 this human element that you were talking about 00:39:22.679 --> 00:39:24.599 with hearts of darkness you know we've got adam 00:39:24.599 --> 00:39:27.000 marcus very young and

then we've got adam marcus 00:39:27.000 --> 00:39:31.260 in 2018 2017 2018 years and years later but the 00:39:31.260 --> 00:39:35.300 same sense of humor there okay and the same Minch, 00:39:35.420 --> 00:39:38.440 okay? He's touching on gay themes, okay? Kyle. 00:39:38.539 --> 00:39:41.900 Oh, yeah. I mean, the horror family that doesn't 00:39:41.900 --> 00:39:44.260 accept their son for who he is, and he comes 00:39:44.260 --> 00:39:46.559 right out and says, yes, I'm gay. It's my favorite 00:39:46.559 --> 00:39:49.380 scene in the film. Thank you. Thanks, man. Do 00:39:49.380 --> 00:39:51.840 you know that in every country, because the movie 00:39:51.840 --> 00:39:54.119 was really, did very well in the festival circuit, 00:39:54.260 --> 00:39:56.579 and in every country we played in, no matter 00:39:56.579 --> 00:40:00.599 what language we were experiencing, every single 00:40:00.599 --> 00:40:03.139 screening of that movie, no matter where it played, 00:40:03.340 --> 00:40:05.900 there was an applause break after that moment 00:40:05.900 --> 00:40:09.099 of the movie. Every audience applauded. And honestly, 00:40:09.320 --> 00:40:12.159 I've barely seen applause breaks in any movie 00:40:12.159 --> 00:40:15.599 and it was every time. I was like, this is crazy. 00:40:16.119 --> 00:40:18.579 So cool. I didn't expect to get emotional during 00:40:18.579 --> 00:40:21.119 this show. Yes, that is amazing. It's really 00:40:21.119 --> 00:40:23.400 amazing. Yeah, that makes me feel so good. And 00:40:23.400 --> 00:40:25.699 I want to tie back to Jason Goes to Hell because 00:40:25.699 --> 00:40:28.440 there's also some gay themes in that where we 00:40:28.440 --> 00:40:31.139 have the mega fans that are complaining about 00:40:31.139 --> 00:40:33.400 the shaving scene. And you've talked about... 00:40:33.420 --> 00:40:35.219 wanting to make people uncomfortable with that. 00:40:35.559 --> 00:40:39.800 Yep. No, because look, the cult around Friday 00:40:39.800 --> 00:40:43.920 the 13th has always been this bro -dude, tit 00:40:43.920 --> 00:40:46.579 -loving cult. Oh, dear. Right? That's who they 00:40:46.579 --> 00:40:48.159 are. I mean, that's who they are, right? Hey, 00:40:48.159 --> 00:40:50.460 Deborah Voorhees is still my favorite girl in 00:40:50.460 --> 00:40:53.320 the movies. Right. And again, and listen, by 00:40:53.320 --> 00:40:55.539 the way, like, God bless that. Like, I don't 00:40:55.539 --> 00:40:57.420 have any problem with that. I really don't. I 00:40:57.420 --> 00:41:00.039 love it. I was raised on those movies, and I 00:41:00.039 --> 00:41:04.400 love boobies. So, yay. You know, yay boobies. 00:41:04.840 --> 00:41:08.119 But, but I remember thinking like, I remember 00:41:08.119 --> 00:41:11.679 so many of my female friends would talk about, 00:41:11.800 --> 00:41:14.960 would talk about Kevin Bacon in the first movie. 00:41:15.059 --> 00:41:17.699 And like, why hasn't there been another ass scene 00:41:17.699 --> 00:41:20.139 like that? And by the way, when you watch the 00:41:20.139 --> 00:41:24.019 first movie again, Sean lingers on Kevin Bacon's 00:41:24.019 --> 00:41:25.880 ass. And it's a great ass, don't get me wrong. 00:41:26.000 --> 00:41:28.880 But I mean, it's a lot of Kevin. I mean, Bacon's 00:41:28.880 --> 00:41:31.699 bacon is out there for a long time, you know? 00:41:32.510 --> 00:41:36.010 And I find that, look, I also find it extraordinary 00:41:36.010 --> 00:41:40.110 the number of people who would get excited by 00:41:40.110 --> 00:41:43.949 those movies because of same -sex feelings, right? 00:41:44.130 --> 00:41:46.389 So Deborah Moore is a perfect example, who, by 00:41:46.389 --> 00:41:48.110 the way, is a good friend of mine for a long 00:41:48.110 --> 00:41:51.230 time, and she's a doll, and she's also someone 00:41:51.230 --> 00:41:54.610 who has never apologized for those scenes. She's 00:41:54.610 --> 00:41:57.909 never apologized for being that girl for the 00:41:57.909 --> 00:42:00.369 franchise. She really isn't. She's kind of awesome 00:42:00.369 --> 00:42:03.429 in that way. That's it. you feel sorry for right 00:42:03.429 --> 00:42:06.809 seriously i mean there's a whole music video 00:42:06.809 --> 00:42:10.309 dedicated it's so good i've seen the sexual awakening 00:42:10.309 --> 00:42:13.449 of an entire group of young men that were watching 00:42:13.449 --> 00:42:16.969 that wolfie's uh wolfie's just fine yeah wolfie's 00:42:16.969 --> 00:42:19.469 just fine oh it's so good real quick while we're 00:42:19.469 --> 00:42:21.750 talking about deb i mean i know you were a consultant 00:42:21.750 --> 00:42:25.329 on for 13 fanboy how was your involvement with 00:42:25.329 --> 00:42:27.369 that you know what what does a consultant do 00:42:27.369 --> 00:42:29.409 for a movie like that well yeah here's really 00:42:29.409 --> 00:42:31.880 what it was um so i I never read the original 00:42:31.880 --> 00:42:34.119 script. That was not something that was made 00:42:34.119 --> 00:42:37.460 available to me. My wife, Deborah, is in the 00:42:37.460 --> 00:42:39.460 movie. And several of my actors. Fantastic job 00:42:39.460 --> 00:42:41.980 to the detective, yes. Thank you, yeah. No, no, 00:42:41.980 --> 00:42:44.079 she's really, I'm very proud of her work in that 00:42:44.079 --> 00:42:46.920 movie. But several of my actors went up to help 00:42:46.920 --> 00:42:48.880 Deborah. Deborah wrote me and was like, hey, 00:42:48.940 --> 00:42:51.460 I need some people. And your people are pros. 00:42:51.559 --> 00:42:53.679 She had come in and sat in on my classes. She 00:42:53.679 --> 00:42:55.199 was like, your people are incredible. Can you 00:42:55.199 --> 00:42:57.519 put some people on tape for me? So I put a whole 00:42:57.519 --> 00:42:59.880 bunch of my people on tape. She hired a whole 00:42:59.880 --> 00:43:01.099 bunch of my people. of people and they all rode 00:43:01.099 --> 00:43:03.159 up together. Were they skeleton

crew members? 00:43:03.480 --> 00:43:05.119 All skeleton crew. Yes, fantastic. All skeleton 00:43:05.119 --> 00:43:09.889 crew, yeah. And in fact, the guy who plays uh 00:43:09.889 --> 00:43:12.170 albert pellegrino who's the next -door neighbor 00:43:12.170 --> 00:43:16.369 in secret santa he's also in in fanboy alongside 00:43:16.369 --> 00:43:19.130 deborah he the two uh deputies that are with 00:43:19.130 --> 00:43:22.630 deborah are two of my guys yep so um so i helped 00:43:22.630 --> 00:43:24.750 in that i i that was the first thing i helped 00:43:24.750 --> 00:43:27.909 with then she needed to shoot in l .a so i got 00:43:27.909 --> 00:43:30.110 her a bunch of locations that she needed in l 00:43:30.110 --> 00:43:32.889 .a so so she was set there but really when i 00:43:32.889 --> 00:43:35.289 started consulting was when she sent me the first 00:43:35.289 --> 00:43:38.269 cut of the movie and it was it had problems Sure. 00:43:38.409 --> 00:43:41.889 First time director. Yeah, absolutely. And so 00:43:41.889 --> 00:43:45.369 I went through it really. I mean, I, boy, did 00:43:45.369 --> 00:43:48.050 I give notes. And by the way, I always warn people. 00:43:48.070 --> 00:43:50.349 I'm like, look, if you want my notes on a script 00:43:50.349 --> 00:43:54.050 or a movie or on a film that you are in progress 00:43:54.050 --> 00:43:57.150 on, I will give you that. By the way, I never. 00:43:57.639 --> 00:43:59.980 ever tell somebody what's wrong with their movie 00:43:59.980 --> 00:44:02.139 once the movie's done. I never do it. Because 00:44:02.139 --> 00:44:03.980 you can't fix it. We're done. Like, what am I 00:44:03.980 --> 00:44:05.179 going to do? I'm going to, you know, I'm going 00:44:05.179 --> 00:44:07.079 to just show you how smart I am, then I'm an 00:44:07.079 --> 00:44:09.219 asshole. But if someone comes to me and wants 00:44:09.219 --> 00:44:12.059 it, I go, listen, if you want my notes, you're 00:44:12.059 --> 00:44:14.340 going to get my notes. And I'm not going to play 00:44:14.340 --> 00:44:16.519 nice with you. I'm going to tell you what's wrong. 00:44:16.739 --> 00:44:19.539 I will always offer a solution. It might not 00:44:19.539 --> 00:44:22.519 be the best idea, but it'll be a good version. 00:44:22.659 --> 00:44:25.780 It'll be a bad version of the right idea, right? 00:44:25.940 --> 00:44:28.909 So, But I'm going to give you my thoughts. Deborah 00:44:28.909 --> 00:44:34.299 sat on a phone call with me for four hours. And 00:44:34.299 --> 00:44:37.860 she never blinked. She never got upset. There 00:44:37.860 --> 00:44:42.239 was none of that shit. And she took almost every 00:44:42.239 --> 00:44:44.260 note that I gave her, which was extraordinary. 00:44:44.519 --> 00:44:47.840 Like, I didn't expect that at all. So, look, 00:44:47.960 --> 00:44:52.440 Debra is an actual filmmaker in that she wants 00:44:52.440 --> 00:44:55.619 notes. Anyone who wants notes and wants to make 00:44:55.619 --> 00:44:57.880 the movie

better, that's a filmmaker. You can 00:44:57.880 --> 00:45:00.699 argue whether the quality of the movie is this, 00:45:00.699 --> 00:45:03.130 that, or the other. It doesn't matter. For me, 00:45:03.269 --> 00:45:05.769 filmmakers, real writers are people who take 00:45:05.769 --> 00:45:07.969 notes. If you're not willing to take notes, you 00:45:07.969 --> 00:45:10.010 should not be doing this job. You just shouldn't 00:45:10.010 --> 00:45:13.570 because nothing is going to be perfect. It's 00:45:13.570 --> 00:45:15.849 not going to work that way. Adam is very good 00:45:15.849 --> 00:45:18.829 at giving notes. Oh, for fuck's sake. It turned 00:45:18.829 --> 00:45:22.349 out so good. It was so good. Tell him that story. 00:45:22.510 --> 00:45:24.969 Tell him that story. Go ahead. Go ahead, Smarty. 00:45:24.989 --> 00:45:27.869 Okay. So we're near the completion of this whole 00:45:27.869 --> 00:45:30.030 thing, and there had been a trailer that had 00:45:30.030 --> 00:45:32.119 been cut. We needed a trailer, obviously. wanted 00:45:32.119 --> 00:45:34.119 to do like an R -rated trailer to promote the 00:45:34.119 --> 00:45:36.300 documentary. And there had been a rough, rough 00:45:36.300 --> 00:45:39.059 cut of a trailer already done that had been sitting 00:45:39.059 --> 00:45:41.539 around for, I think, three years at that point. 00:45:41.760 --> 00:45:45.460 And Eric wasn't going to have time to really 00:45:45.460 --> 00:45:47.159 go back and revisit it at this point because 00:45:47.159 --> 00:45:49.000 he was back on the next season of Amazing Race 00:45:49.000 --> 00:45:50.780 at that point. And so I said, well, I'll do it. 00:45:50.980 --> 00:45:53.960 I'll take it. And so I had the, they sent over 00:45:53.960 --> 00:45:56.119 what they had on the trailer and I was able to 00:45:56.119 --> 00:45:58.599 reconstruct what had already been done. And it 00:45:58.599 --> 00:46:01.130 was a little long. and we needed to trim a few 00:46:01.130 --> 00:46:03.730 things down. But overall, a lot of it was really 00:46:03.730 --> 00:46:06.250 good. So I worked on it and did a couple days 00:46:06.250 --> 00:46:07.750 on it. I was like, all right, yeah, I'll do this. 00:46:07.789 --> 00:46:09.429 Okay, this is good. I'll add this and this and 00:46:09.429 --> 00:46:11.170 this. And I got to a point where I was really 00:46:11.170 --> 00:46:13.269 happy with it. I thought, no, this is good. This 00:46:13.269 --> 00:46:15.469 really works. I think this is pretty good. So 00:46:15.469 --> 00:46:18.170 I sent it over to Adam for him to look at and 00:46:18.170 --> 00:46:22.849 sign off on. And I think I sent it to him like, 00:46:22.849 --> 00:46:25.920 let's say it was a Tuesday night. That Wednesday 00:46:25.920 --> 00:46:29.199 was like a really crappy day. I had like four 00:46:29.199 --> 00:46:31.239 things go horribly wrong. I had a bunch of other 00:46:31.239 --> 00:46:33.800 projects. I was just like, ugh. So Adam finally 00:46:33.800 --> 00:46:37.119 gets back with me later that night. And I'm really 00:46:37.119 --> 00:46:40.199 just in a bad mood anyway. So I'm just like, 00:46:40.300 --> 00:46:42.599 okay. And Adam says, oh, and I'm expecting Adam 00:46:42.599 --> 00:46:44.019 to call me up and go, well, trailer's great. 00:46:44.119 --> 00:46:47.119 Let's go. Let's run with it. Adam calls me up 00:46:47.119 --> 00:46:48.880 and says, hey, Mike, no, the trailer's good. 00:46:48.960 --> 00:46:51.420 I like it. I like it. It's good. It's good. However, 00:46:51.579 --> 00:46:54.460 can you do this? Can we add this? I think we 00:46:54.460 --> 00:46:56.079 need a little less of this and maybe some more 00:46:56.079 --> 00:46:59.400 of this. Can we bring these titles in? You know, 00:46:59.400 --> 00:47:01.059 I like the idea of having the titles from the, 00:47:01.079 --> 00:47:03.539 you know, establish that early on. And the whole 00:47:03.539 --> 00:47:06.559 time I'm like. So he asked me, can we do this? 00:47:06.559 --> 00:47:08.519 And I'm like, no, can't do it. No, can't do that. 00:47:08.639 --> 00:47:10.500 I was like, what about this? No, can't. That's 00:47:10.500 --> 00:47:12.239 impossible. It's impossible to do that, Adam. 00:47:12.260 --> 00:47:14.440 No. So I just shoot down everything he suggested. 00:47:14.579 --> 00:47:16.400 And it's not like he had 18 things. He had like 00:47:16.400 --> 00:47:18.659 four or five things. And I'm just like, no, no, 00:47:18.760 --> 00:47:20.320 no, can't be doing it. And Adam was taking it 00:47:20.320 --> 00:47:21.940 really well. He was just like, okay, well, if 00:47:21.940 --> 00:47:23.400 that's the way it goes, that's fine. And I get 00:47:23.400 --> 00:47:24.900 off the phone with him. I'm like, I can't believe 00:47:24.900 --> 00:47:26.539 this. I just wanted to fucking try that. God 00:47:26.539 --> 00:47:29.019 damn, he's giving me notes on this. Well, actually, 00:47:29.079 --> 00:47:32.139 that first thing, I probably could do that because 00:47:32.139 --> 00:47:33.500 actually that wouldn't be, actually, that would 00:47:33.500 --> 00:47:35.150 make sense. But I don't have to do it. the second 00:47:35.150 --> 00:47:37.090 thing when that second thing although now that 00:47:37.090 --> 00:47:39.090 we've done the first thing actually the second 00:47:39.090 --> 00:47:41.710 thing makes the light oh son of a bitch and so 00:47:41.710 --> 00:47:44.289 i get back in there and i spent all night i worked 00:47:44.289 --> 00:47:45.869 for like five or six in the morning implementing 00:47:45.869 --> 00:47:48.289 all these changes and the whole time i'm just 00:47:48.289 --> 00:47:52.510 like yep that makes it better motherfucker and 00:47:52.510 --> 00:47:55.730 it's just like god damn it and i and the trailer 00:47:55.730 --> 00:47:58.530 ended up being much better and much better and 00:47:58.530 --> 00:48:00.050 it was just and the whole time i'm just like 00:48:00.960 --> 00:48:03.400 he just had to give me good

notes didn't he the 00:48:03.400 --> 00:48:06.139 son of a bitch finally i get the whole thing 00:48:06.139 --> 00:48:08.440 and i sent it over to him he's just like oh you 00:48:08.440 --> 00:48:10.840 got you made it to me oh you did do some of that 00:48:10.840 --> 00:48:14.239 stuff yeah yeah yeah i did yeah because you gave 00:48:14.239 --> 00:48:17.980 good notes and you suck but it was just like 00:48:17.980 --> 00:48:22.099 so yeah so but i i that's the thing i don't no 00:48:22.099 --> 00:48:25.340 one likes getting notes necessarily right but 00:48:25.340 --> 00:48:27.900 if they're good notes and notes you can understand 00:48:27.900 --> 00:48:30.929 i'll do that i'll do that any day of the week 00:48:30.929 --> 00:48:33.429 i may have a i may be a pissy bitch while i'm 00:48:33.429 --> 00:48:35.730 doing it but if it's in the best service if it's 00:48:35.730 --> 00:48:37.530 in the service of the project and making it better 00:48:37.530 --> 00:48:39.929 um you know i don't have any issues with that 00:48:39.929 --> 00:48:44.269 i just recently did a featurette uh that's about 00:48:44.269 --> 00:48:46.849 uh ralph bates the uh the hammer the actor was 00:48:46.849 --> 00:48:49.550 in a lot of hammer movies and i again i got the 00:48:49.550 --> 00:48:51.750 whole cut it was like an hour long piece i got 00:48:51.750 --> 00:48:54.380 it like really where i thought it was great and 00:48:54.380 --> 00:48:57.719 i got literally back five pages of doubles of 00:48:57.719 --> 00:49:00.960 single space notes on on on the whole thing and 00:49:00.960 --> 00:49:02.820 they were all very small adjustments and i'm 00:49:02.820 --> 00:49:05.780 just like oh but then i start getting into them 00:49:05.780 --> 00:49:09.519 it's like again this makes it better i don't 00:49:09.519 --> 00:49:13.659 like that it's quite you know and so it's again 00:49:13.659 --> 00:49:16.559 you know but i do remember just being so That's 00:49:16.559 --> 00:49:19.320 what I realized. These are good notes. Why did 00:49:19.320 --> 00:49:21.840 they have to be good notes? Why can't I just 00:49:21.840 --> 00:49:23.440 get shitty notes that I could just automatically 00:49:23.440 --> 00:49:26.940 go, nah, that's stupid. No, not doing that. Like 00:49:26.940 --> 00:49:30.079 the one I got or the one I heard, I won't tell 00:49:30.079 --> 00:49:32.300 the whole story, but a composer was telling me 00:49:32.300 --> 00:49:34.239 once about a note that he got on a score from 00:49:34.239 --> 00:49:36.059 a producer that was basically, you're giving 00:49:36.059 --> 00:49:38.699 me a Wednesday, but I really feel like I need 00:49:38.699 --> 00:49:42.800 a Thursday. By the way, that is the most studio 00:49:42.800 --> 00:49:47.599 note I've ever heard. Yeah. And they literally 00:49:47.599 --> 00:49:49.539 threw the producer out of the scoring session. 00:49:49.739 --> 00:49:51.559 They were like, get the fuck out of here. What 00:49:51.559 --> 00:49:54.179 does that even

mean? You know, and I actually 00:49:54.179 --> 00:49:56.920 got a note once on an interview I shot and the 00:49:56.920 --> 00:49:59.559 director in question had a hat on in the interview 00:49:59.559 --> 00:50:01.480 and he wanted the hat on. It's like, okay, he's 00:50:01.480 --> 00:50:02.880 going to have the hat on. And it didn't have 00:50:02.880 --> 00:50:05.059 like a logo on it or anything. It was just a, 00:50:05.059 --> 00:50:06.960 you know, like a bowler. So I forget what it 00:50:06.960 --> 00:50:08.920 was. And I got the note back for it. And they 00:50:08.920 --> 00:50:10.440 kept, they were talking. I was like, you know, 00:50:10.460 --> 00:50:12.900 I, I'm feeling like the whole interview is about 00:50:12.900 --> 00:50:14.800 the hat. I feel like the whole interview is just 00:50:14.800 --> 00:50:16.860 about the hat. Can we do something about the 00:50:16.860 --> 00:50:21.500 hat? No. No, we can't. Unless you have George 00:50:21.500 --> 00:50:25.079 Lucas money and we can CGI the fucking hat out. 00:50:25.179 --> 00:50:27.940 What do you want me to do about the hat? I don't 00:50:27.940 --> 00:50:30.800 know. What do I do? Those are the kind of notes 00:50:30.800 --> 00:50:33.550 that drive me. So what do I do with this? What 00:50:33.550 --> 00:50:35.889 do I do with this? And there used to be a time 00:50:35.889 --> 00:50:37.469 where I was desperately trying to find a way 00:50:37.469 --> 00:50:39.530 to make it work. Nowadays, when I get shitty 00:50:39.530 --> 00:50:41.829 notes, which is rare, very, very rare. But when 00:50:41.829 --> 00:50:43.449 I get shitty, stupid notes like that, I'm just 00:50:43.449 --> 00:50:46.849 like, no, I'm just going to do it. I don't care. 00:50:47.110 --> 00:50:49.829 But unfortunately for me, Adam just has good 00:50:49.829 --> 00:50:52.710 notes. So that's well. And so to Adam's point, 00:50:52.809 --> 00:50:54.889 though, right. A good director knows when to 00:50:54.889 --> 00:50:59.010 use good notes. So to that point, I want to talk 00:50:59.010 --> 00:51:01.769 about you guys as both you guys as directorial 00:51:01.769 --> 00:51:05.289 styles. So I always think of Ed Wood when Eddie 00:51:05.289 --> 00:51:08.309 goes, you're not that upset to Tor Johnson, right? 00:51:08.750 --> 00:51:11.869 No, no, no, not that upset. Right. I mean, how 00:51:11.869 --> 00:51:14.250 do you work with either your actors or the people 00:51:14.250 --> 00:51:16.429 who you're supposed to be interviewing in a documentary? 00:51:16.650 --> 00:51:18.769 Like, what's your general style? Do you trust 00:51:18.769 --> 00:51:20.849 them a lot? Do you micromanage? Like, how do 00:51:20.849 --> 00:51:22.449 you handle them? Adam, you go first on that. 00:51:22.530 --> 00:51:27.610 Sure. Okay, so for those who don't know, Skeleton 00:51:27.610 --> 00:51:31.210 Crew includes a theater works troupe of actors. 00:51:31.880 --> 00:51:34.679 It's 60 people that I work with every week. And 00:51:34.679 --> 00:51:37.539 working with actors for me is my lifeblood. That's 00:51:37.539 --> 00:51:40.820 the thing that actually keeps me grounded. It 00:51:40.820 --> 00:51:44.380 keeps me sharp. Working with that, for my money, 00:51:44.559 --> 00:51:47.199 you know, I don't like this. I don't like the 00:51:47.199 --> 00:51:49.880 Michael Bay school of directing where everything 00:51:49.880 --> 00:51:52.639 became about visuals and people just forgot about 00:51:52.639 --> 00:51:55.300 performers. And, you know, I remember I was interviewing 00:51:55.300 --> 00:51:58.159 Jessica Alba for a movie she wanted to do with 00:51:58.159 --> 00:52:00.860 me. And she said to me, we were having a lovely 00:52:00.860 --> 00:52:02.440 conversation. She just said, she said, look, 00:52:02.579 --> 00:52:05.440 I am so tired of being a prop. Every movie I 00:52:05.440 --> 00:52:07.460 make, it's like I'm standing on a green screen 00:52:07.460 --> 00:52:10.500 looking at tennis balls and pretending that something's 00:52:10.500 --> 00:52:12.559 there. I'm tired of it. And I got to tell you, 00:52:12.579 --> 00:52:14.980 I feel I really feel for her and everybody around 00:52:14.980 --> 00:52:18.780 her age because it's when it's before what we 00:52:18.780 --> 00:52:21.300 have now as far as visual effects, which are 00:52:21.300 --> 00:52:23.400 very different than what we had 20 years ago. 00:52:23.579 --> 00:52:25.760 20 years ago, you were looking at a fucking tennis 00:52:25.760 --> 00:52:30.139 ball. That was what acting was. And that is very. 00:52:30.320 --> 00:52:32.480 difficult. Look, actors have incredible senses 00:52:32.480 --> 00:52:34.420 of imagination, some even more extraordinary 00:52:34.420 --> 00:52:37.000 than others. But there comes a point when you're 00:52:37.000 --> 00:52:40.679 like, you know, Jessica Alba became a star because 00:52:40.679 --> 00:52:43.039 of Idle Hands. When you go back and watch Idle 00:52:43.039 --> 00:52:45.019 Hands, you're like, this girl gives an incredible 00:52:45.019 --> 00:52:48.039 performance. And then suddenly she does all this 00:52:48.039 --> 00:52:51.559 stuff that's all effects driven and her work 00:52:51.559 --> 00:52:54.039 gets less and less impressive. Well, at some 00:52:54.039 --> 00:52:55.900 point you got to go, wait a second, maybe it's 00:52:55.900 --> 00:52:57.360 because she's not working with human beings, 00:52:57.500 --> 00:53:01.429 right? So for me, I hate that kind of filmmaking. 00:53:01.690 --> 00:53:05.170 I hate this idea of, like, using actors as dolls 00:53:05.170 --> 00:53:07.690 rather than using actors for the soul of who 00:53:07.690 --> 00:53:09.949 they are. Because for me, when you direct, the 00:53:09.949 --> 00:53:12.630 paint that you paint with are the actors. That 00:53:12.630 --> 00:53:14.570 is the color that you have to your story. That's 00:53:14.570 --> 00:53:16.829 it. You have a cinematographer to light your 00:53:16.829 --> 00:53:18.670 movie, so stop fucking

worrying about the lighting 00:53:18.670 --> 00:53:20.869 of your movie. Like, cut it out. And you can 00:53:20.869 --> 00:53:22.650 always fix it in color timing anyway, so fuck 00:53:22.650 --> 00:53:26.369 off with all that. For me, when I went to NYU... 00:53:26.829 --> 00:53:30.090 I had five classes on lenses. I had one class 00:53:30.090 --> 00:53:33.510 about directing the act, one. So my, and I was 00:53:33.510 --> 00:53:35.429 raised as an actor. That was my whole life growing 00:53:35.429 --> 00:53:38.489 up and in the theater in particular. So when 00:53:38.489 --> 00:53:40.570 I work with actors, look, Jason Goes to Hell 00:53:40.570 --> 00:53:44.469 is the only, the only Friday the 13th movie to 00:53:44.469 --> 00:53:46.550 have two weeks of rehearsals before we ever shot 00:53:46.550 --> 00:53:48.449 a frame of film. So cool. Well, that was, and 00:53:48.449 --> 00:53:50.429 by the way, we couldn't pay the actors for that. 00:53:50.489 --> 00:53:51.869 Like Sean was never gonna give them money to 00:53:51.869 --> 00:53:54.869 rehearse. But I said, hey guys, look, I'm available. 00:53:55.090 --> 00:53:57.289 If you wanna rehearse, I will give you my time 00:53:57.289 --> 00:54:00.539 to do that because I want to do that and No one 00:54:00.539 --> 00:54:03.119 said no. They all showed up. And I ended up with 00:54:03.119 --> 00:54:05.420 this like incredible sort of like acting camp 00:54:05.420 --> 00:54:08.219 before we started the movie where everybody got 00:54:08.219 --> 00:54:11.260 to play and improv and support each other. And 00:54:11.260 --> 00:54:14.019 it became this kind of family before we ever 00:54:14.019 --> 00:54:16.300 shot a frame of footage. When you watch the movie, 00:54:16.360 --> 00:54:18.820 you see that evident in the acting in the movie. 00:54:18.880 --> 00:54:21.400 It's all there, every bit of it. And by the way, 00:54:21.420 --> 00:54:25.780 it's why a 23 -year -old kid on a 37 -day schedule 00:54:25.780 --> 00:54:29.119 with less than $2 million to make the movie. 00:54:29.199 --> 00:54:31.500 could pull off that film. That's the only way 00:54:31.500 --> 00:54:33.400 that can happen. Because I had to do a stunt 00:54:33.400 --> 00:54:35.300 and a makeup effect on every single day of that 00:54:35.300 --> 00:54:37.139 show. How are you going to get good performances 00:54:37.139 --> 00:54:39.559 on top of it? Well, because you've pre -planned 00:54:39.559 --> 00:54:42.739 all the performances. Specifically to your point, 00:54:42.900 --> 00:54:46.480 I let, look, I never, ever, ever, unless there's 00:54:46.480 --> 00:54:49.480 a stunt involved, I never block a scene before 00:54:49.480 --> 00:54:52.219 the actors run the scene once. Like, I will get 00:54:52.219 --> 00:54:54.380 on location and I go, great, do it, do the scene. 00:54:54.500 --> 00:54:56.409 Well, do you want to block? Nope. no i want to 00:54:56.409 --> 00:54:57.829 see what you're going to do with it what what 00:54:57.829 --> 00:55:00.090 is what is your instinct telling you and here's 00:55:00.090 --> 00:55:02.650 the deal nine times out of ten their instincts 00:55:02.650 --> 00:55:04.409 are better than anything else i'm gonna come 00:55:04.409 --> 00:55:08.250 up so i can then say great All I need is I need 00:55:08.250 --> 00:55:10.210 to make sure that you hit this mark in that moment. 00:55:10.309 --> 00:55:11.610 That's all I'm going to need from you so the 00:55:11.610 --> 00:55:13.969 camera can see you in that spot and that you 00:55:13.969 --> 00:55:16.670 do a little tailoring, but you let the actor 00:55:16.670 --> 00:55:19.690 feel like you're giving them breath. And look, 00:55:19.789 --> 00:55:21.789 you know, the Sam Raimi school of filmmaking 00:55:21.789 --> 00:55:24.250 from way back when, in particular, he got much 00:55:24.250 --> 00:55:26.130 better at it after working Paul Newman on Hot 00:55:26.130 --> 00:55:28.889 Sucker Proxy when he was doing second unit. Prior 00:55:28.889 --> 00:55:31.389 to that, the reason why Gene Hackman hated Sam, 00:55:31.550 --> 00:55:34.610 and I mean, he hated Sam, like hate hate, is 00:55:34.610 --> 00:55:36.429 because Sam wouldn't let him finish a fucking 00:55:36.429 --> 00:55:38.710 scene. sentence because it was all about the 00:55:38.710 --> 00:55:40.269 camera move the camera angle the camera thing 00:55:40.269 --> 00:55:42.610 that cut the thing well then you're not letting 00:55:42.610 --> 00:55:45.989 the actor act so i never start anything without 00:55:45.989 --> 00:55:48.250 a master shot of just and by the way i might 00:55:48.250 --> 00:55:50.809 not even use the fucking master but i shoot the 00:55:50.809 --> 00:55:54.170 shot so that i go great they've gotten a run 00:55:54.170 --> 00:55:57.030 of the scene they know the whole shape of that 00:55:57.030 --> 00:56:00.280 scene in that one take Now let's move on to the 00:56:00.280 --> 00:56:03.119 filmmaking part of this. So I'm all about giving 00:56:03.119 --> 00:56:06.500 actors in particular as much room as they can 00:56:06.500 --> 00:56:09.440 possibly have. And I also speak the language 00:56:09.440 --> 00:56:11.460 of actors, which a lot of directors don't. Look, 00:56:11.539 --> 00:56:15.739 whenever I'm teaching classes and stuff to film 00:56:15.739 --> 00:56:18.199 schools, I always talk to directors in particular 00:56:18.199 --> 00:56:20.119 and say, guys, listen. And by the way, this works 00:56:20.119 --> 00:56:21.980 for writers and producers as well. But I say 00:56:21.980 --> 00:56:25.699 to every director, folks, get in an acting class. 00:56:25.940 --> 00:56:27.260 I don't care if you're a good actor. You don't 00:56:27.260 --> 00:56:28.360 have to be a good actor. It's not the point. 00:56:28.429 --> 00:56:30.769 But you have to understand they have a language 00:56:30.769 --> 00:56:33.269 unto themselves. And if you don't speak that 00:56:33.269 --> 00:56:36.389 language, you will never get from them the quality

00:56:36.389 --> 00:56:39.130 of what you could get from them. To that end, 00:56:39.150 --> 00:56:41.650 look, Michael is a wonderful act. That's, again, 00:56:41.809 --> 00:56:44.389 one of the things we have as a kinship is you 00:56:44.389 --> 00:56:47.449 have to understand that in order to be able to 00:56:47.449 --> 00:56:49.610 direct that. All right. Well, before we go to 00:56:49.610 --> 00:56:52.190 Michael's directorial style, I wanted to hone 00:56:52.190 --> 00:56:53.849 back in on what you were talking about with Jessica 00:56:53.849 --> 00:56:56.730 Alba about being a prop versus being an actor. 00:56:57.639 --> 00:56:59.659 talk about kane real quick because i loved his 00:56:59.659 --> 00:57:02.719 performance in 13 fanboy where he got to be a 00:57:02.719 --> 00:57:04.840 human being you know which is the only reason 00:57:04.840 --> 00:57:06.920 he took that movie that was the reason he took 00:57:06.920 --> 00:57:09.320 it and he got to do that with you and jason goes 00:57:09.320 --> 00:57:11.780 to hell well he didn't play himself but he played 00:57:11.780 --> 00:57:14.500 a guard in that so what was the contrast between 00:57:14.500 --> 00:57:17.440 allowing him to be the prop jason which he's 00:57:17.440 --> 00:57:19.760 more than a prop right but also being a human 00:57:19.760 --> 00:57:21.780 being in that scene and his comedic timing was 00:57:21.780 --> 00:57:24.500 fantastic Look, I don't know how anybody else 00:57:24.500 --> 00:57:27.019 treated Kane prior to me coming on board this 00:57:27.019 --> 00:57:28.780 movie. I don't know how the other, and we really 00:57:28.780 --> 00:57:31.099 never talked about like how the other directors 00:57:31.099 --> 00:57:33.820 handled him before me. And I know Jimmy Isaacs 00:57:33.820 --> 00:57:36.179 is a sweetheart, so I know that I'm sure his 00:57:36.179 --> 00:57:38.539 time with Kane was wonderful. What I can tell 00:57:38.539 --> 00:57:41.280 you is this, because Kane was also the stunt 00:57:41.280 --> 00:57:45.420 coordinator for the film, my work with Kane when 00:57:45.420 --> 00:57:47.800 he was in or out of the makeup was the same. 00:57:47.860 --> 00:57:50.760 Because again, he knows that character better 00:57:50.760 --> 00:57:52.570 than any director is ever going to. fucking know 00:57:52.570 --> 00:57:54.630 that character. Nobody knows that character like 00:57:54.630 --> 00:57:57.119 him. Okay, maybe Ari Lehman, but that would be 00:57:57.119 --> 00:58:04.039 the only problem. So with Kane, I truly gave 00:58:04.039 --> 00:58:07.380 him the ground for him to do what he wanted to 00:58:07.380 --> 00:58:09.500 do. And then I would put the camera where it 00:58:09.500 --> 00:58:12.559 needed to be to capture it. So even with any 00:58:12.559 --> 00:58:14.440 of the Jason stuff, yes, there were marks to 00:58:14.440 --> 00:58:16.239 hit. There were moments to have and scares and 00:58:16.239 --> 00:58:18.900 whatnot. But for the most part, no. You show 00:58:18.900 --> 00:58:21.059 me what you want to do, Kane, and let me see 00:58:21.059 --> 00:58:24.550 how I can make it work. Kane is an actor. And 00:58:24.550 --> 00:58:28.250 look, it's why the casting choices made for Freddy 00:58:28.250 --> 00:58:31.730 versus Jason are so incredibly disrespectful 00:58:31.730 --> 00:58:34.730 and knucklehead in my opinion. Well, it's not. 00:58:34.750 --> 00:58:37.050 Oh, God. That's a whole other podcast. Right. 00:58:37.170 --> 00:58:40.070 But you don't. But but again, I'm just talking 00:58:40.070 --> 00:58:41.929 from an actor standpoint. Forget about the rest 00:58:41.929 --> 00:58:46.190 of it. The idea that Kane was less Jason than 00:58:46.190 --> 00:58:50.170 Robert was. Freddie is disrespectful, not just 00:58:50.170 --> 00:58:53.849 to the actor, but to the audience. People love 00:58:53.849 --> 00:58:57.610 Kane. They love him and they love his work. He 00:58:57.610 --> 00:59:00.829 gave Jason prior to prior to Kane. Jason didn't 00:59:00.829 --> 00:59:03.710 have a real personality. It was just most kill. 00:59:04.909 --> 00:59:07.869 King comes in and literally and figuratively 00:59:07.869 --> 00:59:09.869 breathes life into the character. He just did. 00:59:10.030 --> 00:59:12.880 He did. It was Kane on the Arsenio Hall show, 00:59:12.960 --> 00:59:15.559 wasn't it? It sure was. It was. And he stayed 00:59:15.559 --> 00:59:18.139 in character that whole way through. I love that. 00:59:18.340 --> 00:59:21.679 Yep. He's amazing. And look, by the way, he's 00:59:21.679 --> 00:59:25.159 also just, he is a beautiful person. He loves 00:59:25.159 --> 00:59:28.519 the sort of image of the ugh that he puts out 00:59:28.519 --> 00:59:30.280 there, the kill in the inside of his lip and 00:59:30.280 --> 00:59:34.099 all that. But he's a pussycat. He really is a 00:59:34.099 --> 00:59:36.559 pussycat. He's a sweetheart. We cried together. 00:59:37.320 --> 00:59:41.440 I went to go get... I was getting something signed 00:59:41.440 --> 00:59:44.059 and it was his book because I have it over there. 00:59:44.119 --> 00:59:47.920 And we talked about being bullied and he was 00:59:47.920 --> 00:59:51.139 telling me like how he was bullied when he was 00:59:51.139 --> 00:59:54.400 a kid for being smaller. And I said, and I was 00:59:54.400 --> 00:59:57.179 bullied for being bigger. And we just kind of, 00:59:57.179 --> 00:59:59.219 yeah, we just cried. We just cried together. 01:00:00.039 --> 01:00:04.199 I love Cade. I absolutely adore Cade. He's that 01:00:04.199 --> 01:00:06.679 guy. And he's one of those people that I ran 01:00:06.679 --> 01:00:09.699 into him at a convention many, many years later, 01:00:09.739 --> 01:00:12.619 and he knew exactly who I was. He was like, oh, 01:00:12.739 --> 01:00:15.360 he goes, Aaron, you know, yeah, oh, absolutely. 01:00:15.599 --> 01:00:17.360 You know, he's like, oh, we talked about this, 01:00:17.360 --> 01:00:19.260 and we talked about this, and it was just

amazing. 01:00:19.619 --> 01:00:22.960 He's amazing. So, yeah. He is amazing. He is 01:00:22.960 --> 01:00:25.739 amazing. So, Michael, your directorial style, 01:00:26.000 --> 01:00:27.699 I mean, when you're working on these documentaries 01:00:27.699 --> 01:00:30.039 and, you know, the commentaries and all the things, 01:00:30.159 --> 01:00:33.880 I mean, how do you differ? Well, I mean, I could 01:00:33.880 --> 01:00:37.340 wax poetic on how I think a director should act 01:00:37.340 --> 01:00:39.300 on set and what I've learned from other directors 01:00:39.300 --> 01:00:41.420 who have talked about their failures and their 01:00:41.420 --> 01:00:45.719 successes with actors. But I think Adam certainly 01:00:45.719 --> 01:00:48.519 is very much in line with the theory I have, 01:00:48.599 --> 01:00:51.280 which is trust your actors to give you the performances 01:00:51.280 --> 01:00:54.070 you hired them for. And if nothing else, it's 01:00:54.070 --> 01:00:56.889 modulation. You know, a little bit more of this, 01:00:56.949 --> 01:00:59.510 a little bit less of that. Over here, a little 01:00:59.510 --> 01:01:02.070 bit quicker. Adjustments. If you get the right 01:01:02.070 --> 01:01:06.210 actors, it seems to me that if you get the right 01:01:06.210 --> 01:01:08.650 actors, it takes an enormous amount of weight 01:01:08.650 --> 01:01:10.309 off your shoulders as a director because you 01:01:10.309 --> 01:01:12.230 don't need to worry about, gee, I wonder if this 01:01:12.230 --> 01:01:14.070 guy is going to give the performance. Of course 01:01:14.070 --> 01:01:16.969 he is. So there you go. You're good. You're set. 01:01:17.130 --> 01:01:18.469 And when you get someone like Stephen Williams 01:01:18.469 --> 01:01:21.190 or a Rusty Swimmer in there or Leslie Jordan, 01:01:21.269 --> 01:01:22.590 you don't have to worry about whether they're 01:01:22.590 --> 01:01:25.949 going to bring the magic. And in fact, it seems 01:01:25.949 --> 01:01:28.510 that the directors who I've interviewed in the 01:01:28.510 --> 01:01:31.710 past who were really in tune with actors were 01:01:31.710 --> 01:01:34.550 the ones who were looking forward to seeing something 01:01:34.550 --> 01:01:37.570 that they weren't expecting, especially writer 01:01:37.570 --> 01:01:39.329 directors who have their scripts like, yeah, 01:01:39.409 --> 01:01:41.429 I like what I've written, but I'm looking to 01:01:41.429 --> 01:01:43.750 see it. I want to see it transformed by other 01:01:43.750 --> 01:01:46.250 people. I want to see it elevated by other people. 01:01:46.329 --> 01:01:49.369 And that's always interesting to me. But in terms 01:01:49.369 --> 01:01:53.400 of what I do. When I like, you know, a lot of 01:01:53.400 --> 01:01:55.139 my interviews are conducted by other people because 01:01:55.139 --> 01:01:57.300 I'm in Detroit and I have a lot of work in L 01:01:57.300 --> 01:01:59.179 .A. and New York. But I do like to go out and 01:01:59.179 --> 01:02:01.159

interview when I can. And I do a lot of stuff 01:02:01.159 --> 01:02:03.059 in the Midwest. I'll travel. And I was just up 01:02:03.059 --> 01:02:05.239 in New York, upstate New York, doing a couple 01:02:05.239 --> 01:02:07.539 of interviews up that way. And I got to do an 01:02:07.539 --> 01:02:09.559 interview. I wish I could talk about who it is, 01:02:09.639 --> 01:02:12.139 but I can't just yet. But I got to do an interview 01:02:12.139 --> 01:02:15.760 with an actress who has not really gone on record 01:02:15.760 --> 01:02:20.099 a lot in the past. And I had some brief conversations. 01:02:20.519 --> 01:02:22.900 her and before and things didn't work out but 01:02:22.900 --> 01:02:26.119 i was able to talk to her and i was going to 01:02:26.119 --> 01:02:27.880 go up and film the interview myself because she 01:02:27.880 --> 01:02:30.099 and i had developed kind of a rapport but then 01:02:30.099 --> 01:02:32.820 i thought maybe it would be easier if i'm on 01:02:32.820 --> 01:02:36.079 camera with her so that way it's less of a like 01:02:36.079 --> 01:02:38.619 she's staring into a light and there's a little 01:02:38.619 --> 01:02:41.119 less artifice it's more of a casual conversation 01:02:41.119 --> 01:02:44.420 and it worked out really really well so you just 01:02:44.420 --> 01:02:46.860 kind of and but then there were things where 01:02:46.860 --> 01:02:49.360 i knew there were some subjects about her life 01:02:49.360 --> 01:02:51.300 that she she might have been reluctant to talk 01:02:51.300 --> 01:02:54.059 about right so you you figure out a way to ask 01:02:54.059 --> 01:02:57.860 the question and get what you need to get and 01:02:57.860 --> 01:03:00.420 then either back off or explore if you feel that 01:03:00.420 --> 01:03:02.739 it's it's not a scientific process sometimes 01:03:02.739 --> 01:03:04.860 you can sense that i think they're willing to 01:03:04.860 --> 01:03:06.679 talk about this but we need to go about the right 01:03:06.679 --> 01:03:09.400 way and other times door gets shut that's it 01:03:10.030 --> 01:03:12.510 And then when that happens, you go, okay, moving 01:03:12.510 --> 01:03:16.230 on. And in a way she was able to address the 01:03:16.230 --> 01:03:18.369 issue without addressing it. And, you know, so 01:03:18.369 --> 01:03:19.889 it was like, okay, because at the end of the 01:03:19.889 --> 01:03:22.530 day, it's really none of our business, but it 01:03:22.530 --> 01:03:24.349 helps to fill in the gap in the story that we're 01:03:24.349 --> 01:03:26.530 trying to tell. And you want to be respectful 01:03:26.530 --> 01:03:29.250 and you want to also, you don't want to force 01:03:29.250 --> 01:03:31.030 someone. I've learned when you interview people, 01:03:31.090 --> 01:03:32.789 you don't want to force people into areas that 01:03:32.789 --> 01:03:34.489 they're not comfortable with because they're 01:03:34.489 --> 01:03:36.530 not going to look. They're feel good on camera 01:03:36.530 --> 01:03:39.170 talking about it. They're going to project an 01:03:39.170 --> 01:03:41.269 awkwardness and a reluctance. They're not going 01:03:41.269 --> 01:03:43.309 to come off looking good. And as a producer and 01:03:43.309 --> 01:03:45.070 director, I'm not going to come off looking good. 01:03:45.150 --> 01:03:48.050 So no one benefits. So you need to. But at the 01:03:48.050 --> 01:03:50.010 same time, you don't want to just walk away from 01:03:50.010 --> 01:03:52.230 something if you think there's sometimes I've 01:03:52.230 --> 01:03:54.110 been I've done interviews with people where I 01:03:54.110 --> 01:03:56.409 could tell they wanted to talk about it, but 01:03:56.409 --> 01:03:58.849 they weren't sure how to maybe phrase it or something. 01:03:58.969 --> 01:04:01.590 So you call cut for a second, say, let's talk 01:04:01.590 --> 01:04:04.199 about. how we approach this so that you're comfortable 01:04:04.199 --> 01:04:06.380 with it. And then it opens up an avenue. It's 01:04:06.380 --> 01:04:08.920 just, it's, it's, it's an interesting process 01:04:08.920 --> 01:04:11.340 and it's, it's, you learn certain approaches, 01:04:11.340 --> 01:04:13.440 but it's different for every person you talk 01:04:13.440 --> 01:04:15.260 to. And then there's some people, all you do 01:04:15.260 --> 01:04:17.619 is say, act, you know, all right, ask a first 01:04:17.619 --> 01:04:19.860 question. And then they rattle off for 30 minutes 01:04:19.860 --> 01:04:21.420 and they cover everything before you ever open, 01:04:21.440 --> 01:04:24.119 like Bruce Campbell's like that, you know? So 01:04:24.119 --> 01:04:26.239 Bruce start talking 15 minutes later, turn the 01:04:26.239 --> 01:04:28.559 camera off. You got everything you need. You're 01:04:28.559 --> 01:04:30.119 done. Then other people, it takes a little bit 01:04:30.119 --> 01:04:32.420 more prodding. But one of my I always think about 01:04:32.420 --> 01:04:35.440 my one of my greatest failures as a as an interviewer 01:04:35.440 --> 01:04:37.880 was early on. I was doing a documentary about 01:04:37.880 --> 01:04:40.199 the Texas Chainsaw Massacre called Flesh Wounds. 01:04:40.199 --> 01:04:42.400 It was going to be like separate stories from 01:04:42.400 --> 01:04:44.460 people who had not gone on camera talking about 01:04:44.460 --> 01:04:47.449 the movie much. or offering a different perspective 01:04:47.449 --> 01:04:50.590 on it. And I contacted a person who had worked 01:04:50.590 --> 01:04:52.389 on the behind the scenes, was in the editing 01:04:52.389 --> 01:04:55.170 department and was on the set and had never really 01:04:55.170 --> 01:04:57.889 spoken about the movie before. But she was there 01:04:57.889 --> 01:05:01.369 every single day. She had tons of stories. And 01:05:01.369 --> 01:05:04.030 I'm setting up the camera and we're chatting 01:05:04.030 --> 01:05:05.650 and she's telling me this. And oh my God, oh 01:05:05.650 --> 01:05:08.130 my God. Wow, wow, wow. The

minute the camera 01:05:08.130 --> 01:05:11.010 went on her and the light came on. deer in headlights 01:05:11.010 --> 01:05:15.190 oh no i don't know how to answer that uh i don't 01:05:15.190 --> 01:05:17.070 know and i'm asking her stuff that she just talked 01:05:17.070 --> 01:05:20.929 about and i tried to turn off the camera and 01:05:20.929 --> 01:05:23.849 coax it back and it just i was never able to 01:05:23.849 --> 01:05:26.639 get But if I had been more experienced back then, 01:05:26.679 --> 01:05:28.179 I think I might have been able to find a way 01:05:28.179 --> 01:05:29.820 to do it. But it was one of those situations 01:05:29.820 --> 01:05:31.860 where just having the camera there was enough 01:05:31.860 --> 01:05:34.119 to make it not happen. And then she died like 01:05:34.119 --> 01:05:36.980 two years later. It was just like, you know, 01:05:37.019 --> 01:05:38.980 I mean, the great tragedy is not that I didn't 01:05:38.980 --> 01:05:40.380 get to do an interview, but it was just like. 01:05:41.349 --> 01:05:44.409 documenting the creative processes of these people 01:05:44.409 --> 01:05:46.730 making these movies is so important to me because 01:05:46.730 --> 01:05:50.070 sometimes they're making movies using methods 01:05:50.070 --> 01:05:54.349 that we don't use now anymore or anymore or we 01:05:54.349 --> 01:05:56.469 should still use but we don't because we've tossed 01:05:56.469 --> 01:05:58.670 it over for a more convenient form of filmmaking 01:05:58.670 --> 01:06:01.409 more digital experience which I'm not necessarily 01:06:01.409 --> 01:06:03.929 knocking by the way but like something that Adam 01:06:03.929 --> 01:06:06.369 was talking about in terms of the prop the being 01:06:06.369 --> 01:06:09.389 a prop and stuff if you want the best illustration 01:06:09.389 --> 01:06:13.019 of that and what it can do to an actor go look 01:06:13.019 --> 01:06:16.139 online on youtube there's a clip of ian mckellen 01:06:16.139 --> 01:06:18.320 on the set of one of the hobbit movies where 01:06:18.320 --> 01:06:21.159 he's literally sitting in a green room pretending 01:06:21.159 --> 01:06:23.579 to have conversation with like four people and 01:06:23.579 --> 01:06:26.980 he breaks down almost crying because he just 01:06:26.980 --> 01:06:29.239 can't there's not enough sensory in there's not 01:06:29.239 --> 01:06:31.780 enough input for him to get this is a guy who's 01:06:31.780 --> 01:06:35.019 been used to working with fucking people yep 01:06:35.019 --> 01:06:37.739 and you just literally see him going oh i can't 01:06:37.739 --> 01:06:41.139 and you just see him break down he has nothing 01:06:41.139 --> 01:06:44.440 to work with and so that's always i think we're 01:06:44.440 --> 01:06:47.219 starting to get away from that finally yes i 01:06:47.219 --> 01:06:49.059 think we're finally people are starting to realize 01:06:49.059 --> 01:06:52.780 this is not conducive to improvisation it's not 01:06:52.780 --> 01:06:55.420 conducive to unexpected it's not conducive to 01:06:55.420 --> 01:06:59.539 happy accidents right And it just, I mean, the 01:06:59.539 --> 01:07:01.900 argument is a gifted actor should be able to 01:07:01.900 --> 01:07:03.679 act no matter what the hell it's a job. Act. 01:07:03.900 --> 01:07:06.860 Like, okay, but do you have to shackle them while 01:07:06.860 --> 01:07:10.159 you're doing this? It's the idea of having a 01:07:10.159 --> 01:07:12.280 pond full of sand that you just hold this way 01:07:12.280 --> 01:07:14.360 and you keep the pond full of sand. The minute 01:07:14.360 --> 01:07:16.019 you do this, the sand goes right through your 01:07:16.019 --> 01:07:18.179 fingers. Right. You can't keep it. Yeah. And 01:07:18.179 --> 01:07:21.699 it's very disheartening to see a lot of these, 01:07:21.900 --> 01:07:24.670 especially it was. like 15, 20 years ago, where 01:07:24.670 --> 01:07:26.010 everyone was just, we'll just shoot in a green 01:07:26.010 --> 01:07:28.389 screen box. And I'm not criticizing people like 01:07:28.389 --> 01:07:30.670 Robert Rodriguez or anything for their techniques 01:07:30.670 --> 01:07:32.389 and some of the things that they did. Like Sin 01:07:32.389 --> 01:07:34.610 City, I thought was really well done. But the 01:07:34.610 --> 01:07:36.170 problem is that doesn't work for everything. 01:07:36.269 --> 01:07:39.190 And it doesn't, you need something more than 01:07:39.190 --> 01:07:41.829 that. Just walking into a, there's one clip I 01:07:41.829 --> 01:07:44.429 remember on, I think it's Attack of the Clones, 01:07:44.429 --> 01:07:48.030 where it's a scene where. Natalie Portman's having 01:07:48.030 --> 01:07:50.409 to run through machinery. It's like this almost 01:07:50.409 --> 01:07:52.929 this cartoon sequence where these like the chompers 01:07:52.929 --> 01:07:55.530 from Galaxy Quest and she's having to run through 01:07:55.530 --> 01:07:58.050 this thing. And you're seeing it being shot on 01:07:58.050 --> 01:08:00.489 again on green screen. It's all green. And at 01:08:00.489 --> 01:08:02.610 one point she just stops and goes, George, this 01:08:02.610 --> 01:08:04.630 is a joke, right? This isn't even in the movie, 01:08:04.690 --> 01:08:07.309 is it? Because and you can tell when you watch 01:08:07.309 --> 01:08:09.530 the film, it's like they they couldn't accept 01:08:09.530 --> 01:08:11.869 the reality of what they were doing either. They 01:08:11.869 --> 01:08:13.809 weren't able to suspend their own disbelief to 01:08:13.809 --> 01:08:16.130 actually give the. That's why I think and this 01:08:16.130 --> 01:08:18.619 is just. when you watch the prequels, the Star 01:08:18.619 --> 01:08:20.760 Wars prequels, some of the best actors in the 01:08:20.760 --> 01:08:22.220 world are in that movie and they give their all 01:08:22.220 --> 01:08:24.579 time career worst performances in that film. 01:08:24.659 --> 01:08:27.800 And it's like, because I don't think they had

01:08:27.800 --> 01:08:30.729 enough. I don't think they had enough. to really 01:08:30.729 --> 01:08:33.149 energize them and kick it up to the next level. 01:08:33.170 --> 01:08:34.989 They can be professional and give the jobs that 01:08:34.989 --> 01:08:37.550 they need to give, but if that's it, that's not 01:08:37.550 --> 01:08:41.729 enough. It's fun to pretend to have a laser sword 01:08:41.729 --> 01:08:44.210 and do space battles, but I'd rather be around 01:08:44.210 --> 01:08:47.270 a dinner table in a holiday movie having an argument 01:08:47.270 --> 01:08:49.010 with a family member or something like that. 01:08:49.050 --> 01:08:50.970 That's more interesting to me as an actor, I 01:08:50.970 --> 01:08:54.439 would think. just because you get caught up in 01:08:54.439 --> 01:08:56.579 the reality of what you're doing and you forget 01:08:56.579 --> 01:08:59.039 to give a performance. You just give, you know, 01:08:59.060 --> 01:09:01.079 you're not worried about, am I saying this line 01:09:01.079 --> 01:09:02.899 right? You're just giving the performance and 01:09:02.899 --> 01:09:05.880 you're reacting to what is being thrown upon 01:09:05.880 --> 01:09:08.640 you. And you get robbed of that when you do the 01:09:08.640 --> 01:09:10.460 green screen stuff. Not that I've had a lot of 01:09:10.460 --> 01:09:12.510 experience with that. But, you know, I was a 01:09:12.510 --> 01:09:15.210 zombie in a couple of George's films, George 01:09:15.210 --> 01:09:17.710 Romero's films. And, you know, the one I did 01:09:17.710 --> 01:09:20.390 on Land of the Dead, I'm there with 20 other 01:09:20.390 --> 01:09:23.529 zombies. We're charging this guy. They're firing 01:09:23.529 --> 01:09:26.449 off M -16s above our heads. I didn't need to 01:09:26.449 --> 01:09:29.449 act. I mean, it was just like, it's all here. 01:09:29.510 --> 01:09:32.189 It's right here. Capital realism, yeah. Yeah, 01:09:32.250 --> 01:09:38.609 and so it's, you know, I... This could be a whole 01:09:38.609 --> 01:09:41.409 separate series of podcasts talking about this 01:09:41.409 --> 01:09:44.489 subject. But in terms of what I do, it's really 01:09:44.489 --> 01:09:48.369 you go in prepared. That's the main thing whenever 01:09:48.369 --> 01:09:51.270 I do an interview. Know your shit. I don't like 01:09:51.270 --> 01:09:53.470 doing this. This is my least favorite thing in 01:09:53.470 --> 01:09:56.289 the world to do is to go into an interview like 01:09:56.289 --> 01:09:59.189 this. So tell me about when you first got the 01:09:59.189 --> 01:10:01.770 script to the movie. you know have your cards 01:10:01.770 --> 01:10:03.949 to reference but don't sit there and re awful 01:10:03.949 --> 01:10:07.149 it's terrible know your when you go in you know 01:10:07.149 --> 01:10:09.050 and refer to it make sure you just like oh just 01:10:09.050 --> 01:10:11.470 making sure i covered this that okay yeah And 01:10:11.470 --> 01:10:14.109 then throw it aside. And I've seen

some interviews. 01:10:14.109 --> 01:10:15.850 Thank you so much for all of that insight into 01:10:15.850 --> 01:10:18.270 your directorial styles and directing in general. 01:10:18.369 --> 01:10:21.270 I think a common thread between directing films 01:10:21.270 --> 01:10:23.449 and directing documentaries is your intuition 01:10:23.449 --> 01:10:26.569 and your empathy for either your actors or the 01:10:26.569 --> 01:10:27.649 people that you're interviewing. That's about 01:10:27.649 --> 01:10:30.149 all it is. That's really what it is. Yeah, I 01:10:30.149 --> 01:10:33.409 mean, just reading the room, understanding the 01:10:33.409 --> 01:10:36.310 situation. And whenever, I'm sure it's the same 01:10:36.310 --> 01:10:38.810 with Adam, every day on a set or every day when 01:10:38.810 --> 01:10:40.670 you're going to film an interview, The circumstances 01:10:40.670 --> 01:10:44.069 are not a foregone conclusion. You don't know 01:10:44.069 --> 01:10:45.670 what the weather is going to be like. You don't 01:10:45.670 --> 01:10:47.329 know what the situation is. You don't know who's 01:10:47.329 --> 01:10:49.609 in a bad mood, who's not in a bad mood. You don't 01:10:49.609 --> 01:10:51.010 know who knows their lines, who doesn't know 01:10:51.010 --> 01:10:53.050 their lines. You don't know if this person has 01:10:53.050 --> 01:10:54.869 ever done an interview before or doesn't want 01:10:54.869 --> 01:10:58.149 to do this interview. You don't know until you 01:10:58.149 --> 01:11:00.989 get in there on the ground, suss it out, and... 01:11:01.399 --> 01:11:04.600 Roll with it at that point. And that's unexpected 01:11:04.600 --> 01:11:06.760 things. I remember having to do an interview 01:11:06.760 --> 01:11:09.380 with a producer who was a very prickly person 01:11:09.380 --> 01:11:12.739 and barely got this interview. So I was very 01:11:12.739 --> 01:11:15.199 nervous. It's just like nothing could go wrong. 01:11:15.460 --> 01:11:17.800 Nothing must go wrong because I'm barely getting 01:11:17.800 --> 01:11:20.220 the sky as it is. And we get to his office, which 01:11:20.220 --> 01:11:22.680 was in a skyscraper in downtown Manhattan. We're 01:11:22.680 --> 01:11:24.100 hooking up the lights and we're setting up in 01:11:24.100 --> 01:11:25.800 this conference room. It's like, oh God, let 01:11:25.800 --> 01:11:29.130 this go smoothly. And our lights were set up 01:11:29.130 --> 01:11:31.569 and all of a sudden our big light goes out. And 01:11:31.569 --> 01:11:33.630 I was like, oh God, the bulb went out. Oh my 01:11:33.630 --> 01:11:36.850 God. No, no, no. We had blown the power to his 01:11:36.850 --> 01:11:42.630 office. The whole floor went out. And I remember 01:11:42.630 --> 01:11:47.420 going, huh, okay, okay. How far are we up? We're 01:11:47.420 --> 01:11:50.020 on the 27th floor. That's great. Could you open 01:11:50.020 --> 01:11:51.819 one of those windows there, please? Because I'm 01:11:51.819 --> 01:11:54.399 just going

to jump the fuck out right now because 01:11:54.399 --> 01:11:58.180 I'm done. I don't want to be on this planet anymore. 01:11:58.659 --> 01:12:00.960 Fortunately, I found out that this happened all 01:12:00.960 --> 01:12:02.640 the time because the wiring in this building 01:12:02.640 --> 01:12:05.439 was notoriously shitty. And the lights we were 01:12:05.439 --> 01:12:08.140 using, this was before LEDs, so they drew a lot 01:12:08.140 --> 01:12:10.460 of power. So we ended up having to run all the 01:12:10.460 --> 01:12:12.640 lights to like six different circuits in the 01:12:12.640 --> 01:12:15.670 building. But fortunately, the guy was... in 01:12:15.670 --> 01:12:17.449 a bad mood about it but when the light when that 01:12:17.449 --> 01:12:19.630 power went out I just I remember thinking hmm 01:12:19.630 --> 01:12:25.369 all right I'm done bye but we were you know my 01:12:25.369 --> 01:12:27.430 thankfully my cameraman who I worked with for 01:12:27.430 --> 01:12:29.409 many years he was just like we're gonna fix it 01:12:29.409 --> 01:12:33.930 we're gonna get it done like okay and we got 01:12:33.930 --> 01:12:35.630 the interview done and he came in and he was 01:12:35.630 --> 01:12:37.739 hilarious so he came and he was like All right, 01:12:37.760 --> 01:12:39.500 I have 15 minutes prepared. Start recording. 01:12:39.720 --> 01:12:43.420 Like, yes, sir. And he recorded. And then I had 01:12:43.420 --> 01:12:45.520 to, it felt like a Senate hearing because I, 01:12:45.560 --> 01:12:47.720 after it was over, I just had to kind of, I leaned 01:12:47.720 --> 01:12:49.819 in. May I ask a couple of follow -up questions, 01:12:49.960 --> 01:12:53.000 please? Yeah, you may. Thank you very much. Reclaiming 01:12:53.000 --> 01:12:55.119 my time. Yeah, yeah. So it's like one second. 01:12:55.529 --> 01:12:58.710 we're good you know it was it was very much like 01:12:58.710 --> 01:13:01.810 that but again uh that's one of those situations 01:13:01.810 --> 01:13:03.710 where you just well we're gonna have to roll 01:13:03.710 --> 01:13:08.630 with this i guess and that and i i'm sure adam 01:13:08.630 --> 01:13:11.590 has any number of times on one of his sets where 01:13:11.590 --> 01:13:14.229 something just goes horribly horribly astray 01:13:14.229 --> 01:13:16.989 and you can either you can freak out or you can 01:13:16.989 --> 01:13:19.710 just be like okie dokie how are we going to recover 01:13:19.710 --> 01:13:21.770 from this shit yeah freaking out does not get 01:13:21.770 --> 01:13:25.029 it done it doesn't help it never helps never 01:13:25.029 --> 01:13:27.390 i have freaked out a few times in the past and 01:13:27.390 --> 01:13:30.670 has never once helped a goddamn thing nope no 01:13:30.670 --> 01:13:33.390 all right well it's entertaining maybe but for 01:13:33.390 --> 01:13:35.949 all of us actually so we're all horror fans we've 01:13:35.949 --> 01:13:39.250 had levity we've had tears. I cried earlier. 01:13:39.909 --> 01:13:42.130 We've had insight. We've had everything that 01:13:42.130 --> 01:13:43.869 I was hoping we would have for this show, but 01:13:43.869 --> 01:13:46.069 we got to bring it back around to the scary. 01:13:46.449 --> 01:13:48.770 And now is the time on the show that we call 01:13:48.770 --> 01:13:51.510 the scared shit list, where we talk about what's 01:13:51.510 --> 01:13:53.529 actually frightening in the movies that we're 01:13:53.529 --> 01:13:56.489 discussing. And yes, Jason Goes to Hell has some 01:13:56.489 --> 01:13:58.949 actually frightening shit. And so what we usually 01:13:58.949 --> 01:14:01.210 do is just take turns talking about what we found 01:14:01.210 --> 01:14:03.770 to be actually scary in the movies that we're 01:14:03.770 --> 01:14:07.149 discussing. And for me, and I'll cover both Jason 01:14:07.149 --> 01:14:09.140 Goes to hell throw it to slinky and aaron and 01:14:09.140 --> 01:14:12.399 then ask you guys for me the the fear in jason 01:14:12.399 --> 01:14:16.920 goes to hell uh was when aaron gray her character 01:14:16.920 --> 01:14:19.920 gets killed and then we find out the dark secret 01:14:19.920 --> 01:14:23.399 about who she is and the baby and it was just 01:14:23.399 --> 01:14:26.680 all very psychologically terrifying to me and 01:14:26.680 --> 01:14:29.880 frightening and then also she was one of my childhood 01:14:29.880 --> 01:14:34.000 crushes man and to see her die was you know traumatizing 01:14:34.000 --> 01:14:36.880 you know so that's that was the scariest part 01:14:36.880 --> 01:14:39.380 for me and jason goes to hell aaron slinky how 01:14:39.380 --> 01:14:41.520 did you guys feel about the frightening aspects 01:14:41.520 --> 01:14:45.979 um i think as a woman my favorite or my my scariest 01:14:45.979 --> 01:14:48.960 moment was michelle clooney's death um the obviously 01:14:48.960 --> 01:14:51.279 being sliced in half while you're you know going 01:14:51.279 --> 01:14:56.640 and coming at the same time so but i love yeah 01:14:56.640 --> 01:14:58.539 first of all i love michelle clooney anyway but 01:14:58.539 --> 01:15:01.699 like i i love that whole scene because it's very 01:15:01.699 --> 01:15:05.920 explicit and when it happens you're like oh my 01:15:05.920 --> 01:15:09.060 god like like it's like something out of pieces 01:15:09.060 --> 01:15:12.579 even though p even even pieces is not that explicit 01:15:13.560 --> 01:15:17.640 um but but it was still it's it's still unnerving 01:15:17.640 --> 01:15:21.560 and and very like frightening as you know just 01:15:21.560 --> 01:15:24.140 as a woman it's like holy you know like just 01:15:24.140 --> 01:15:27.720 slice and have okay you know um that would probably 01:15:27.720 --> 01:15:30.800 be mine. I don't like, I think anytime a character, 01:15:30.899 --> 01:15:32.699 I think that the movie, one of the things that 01:15:32.699 --> 01:15:34.539 the movie succeeds at doing is that it gives 01:15:34.539 --> 01:15:37.779 you

these very endearing characters and it doesn't 01:15:37.779 --> 01:15:42.220 give you hooky cutter dickheads like some of 01:15:42.220 --> 01:15:45.939 the other of the franchise. Um, you know, there's, 01:15:45.939 --> 01:15:48.840 there's no real, uh, yeah, you know, there's 01:15:48.840 --> 01:15:51.640 no, there's no real Ted's and there's no, uh, 01:15:51.859 --> 01:15:54.380 whatever that other dickheads name. Um, there 01:15:54.380 --> 01:15:56.340 aren't any of those types of characters. So, 01:15:56.390 --> 01:16:00.449 when those characters die it you feel it so much 01:16:00.449 --> 01:16:04.750 more yes it's so it's such a more uh you know 01:16:04.750 --> 01:16:08.949 just like it is just such a more um deeper death 01:16:08.949 --> 01:16:11.369 really when those characters die is it's like 01:16:11.369 --> 01:16:14.409 oh man like oh i really like that there's one 01:16:14.409 --> 01:16:18.909 scene um like oh i can't remember her name right 01:16:18.909 --> 01:16:20.789 now and i'm sorry i'm sure all the boys will 01:16:21.180 --> 01:16:26.000 was anyway but the not not the lee not not carrie 01:16:26.000 --> 01:16:29.079 obviously oh oh you mean allison smith yes allison 01:16:29.079 --> 01:16:32.159 and you know she's getting she's having her linda 01:16:32.159 --> 01:16:35.300 hamilton moment and she's got her gun and and 01:16:35.300 --> 01:16:38.159 i'm immediately like playing bikini kill in my 01:16:38.159 --> 01:16:41.340 head and i'm like yeah and then she and then 01:16:41.340 --> 01:16:43.880 she gets it and you're like god damn it you know 01:16:43.880 --> 01:16:48.170 like i That was definitely a moment for me because 01:16:48.170 --> 01:16:50.149 I was like, man, I really thought she was going 01:16:50.149 --> 01:16:53.489 to make it too. But yes, those are my scared 01:16:53.489 --> 01:16:57.199 moments. Slink. Just for me knowing the fact 01:16:57.199 --> 01:16:59.140 that when you watch the earlier Friday the 13th 01:16:59.140 --> 01:17:01.220 movies, it happens to, like, teenagers and stuff. 01:17:01.260 --> 01:17:03.239 There's only a few adults in the movies. And 01:17:03.239 --> 01:17:04.819 when you watch Jason Goes to Hell, these are 01:17:04.819 --> 01:17:07.779 grown -ups doing grown -up shit. And Jason, out 01:17:07.779 --> 01:17:10.000 of nowhere, is disrupting that. And, like, that 01:17:10.000 --> 01:17:12.060 was always kind of scary, I thought. It's like, 01:17:12.100 --> 01:17:14.159 well, he can go after anybody, kids or adults. 01:17:14.319 --> 01:17:16.180 It doesn't matter who you are. But it's nice 01:17:16.180 --> 01:17:18.600 to know Jason's disrupting, like, everything. 01:17:18.800 --> 01:17:20.460 You know, you can't take your kid to the sitter, 01:17:20.579 --> 01:17:22.859 Jason. Michael, what are your thoughts on the 01:17:22.859 --> 01:17:24.560 fear? You can't go to get a Voorhees burger, 01:17:24.720 --> 01:17:28.890 Jason. It's kind of cool. Yeah, the thing about 01:17:28.890 --> 01:17:30.689 the Voorhees burger is it's shaped like a hockey 01:17:30.689 --> 01:17:32.430 mess, but you're losing meat because they're 01:17:32.430 --> 01:17:34.609 taking holes out. It's like, this is bullshit. 01:17:35.130 --> 01:17:37.010 Yeah, but you use that to make another burger. 01:17:37.350 --> 01:17:39.310 Yeah, I don't know. It's just like I'm getting 01:17:39.310 --> 01:17:41.289 ripped off here just for having a hockey mess. 01:17:41.350 --> 01:17:43.090 And I'm not going to see the fucking thing because 01:17:43.090 --> 01:17:44.689 it's going to be between the buns anyway. You 01:17:44.689 --> 01:17:46.970 know what? Fuck that place. I'm glad it got blown. 01:17:47.090 --> 01:17:49.310 You know, everyone got killed there. Now that 01:17:49.310 --> 01:17:51.189 I think about it, they were ripping us the fuck 01:17:51.189 --> 01:17:53.810 off by doing, you know, stupid shit. Well, I 01:17:53.810 --> 01:17:56.100 don't know. No. We should have covered that in 01:17:56.100 --> 01:17:58.039 the documentary. We should have. You're not wrong. 01:17:58.060 --> 01:18:00.359 The diner was really screwing people. It really 01:18:00.359 --> 01:18:03.420 was. Anyway, what was... I'm sorry, Michael, 01:18:03.479 --> 01:18:06.260 you asked me something about... Yeah, well, just 01:18:06.260 --> 01:18:08.960 the horror, the terror, the revulsion. We often 01:18:08.960 --> 01:18:11.340 talk about the three levels of fear that Stephen 01:18:11.340 --> 01:18:13.720 King brought up in Dance Macabre. What are some 01:18:13.720 --> 01:18:15.840 of the ones that stood out for you in Jason Goes 01:18:15.840 --> 01:18:18.159 to Hell? You know, Jason Goes to Hell was, for 01:18:18.159 --> 01:18:20.159 me, such a fun movie. It was like, again, the 01:18:20.159 --> 01:18:21.800 Friday the 13th movies are like a rollercoaster 01:18:21.800 --> 01:18:24.760 ride. You know, there's jumps and fright. But 01:18:24.760 --> 01:18:27.640 I think what I, the thing that freaked me out 01:18:27.640 --> 01:18:30.140 about Jason Goes to Hell was really two things 01:18:30.140 --> 01:18:32.239 that kind of go hand in hand. One was the idea 01:18:32.239 --> 01:18:34.800 of losing, of being trapped in your own body 01:18:34.800 --> 01:18:37.020 and someone else is in control of it. That to 01:18:37.020 --> 01:18:38.920 me is almost like, it's like you've had a stroke 01:18:38.920 --> 01:18:41.439 and your body is, you can't do, you're just trapped 01:18:41.439 --> 01:18:43.500 in there. Like there's a moment that comes at 01:18:43.500 --> 01:18:45.159 the end. It's a completely unrelated movie, but 01:18:45.159 --> 01:18:47.180 it kind of relates to it. At the end of Being 01:18:47.180 --> 01:18:49.979 John Malkovich, where a character is literally 01:18:49.979 --> 01:18:52.899 trapped inside the mind of his own daughter. 01:18:53.479 --> 01:18:56.380 basically and forever will be trapped seeing 01:18:56.380 --> 01:18:59.520 no having no control but only being able to see

01:18:59.520 --> 01:19:01.920 and that's like that's my nightmare that's my 01:19:01.920 --> 01:19:04.500 nightmare of being just like absorbed into something 01:19:04.500 --> 01:19:07.840 else but still aware of it and so that's in jason 01:19:07.840 --> 01:19:09.979 goes to hell what freaks me out is like are you 01:19:09.979 --> 01:19:12.600 still aware of everything that is that jason 01:19:12.600 --> 01:19:15.770 is doing in your body and then When he finally 01:19:15.770 --> 01:19:18.189 does leave you, you turn into a big puddle of 01:19:18.189 --> 01:19:21.789 fucking goo. Yeah. So it's not that you get your 01:19:21.789 --> 01:19:23.869 body back. Oh, you get it back for a few seconds. 01:19:24.029 --> 01:19:27.390 And then the toxicity of Jason just melts your 01:19:27.390 --> 01:19:30.550 fucking body slowly over the course of several 01:19:30.550 --> 01:19:34.829 minutes. So, yeah, that was disturbing. Yeah, 01:19:34.949 --> 01:19:36.829 that was one of the things where it's like, oh, 01:19:36.829 --> 01:19:39.550 man, it's just bad news all over the place. So, 01:19:39.670 --> 01:19:41.670 yeah, not only do you have a giant worm going 01:19:41.670 --> 01:19:44.470 down your throat and then being subsumed by... 01:19:44.489 --> 01:19:47.510 a murderous monster and then the murderous monster 01:19:47.510 --> 01:19:50.430 leaves you and goes into somebody else and then 01:19:50.430 --> 01:19:53.789 you melt into a big puddle of goo we you know 01:19:53.789 --> 01:19:57.550 that's just like uh yeah that that does sound 01:19:57.550 --> 01:20:00.649 like hell and that that kind of goes back to 01:20:00.649 --> 01:20:03.180 my whole thing is it's the loss of uh who you 01:20:03.180 --> 01:20:05.760 are it's loss of identity loss of self yeah which 01:20:05.760 --> 01:20:07.800 you know john carpenter's the thing is the high 01:20:07.800 --> 01:20:11.680 watermark for that because what is what i love 01:20:11.680 --> 01:20:14.159 about watching that movie is and it's strange 01:20:14.159 --> 01:20:16.119 for a movie that's as much of a downer as that 01:20:16.119 --> 01:20:19.000 is it's a glorious downer it's a downer that 01:20:19.000 --> 01:20:21.279 i dive into the deep end of every time i watch 01:20:21.279 --> 01:20:23.640 that movie because i'm always like the eternal 01:20:23.640 --> 01:20:25.899 question for me is do you know you've been taken 01:20:25.899 --> 01:20:29.000 over by the thing right do you really know i 01:20:29.000 --> 01:20:31.159 mean you must know to some degree because you 01:20:31.159 --> 01:20:34.020 sabotage the blood supply or you set this up 01:20:34.020 --> 01:20:36.720 or you put a piece of McCree's clothing in the 01:20:36.720 --> 01:20:39.399 furnace so you must be aware but do you like 01:20:39.399 --> 01:20:41.479 zone out during those moments and then come back 01:20:41.479 --> 01:20:44.279 and wonder what the hell you did you know I mean 01:20:44.279 --> 01:20:47.159 it's and I love the fact I think

Palmer is the 01:20:47.159 --> 01:20:49.039 most interesting version of that because when 01:20:49.039 --> 01:20:50.880 he's sitting there and they've discovered that 01:20:50.880 --> 01:20:54.100 he's the thing right there's a look on his face 01:20:54.100 --> 01:20:57.260 that's sort of like yeah all right before he 01:20:57.260 --> 01:20:59.680 opens up right like he does this little he does 01:20:59.680 --> 01:21:03.039 that little kind of Like they got me, you know, 01:21:03.039 --> 01:21:05.560 but again, it's like, how much is he aware of 01:21:05.560 --> 01:21:08.039 this? I mean, how, and that's the scary part. 01:21:08.119 --> 01:21:10.380 It's just like, are you even, do you even know, 01:21:10.520 --> 01:21:12.739 do they recreate you to such a degree that you're 01:21:12.739 --> 01:21:15.100 not even really fully aware that you are with 01:21:15.100 --> 01:21:17.119 this? And so there's, those are the things that 01:21:17.119 --> 01:21:21.420 really freaked me out. The, that and random unexplained, 01:21:21.420 --> 01:21:24.560 unmotivated violence, things that, you know, 01:21:24.560 --> 01:21:26.880 it's one thing if you brought it on yourself. 01:21:27.579 --> 01:21:30.319 Or you engaged knowingly in a situation. But 01:21:30.319 --> 01:21:32.439 like for me, nothing has ever disturbed me more 01:21:32.439 --> 01:21:34.319 in a movie than the home invasion sequence in 01:21:34.319 --> 01:21:36.340 Henry Portrait of a Serial Killer. Oh, absolutely. 01:21:36.500 --> 01:21:40.779 Sweet lord. Because that shit happens. Not only 01:21:40.779 --> 01:21:43.079 does that shit happen, but it's like they just 01:21:43.079 --> 01:21:45.220 picked some people. Yep. They just picked some 01:21:45.220 --> 01:21:48.920 people. By the way, it's the greatness of the 01:21:48.920 --> 01:21:53.149 last moment in The Stranger. Yeah. It's just 01:21:53.149 --> 01:21:55.609 like, you know, they've driven that into the, 01:21:55.609 --> 01:21:59.949 you know. Yeah, yeah. Because we can. Yeah, yeah. 01:22:00.069 --> 01:22:02.550 Because we're home. Yeah, that's right. You were 01:22:02.550 --> 01:22:04.689 there. You were there. By the way, have any of 01:22:04.689 --> 01:22:09.890 you seen ILS, the French film? No, I haven't 01:22:09.890 --> 01:22:12.989 seen it. No. It is literally The Strangers. It 01:22:12.989 --> 01:22:17.470 is where they got the whole movie from. Except 01:22:17.470 --> 01:22:20.100 it's a husband and wife. They are not. They don't 01:22:20.100 --> 01:22:22.119 hate each other. It's not all the same kind of 01:22:22.119 --> 01:22:27.220 very American sense of dread. But it's a couple 01:22:27.220 --> 01:22:30.039 who are being terrorized by people who are in 01:22:30.039 --> 01:22:34.539 their home. It is so terrifying. And the last 01:22:34.539 --> 01:22:37.199 image of that movie, you will never forget as 01:22:37.199 --> 01:22:40.760 long as you live. By the way, it's not a gory 01:22:40.760 --> 01:22:43.399 movie. That's not what it is. It is truly just 01:22:43.399 --> 01:22:46.100 terrifying. But if you're a fan at all of the 01:22:46.100 --> 01:22:48.460 original Strangers, you have to see this movie. 01:22:49.270 --> 01:22:53.590 The American title would be They, but it's ILS. 01:22:54.289 --> 01:22:57.010 Awesome. Yeah. That's what's going on our short 01:22:57.010 --> 01:22:59.289 list. I really recommend it. I think you'll love 01:22:59.289 --> 01:23:01.130 it. I think you'll love it. Yeah. So, Adam, I 01:23:01.130 --> 01:23:02.810 mean, you tried to do so much. I mean, and you 01:23:02.810 --> 01:23:04.710 accomplished so many things with Jason Goes to 01:23:04.710 --> 01:23:06.710 Hell. But when it comes to the fear, you know, 01:23:06.729 --> 01:23:09.010 the terror, the horror, the revulsion, what were 01:23:09.010 --> 01:23:10.590 you going for and what are you most proud of? 01:23:10.829 --> 01:23:14.630 Well, Michael nailed it because, look, when people 01:23:14.630 --> 01:23:17.750 think that I stole from The Hidden, which was 01:23:17.750 --> 01:23:19.729 a movie I had. had not seen up until the until 01:23:19.729 --> 01:23:21.829 i had seen until i had already directed jason 01:23:21.829 --> 01:23:24.010 goes to hell um which by the way just so everybody 01:23:24.010 --> 01:23:26.989 understands the studio that made they made both 01:23:26.989 --> 01:23:29.890 movies goes to hell made the hidden and i find 01:23:29.890 --> 01:23:33.090 it funny that not one person went hey adam guess 01:23:33.090 --> 01:23:35.510 what you know it's just like no one i mean bob 01:23:35.510 --> 01:23:38.069 shea produced that movie and he never said to 01:23:38.069 --> 01:23:39.710 me you know this is kind of like the hidden adam 01:23:39.710 --> 01:23:44.149 not once so for me i wasn't cribbing the hidden 01:23:44.149 --> 01:23:46.569 at all i was cribbing the thing which by the 01:23:46.569 --> 01:23:48.119 way the thing has been in every movie i've made 01:23:48.119 --> 01:23:51.060 including secret santa there's literally a quote 01:23:51.060 --> 01:23:53.359 from the movie right yeah by the way i love when 01:23:53.359 --> 01:23:56.500 someone in someone in england like dinged me 01:23:56.500 --> 01:23:59.220 for that and was like you know stealing the line 01:23:59.220 --> 01:24:01.659 of dialogue i was like stealing stealing what 01:24:01.659 --> 01:24:06.060 a homage is and and by the way i'd like to see 01:24:06.060 --> 01:24:08.180 your reviews of all of quentin tarantino's movies 01:24:08.180 --> 01:24:13.659 right now please um But that said, the thing 01:24:13.659 --> 01:24:18.779 is, and I think Aaron and Slinky, you guys know 01:24:18.779 --> 01:24:21.439 this, but I've never drank alcohol or done drugs 01:24:21.439 --> 01:24:24.680 in my life. Part of that is I'm a control freak 01:24:24.680 --> 01:24:26.600 and I don't ever want to feel out of control. 01:24:26.699 --> 01:24:29.500 I don't want anything else taking over my subconscious 01:24:29.500 -->

01:24:32.899 to do what it feels like doing. And so this, 01:24:32.979 --> 01:24:35.979 so Jay -Z goes to hell is really based in that 01:24:35.979 --> 01:24:38.899 fear. And the thing, the thing is the best version 01:24:38.899 --> 01:24:41.500 of that, which is just this sense of like, you're 01:24:41.500 --> 01:24:43.579 no longer driving the bus. Something else is. 01:24:44.619 --> 01:24:46.680 So there was something terrifying about that 01:24:46.680 --> 01:24:50.319 concept. And again, Secret Santa is about people 01:24:50.319 --> 01:24:52.840 getting drunk on something they shouldn't have 01:24:52.840 --> 01:24:56.619 drank in the first place. And that id takes over, 01:24:56.699 --> 01:24:58.579 and you are no longer driving that bus. Yes, 01:24:58.699 --> 01:25:01.199 you're still there, but you're doing things that 01:25:01.199 --> 01:25:03.619 in a normal moment you would never fucking do. 01:25:03.800 --> 01:25:08.449 And so, look, when Officer Josh... When the evil 01:25:08.449 --> 01:25:11.130 leaves Officer Josh, when Jason leaves Officer 01:25:11.130 --> 01:25:14.850 Josh, that to me is the most disturbing moment 01:25:14.850 --> 01:25:17.569 of Jason Goes to Hell because here's this incredibly 01:25:17.569 --> 01:25:21.449 sweet... innocent guy and he really is a lovely 01:25:21.449 --> 01:25:25.109 man um who i mean he gets eaten alive from the 01:25:25.109 --> 01:25:28.949 inside that's that's what a horrifying um way 01:25:28.949 --> 01:25:32.109 to go and so for me that that kind of typifies 01:25:32.109 --> 01:25:36.170 what i wanted the movie to be scary wise i also 01:25:36.170 --> 01:25:38.689 look i also here's here's the problem um All 01:25:38.689 --> 01:25:41.189 of the sequels, all of the big franchises, whether 01:25:41.189 --> 01:25:45.250 it's Texas Chainsaw, Halloween, Friday, et al. 01:25:45.529 --> 01:25:48.529 The minute we get to the third movie, it's usually 01:25:48.529 --> 01:25:51.029 the third. The first two movies were scary. That's 01:25:51.029 --> 01:25:53.090 why they made a franchise. The first movie was 01:25:53.090 --> 01:25:54.729 terrifying. You watch Nightmare on Elm Street, 01:25:54.770 --> 01:25:56.949 it's fucking terrifying. That movie to this day 01:25:56.949 --> 01:25:59.729 is still scary. You watch Texas Chainsaw Massacre, 01:25:59.829 --> 01:26:02.529 there has never been a scarier movie made. Doesn't 01:26:02.529 --> 01:26:06.090 exist. It is raw. By the time you get to the 01:26:06.090 --> 01:26:08.250 third movie, and in some cases the second movie, 01:26:08.409 --> 01:26:11.609 they're comedies. And they're rollercoaster rides. 01:26:11.810 --> 01:26:14.090 Because you're no longer on the... You're not 01:26:14.090 --> 01:26:17.229 on Team Victim. You're on Team Freddy. You're 01:26:17.229 --> 01:26:20.430 on Team Jason. Now you just want to see how cool 01:26:20.430 --> 01:26:23.630 that kill's going to be. And usually, the filmmakers... 01:26:23.979 --> 01:26:27.239 i .e. the studio, decides, hey, don't make those 01:26:27.239 --> 01:26:29.560 kids so likable because we want the fans to have 01:26:29.560 --> 01:26:32.300 fun watching them get fucking murdered. So that's 01:26:32.300 --> 01:26:34.760 only going to happen if you make them jock idiots 01:26:34.760 --> 01:26:39.760 or, you know, or mean girl bitches. right so 01:26:39.760 --> 01:26:43.479 make them mean get them naked kill and rinse 01:26:43.479 --> 01:26:45.659 and repeat and that's that's all of these movies 01:26:45.659 --> 01:26:48.539 the thing about jason goes to hell was that i 01:26:48.539 --> 01:26:50.399 never wanted you to know where the where the 01:26:50.399 --> 01:26:52.579 bad guy is well the only way you're gonna give 01:26:52.579 --> 01:26:55.460 a about that is if everybody in the movie is 01:26:55.460 --> 01:26:57.840 interesting and everybody in the movie you care 01:26:57.840 --> 01:27:01.920 about them look even joey b who is a stone cold 01:27:01.920 --> 01:27:05.159 monster okay this is a woman who has no problem 01:27:05.159 --> 01:27:07.699 making money off everybody else's sorrow okay 01:27:07.699 --> 01:27:10.180 but you better not touch that fucking ray of 01:27:10.180 --> 01:27:12.680 sunshine. She falls in love with that baby. Anyone 01:27:12.680 --> 01:27:14.680 who falls, and by the way, not only that, she 01:27:14.680 --> 01:27:18.699 loves Leslie Jordan. Anyone who loves Leslie 01:27:18.699 --> 01:27:21.300 Jordan can't be all that. It's impossible. So 01:27:21.300 --> 01:27:23.979 you're in love with these people, so you're worried 01:27:23.979 --> 01:27:26.479 for them. I will tell you, every theater that 01:27:26.479 --> 01:27:28.220 I went to to watch this movie when it played 01:27:28.220 --> 01:27:31.520 live, the amount of upset during the diner sequence, 01:27:31.579 --> 01:27:34.800 because you lose Joey B, you lose Leslie Jordan, 01:27:34.960 --> 01:27:38.239 and then you lose Allison. You lose Vicky. Those 01:27:38.239 --> 01:27:40.479 are three of the people you've been rooting for 01:27:40.479 --> 01:27:42.539 in this movie. You know, not to mention poor 01:27:42.539 --> 01:27:45.319 Ward, who is so adorable when he goes out the 01:27:45.319 --> 01:27:47.579 door pretending to have, when he's got the gun, 01:27:47.600 --> 01:27:49.619 he's like, he's a badass all of a sudden and 01:27:49.619 --> 01:27:53.260 immediately is punished for it, you know? So 01:27:53.260 --> 01:27:56.460 yeah, for me, look, I have to fall in love with 01:27:56.460 --> 01:27:58.539 my characters in order to get rid of them and 01:27:58.539 --> 01:28:01.039 feel anything. And that's what I wanted to give 01:28:01.039 --> 01:28:02.960 the audience because they hadn't had it in so 01:28:02.960 --> 01:28:04.880 long in the Friday the 13th franchise. They just 01:28:04.880 --> 01:28:06.859 didn't, you'd have a final. that you gave a shit 01:28:06.859 --> 01:28:08.939 about. And Tommy Jarvis, of course, you give 01:28:08.939 -->

01:28:11.579 a shit about. Not much else. No, and the trauma 01:28:11.579 --> 01:28:14.159 from those deaths feels earned. You know, it's 01:28:14.159 --> 01:28:16.699 not, you know, a quick story and then you kill 01:28:16.699 --> 01:28:18.659 them. It's you developed those characters. We 01:28:18.659 --> 01:28:20.659 got to like them and now they're dead. And look, 01:28:20.699 --> 01:28:23.199 by the way, I think part two does that brilliantly. 01:28:23.319 --> 01:28:26.479 Part two is like, look, for me, it's part six, 01:28:26.500 --> 01:28:28.300 part two, Jason goes to hell. Those are my three 01:28:28.300 --> 01:28:31.340 favorites of the franchise. And the thing about 01:28:31.340 --> 01:28:35.710 part two is, you know, Yes, Ginny is the bomb. 01:28:35.989 --> 01:28:38.210 Like, I mean, come on. Amy Steele, just come 01:28:38.210 --> 01:28:41.260 on. But I have to tell you, there's a lot of 01:28:41.260 --> 01:28:43.399 those characters that are really lovable that 01:28:43.399 --> 01:28:45.520 you really kind of go, no, I like these people. 01:28:45.640 --> 01:28:47.399 Like, I would hang out with these people. Well, 01:28:47.520 --> 01:28:49.220 if they're people you would hang out with, watching 01:28:49.220 --> 01:28:51.560 them die is very tough. Yeah, that's why I love 01:28:51.560 --> 01:28:54.060 Six. Yeah, like you mentioned Six. Six is one 01:28:54.060 --> 01:28:57.220 of my absolute favorites. 100%. Because I love 01:28:57.220 --> 01:29:00.560 Jennifer Cook. And, you know, and Tom Matthews 01:29:00.560 --> 01:29:03.579 is just adorable. And everyone in that movie, 01:29:03.680 --> 01:29:06.899 you're like, aw, man. Like, I'm a sheriff. The 01:29:06.899 --> 01:29:10.359 sheriff's a dick. I love the fact that he was 01:29:10.359 --> 01:29:13.500 so devoted to his daughter. That's right. That's 01:29:13.500 --> 01:29:15.960 right. And Horschak, for crying out loud. Oh, 01:29:16.079 --> 01:29:18.979 no, not Horschak. But people used to really, 01:29:19.260 --> 01:29:21.939 look, filmmakers, especially the ones that make 01:29:21.939 --> 01:29:24.359 the first movies of these, look, no one walks 01:29:24.359 --> 01:29:26.579 out of John, no one walks out of Halloween, the 01:29:26.579 --> 01:29:29.699 original Halloween, not feeling a sense of loss 01:29:29.699 --> 01:29:31.659 with those three women or the two women that 01:29:31.659 --> 01:29:34.960 die. You care about those girls. I mean, I'm 01:29:34.960 --> 01:29:37.600 sorry. I can't see PJ Souls to this day and not 01:29:37.600 --> 01:29:42.130 go. I just do. Totally. I totally do. Yeah, you 01:29:42.130 --> 01:29:45.569 do. You know? I do. So, yeah, that for me, that's 01:29:45.569 --> 01:29:49.010 what I was trying to do. And to varying degrees 01:29:49.010 --> 01:29:52.189 of success, I think we got there. You know, and 01:29:52.189 --> 01:29:54.789 look, I mean, my brother is the last person to 01:29:54.789 --> 01:29:56.909 have that sucker inside of him. And he gets his

01:29:56.909 --> 01:30:00.670 fucking head cut off for it. Which was very fulfilling 01:30:00.670 --> 01:30:02.770 for a guy who wrote Secret Santa. But his head 01:30:02.770 --> 01:30:05.970 returns in Secret Santa, so. It does. It does. 01:30:05.989 --> 01:30:09.810 And it gets skull fucked. Yes. So let's segue 01:30:09.810 --> 01:30:12.270 real quick to Secret Santa. That's what happens 01:30:12.270 --> 01:30:16.289 when your brother is out of market. Secret Santa. 01:30:16.810 --> 01:30:19.130 So I was worried that I wasn't going to be able 01:30:19.130 --> 01:30:21.770 to think of anything scary because it is a horror 01:30:21.770 --> 01:30:24.609 comedy, but it does bring the scares. And I thought 01:30:24.609 --> 01:30:27.250 about it and the psychology of the truth serum 01:30:27.250 --> 01:30:30.109 and actually having the balls to do that to your 01:30:30.109 --> 01:30:33.710 family. And on top of it, the government creating 01:30:33.710 --> 01:30:37.930 this fucked up. serum you know and somebody being 01:30:37.930 --> 01:30:40.189 able to get their hands on it and what can happen 01:30:40.189 --> 01:30:42.289 you know with shit like that in the wrong hands 01:30:42.289 --> 01:30:44.390 and let alone a government you know creating 01:30:44.390 --> 01:30:46.989 something like this so for me that was the big 01:30:46.989 --> 01:30:49.430 scare in secret santa you know besides just the 01:30:49.430 --> 01:30:52.729 family psychology itself nothing scarier than 01:30:52.729 --> 01:30:57.939 family absolutely and there it is Again, that's 01:30:57.939 --> 01:30:59.819 why, again, halfway through that movie, it's 01:30:59.819 --> 01:31:02.079 like, I don't need bad shit to happen. Just listening 01:31:02.079 --> 01:31:05.840 to these horrible fucking people spew bile. And 01:31:05.840 --> 01:31:08.119 I also love the fact that the way that you guys 01:31:08.119 --> 01:31:10.020 wrote that movie was so great. There's a lot 01:31:10.020 --> 01:31:13.319 of bile and name calling, but it's the under 01:31:13.319 --> 01:31:16.260 the breath shit. It's the little asides and the 01:31:16.260 --> 01:31:18.420 little things that they say that on the surface 01:31:18.420 --> 01:31:20.359 aren't like, what is that? But then you could 01:31:20.359 --> 01:31:22.979 tell that it was a cut. It was a mean cut to 01:31:22.979 --> 01:31:25.020 the person across the table. And Debra's the 01:31:25.020 --> 01:31:29.960 worst of it. A monster. It's like the worst matriarch 01:31:29.960 --> 01:31:32.659 literally since the grandmother and the ref. 01:31:32.859 --> 01:31:35.260 I think it's just like, oh my God. It's just 01:31:35.260 --> 01:31:37.560 like, ugh. And if you get to know Debra at all, 01:31:37.560 --> 01:31:39.600 it's just like, she must be a great actress because 01:31:39.600 --> 01:31:41.520 she's nothing like this bitch at all. Nothing 01:31:41.520 --> 01:31:44.859 like her. She reminded me of every customer service 01:31:44.859 --> 01:31:47.039

representative I've ever had saying, you have 01:31:47.039 --> 01:31:50.500 a nice day. You don't want me to have a nice 01:31:50.500 --> 01:31:55.060 day. You want me to die. Debra had 20 some years 01:31:55.060 --> 01:31:59.529 of training to play that role so because it is 01:31:59.529 --> 01:32:03.090 based very heavily on a real person um and deborah 01:32:03.090 --> 01:32:06.590 watched and uh and knew what she was doing no 01:32:06.590 --> 01:32:09.609 she's deborah's now that's scary deborah's a 01:32:09.609 --> 01:32:11.789 genius she really is she's a she's a she's an 01:32:11.789 --> 01:32:15.770 unbelievable act um yeah i i mean honestly we 01:32:15.770 --> 01:32:19.210 wrote that movie we i came up with that movie 01:32:19.210 --> 01:32:22.090 for deborah that was literally why i i wanted 01:32:22.090 --> 01:32:24.590 to do it um and then we wrote we wrote a script 01:32:24.590 --> 01:32:27.420 that just let her her play um but michael's right 01:32:27.420 --> 01:32:30.100 it's family is the terror of that movie like 01:32:30.100 --> 01:32:33.859 it's it's that it's and penny says it so well 01:32:33.859 --> 01:32:36.659 at the end of the movie she says when this family 01:32:36.659 --> 01:32:40.359 loses its id we fucking want to kill each other 01:32:40.359 --> 01:32:42.859 right yeah and once that you know that veneer 01:32:42.859 --> 01:32:45.819 of civility goes away you know it's just like 01:32:45.819 --> 01:32:48.520 oh we're all just nasty horrible bitter people 01:32:48.520 --> 01:32:50.939 that really don't like each other at all yep 01:32:50.939 --> 01:32:54.060 yep and it's when kyle is like yeah but i still 01:32:54.060 --> 01:32:57.329 love you and again there's only two people in 01:32:57.329 --> 01:32:58.750 that whole movie that are innocent there's only 01:32:58.750 --> 01:33:01.470 two yeah which is kyle and jacqueline the the 01:33:01.470 --> 01:33:04.390 stripper um the two of them are the only innocence 01:33:04.390 --> 01:33:06.710 of the movie they're the only ones who who really 01:33:06.710 --> 01:33:09.090 don't want to hurt anybody and are truly good 01:33:09.090 --> 01:33:12.109 people right um and you know it doesn't it doesn't 01:33:12.109 --> 01:33:14.500 save them by any means but no But they are good. 01:33:15.079 --> 01:33:17.560 Look, you know, the fun for me of that movie 01:33:17.560 --> 01:33:20.300 is that, you know, it is based way too heavily 01:33:20.300 --> 01:33:26.960 on my family. I mean, really is. And April, played 01:33:26.960 --> 01:33:31.020 by A. Leslie Kyes, and Penny, played by the brilliant 01:33:31.020 --> 01:33:34.619 Ryan Seaton, the two of them are both me. Those 01:33:34.619 --> 01:33:37.020 are the two sides of my personality. So, and 01:33:37.020 --> 01:33:39.859 that was very clearly defined when we started 01:33:39.859 --> 01:33:41.880 breaking down the script. I was like, no, I want 01:33:41.880 --> 01:33:44.880 both sides. of me fighting each other like that's 01:33:44.880 --> 01:33:47.880 where the conflict is is these these two women 01:33:47.880 --> 01:33:52.399 um going head to head because one is is the people 01:33:52.399 --> 01:33:54.119 pleaser and trying to make everything nice and 01:33:54.119 --> 01:33:55.819 trying to bring the family together and everything's 01:33:55.819 --> 01:33:59.100 good um because of her own fucked up problems 01:33:59.100 --> 01:34:01.319 and the other one is the one screaming into the 01:34:01.319 --> 01:34:04.000 void going can't anybody be fucking honest and 01:34:04.000 --> 01:34:07.039 calling everything out and so those two parts 01:34:07.039 --> 01:34:09.380 of those are both parts of my personality and 01:34:09.380 --> 01:34:12.380 they are constantly each other so um so yeah 01:34:12.460 --> 01:34:15.960 It was the movie was psychologically cleansing 01:34:15.960 --> 01:34:19.739 to some degree. Yeah. Hey, better than being 01:34:19.739 --> 01:34:22.479 on a couch. There's got to be. There's got to 01:34:22.479 --> 01:34:24.180 be. I'm sorry. There's got to be a T -shirt at 01:34:24.180 --> 01:34:27.159 some point, you know, that has don't make this 01:34:27.159 --> 01:34:32.380 weird. It's not gay if he's dead, which is like 01:34:32.380 --> 01:34:37.739 a point, I guess. I mean, you know. It's a weird 01:34:37.739 --> 01:34:41.319 hill to die on, but all right. Yeah. Do you know 01:34:41.319 --> 01:34:45.000 that that became a hashtag in England? It's not 01:34:45.000 --> 01:34:47.819 gay if he's dead was a hashtag. And that's one 01:34:47.819 --> 01:34:49.760 that could be really taken out of context and 01:34:49.760 --> 01:34:56.740 used incorrectly. Big time. Yeah, that's... I 01:34:56.740 --> 01:34:58.760 was about to say my girlfriend and I watched 01:34:58.760 --> 01:35:00.739 it together. She had never seen it. I've seen 01:35:00.739 --> 01:35:02.819 it about three or four times. She's not a big 01:35:02.819 --> 01:35:04.500 horror fan, although she's starting to get into 01:35:04.500 --> 01:35:06.239 it more, you know, with my show and everything. 01:35:06.520 --> 01:35:09.199 And she absolutely loved it. And like Slinky 01:35:09.199 --> 01:35:11.340 and Aaron, it has become a tradition for us as 01:35:11.340 --> 01:35:15.420 well because it is so real. You know, we all 01:35:15.420 --> 01:35:19.300 have family shit, you know, and. to see it presented 01:35:19.300 --> 01:35:21.640 the way it was, it's just, it's become a classic 01:35:21.640 --> 01:35:24.319 for us. So Adam, I mean, yeah, did yourself, 01:35:24.479 --> 01:35:28.859 man. Thanks, man. The funny thing is, every festival... 01:35:28.859 --> 01:35:31.479 By the way, the festivals that we did best at 01:35:31.479 --> 01:35:33.479 were non -horror festivals. Non -horror festivals, 01:35:33.560 --> 01:35:36.079 we kept winning Best Picture, which is great. 01:35:36.699 --> 01:35:39.060 The thing about the movie is it's the horror 01:35:39.060 --> 01:35:41.279 movie for people who hate

horror movies. Right. 01:35:41.640 --> 01:35:44.739 Absolutely. There's enough comedy and there's 01:35:44.739 --> 01:35:47.600 enough seeing themselves that they can remove 01:35:47.600 --> 01:35:49.300 themselves a little bit from the horror element 01:35:49.300 --> 01:35:51.720 and enjoy themselves. And they still get scared 01:35:51.720 --> 01:35:54.000 at parts, which is great. So there's still the 01:35:54.000 --> 01:35:56.880 thrill. there but it's really about recognizing 01:35:56.880 --> 01:35:59.460 yourself and and seeing you know how bad it can 01:35:59.460 --> 01:36:02.880 all go it's a morally rotted hallmark movie yes 01:36:02.880 --> 01:36:06.119 just yeah it's it's it's the antidote so if you 01:36:06.119 --> 01:36:08.000 ever get yourself watching one of those then 01:36:08.000 --> 01:36:10.500 watch secret center and go oh yeah this is more 01:36:10.500 --> 01:36:12.899 like it this is more which is which is really 01:36:12.899 --> 01:36:16.359 ironic because michael rady who plays the is 01:36:16.359 --> 01:36:21.319 now the he's the he my sister who watches those 01:36:21.319 --> 01:36:26.060 you know um a lot uh she i was saying i was like 01:36:26.060 --> 01:36:29.180 do you recognize this guy and she's like oh yeah 01:36:29.180 --> 01:36:31.420 he's in all the hallmark movies he's the king 01:36:31.420 --> 01:36:33.239 of the hallmark movie he's like oh is he really 01:36:33.239 --> 01:36:35.819 oh yeah the king of the christmas hallmark movie 01:36:35.819 --> 01:36:41.100 no yes he's always either in uh in a uh button 01:36:41.100 --> 01:36:43.640 up oh god you're right i'm looking at his credits 01:36:43.640 --> 01:36:48.130 right now jesus yep good for him man i know Oh, 01:36:48.130 --> 01:36:50.270 he's a working actor. He's amazing. By the way, 01:36:50.270 --> 01:36:52.689 he's also Costas, the Greek boy in the Sister 01:36:52.689 --> 01:36:56.630 of the Traveling Pants. Yeah. Yeah. And he played 01:36:56.630 --> 01:36:59.989 the he played the dickhead fiance of Kristen 01:36:59.989 --> 01:37:03.210 Bell on House of Lies. He sure did. That's how 01:37:03.210 --> 01:37:05.649 I knew him from that. You know, and I was like, 01:37:05.710 --> 01:37:07.670 oh, I know I recognize that mother. God, this 01:37:07.670 --> 01:37:09.510 is the worst title for any of these Hallmark 01:37:09.510 --> 01:37:11.869 movies I've ever heard. Where are you, Christmas? 01:37:12.560 --> 01:37:16.859 Oh, God. Oh, no. I think a part of my soul just 01:37:16.859 --> 01:37:19.760 died. It's me, Margaret. Oh, God. I can hear 01:37:19.760 --> 01:37:22.100 the announcement. The latest Hallmark movie. 01:37:22.199 --> 01:37:26.609 Where are you, Christmas? Michael was my neighbor 01:37:26.609 --> 01:37:31.170 for years and years. And that's how we got to 01:37:31.170 --> 01:37:33.289 know. I would be up at three in the morning writing 01:37:33.289 --> 01:37:35.970 in my garage. I have a studio in my garage and 01:37:35.970 --> 01:37:37.949 I would open up so I could have it open air anytime 01:37:37.949 --> 01:37:40.130 I wanted it. So I'd have that open and he'd be 01:37:40.130 --> 01:37:42.369 right across from me with his garage open doing 01:37:42.369 --> 01:37:45.210 building furniture, which is his other business. 01:37:45.649 --> 01:37:48.149 And the two of us would just be up till middle 01:37:48.149 --> 01:37:49.850 of the night and we'd end up just talking for 01:37:49.850 --> 01:37:52.090 hours and hours. And I said to him, I said, you 01:37:52.090 --> 01:37:53.449 want to be in a horror movie? And he was like, 01:37:54.060 --> 01:37:55.520 I said, you want to be a horror movie? He goes, 01:37:55.640 --> 01:37:58.380 uh, yeah. I said, cool. You want to know about 01:37:58.380 --> 01:38:00.239 it? He goes, no, it's yours, right? I was like, 01:38:00.300 --> 01:38:03.079 yeah. He says, no, no, I'm in. I was like, great. 01:38:03.560 --> 01:38:06.060 Done. Done. Yeah, he's amazing. Michael's amazing. 01:38:06.340 --> 01:38:08.460 We've got a little under 10 minutes before my 01:38:08.460 --> 01:38:11.300 girlfriend actually kills me. Awesome. Love that. 01:38:11.539 --> 01:38:13.319 Are we going to get to watch that happen? Is 01:38:13.319 --> 01:38:15.220 that something that's... That's the end of the 01:38:15.220 --> 01:38:18.399 podcast. That's the spectacular finish. That's 01:38:18.399 --> 01:38:20.260 the secret Santa finish to this thing, where 01:38:20.260 --> 01:38:22.659 everything just goes to shit. Like Daffy Duck. 01:38:22.819 --> 01:38:26.199 You know, I can only do it once. My final question 01:38:26.199 --> 01:38:28.140 for you guys, and we're going to bring it back 01:38:28.140 --> 01:38:31.079 around to the scary. Your personal scariest movie. 01:38:31.159 --> 01:38:32.859 Not necessarily the scariest movie ever made. 01:38:32.880 --> 01:38:35.920 but the movie that scared you the most? Mine 01:38:35.920 --> 01:38:38.840 is Wes Craven Presents They. Not a great movie, 01:38:38.979 --> 01:38:42.079 but it scared me the most. Wow. How about you, 01:38:42.199 --> 01:38:46.300 Mr. Marcus? Hmm. I mean, I can tell you the moment, 01:38:46.399 --> 01:38:49.800 the moment that scared me the most in any movie, 01:38:49.880 --> 01:38:52.600 and it's still a great movie, so I have no problem 01:38:52.600 --> 01:38:55.100 saying it, but the moment that really did chill 01:38:55.100 --> 01:38:58.880 me to my core was The Hearst Driver in Burnt 01:38:58.880 --> 01:39:03.979 Offerings. Ooh. Creepy. I mean, years and years 01:39:03.979 --> 01:39:08.119 and years of terror of that. of that guy and 01:39:08.119 --> 01:39:11.500 what's really horrifying is that my mother uh 01:39:11.500 --> 01:39:13.720 started dating and then moved a guy into the 01:39:13.720 --> 01:39:15.899 house that was literally the doppelganger for 01:39:15.899 --> 01:39:18.460 that act oh my god and i'm telling you when he 01:39:18.460 --> 01:39:20.220 first walked in the door my brother kip and i

01:39:20.220 --> 01:39:22.840 were both like oh my god burnt offerings and 01:39:22.840 --> 01:39:26.979 by the way the guy was an abusive physically 01:39:26.979 --> 01:39:31.260 and mentally abusive alcoholic scumbag um who 01:39:31.260 --> 01:39:34.359 who yeah he was he was worse than the hearse 01:39:34.359 --> 01:39:36.659 driver so yeah i guess that's the most jarring 01:39:36.659 --> 01:39:39.479 and scariest moment, you know? Awesome. Yeah, 01:39:39.579 --> 01:39:41.920 yeah. We'll end on Michael. Erin, you want to 01:39:41.920 --> 01:39:45.319 take this one? Yeah, I think the scariest movie 01:39:45.319 --> 01:39:48.220 I think that I've ever seen was probably Black 01:39:48.220 --> 01:39:51.279 Christmas, the original. You know, that was the 01:39:51.279 --> 01:39:53.779 one that really kind of chilled me. It was the 01:39:53.779 --> 01:39:55.420 very first time I'd ever really been scared, 01:39:55.460 --> 01:39:57.539 scared. I had been such a huge horror fan and 01:39:57.539 --> 01:40:00.859 I had seen the... you know 100 greatest horror 01:40:00.859 --> 01:40:04.699 moments son bravo you know and uh and i was like 01:40:04.699 --> 01:40:06.520 well i gotta see black christmas like i'm a huge 01:40:06.520 --> 01:40:09.140 bob clark fan anyway um because i'm a huge porky's 01:40:09.140 --> 01:40:13.659 fan so i said oh my god huge so i said um i said 01:40:13.659 --> 01:40:15.500 all right let's go rent it at this this little 01:40:15.500 --> 01:40:19.659 tiny mom pause store and i watched it and i from 01:40:19.659 --> 01:40:21.880 the moment that that first phone call happened 01:40:21.880 --> 01:40:25.579 i was like i had a blanket and i mean i was like 01:40:25.579 --> 01:40:29.970 24 and i had a blanket like up to my chin just 01:40:29.970 --> 01:40:33.510 like this is fucking horrifying um and then after 01:40:33.510 --> 01:40:35.630 it was done i rewound it and i watched it again 01:40:35.630 --> 01:40:39.239 and i and i just i loved it I loved it. It was 01:40:39.239 --> 01:40:42.380 just it. But it scared me to a point where I 01:40:42.380 --> 01:40:45.279 would take it to slumber party. Like in my 20s, 01:40:45.279 --> 01:40:46.699 I had like a group of girls that we would hang 01:40:46.699 --> 01:40:48.260 out and watch scary movies and they would be 01:40:48.260 --> 01:40:49.800 like, you know, yeah, bring over a scary movie. 01:40:49.880 --> 01:40:52.380 I'm like, OK. And I bring Black Christmas and 01:40:52.380 --> 01:40:54.560 there was like screams and just, you know, like, 01:40:54.640 --> 01:40:59.399 oh, my God, that was so scary. But to to Adam's 01:40:59.399 --> 01:41:04.159 point, the scariest moment of a film to be 100 01:41:04.159 --> 01:41:07.760 percent. uh keep it 100 as the kids would say 01:41:07.760 --> 01:41:11.100 um is the last 10 minutes of looking for mr goodbar 01:41:11.100 --> 01:41:16.180 yeah no i really anybody who's ever seen it knows 01:41:16.180 --> 01:41:19.840 exactly what the i'm talking

about um it it haunts 01:41:19.840 --> 01:41:23.609 me it haunts me to this day Like, just being, 01:41:23.630 --> 01:41:26.210 like, 46 years old and just being, like, it will 01:41:26.210 --> 01:41:30.250 never, nothing will ever upset, disturb, scare, 01:41:30.430 --> 01:41:33.909 stick with me than the last 10 minutes of looking 01:41:33.909 --> 01:41:36.750 for Mr. Goodbar. And you know what's awful is 01:41:36.750 --> 01:41:39.890 that you would not be allowed in any way, shape, 01:41:39.890 --> 01:41:42.930 or form to make that movie now. And honestly, 01:41:43.109 --> 01:41:45.770 now is when we actually need a movie like that. 01:41:45.890 --> 01:41:48.710 We do because there are people out there, like, 01:41:48.770 --> 01:41:52.670 not to get political, but there are people. There 01:41:52.670 --> 01:41:55.550 are men starting rape groups. You bet. And just 01:41:55.550 --> 01:41:57.170 there's things like this that are happening. 01:41:57.229 --> 01:42:01.449 And all the women I talk to who are single and 01:42:01.449 --> 01:42:04.350 are out there and they're just like, dude, it 01:42:04.350 --> 01:42:07.850 is bad. On dating apps where people are faking 01:42:07.850 --> 01:42:09.850 their profiles and every other goddamn thing. 01:42:10.069 --> 01:42:13.630 Bad. You know, so yes, if ever there was a. time 01:42:13.630 --> 01:42:15.590 that looking for Mr. Goodbar probably needs to 01:42:15.590 --> 01:42:20.069 be remade. It's definitely now. You bet. Mr. 01:42:20.130 --> 01:42:22.949 Jello. The movie that messed me up was The Vanishing. 01:42:23.710 --> 01:42:26.810 The original Vanishing. Yeah, the original one. 01:42:26.869 --> 01:42:29.569 Because I'm weird. If my girlfriend just disappeared, 01:42:29.909 --> 01:42:32.550 I would become obsessive about it too. And I 01:42:32.550 --> 01:42:34.130 would want to know what happened. And I would 01:42:34.130 --> 01:42:37.050 probably end up in a coffin in the ground. Because 01:42:37.050 --> 01:42:39.149 you showed me what happened. Yeah, that's terrifying 01:42:39.149 --> 01:42:41.750 to me. That movie kind of messed me up. Because 01:42:41.750 --> 01:42:44.800 once I saw it, I watched it all the time. And 01:42:44.800 --> 01:42:47.199 I was like, this is terrifying. It's really scary. 01:42:47.300 --> 01:42:49.479 And I'm a big guy. So like usually that type 01:42:49.479 --> 01:42:51.140 of shit doesn't scare me, but that does. Excellent. 01:42:51.899 --> 01:42:56.939 Michael. It's funny, the movies that have scared 01:42:56.939 --> 01:42:59.119 me the most are the moments, actually not necessarily 01:42:59.119 --> 01:43:03.359 horror movies. Like when I was a kid, the SETI 01:43:03.359 --> 01:43:05.979 eels going into the ears of Chekhov and Terrell 01:43:05.979 --> 01:43:09.000 and Star Trek 2. You know what's really weird 01:43:09.000 --> 01:43:10.899 is I had to leave the theater when that moment 01:43:10.899 --> 01:43:13.739 would happen. Because I couldn't stay and I would 01:43:13.739 --> 01:43:15.640 wait until I heard it was over and come back. 01:43:16.060 --> 01:43:18.300 But later on when the eel comes out and the blood 01:43:18.300 --> 01:43:19.859 drips out, I didn't have a problem with that. 01:43:19.939 --> 01:43:22.119 But it was them screaming in pain as the things 01:43:22.119 --> 01:43:24.140 are going in. That's what freaked me out. Or 01:43:24.140 --> 01:43:27.340 in Raiders of the Lost Ark when Marion stumbles 01:43:27.340 --> 01:43:30.800 into all the skeletons and then the snake comes 01:43:30.800 --> 01:43:32.699 out of the one skeleton's mouth. I couldn't be 01:43:32.699 --> 01:43:35.439 in the theater for that. And then, like, you 01:43:35.439 --> 01:43:37.680 know, movies like Superman 3, of all things, 01:43:37.760 --> 01:43:39.619 where she gets turned into a robot. Oh, sure. 01:43:39.779 --> 01:43:42.260 Yes. That is scary. Until she comes out in the 01:43:42.260 --> 01:43:44.659 fright wig, and then it all goes away. Yes. But, 01:43:44.699 --> 01:43:46.380 you know, it was moments like that. But in terms 01:43:46.380 --> 01:43:48.460 of horror movies, the one, the first one that 01:43:48.460 --> 01:43:50.119 comes to mind, because it freaked me out as a 01:43:50.119 --> 01:43:53.039 kid, little Ralphie Glick at the window in Salem's 01:43:53.039 --> 01:43:56.260 Lot. Could not, that scene. Yeah. Fucking freaked 01:43:56.260 --> 01:43:59.479 me out. And, but then there's two other moments 01:43:59.479 --> 01:44:02.640 that I can think of that I was jolted by in theaters. 01:44:02.840 --> 01:44:04.920 Cause I'm usually pretty good about knowing when 01:44:04.920 --> 01:44:09.079 a scare is coming. One is in seven, which is 01:44:09.079 --> 01:44:11.420 a brilliant fucking movie, but you're not ready 01:44:11.420 --> 01:44:15.069 for that body on the, on the bed. right you're 01:44:15.069 --> 01:44:16.850 not ready for that thing to move because you 01:44:16.850 --> 01:44:18.789 think it's a core you think it's a dummy yeah 01:44:18.789 --> 01:44:20.789 and then when you got what you deserve and it 01:44:20.789 --> 01:44:24.989 goes and it just and everybody everyone goes 01:44:24.989 --> 01:44:26.930 oh my god he's alive he's alive and then they 01:44:26.930 --> 01:44:30.310 cut to a shot a quiet scene in the hospital or 01:44:30.310 --> 01:44:32.170 a morgue or something and you could hear everybody 01:44:32.170 --> 01:44:34.569 in the theater going fucking god damn jesus god 01:44:34.569 --> 01:44:38.729 oh my god the other one exorcist three i'm in 01:44:38.729 --> 01:44:42.609 that's the one i'm in that movie first day packed 01:44:42.609 --> 01:44:44.850 house i'm in the middle of the theater and the 01:44:44.850 --> 01:44:47.250 hallway sequence he just locks the fucking camera 01:44:47.250 --> 01:44:50.250 off and it's like this ballet people going in 01:44:50.250 --> 01:44:52.890 coming out at just the right time so you're always 01:44:52.890 --> 01:44:55.369 ill at ease but you're

always comforted by well 01:44:55.369 --> 01:44:57.350 there's a security guard back there or she's 01:44:57.350 --> 01:45:00.010 over here and then they fake you out she goes 01:45:00.010 --> 01:45:03.149 into a room and the the patient goes hey what 01:45:03.149 --> 01:45:04.510 are you doing in here and you think oh that's 01:45:04.510 --> 01:45:08.170 the scare but then it keeps going and going and 01:45:08.170 --> 01:45:12.520 going and then boom out comes that I have never 01:45:12.520 --> 01:45:16.039 seen before. And I have never seen since an entire 01:45:16.039 --> 01:45:20.079 theater of people levitate. We all dropped the 01:45:20.079 --> 01:45:23.920 fuck back down. It was everybody. Boom. And I, 01:45:23.939 --> 01:45:27.659 I was, everybody was just laughing and like crying 01:45:27.659 --> 01:45:31.779 for about five minutes. Yep. It was such a brilliantly, 01:45:31.840 --> 01:45:34.359 uh, that was one of my favorite things in the, 01:45:34.359 --> 01:45:37.569 in the world I ever got to do. was to sit across 01:45:37.569 --> 01:45:39.670 from William Peter Blatty in his house and go, 01:45:39.770 --> 01:45:43.029 do you realize how messed up you, how much you 01:45:43.029 --> 01:45:45.550 fucked people up with that scene and how brilliantly 01:45:45.550 --> 01:45:47.310 you played that out? And he was like, yeah, that 01:45:47.310 --> 01:45:50.949 was fun. That was a lot of fun. But that, yeah, 01:45:50.989 --> 01:45:53.829 those two moments really, as a viewer in the 01:45:53.829 --> 01:45:55.770 theater, especially with something like Seven, 01:45:55.909 --> 01:45:58.689 when I saw that movie, the theater I saw it in 01:45:58.689 --> 01:46:02.369 had the air conditioning jacked all the way up. 01:46:02.829 --> 01:46:05.489 So it was freezing in there. And that just did 01:46:05.489 --> 01:46:07.890 something to the whole rain soaked feel of that 01:46:07.890 --> 01:46:11.770 movie. So I just, and I loved, I'll make this 01:46:11.770 --> 01:46:13.909 quick, but I love what I loved about that movie. 01:46:13.970 --> 01:46:15.590 And what kept me on the edge from seven from 01:46:15.590 --> 01:46:17.670 the beginning to end is like, I have not seen 01:46:17.670 --> 01:46:19.569 this movie before. I don't know what's going 01:46:19.569 --> 01:46:22.250 to happen next. When they're driving out at the 01:46:22.250 --> 01:46:24.329 end, I was like, I honestly don't know what the 01:46:24.329 --> 01:46:26.670 fuck is going to happen. And it was, it was after 01:46:26.670 --> 01:46:28.630 a period of movies where it's like, okay, here 01:46:28.630 --> 01:46:30.470 comes the scene where they do this. Here comes 01:46:30.470 --> 01:46:34.430 no surprises. And it was so thrilling to be sitting 01:46:34.430 --> 01:46:37.369 in a movie theater going. don't know what the 01:46:37.369 --> 01:46:40.130 fuck is gonna happen next i have no clue i can't 01:46:40.130 --> 01:46:43.449 oh my god this is amazing so i love i love shit 01:46:43.449 --> 01:46:46.090 like that it's rare it's very rare that that's 01:46:46.090 --> 01:46:48.489 what it's all about that what what a great way 01:46:48.489 --> 01:46:51.989 to end the show um yes and so thank you again 01:46:51.989 --> 01:46:54.909 michael and adam for coming on where can anybody 01:46:54.909 --> 01:46:57.729 find hearts of darkness oh uh right now just 01:46:57.729 --> 01:47:00.170 go to synapsefilms .com uh but if you want to 01:47:00.170 --> 01:47:02.069 order internationally right now you can go to 01:47:02.069 --> 01:47:05.369 orbit dvd or you can go to diabolic dvd and order 01:47:05.369 --> 01:47:07.630 it there we don't have many copies of the limited 01:47:07.630 --> 01:47:10.189 edition left there's only a few that are left 01:47:10.189 --> 01:47:12.550 and so if you can grab that but there will be 01:47:12.550 --> 01:47:15.710 another edition later on but it won't have everything 01:47:15.710 --> 01:47:18.689 that the double disc has so if you really want 01:47:18.689 --> 01:47:20.909 to get everything and you really do because otherwise 01:47:20.909 --> 01:47:23.090 um you know i'm just not going to think very 01:47:23.090 --> 01:47:25.909 much of you so go ahead and with it yeah just 01:47:25.909 --> 01:47:28.869 go get go get it uh but it's been doing very 01:47:28.869 --> 01:47:32.520 well uh but there aren't many left so okay Michael 01:47:32.520 --> 01:47:35.000 Felsher, Adam Marcus, thank you again so much 01:47:35.000 --> 01:47:38.100 for coming on the show. This was such a thrill 01:47:38.100 --> 01:47:42.000 for me. So audience, give us some feedback on 01:47:42.000 --> 01:47:44.340 this one. This was a great fucking show. Until 01:47:44.340 --> 01:47:46.520 next time, stay shitless.