The Exorcist (1973) – The film, the franchise, and the "curse" behind it
The LorehoundsOctober 27, 202602:27:00134.6 MB

The Exorcist (1973) – The film, the franchise, and the "curse" behind it

This year’s Elevenses film club Spooktober special goes deep into the first horror film ever to be nominated for an Academy Award for Best Picture: The Exorcist (1973). Elysia, David, and John bring their range of experiences – from lifelong aficionado to first-time watcher – into a discussion delving into the special collaboration between book author / screenwriter William Blatty and director William Friedkin, and how this movie helped to define their already exceptional careers. Along the way, they discuss the franchise as a whole, the alleged “curse” behind the production, behind-the-scenes stories, and what’s coming next in The Exorcist universe.

The Exorcist franchise:


Other key links discussed:


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00:30 --> 00:36 [UNKNOWN]: David, I want you to know that I was wiggling along with the music too, even though you can't see me here.
00:36 --> 00:37 [UNKNOWN]: It's the midnight hour.
00:37 --> 00:41 [UNKNOWN]: And you cried no more camera.
00:41 --> 00:42 [UNKNOWN]: Yeah, hello, I'm Malaysia.
00:42 --> 00:45 [UNKNOWN]: Welcome to the Laura Hounds, the horror hounds.
00:45 --> 00:56 [UNKNOWN]: This is our annual public episode to celebrate Spooktober 11Z style, which is normally our subscriber only movie club.
01:00 --> 01:02 [UNKNOWN]: So this year, the theme is the exorcist.
01:02 --> 01:03 [UNKNOWN]: We'll get to that in a moment.
01:03 --> 01:07 [UNKNOWN]: But we have this episode for all listeners.
01:08 --> 01:11 [UNKNOWN]: Wherever you might be listening, we're going to talk about the original film.
01:11 --> 01:16 [UNKNOWN]: Subscribers will not only get ad for access to this and all episodes, of course.
01:16 --> 01:25 [UNKNOWN]: But also get an extra episode where we pit exorcists to the heretic against the exorcist 3.
01:25 --> 01:27 [UNKNOWN]: And yes, of course, we know who's going to win.
01:27 --> 01:28 [UNKNOWN]: But that's not the point.
01:30 --> 01:32 [UNKNOWN]: because you is such a delicious, delicious movie.
01:33 --> 01:35 [UNKNOWN]: Yeah, it's going to be fun to talk about.
01:35 --> 01:37 [UNKNOWN]: It is a singular movie.
01:37 --> 01:42 [UNKNOWN]: So thank you, David and John for joining to talk about this.
01:42 --> 01:44 [UNKNOWN]: John, this is actually your pick, that one.
01:44 --> 01:49 [UNKNOWN]: I'm just that great, you know, like the zoosia, we all know how to pick our victims.
01:50 --> 01:52 [UNKNOWN]: And yeah, I'm excited to be here.
01:52 --> 01:53 [UNKNOWN]: I've never seen this before.
01:54 --> 01:57 [UNKNOWN]: very exciting landmark film to catch up on, I think.
01:58 --> 02:09 [UNKNOWN]: So the way that 11Z's work for anyone who doesn't know is we each pick a film and then we let the die pick a fourth film actually strike that reverse hit the die goes first.
02:09 --> 02:13 [UNKNOWN]: But anyway, we get four options that we put out for a vote.
02:13 --> 02:15 [UNKNOWN]: So that's what we did this time.
02:16 --> 02:20 [UNKNOWN]: And the four options were the excessist, which ended
02:23 --> 02:23 [UNKNOWN]: actually.
02:24 --> 02:25 [UNKNOWN]: I think Pazuzu was the winning vote.
02:25 --> 02:27 [UNKNOWN]: So that's one of them came in.
02:29 --> 02:31 [UNKNOWN]: Pazuzu's ass has his pizazz.
02:32 --> 02:37 [UNKNOWN]: Because up until that point, Cloverfield was winning, the Cloverfield trilogy.
02:37 --> 02:39 [UNKNOWN]: Probably too.
02:39 --> 02:46 [UNKNOWN]: Yeah, yeah, it's actually surprised how well it was doing, but then the people clued in and were like, no, no, no, no, it has to be the exorcist.
02:46 --> 02:50 [UNKNOWN]: Third place went to the talking to the dead films.
02:51 --> 03:04 [UNKNOWN]: The most trying to convince people of there was a a lordown between talk to me and oddity to recent films and then also for subscribers between the frighteners and stir of echoes to films in the 90s I grew up with.
03:04 --> 03:11 [UNKNOWN]: and doing surprisingly poorly coming in in a distant last place was the train to Puson films.
03:12 --> 03:16 [UNKNOWN]: I was shocked that train to Puson did not do better.
03:17 --> 03:18 [UNKNOWN]: That's criminal.
03:18 --> 03:25 [UNKNOWN]: That is such a awesome movie and it just it ends on such a traumatic note.
03:25 --> 03:28 [UNKNOWN]: It really it lives on with me.
03:28 --> 03:39 [UNKNOWN]: Yeah, I mean, as does the one we're going to talk about today, I suppose, but I was surprised it into better, but I am not surprised that we're talking about the exorcist in the end.
03:39 --> 03:45 [UNKNOWN]: Of course, this is the film from 1973, and then subscribers will get there's two additional
03:52 --> 03:59 [UNKNOWN]: before we get into the film's justice set this stage because people are probably confused like how many exorcist movies are there?
03:59 --> 04:00 [UNKNOWN]: What's the deal?
04:00 --> 04:01 [UNKNOWN]: What's their interconnectivities?
04:01 --> 04:04 [UNKNOWN]: They're just to run through it quickly.
04:04 --> 04:10 [UNKNOWN]: This whole franchise started with this 1971 book The Exorcist by William Peter Blattie.
04:11 --> 04:17 [UNKNOWN]: And we'll talk more about the book in a minute, but two years after that, he got his good friend.
04:17 --> 04:22 [UNKNOWN]: William Friedkin to direct this film, which Bladdy wrote the screen play for.
04:23 --> 04:27 [UNKNOWN]: And there are two versions out there in the world.
04:27 --> 04:31 [UNKNOWN]: The original theatrical cut is 122 minutes long.
04:31 --> 04:37 [UNKNOWN]: Versus, there was a new release in the year 2000, that's 132 minutes long.
04:37 --> 04:39 [UNKNOWN]: It's called the version you've never seen.
04:40 --> 04:43 [UNKNOWN]: Some people call the director's cut, which is a misnomer because the original's the director's cut.
04:43 --> 04:44 [UNKNOWN]: This is more like,
04:45 --> 04:57 [UNKNOWN]: the screen writer's cut because basically like Friedkin put some more subliminal blipies in there, things that he likes, not really subliminal, but, you know, there's those fast shots.
04:57 --> 05:04 [UNKNOWN]: But most of the things that were added back in were at the behest of Bladdy who really thought they were important scenes.
05:04 --> 05:14 [UNKNOWN]: So this includes the spider walk, this includes, yeah, more, the extended ending, the upbeat ending, final notes,
05:15 --> 05:20 [UNKNOWN]: like that came from the novel, which Friedkin thought we're a supplier for superfluous.
05:20 --> 05:20 [UNKNOWN]: I can say that.
05:21 --> 05:22 [UNKNOWN]: Um, speaking this well.
05:22 --> 05:23 [UNKNOWN]: Yeah.
05:25 --> 05:28 [UNKNOWN]: But okay, so I know I went out of my way.
05:28 --> 05:30 [UNKNOWN]: It's actually harder to find the theatrical cup.
05:30 --> 05:34 [UNKNOWN]: But I ended up finding that and watching it just to revisit that.
05:34 --> 05:36 [UNKNOWN]: David, I know you watched the extended version.
05:37 --> 05:38 [UNKNOWN]: Which did you watch, Judd?
05:40 --> 06:03 [UNKNOWN]: I watched the theatrical I believe I didn't pay attention to the version was there a spider walking it yeah upside down do do do do down then I did watch the extent yes what at the late wait so you're telling me that there was no spider walk in the original because that's just a travesty I mean you know when I heard the spider man theme come in I was a little
06:06 --> 06:13 [UNKNOWN]: When Regan was wearing the Spider-Man costume, it was like really took it to the next level for me.
06:13 --> 06:16 [UNKNOWN]: I love the way that Pazuzu says the whip, the whip.
06:16 --> 06:17 [UNKNOWN]: Yeah.
06:19 --> 06:21 [UNKNOWN]: My demon senses are tingling.
06:21 --> 06:24 [UNKNOWN]: Well, hey, now that's not this kind of podcast.
06:24 --> 06:26 [UNKNOWN]: It's kind of podcast.
06:27 --> 06:30 [UNKNOWN]: Well, that kind of film kind of.
06:30 --> 06:31 [UNKNOWN]: Yeah.
06:31 --> 06:31 [UNKNOWN]: True.
06:34 --> 06:53 [UNKNOWN]: but yeah so okay so that that was the original film came out nineteen seventy three uh... the rest of the trilogy we're gonna talk about as i said there's um... exorcist to the heretic nineteen seventy seven exorcist three nineteen ninety one of these is more widely beloved than the other you might already know that but
06:54 --> 06:56 [UNKNOWN]: I grew up loving and watching them both.
06:56 --> 07:00 [UNKNOWN]: I have a soft spot for exorcist too, and I'm excited.
07:00 --> 07:07 [UNKNOWN]: I'm going to use this as an opportunity to watch a new documentary that's been making the rounds at festivals called Borman and the Devil.
07:08 --> 07:19 [UNKNOWN]: which is all about how this, you know, Oscar winning high profile director got drawn into this and how this became like a stumbling block at his successful career.
07:19 --> 07:19 [UNKNOWN]: So.
07:19 --> 07:23 [UNKNOWN]: Need to see Richard Burton on the downslope of his career?
07:23 --> 07:24 [UNKNOWN]: Weee!
07:26 --> 07:29 [UNKNOWN]: He didn't mind anyway, he was softened it all the way down.
07:30 --> 07:32 [UNKNOWN]: I should not defame him so badly.
07:33 --> 07:34 [UNKNOWN]: I do love him.
07:34 --> 07:40 [UNKNOWN]: I have an extra affection for him after watching that biopic of him that came out last year.
07:40 --> 07:41 [UNKNOWN]: I don't think I saw that.
07:41 --> 07:42 [UNKNOWN]: It was that, uh, no, yeah, I don't know.
07:43 --> 07:43 [UNKNOWN]: I missed that.
07:44 --> 07:44 [UNKNOWN]: But okay.
07:44 --> 07:46 [UNKNOWN]: So that is the original trilogy.
07:46 --> 07:53 [UNKNOWN]: And that's where our coverage is going to stop but just to talk about the other films that are out there to clarify.
07:54 --> 07:58 [UNKNOWN]: Their, uh, the next movies released was a set of dueling prequels.
07:59 --> 08:16 [UNKNOWN]: Um, so these are both about the younger father, Marin, about his exorcism in Africa, where he, in Egypt and Kenyan, where he first encountered Pizuzu, um, and where he's played by Stellan Skarskard.
08:16 --> 08:21 [UNKNOWN]: And so there's two films that came out of this, Exorcist, the beginning from 2004, directed
08:26 --> 08:35 [UNKNOWN]: And Dominion prequel to the accesses came out a year later, which was directed by Paul Shrader.
08:36 --> 08:41 [UNKNOWN]: So I did watch them both, because I'm glad I did, but they're not good films.
08:42 --> 08:44 [UNKNOWN]: They both kind of miss the point.
08:44 --> 08:49 [UNKNOWN]: They contradict what happens at XSS2, so they're not canon to me.
08:51 --> 09:02 [UNKNOWN]: And then yeah, the actresses at the beginning 2.1 on on letterboxed out, I think it's the worst out of maybe all of them would you wow that's saying something
09:04 --> 09:22 [UNKNOWN]: But this is where I was saying that Tensie Gardem with the God-going road podcast to do an episode about how, basically, what happened here was, um, Paul Strader, well, he wasn't the original director, a lot went on, but he made, you know,
09:23 --> 09:25 [UNKNOWN]: put together this version.
09:25 --> 09:31 [UNKNOWN]: And the studio said, no, it's not sensational on that for us.
09:31 --> 09:41 [UNKNOWN]: So they took it away from him, gave it to Rene Harlan, who had rewritten and re-shot a bunch of the movie.
09:41 --> 09:44 [UNKNOWN]: So there's some footage is the same in both, some that's different.
09:44 --> 09:47 [UNKNOWN]: And there are two different versions of the same story.
09:50 --> 09:56 [UNKNOWN]: The 2005 one, which most people consider better, is like, oh, there's too much character development.
09:56 --> 10:07 [UNKNOWN]: And, you know, and to be fair, the second one, Dominion prequels of the actresses is sitting at 2.3 on their part.
10:07 --> 10:14 [UNKNOWN]: No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no.
10:14 --> 10:15 [UNKNOWN]: marginally.
10:15 --> 10:15 [UNKNOWN]: Yeah.
10:16 --> 10:16 [UNKNOWN]: Yeah.
10:16 --> 10:18 [UNKNOWN]: No, they're both rough.
10:18 --> 10:19 [UNKNOWN]: And it's not the cast fault.
10:19 --> 10:20 [UNKNOWN]: Both have great casts.
10:21 --> 10:25 [UNKNOWN]: Um, but I would love a documentary about those.
10:25 --> 10:25 [UNKNOWN]: Yeah.
10:25 --> 10:25 [UNKNOWN]: Right.
10:25 --> 10:26 [UNKNOWN]: A deep diving to it.
10:26 --> 10:30 [UNKNOWN]: Well, next time I talk to Tanzia, I'll float the idea for sure.
10:30 --> 10:34 [UNKNOWN]: Because yeah, there's some special stuff in, if, in two at least.
10:34 --> 10:36 [UNKNOWN]: They haven't seen the others, but I did watch two.
10:36 --> 10:39 [UNKNOWN]: Well, well, two has Borman and the devil is the documentary about two.
10:39 --> 10:40 [UNKNOWN]: So that one's taken.
10:40 --> 10:40 [UNKNOWN]: Okay.
10:41 --> 10:41 [UNKNOWN]: That's
10:44 --> 10:49 [UNKNOWN]: but then the sequels get even more complicated because there's mostable branches of sequels.
10:50 --> 11:02 [UNKNOWN]: So we have the original trilogy that we're talking about in our duality, but there's also alternatively what's called the Bladdy trilogy or the trilogy of Faith
11:04 --> 11:13 [UNKNOWN]: And basically, it's the same as the original trilogy, only you replace Exorcist II with Blatties film the ninth configuration from 1980.
11:13 --> 11:27 [UNKNOWN]: And this is the reason for doing this is basically Blattie has a trilogy of faith books, which is the original Exorcist, the ninth configuration, and his third book, Legion, which is what was turned directly into Exorcist III.
11:29 --> 11:49 [UNKNOWN]: So, um, but the ninth configuration has very little to do with the others, basically remember in the scene in the party by the way, spoilers for the exorcist incoming now, I guess, um, this isn't really spoiler, but the scene at the party where Reagan, who's possessed, says to the astronaut, you're going to die up there.
11:50 --> 11:50 [UNKNOWN]: Right.
11:50 --> 11:51 [UNKNOWN]: Oh, yeah.
11:51 --> 11:51 [UNKNOWN]: Yeah.
11:51 --> 11:51 [UNKNOWN]: I remember that.
11:52 --> 11:53 [UNKNOWN]: they get slightly more attention in the book.
11:54 --> 11:57 [UNKNOWN]: And the ninth configuration is about that astronaut.
11:58 --> 12:00 [UNKNOWN]: He was went to his space mission freaked out.
12:01 --> 12:06 [UNKNOWN]: Didn't want to tell anyone why refused to go up and it follows what happens after that.
12:07 --> 12:10 [UNKNOWN]: That's actually kind of a kind of a fun little hawk though.
12:10 --> 12:10 [UNKNOWN]: I kind of like that.
12:10 --> 12:11 [UNKNOWN]: Yeah, of that.
12:12 --> 12:28 [UNKNOWN]: No, it's a well-regarded film, it's, um, so it ended up bloody ended up not only he wrote all three films, but he also directed both the 9th configuration and XSS3, the screenwriter, and the original book author.
12:28 --> 12:31 [UNKNOWN]: So yeah, um, so that's another way to do it.
12:32 --> 12:38 [UNKNOWN]: And then there's alternatively different, there's the XSSTV series,
12:41 --> 12:42 [UNKNOWN]: a direct sequel.
12:42 --> 12:43 [UNKNOWN]: It was it's actually David.
12:44 --> 12:46 [UNKNOWN]: They have a TV series for everything now.
12:46 --> 12:49 [UNKNOWN]: They just made a front of the 13th prequel series.
12:50 --> 12:52 [UNKNOWN]: Yeah.
12:52 --> 12:54 [UNKNOWN]: This TV series from I didn't even realize that.
12:54 --> 12:55 [UNKNOWN]: Twenty six.
12:55 --> 12:56 [UNKNOWN]: Twenty seventeen.
12:56 --> 12:58 [UNKNOWN]: This is, um, it's well-regarded.
12:58 --> 12:59 [UNKNOWN]: It's well-regarded.
12:59 --> 12:59 [UNKNOWN]: All right.
12:59 --> 12:59 [UNKNOWN]: All right.
13:00 --> 13:00 [UNKNOWN]: I haven't seen it yet.
13:01 --> 13:05 [UNKNOWN]: I want to want you at least a couple episodes before we do our TV taste.
13:05 --> 13:05 [UNKNOWN]: Yeah.
13:06 --> 13:09 [UNKNOWN]: I've been meaning to watch it ever since it came out because people always
13:10 --> 13:32 [UNKNOWN]: Two seasons 10 episodes each aired on Fox now you have to go hunting for it a little bit and then most recently There was a different sequel called the Exorcist Believer released in 2023 directed by David Gordon Green and That one is the other Ruffist of the scores
13:35 --> 13:39 [UNKNOWN]: What does it even have to, oh, it's not there, okay.
13:40 --> 13:41 [UNKNOWN]: I can look it up real quick if you want.
13:41 --> 13:43 [UNKNOWN]: Yeah, yeah, I know I'm curious how it compares to it.
13:43 --> 13:45 [UNKNOWN]: Thanks, configuration is at 3.6, so.
13:46 --> 13:48 [UNKNOWN]: Yeah, yeah, no, that's well-regarded.
13:48 --> 13:48 [UNKNOWN]: Yeah.
13:49 --> 13:50 [UNKNOWN]: Go away thing.
13:50 --> 14:07 [UNKNOWN]: And then speaking of Carrie, John, that you just brought up, the next great hope for the Exorcist is a soft reboot of sorts coming out next year, directed by Mike Flanagan with all of his usual Flanahord people, you know, the people.
14:07 --> 14:08 [UNKNOWN]: Yeah, hard as I would have told.
14:08 --> 14:10 [UNKNOWN]: No, I just thought it is now.
14:11 --> 14:11 [UNKNOWN]: It is now.
14:13 --> 14:15 [UNKNOWN]: And that's gonna match it on a t-shirt.
14:15 --> 14:16 [UNKNOWN]: Yeah.
14:16 --> 14:18 [UNKNOWN]: That's gonna be called the Exorcist Martyrs.
14:18 --> 14:20 [UNKNOWN]: And you can already watch that trailer's already out.
14:21 --> 14:24 [UNKNOWN]: It's got like an a-list cast.
14:25 --> 14:30 [UNKNOWN]: And Flanagan says this will kind of be a sequel to the Exorcist 3.
14:31 --> 14:35 [UNKNOWN]: And if you know the Exorcist 3 and you watch the trailer, you can see that.
14:37 --> 14:41 [UNKNOWN]: Oh, wow, Scarlett Johansson, chit-away, Dan Lane.
14:42 --> 14:43 [UNKNOWN]: Yeah, that's a nice guy.
14:43 --> 14:44 [UNKNOWN]: That's a good looking cast there.
14:45 --> 14:48 [UNKNOWN]: Lawrence Fishburn, John Leguzamo, come on.
14:49 --> 14:51 [UNKNOWN]: Like was, I don't know.
14:51 --> 14:54 [UNKNOWN]: The other film, oh, where did it go?
14:54 --> 14:55 [UNKNOWN]: I lost my little thing.
14:55 --> 14:56 [UNKNOWN]: Exorcist Believer, 2.1.
14:58 --> 15:02 [UNKNOWN]: Okay, yeah, so sitting right down there on the bottom of the scale.
15:02 --> 15:09 [UNKNOWN]: It was like a two-point one is like they made a film Period that's I have not watched that one yet.
15:09 --> 15:21 [UNKNOWN]: I will watch it after every watch the You know the ones we're actually gonna cut for I do know they're that Linda Blair shows up Is it an adult rake in for a cameo?
15:21 --> 15:25 [UNKNOWN]: Oh, wow Get the check, you know get that bag
15:26 --> 15:40 [UNKNOWN]: but okay so that is that's the exorcist franchise as it stands now um now John let's start with you this was your pick it was your first time watching what like what were your ideas about this film going in
15:41 --> 15:47 [UNKNOWN]: Oh boy, should we, let me ask you something, should we do a compliment sandwich because I have mixed feelings about this movie?
15:47 --> 15:50 [UNKNOWN]: Okay, okay.
15:50 --> 15:51 [UNKNOWN]: Should we have David go first?
15:52 --> 15:58 [UNKNOWN]: As long as it's got that green vomitist stuff in there as the sandwich meat or is it the economy?
15:58 --> 16:00 [UNKNOWN]: The economy is the piece soup.
16:00 --> 16:01 [UNKNOWN]: Yeah.
16:01 --> 16:01 [UNKNOWN]: Yeah.
16:03 --> 16:15 [UNKNOWN]: I think part of this is I'm now so de-sensitized to harm movies because I've lived through all the errors now, you know, that I was almost brought up my long Island.
16:15 --> 16:19 [UNKNOWN]: I was like errors, I was about to say errors, but I'm a little bit violent.
16:20 --> 16:27 [UNKNOWN]: I just think that it would have been so terrifying to me, one as a kid, or if I had seen it when it came out.
16:29 --> 16:31 [UNKNOWN]: I think some of the scares, I was like kind of laughing.
16:31 --> 16:33 [UNKNOWN]: Like the spider walk, like I'm laughing at it.
16:35 --> 16:38 [UNKNOWN]: You know, this spinning around has become so
16:39 --> 16:40 [UNKNOWN]: ready to enter design.
16:40 --> 16:41 [UNKNOWN]: It's complete.
16:41 --> 16:42 [UNKNOWN]: Yeah.
16:42 --> 16:42 [UNKNOWN]: Yeah.
16:42 --> 16:43 [UNKNOWN]: There was a lot to see.
16:44 --> 16:44 [UNKNOWN]: Right.
16:44 --> 16:45 [UNKNOWN]: Exactly.
16:45 --> 16:47 [UNKNOWN]: It's a little disappointed.
16:47 --> 16:47 [UNKNOWN]: Well, I knew that.
16:47 --> 16:51 [UNKNOWN]: Because I've seen, you know, I've seen the scary movie parodies where they parody that.
16:51 --> 16:55 [UNKNOWN]: And something that was interesting was there were some.
16:57 --> 17:04 [UNKNOWN]: very disturbing lines of course that Reagan says in the course of speaking to psychiatrists and priests and such.
17:05 --> 17:14 [UNKNOWN]: And I had thought that those were poor taste jokes from the scary movie franchise and I was like, no, that's just from the original movie.
17:15 --> 17:16 [UNKNOWN]: It's from the book too.
17:16 --> 17:18 [UNKNOWN]: I was like, oh, that's that's just there.
17:18 --> 17:23 [UNKNOWN]: They just ripped that line by line I didn't see that as Gary movie version.
17:23 --> 17:24 [UNKNOWN]: I was like, well, that's too far.
17:25 --> 17:29 [UNKNOWN]: I mean that's too far of a parody and then the extra says you I don't really like, oh Why I guess
17:30 --> 17:32 [UNKNOWN]: I guess you didn't go any further.
17:32 --> 17:38 [UNKNOWN]: Yeah, that was the most disturbing thing to me, but that said, there were some highlights.
17:38 --> 17:42 [UNKNOWN]: I think I should not have watched the extended version of my first watch.
17:42 --> 17:45 [UNKNOWN]: It's the same thing with other things like the Lord of the Rings.
17:46 --> 17:50 [UNKNOWN]: You know, we all watch, I watch the extended versions now because I love it and I experience it all.
17:51 --> 18:01 [UNKNOWN]: But when you're first showing some of the Peter Jackson movies, show them the theatrical, give them the meat and potatoes first, potato is boiled and has to stick them to stew.
18:01 --> 18:06 [UNKNOWN]: But the point is, I don't know, you have to listen to the eagle eyes podcast that do when I rip.
18:06 --> 18:06 [UNKNOWN]: Okay.
18:06 --> 18:07 [UNKNOWN]: I'm going to do it here.
18:08 --> 18:10 [UNKNOWN]: Dov pronounced the word tomato.
18:12 --> 18:13 [UNKNOWN]: tomorrow.
18:13 --> 18:13 [UNKNOWN]: Yeah.
18:14 --> 18:14 [UNKNOWN]: All right.
18:14 --> 18:18 [UNKNOWN]: Well wait till wait till he comes on for rerun the revolution.
18:19 --> 18:23 [UNKNOWN]: Um my point is I'd like to report.
18:30 --> 18:35 [UNKNOWN]: I'm sorry, what do they, what do they call them in England?
18:35 --> 18:37 [UNKNOWN]: They don't really have cops there, right?
18:37 --> 18:38 [UNKNOWN]: No, they don't.
18:38 --> 18:39 [UNKNOWN]: The Bobby, no.
18:39 --> 18:41 [UNKNOWN]: Oh, the Bobby, they just have sex, right?
18:41 --> 18:42 [UNKNOWN]: They don't even have sex.
18:42 --> 18:51 [UNKNOWN]: No, I'm trying to imitate a vision-quest character imitating a British accent talking about police, but they're going to very sternly tell that thief to stop doing that.
18:55 --> 18:56 [UNKNOWN]: Okay.
18:56 --> 18:57 [UNKNOWN]: Where are we?
18:57 --> 18:58 [UNKNOWN]: Where are we?
18:58 --> 18:59 [UNKNOWN]: I love it, I do.
18:59 --> 19:03 [UNKNOWN]: So what was your thoughts about it, like, growing up?
19:04 --> 19:09 [UNKNOWN]: And yeah, I mean, yeah, I mean, again, like, I saw a scary movie stuff first.
19:09 --> 19:22 [UNKNOWN]: I was probably my first exposure to a specific scares, which is kind of funny that like, you know, projectile vomiting becomes meamed up and all the horrible things were again saying or dancing.
19:22 --> 19:24 [UNKNOWN]: I think at one point in the scary movie,
19:24 --> 19:25 [UNKNOWN]: franchise.
19:25 --> 19:32 [UNKNOWN]: That said, I did enjoy like from the time the exorcism started to the end.
19:32 --> 19:34 [UNKNOWN]: I was like, this is straight Bang or material.
19:34 --> 19:35 [UNKNOWN]: This is great.
19:36 --> 19:38 [UNKNOWN]: I just think it took a long time to get there.
19:38 --> 19:40 [UNKNOWN]: And I'm not against a slow burn film.
19:41 --> 19:42 [UNKNOWN]: I've seen the filters and it would be twice.
19:45 --> 19:49 [UNKNOWN]: It was a little slow for me, a little too slow for me.
19:50 --> 19:56 [UNKNOWN]: And again, I think it's just I should not have watched the extended version on my first time.
19:56 --> 20:00 [UNKNOWN]: Now that you told me that, it's re-contextualized a little bit for me.
20:00 --> 20:02 [UNKNOWN]: And I want to go back and watch the theatrical.
20:02 --> 20:09 [UNKNOWN]: Yeah, I've said I had to dig harder to find the theatrical version because it seems like the extended version has taken over.
20:09 --> 20:14 [UNKNOWN]: And until I watched the theatrical version this time, but then I found afterwards.
20:14 --> 20:17 [UNKNOWN]: And then I watched like a little video just comparing the differences.
20:17 --> 20:28 [UNKNOWN]: And like, oh yeah, a lot of the conversations that I remembered because I grew up watching the original because the extended version didn't come out until 2000 when I was graduating high school.
20:31 --> 20:38 [UNKNOWN]: Yeah, but then since then, it's always been that and a lot of my favorite conversations now, I realized aren't in the original.
20:39 --> 20:43 [UNKNOWN]: But that's because like I'm like, oh, I want more character depth and things like that.
20:43 --> 20:46 [UNKNOWN]: If I were watching it for the first time, I can imagine feeling differently.
20:47 --> 20:47 [UNKNOWN]: Yeah.
20:47 --> 20:47 [UNKNOWN]: Yeah.
20:48 --> 20:49 [UNKNOWN]: But anyway, I enjoyed it.
20:49 --> 20:51 [UNKNOWN]: Like I did, I don't regret watching it.
20:51 --> 20:52 [UNKNOWN]: It was enjoyable.
20:52 --> 20:55 [UNKNOWN]: It's part of the current watching exercises too.
20:55 --> 20:57 [UNKNOWN]: It's the part of the camera.
20:57 --> 20:59 [UNKNOWN]: I think going to do it, it's still enjoying it.
20:59 --> 21:01 [UNKNOWN]: It's part of the horror canon and I'm glad I watched it.
21:01 --> 21:03 [UNKNOWN]: It's, I feel like, yeah, it's in place.
21:04 --> 21:05 [UNKNOWN]: It's actually an important foundational.
21:05 --> 21:06 [UNKNOWN]: Right.
21:06 --> 21:09 [UNKNOWN]: Like the conjuring does not exist without the exercises, right?
21:09 --> 21:14 [UNKNOWN]: The first conjuring would be is very much taking from the exercises.
21:14 --> 21:14 [UNKNOWN]: And Paul took it.
21:14 --> 21:15 [UNKNOWN]: He's doing it.
21:15 --> 21:16 [UNKNOWN]: And Paul took it, guys.
21:17 --> 21:18 [UNKNOWN]: So we got the hits going on here.
21:18 --> 21:19 [UNKNOWN]: We got the hits.
21:19 --> 21:21 [UNKNOWN]: When did we do plans, okay, was that two years ago or what?
21:21 --> 21:24 [UNKNOWN]: Yeah, two, nose, two years last year was weapons.
21:25 --> 21:25 [UNKNOWN]: Right, that's right.
21:26 --> 21:32 [UNKNOWN]: Yeah, anyway, I think it's an important cultural cornerstone.
21:33 --> 21:35 [UNKNOWN]: It was very enjoyable by the end.
21:36 --> 21:42 [UNKNOWN]: And, you know, let's get, I think that Nickelodeon exists because of this movie, too, with the green slime.
21:42 --> 21:42 [UNKNOWN]: Yeah.
21:45 --> 21:48 [UNKNOWN]: That's all I got from out takes I think.
21:49 --> 22:04 [UNKNOWN]: Okay, so David, I know you have a bigger backstory with it, and you actually in prior years, you did not pick it this year, but in prior years you had considered it, or it hoped that it might be up for selection for this.
22:05 --> 22:09 [UNKNOWN]: And what's your overall experience with it and what do you think about it this time?
22:10 --> 22:14 [UNKNOWN]: When, okay, or was it the Omen that had the reboot a couple of years ago?
22:14 --> 22:15 [UNKNOWN]: That was another one that I think I was.
22:16 --> 22:18 [UNKNOWN]: Well, I mean, this also had a reboot a couple of years ago.
22:18 --> 22:18 [UNKNOWN]: Yeah, yeah.
22:18 --> 22:19 [UNKNOWN]: That's what I was trying to remember.
22:20 --> 22:24 [UNKNOWN]: If it was Omen or actresses that was buzzing around in my bonnet.
22:24 --> 22:24 [UNKNOWN]: But...
22:25 --> 22:43 [UNKNOWN]: But it is a classic as John said in a foundational horror film and I'm glad it was picked and I had a lot of fun watching it the other night I was trying to reconstruct my memories about when or how I saw this first
22:44 --> 22:48 [UNKNOWN]: So this would have been, I would have been like three when this came out.
22:49 --> 22:53 [UNKNOWN]: And all I remember, say, saw it in the theater.
22:53 --> 22:54 [UNKNOWN]: Yeah, exactly.
22:54 --> 23:04 [UNKNOWN]: Yeah, my parents took me opening nights in, you know, that it was just part of our cultural landscape it was just, there were just features of it.
23:06 --> 23:10 [UNKNOWN]: Out there in the world and just like with Alien and a bunch of other stuff,
23:11 --> 23:12 [UNKNOWN]: It was just there.
23:12 --> 23:20 [UNKNOWN]: It was just omnipresent and you couldn't escape not having parts of it, parts and pieces of it floating around in the world.
23:20 --> 23:31 [UNKNOWN]: I probably saw the Richard prior Saturday night live skit, which was released in 1975 before I actually saw the first movie.
23:32 --> 23:34 [UNKNOWN]: And I don't have you seen the Richard prior skip.
23:34 --> 23:35 [UNKNOWN]: I have not.
23:35 --> 23:36 [UNKNOWN]: Okay.
23:36 --> 23:42 [UNKNOWN]: You need to watch that and I will put a link in the in the chat.
23:42 --> 23:44 [UNKNOWN]: I think I did I already put a link in the discord.
23:45 --> 23:46 [UNKNOWN]: Yeah, I think so.
23:46 --> 23:48 [UNKNOWN]: There's actually a link here in the show notes for the down to.
23:48 --> 23:49 [UNKNOWN]: Okay, perfect.
23:49 --> 23:51 [UNKNOWN]: So, and I might slip in a in post production.
23:51 --> 23:54 [UNKNOWN]: I might put in a clip from that from that.
23:55 --> 23:58 [UNKNOWN]: That lived larger just like
23:59 --> 24:14 [UNKNOWN]: John Blushi singing Joe like doing Joe Cocker or Beetle songs like the or Eddie Murphy with James Brown and too hot in hot tub or Mister Rogers or Mister Rogers.
24:14 --> 24:16 [UNKNOWN]: Yeah, Mister Robinson's neighborhood.
24:17 --> 24:23 [UNKNOWN]: Those things took on a life of their own and in some ways eclipsed the original.
24:29 --> 24:44 [UNKNOWN]: in the mid early mid 80s, mid early 80s something like that, you know, before like 81, 82 something like that, then I had thought I had known the movie, but never really.
24:45 --> 24:47 [UNKNOWN]: And I think the first time I actually saw the movie,
24:49 --> 24:59 [UNKNOWN]: my mom had been working out of town for a while and for whatever reason it was on TV like there was a version that they played on TV must have been around Halloween or something like that.
25:00 --> 25:02 [UNKNOWN]: So I watched it, my dad and I watched it.
25:03 --> 25:08 [UNKNOWN]: And I remember being so freaked out by the movie as a, you know, 10, 12, 13.
25:08 --> 25:11 [UNKNOWN]: Well, I must have been like 11, 12, something like that.
25:12 --> 25:21 [UNKNOWN]: That I slept in bed with my dad, because my room was on the far, far, far side of the house.
25:21 --> 25:29 [UNKNOWN]: I actually had to go through the garage and up it was sort of this repurposed space above the garage that had been finished off into a couple bedrooms.
25:32 --> 25:39 [UNKNOWN]: So I was so freaked out that I had to sleep in my dad at that pre-teen age.
25:39 --> 25:43 [UNKNOWN]: That's almost as terrifying like right to overcome that fear.
25:43 --> 25:46 [UNKNOWN]: Means I was really scared by the movie when that happened.
25:46 --> 25:46 [UNKNOWN]: Yeah.
25:48 --> 26:02 [UNKNOWN]: but so I and I don't think I can't remember seeing the film for so long and what really one of the things that really surprised me and I think maybe it was DB Mac or somebody also saying on the discord that day it forgotten how
26:04 --> 26:20 [UNKNOWN]: short the actual exorcism scene is it's the third actor i movie and it's the last short of twenty minutes or something maybe like it was at least a half hour maybe maybe you've extended it's a half hour it's short though right there's a lot a lot of a lot of build up
26:20 --> 26:34 [UNKNOWN]: But what I was noticing during the buildup was how tense I was getting and how anxious and the way that Friedkin is building the visual using the sound and creating that dramatic tension.
26:36 --> 26:57 [UNKNOWN]: And the medical examination stuff that was really disturbing, watching all those big machines, clacking and swinging around her, there's a bunch of stuff in there that, or following the Kara, and I'm going to say his name, Ron Damian, Kara's the priest around the stuff with his mother.
26:57 --> 27:01 [UNKNOWN]: So there was a ton of stuff that I had forgotten, regardless of the extended cut or not.
27:03 --> 27:06 [UNKNOWN]: And so I really enjoyed the first two acts of the movie.
27:07 --> 27:11 [UNKNOWN]: And then once we got into the third act, I was kind of more chocolate going like, oh, how are they going to end this?
27:11 --> 27:19 [UNKNOWN]: And of course, I have the Richard prior SNL skit embedded deep into my brain and not overwhelms almost everything about it.
27:20 --> 27:26 [UNKNOWN]: The bed must be on the floor, the bed is on my foot.
27:26 --> 27:29 [UNKNOWN]: There should be a name for the effect when, yes,
27:31 --> 27:34 [UNKNOWN]: He's seen your brain more than the original.
27:35 --> 27:38 [UNKNOWN]: There's a, there's a, yeah, I guess.
27:38 --> 27:50 [UNKNOWN]: There, well, what I'm thinking of is Tina Fey's impression of Sarah Palin, where, yes, I think, he rushed up for my window for my doorstep and that, that became misattributed to Sarah Palin.
27:51 --> 27:53 [UNKNOWN]: There is pose law, which is the idea that
27:54 --> 28:01 [UNKNOWN]: a good, when you're parading something extreme, the satire is indistinguishable from the reality.
28:02 --> 28:10 [UNKNOWN]: And you know what, you did you use to watch the Dave Chappelle show when Charlie Murphy told stories about Rick James?
28:11 --> 28:11 [UNKNOWN]: No.
28:12 --> 28:13 [UNKNOWN]: Yeah, he's like, yeah, I'm Rick James.
28:13 --> 28:14 [UNKNOWN]: We, I don't know.
28:14 --> 28:19 [UNKNOWN]: It was this whole iconic thing from when I was in college, but yeah, now I can't even think of Rick James without that.
28:19 --> 28:21 [UNKNOWN]: Because we have the Mandala effect, right?
28:21 --> 28:22 [UNKNOWN]: The Mandala effect, right?
28:22 --> 28:23 [UNKNOWN]: Yeah.
28:23 --> 28:25 [UNKNOWN]: And we have to try and misremember things.
28:25 --> 28:26 [UNKNOWN]: Right.
28:26 --> 28:27 [UNKNOWN]: But I agree.
28:27 --> 28:27 [UNKNOWN]: I'm seeing bears.
28:27 --> 28:28 [UNKNOWN]: I'm sure.
28:28 --> 28:30 [UNKNOWN]: Exactly exactly that.
28:30 --> 28:35 [UNKNOWN]: The, the, I think you're right, John, that there is something that that needs to be a cultural word from.
28:35 --> 28:35 [UNKNOWN]: Yeah.
28:36 --> 28:36 [UNKNOWN]: Yeah.
28:37 --> 28:46 [UNKNOWN]: So I was actually thinking more and more about the first two acts of the movie, especially the stuff in Iraq, and we'll talk about it.
28:46 --> 28:48 [UNKNOWN]: I think maybe we want to get into spoiler section.
28:49 --> 28:54 [UNKNOWN]: But there is, for me, there's this, and I have, of course, I have a blog post draft.
28:54 --> 28:55 [UNKNOWN]: I didn't finish it.
28:55 --> 29:01 [UNKNOWN]: I wanted to finish it by tonight, but it's in process, and maybe this conversation will help polish it up a little bit more.
29:02 --> 29:08 [UNKNOWN]: But there's this whole scene and unseen world, and there's this tension, and there's a way that freaking builds the tension in the movie.
29:09 --> 29:16 [UNKNOWN]: and the scenes from a rat going forward, and then there's a question about perception, what we can see and what we can know and what we can accept.
29:17 --> 29:24 [UNKNOWN]: So when we get into the more talking about the themes and the parts of the movie, I'll try to riff on on those ideas.
29:25 --> 29:31 [UNKNOWN]: But that I found far more interesting than the actual exorcism itself in this watch.
29:31 --> 29:36 [UNKNOWN]: And so I really enjoyed it for that for Axe 1 and 2 more so than act 3.
29:36 --> 29:38 [UNKNOWN]: Because act 3 really, it did.
29:38 --> 29:43 [UNKNOWN]: That's why Richard Pire made the skit because it was so large.
29:43 --> 29:50 [UNKNOWN]: It looms so large in the cultural vocabulary that it's almost the joke now.
29:51 --> 30:02 [UNKNOWN]: It's almost, you know, the alien, the xenomorph bursting out of what's his name's chest is almost the same thing, right?
30:02 --> 30:03 [UNKNOWN]: It's like we all know it.
30:03 --> 30:06 [UNKNOWN]: It's all it's been parodyed a million times and all this kind of stuff.
30:06 --> 30:09 [UNKNOWN]: Whatever this new law is that we have a coin to phrase for.
30:11 --> 30:15 [UNKNOWN]: So it was like watching the actresses and was like, huh, okay, that's funny.
30:15 --> 30:16 [UNKNOWN]: Oh, that's how they all I remember that.
30:16 --> 30:25 [UNKNOWN]: Yeah, that's all I forgot how that twisted out, you know, so yeah, but I was really, I really had a fun time watching it and I had a fun time.
30:25 --> 30:29 [UNKNOWN]: I'm going to try to watch, or at least get excesses three started tonight.
30:29 --> 30:30 [UNKNOWN]: So what about you, Alicia?
30:32 --> 30:41 [UNKNOWN]: Um, yeah, so this is was one of my or texts as a child, which sounds like weird one, but apparently I'm I'm far from alone in this.
30:42 --> 30:51 [UNKNOWN]: I don't know exactly how I came across it probably HBO, but this was also I know that the jaws was like the the horror.
30:52 --> 31:19 [UNKNOWN]: You know, break through film with my parents where they gave up and let me watch it with them and then found out that it actually I've talked about this before I won't go into it too much, but it calm down my nightmares because I had I was a child with a small child with an anxiety disorder and I would have nightmares that could rival or beat anything that you would find in any of these movies, but what these movies gave me were tools to
31:22 --> 31:31 [UNKNOWN]: you know, I was able to do loose a dreaming using these tools where I felt more empowered in my sleep to fight my anxieties.
31:31 --> 31:43 [UNKNOWN]: So this film, in particular, probably more than even any other, and I also, you know, I talked about where we'll films in another episode that's coming out this week for Spuktober, and we'll shift us.
31:43 --> 31:47 [UNKNOWN]: But both of these, these were recurring nightmares,
31:51 --> 31:59 [UNKNOWN]: made me feel like I could defeat them, and so my anxieties, because that's what nightmares are, it's your anxieties turned into dreams.
32:00 --> 32:10 [UNKNOWN]: I could literally blast them away with this language that this film taught me about confronting the darkness and willing it into the light.
32:12 --> 32:15 [UNKNOWN]: So I suppose that's why I especially liked it.
32:15 --> 32:17 [UNKNOWN]: I'll say, I think I do.
32:17 --> 32:20 [UNKNOWN]: It's growing up, I always liked the sequels even more.
32:20 --> 32:22 [UNKNOWN]: So I'm eager to talk about them.
32:22 --> 32:25 [UNKNOWN]: You just like to talk about two and a half weeks.
32:26 --> 32:28 [UNKNOWN]: This is like eating your vegetables to get to the dessert.
32:29 --> 32:30 [UNKNOWN]: But exactly.
32:31 --> 32:35 [UNKNOWN]: It is it's almost like for me aliens is the greater movie than over alien, right?
32:35 --> 32:38 [UNKNOWN]: Well, I'm kind of glad we regard it as the better movie.
32:38 --> 32:39 [UNKNOWN]: Is it not?
32:39 --> 32:42 [UNKNOWN]: No, aliens is not regarded as better than aliens.
32:42 --> 32:44 [UNKNOWN]: Absolutely not.
32:44 --> 32:49 [UNKNOWN]: I give alien, like at least two full stars more than aliens.
32:49 --> 32:50 [UNKNOWN]: Interesting, interesting.
32:50 --> 32:52 [UNKNOWN]: It said more, it's more traumatic, it's more art house film.
32:53 --> 32:54 [UNKNOWN]: Yeah, everybody did any podcast on alien.
32:57 --> 33:11 [UNKNOWN]: good subject matter aliens is like is the kick ass 80s action you know on steroids they're both action on my cup of tea yeah but alien is the more critically it does it's deservedly the more dramatic but
33:12 --> 33:23 [UNKNOWN]: movie and does deserve a higher star, even though at, you know, but again, it's the, oh, it's, it's, and I'm not knocking aliens, but it's the, it's the sequel.
33:23 --> 33:24 [UNKNOWN]: I don't know.
33:24 --> 33:26 [UNKNOWN]: I'm, now I'm just spinning out on.
33:26 --> 33:27 [UNKNOWN]: I'm not doing this.
33:27 --> 33:27 [UNKNOWN]: And now it's here.
33:27 --> 33:29 [UNKNOWN]: Carry on with your hot takes, Alicia.
33:30 --> 33:43 [UNKNOWN]: Um, no, anyway, so I said as I said, I watched the theatrical cut, I do wish that I had watched the extended one, but no, I'm glad I'm glad I revisited it and I do think it's where people should start if they read it.
33:43 --> 33:51 [UNKNOWN]: If they watch it for the first time, I just read the book finally for the first time, and I'll say the movie is extremely faithful.
33:51 --> 33:57 [UNKNOWN]: It's one of the most faithful adaptations I've ever encountered, but I'll point out some things that got dropped for the
33:58 --> 34:21 [UNKNOWN]: the the screen play writer is the book author right so there's a time fidelity yeah I'm thinking of in 30 rock there's a scene where Liz Lemon is trying Tina Fey is Liz Lemon is trying to better herself and she's like I'm going to read books now and she holds up murder on the Oregon Express and Jack Tana Ghee goes you know there's a movie with that right and she's the real song Trash
34:24 --> 34:25 [UNKNOWN]: Oh, it's not the same.
34:25 --> 34:26 [UNKNOWN]: I mean, I know, I know what it's like.
34:27 --> 34:27 [UNKNOWN]: Yeah, I know.
34:28 --> 34:34 [UNKNOWN]: I'm really glad that I read the book now, because it does, I think, also give more richness to my movie Watch, too.
34:34 --> 34:46 [UNKNOWN]: Because I'm like, oh, yeah, because like, there's, for example, at one point, Reagan mentions that her mom's assistant, she's with her in the park and a man comes on the horse, and I know,
34:47 --> 35:13 [UNKNOWN]: Because I read the book I can connect the dots the man on the horse that's why her assistants days behind at the end they had a romance going on in the background so interesting right yeah yeah just gives me I started to reading the slow horses first book and Because there's an ensemble cast on there one of the things he does in that book is he sets up all the characters and it's like oh that's why in the show this person is doing this or what's going on with that it is really helpful for.
35:14 --> 35:17 [UNKNOWN]: giving that dimensionality to the characters.
35:17 --> 35:25 [UNKNOWN]: And when you're lucky enough to have the novel, the original author as your screenplay writer, it doesn't always work that way.
35:25 --> 35:36 [UNKNOWN]: And it can't, because some writers can't write for screen, but that's a real benefit when you can that fidelity and that depth to the richness of the story.
35:37 --> 35:42 [UNKNOWN]: And it's correct to you to the misborn books about to be adapted with Brandon Sanders and writing the scripts.
35:43 --> 35:45 [UNKNOWN]: Wow, he's right.
35:45 --> 35:45 [UNKNOWN]: He's done with the first.
35:45 --> 35:47 [UNKNOWN]: He's done with some things Sam.
35:47 --> 35:48 [UNKNOWN]: Damn.
35:48 --> 35:51 [UNKNOWN]: Isn't he like, isn't he just like a machine, doesn't he just crank him out?
35:52 --> 35:57 [UNKNOWN]: People joke about like when he's signing books, they're like, see how you can't see his left hand.
35:57 --> 35:58 [UNKNOWN]: He's writing a book with it.
36:00 --> 36:01 [UNKNOWN]: See how you can't see his feet?
36:02 --> 36:04 [UNKNOWN]: Yeah, he's writing two more.
36:04 --> 36:05 [UNKNOWN]: Right.
36:05 --> 36:06 [UNKNOWN]: That's funny.
36:06 --> 36:07 [UNKNOWN]: Yeah.
36:08 --> 36:31 [UNKNOWN]: Um, but yeah, they about this movie, like these two guys together, they were already friends going in and it just seems like they really had a partnership on this and really pushing and pulling on each other the whole way and all of the decisions made and that's also why there's these two versions where at the end he's like, I just gave Vlad and his extra scenes back, you know, it's sickly.
36:33 --> 36:58 [UNKNOWN]: So Reed can hit just well and we're are we going to talk about more that stuff in a minute or is this Yes, we're going to talk about more of that stuff in a minute I just want to finish off my hot takes real quick is I just noticed with That this is it's prestige horror and so I like that I had such good tastes as a child But what I noticed on this watch and I suppose this is kind of
36:59 --> 37:10 [UNKNOWN]: one thing I always notice about it, maybe more as an adult, is that Reagan isn't actually the main character or even the second character of this movie, I don't think.
37:10 --> 37:11 [UNKNOWN]: But, true.
37:11 --> 37:12 [UNKNOWN]: She's a kind of a guffin.
37:13 --> 37:18 [UNKNOWN]: Yeah, but Linda Blair's performance is easily the most incredible.
37:18 --> 37:25 [UNKNOWN]: She puts, I mean, everyone's pulling their weight, but she goes above and beyond every adult in this cast.
37:26 --> 37:28 [UNKNOWN]: That is a good point, that is a very good point.
37:28 --> 37:29 [UNKNOWN]: And the versatility of it, too.
37:31 --> 37:33 [UNKNOWN]: So that's my standout as Linda Blair.
37:33 --> 37:34 [UNKNOWN]: Physicality.
37:34 --> 37:34 [UNKNOWN]: Absolutely.
37:34 --> 37:35 [UNKNOWN]: Star.
37:35 --> 37:36 [UNKNOWN]: Absolutely.
37:36 --> 37:36 [UNKNOWN]: Star.
37:37 --> 37:39 [UNKNOWN]: But yeah, OK.
37:39 --> 37:41 [UNKNOWN]: So this is our initial thoughts, our introduction.
37:42 --> 37:43 [UNKNOWN]: Let's take a quick break here.
37:43 --> 37:49 [UNKNOWN]: And when we come back, we're going to talk more about the infamous production of this film.
37:57 --> 37:58 [UNKNOWN]: And we are back.
37:58 --> 38:13 [UNKNOWN]: So we've already set up a bit William Peter Blattie is author slash screenwriter of this film and the book it's based on just to summarize his life quickly because it does actually quite play into the film itself.
38:14 --> 38:16 [UNKNOWN]: He was himself who's born and raised in New York City.
38:16 --> 38:19 [UNKNOWN]: He's the youngest child of Lebanese immigrants.
38:20 --> 38:24 [UNKNOWN]: He got his bachelor's degree in English from Georgetown University, the set.
38:24 --> 38:28 [UNKNOWN]: of the setting of the film, graduated in 1950.
38:29 --> 38:42 [UNKNOWN]: He was there on scholarship and he did go on to get a master's from George Washington as well and after that joined the Air Force and served in the psychological warfare division.
38:44 --> 38:51 [UNKNOWN]: and worked for the U.S. Information Agency in Barut as Barut as well.
38:51 --> 39:02 [UNKNOWN]: So, you can see all of this playing into this, and, you know, we'll also talk about some of this more with the Exorcist III, when we get to that episode.
39:02 --> 39:07 [UNKNOWN]: But another key thing that plays into this film is that his parents separated when he was,
39:08 --> 39:24 [UNKNOWN]: so he was raised by his mother, and she was very religious, and they didn't have money, and he was kind of ashamed of, you know, that she made money by selling Queen's jelly on the street.
39:24 --> 39:24 [UNKNOWN]: Oh, wow.
39:25 --> 39:25 [UNKNOWN]: Yeah.
39:25 --> 39:31 [UNKNOWN]: and he moved around a lot because they kept being evicted because his mom couldn't make rent.
39:32 --> 39:34 [UNKNOWN]: And his mother died in 1967.
39:34 --> 39:36 [UNKNOWN]: He wrote this book a few years later.
39:36 --> 39:37 [UNKNOWN]: So he's really working through that.
39:37 --> 39:39 [UNKNOWN]: And you can see that, obviously.
39:39 --> 39:45 [UNKNOWN]: He apparently even wanted to play Father Carrus and Friedkins like no.
39:48 --> 39:50 [UNKNOWN]: This is not your catharsis.
39:51 --> 39:57 [UNKNOWN]: But Bloody Freedkin does also have a sense of loss and guilt or his own mother.
39:57 --> 40:01 [UNKNOWN]: So apparently that was a big bonding thing for the two of them and making this well.
40:14 --> 40:16 [UNKNOWN]: I'm guessing yet another view read the book.
40:17 --> 40:18 [UNKNOWN]: I just read the book.
40:19 --> 40:21 [UNKNOWN]: It was released two years earlier.
40:21 --> 40:24 [UNKNOWN]: It's not it's like a mid-sized book.
40:24 --> 40:30 [UNKNOWN]: It's 340 pages long or about like 13 hours of audio book, which bladding himself narrates.
40:30 --> 40:32 [UNKNOWN]: This guy is all over this.
40:33 --> 40:34 [UNKNOWN]: No idea.
40:35 --> 40:36 [UNKNOWN]: It's almost an obsession.
40:38 --> 40:39 [UNKNOWN]: I mean, he did other things as well.
40:39 --> 40:41 [UNKNOWN]: But yeah, this is critical.
40:41 --> 40:41 [UNKNOWN]: True, not for sure.
40:41 --> 40:42 [UNKNOWN]: Yeah.
40:42 --> 40:43 [UNKNOWN]: Wow.
40:43 --> 40:49 [UNKNOWN]: But this is inspired by a real life, 1949 case that's known as the exorcism of Roland Doe.
40:49 --> 40:54 [UNKNOWN]: They've since identified this kid from St. Louis.
40:55 --> 41:01 [UNKNOWN]: And there's a movie that came out in 2000, that purports to be the true story of it called possession.
41:02 --> 41:03 [UNKNOWN]: I haven't watched it.
41:03 --> 41:04 [UNKNOWN]: I actually watched the first couple of minutes.
41:04 --> 41:06 [UNKNOWN]: I was like, I don't have time for this, bye.
41:07 --> 41:09 [UNKNOWN]: You know, I really say that.
41:09 --> 41:11 [UNKNOWN]: Yeah, that's some saying something.
41:11 --> 41:24 [UNKNOWN]: But when he was studying a George town, again, where this movie is set, that's when Bladdy learned about this and learned about the exorcism performed by a Jesuit priest, father, William Bowden.
41:25 --> 41:25 [UNKNOWN]: And so,
41:27 --> 41:28 [UNKNOWN]: he wrote comedy.
41:28 --> 41:31 [UNKNOWN]: That's where he made his name as a writer at first.
41:31 --> 41:34 [UNKNOWN]: He was writing comedic novels, but then those stopped selling.
41:35 --> 41:37 [UNKNOWN]: And he's like, oh, horror cells.
41:37 --> 41:43 [UNKNOWN]: Why I'll show that I can write a different genre and he thought about this story that he heard in college.
41:43 --> 41:50 [UNKNOWN]: But his agent talked him out of writing it at first because the subject matter was too controversial.
41:50 --> 41:54 [UNKNOWN]: But then he saw Rosemary's baby in 1968 and glad he's like, no, I want that.
41:54 --> 41:56 [UNKNOWN]: I want to write a book and I want to turn into a movie.
41:56 --> 42:02 [UNKNOWN]: And so he wrote the book and he sent the script, the book to Friedkin and said, I want you to turn this into a movie.
42:03 --> 42:07 [UNKNOWN]: And yeah, he wanted to like, one up Rosemary's baby, basically.
42:08 --> 42:09 [UNKNOWN]: He like, yeah.
42:12 --> 42:23 [UNKNOWN]: He like the, uh, a Polanski kept the audience in suspense about reality, but he didn't he thought the ending of that one was Schlockey, and he wanted to tell a similar story, but he wanted to make the spiritual struggle more central.
42:23 --> 42:26 [UNKNOWN]: Now, David, I know you've watched Rosemary's baby, right?
42:26 --> 42:33 [UNKNOWN]: God, don't so long, uh, like, like to the point that I, I'm even questioning whether I've actually, uh, actually seen the movie.
42:33 --> 42:36 [UNKNOWN]: Again, another one of those things that is just, you know, in the zeitgeist.
42:37 --> 42:40 [UNKNOWN]: That is one of Maya's favorite movies, and I've actually read the book too.
42:40 --> 42:43 [UNKNOWN]: So, well, familiar with Rosemary's Baby.
42:43 --> 42:45 [UNKNOWN]: Would you think about the comparison of that in this?
42:46 --> 42:48 [UNKNOWN]: I much prefer Rosemary's Baby quite honestly.
42:48 --> 42:49 [UNKNOWN]: I think it ages better.
42:50 --> 42:52 [UNKNOWN]: It's a different book, right?
42:52 --> 42:55 [UNKNOWN]: There's less, it's more psychological, right?
42:55 --> 42:57 [UNKNOWN]: It's less, you know, Sean.
42:57 --> 42:59 [UNKNOWN]: And so, I do prefer Rosemary's Baby.
42:59 --> 43:01 [UNKNOWN]: I think it does a slow burn all up better.
43:01 --> 43:06 [UNKNOWN]: I think if this movie leaned the lesson to the slow burn,
43:07 --> 43:14 [UNKNOWN]: Okay, I think that was, I mean, I guess the book is fairly slow burn too, but that's definitely also freed-consensibility.
43:14 --> 43:15 [UNKNOWN]: Hmm.
43:15 --> 43:15 [UNKNOWN]: Hmm.
43:16 --> 43:18 [UNKNOWN]: Yeah, this is a very brilliant, brilliant movie.
43:18 --> 43:19 [UNKNOWN]: That is for sure.
43:19 --> 43:20 [UNKNOWN]: Hmm.
43:20 --> 43:30 [UNKNOWN]: And so, uh, Bladdy, he pitched this story to an editor at Bantam Books at a cocktail party, and they're like, Yeah, we'll give you a $25 advance, which would be $231, 100 as of last year.
43:38 --> 43:49 [UNKNOWN]: No, sorry, $231 as of last year and so he's like, okay, I'll do it and he just like took uppers so that he could write your 16, 16 hours a day.
43:49 --> 43:50 [UNKNOWN]: It was the 70s.
43:53 --> 43:59 [UNKNOWN]: So you could finish the book in 10 months, and I guess it works out for him, although kids don't try that at home.
44:02 --> 44:07 [UNKNOWN]: But when he first started writing the novel, he was like, this is going to be a courtroom study.
44:08 --> 44:14 [UNKNOWN]: And then he also didn't expect it was going to get as dark and graphic as it did, but that's just what came out.
44:15 --> 44:18 [UNKNOWN]: Well, we're for the better for it, I suppose.
44:18 --> 44:19 [UNKNOWN]: I suppose.
44:19 --> 44:20 [UNKNOWN]: Some of it.
44:20 --> 44:21 [UNKNOWN]: No, we are.
44:21 --> 44:24 [UNKNOWN]: It did spawn the whole genre.
44:24 --> 44:24 [UNKNOWN]: Right.
44:25 --> 44:27 [UNKNOWN]: And well, actually, all right.
44:27 --> 44:29 [UNKNOWN]: I'm going to make the case that we're not better off for it as a society.
44:30 --> 44:34 [UNKNOWN]: Is, um, either is a really great episode, and I've read other stuff on this, too.
44:34 --> 44:36 [UNKNOWN]: But of, uh, you're wrong about which is the podcast I've pulled you before.
44:37 --> 44:40 [UNKNOWN]: Um, where they talk about how like extrasism was basically like a dead.
44:41 --> 44:43 [UNKNOWN]: thing prior to this book.
44:43 --> 44:43 [UNKNOWN]: Right.
44:44 --> 44:44 [UNKNOWN]: Right.
44:44 --> 44:45 [UNKNOWN]: Like nobody was doing it.
44:45 --> 44:48 [UNKNOWN]: Anyone who talked about it was laughed out of Catholic circles.
44:49 --> 44:51 [UNKNOWN]: And after this, suddenly everybody was possessed.
44:52 --> 44:52 [UNKNOWN]: It was crazy.
44:53 --> 44:56 [UNKNOWN]: And I do think that like,
44:57 --> 45:00 [UNKNOWN]: You know, I personally don't think the demons are running around.
45:00 --> 45:07 [UNKNOWN]: I think that people struggle with mental illness and with substances and other things.
45:07 --> 45:17 [UNKNOWN]: And I have to say, like, probably a lot of people got hurt by the rise of exorcisms and people turning to non-scientific solutions for scientific problems.
45:18 --> 45:19 [UNKNOWN]: We need to get to number two.
45:20 --> 45:20 [UNKNOWN]: That's true.
45:21 --> 45:46 [UNKNOWN]: Because there's a, there's a, no, no, there's a, that whole thing, especially around the 70s when you have a rise of psychoanalysis and experimental methods and people starting to understand various conditions, early utilizations of a psychopharmacology and all kinds of stuff, you know, never mind even all of the,
45:47 --> 45:51 [UNKNOWN]: Est trainings and all of the pop psychology stuff, just even the core psychology.
45:51 --> 45:56 [UNKNOWN]: And so, actresses too, is like a direct linkage between the two things.
45:57 --> 46:00 [UNKNOWN]: It's because then one of the main characters is a psychologist.
46:00 --> 46:03 [UNKNOWN]: Well, one of the main characters in this was a psychiatrist.
46:03 --> 46:06 [UNKNOWN]: Right, but no, but the, but this, then two, it's not a priest.
46:07 --> 46:07 [UNKNOWN]: It's a, okay.
46:07 --> 46:09 [UNKNOWN]: Well, like, okay person.
46:09 --> 46:09 [UNKNOWN]: Yeah.
46:09 --> 46:11 [UNKNOWN]: He's a real psychiatrist, too.
46:11 --> 46:12 [UNKNOWN]: He is.
46:12 --> 46:14 [UNKNOWN]: But he just reached first.
46:14 --> 46:14 [UNKNOWN]: Yes.
46:15 --> 46:16 [UNKNOWN]: No, yeah, that's right.
46:16 --> 46:16 [UNKNOWN]: He was.
46:16 --> 46:18 [UNKNOWN]: He makes that whole speech.
46:18 --> 46:21 [UNKNOWN]: He's about how the church sent him to become a psychiatrist.
46:21 --> 46:22 [UNKNOWN]: It's true, true, okay.
46:22 --> 46:24 [UNKNOWN]: I thought you read the book, Alicia.
46:25 --> 46:31 [UNKNOWN]: They actually go into it even more, but also about like, what we'll get to talking about it.
46:31 --> 46:34 [UNKNOWN]: We should just release the spoiler cap right now.
46:34 --> 46:35 [UNKNOWN]: No, but the spoiler cap's released.
46:35 --> 46:35 [UNKNOWN]: Yeah.
46:35 --> 46:36 [UNKNOWN]: Yeah.
46:36 --> 46:40 [UNKNOWN]: But I just thought we could talk about the production a bit more for sales.
46:41 --> 46:44 [UNKNOWN]: David, you are a fan of William Friedkin.
46:44 --> 46:50 [UNKNOWN]: We've talked about the French connection on the, and this is two years after the French connection was released.
46:50 --> 46:51 [UNKNOWN]: Mm-hmm.
46:52 --> 46:54 [UNKNOWN]: And you've brought up sorcerer a few times that I've ever seen.
46:55 --> 46:55 [UNKNOWN]: Oh, oh, oh, oh.
46:56 --> 46:56 [UNKNOWN]: Yes.
46:57 --> 46:58 [UNKNOWN]: I'm really excited to watch.
46:58 --> 46:58 [UNKNOWN]: What is it?
47:00 --> 47:09 [UNKNOWN]: And one of these days on 11Zs, there will be a William Freedkin film festival because we cannot talk about modern cinema without that dude.
47:10 --> 47:13 [UNKNOWN]: After find this movie because it's got called The Weight.
47:14 --> 47:15 [UNKNOWN]: Oh, OK.
47:16 --> 47:29 [UNKNOWN]: with Ethan Hawke and Russell Crowe, and it was released this year, and people are saying that it's sort of the sorcerer but on foot, and I'm really excited to watch this movie.
47:29 --> 47:36 [UNKNOWN]: Yeah, my local theater keeps advertising it to me, but I have so much outside to watch right now.
47:36 --> 47:41 [UNKNOWN]: No, I don't know that this is your, yeah, I mean, you know, it's not, no, it's not, yeah, it's not as high
47:45 --> 47:51 [UNKNOWN]: Yeah, you know, this is the sorcerer on foot, I think, but yeah, I'm not it.
47:51 --> 47:55 [UNKNOWN]: I'm certainly not an expert in Friedkin, but I am a fan of Friedkin, I would say.
47:55 --> 47:55 [UNKNOWN]: Yeah.
47:58 --> 48:10 [UNKNOWN]: We had some fun conversations in the 11Z subscriber episode for the French connection about some, he's not always the easiest man to work with and some of that will come up in this episode as well.
48:11 --> 48:17 [UNKNOWN]: And we do see a little bit in it like on the city scape when Carass is walking down the street or he's in the subway.
48:18 --> 48:20 [UNKNOWN]: So I was like, oh, there's a little bit of fun.
48:20 --> 48:21 [UNKNOWN]: And then a lot of the camera work.
48:22 --> 48:27 [UNKNOWN]: some of the big wide shots and the slow zooms and the poles and the pushes.
48:28 --> 48:33 [UNKNOWN]: So yeah, really, it's got freed configure prints all over it.
48:33 --> 48:36 [UNKNOWN]: Yeah, from a visual storytelling standpoint.
48:37 --> 48:46 [UNKNOWN]: And I'll say if you want more of his direct perspective, so I did watch two documentaries about this film that I'm pulling a lot of this knowledge from.
48:47 --> 49:03 [UNKNOWN]: And that is the 1998 documentary, the fear of God 28 years of the exorcist, and that's the one that's hosted by Mark Kermode, who's a famous UK film person who's known as being
49:06 --> 49:23 [UNKNOWN]: Um, and then there's another one from 2019 called Leap of Faith William Friedkin on the Exorcist and that one is basically just Friedkin talking about the whole movie and every aspect of it and telling all the stories.
49:23 --> 49:25 [UNKNOWN]: So that's why I guess.
49:25 --> 49:25 [UNKNOWN]: Oh, I should watch that.
49:26 --> 49:49 [UNKNOWN]: Yeah, it's really what that was it was yeah, it's good and he said in that film that the most influential film on the Access was ordered which is a 1955 Danish film about a guy who thinks he's Jesus and he's yeah He's like it just this spare grounded Realism of this sort of supernatural question
49:51 --> 50:12 [UNKNOWN]: Um, he did go on in 2017 to to direct a documentary about, um, a supposed real exorcism called the Devil and fact father arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm arm
50:13 --> 50:34 [UNKNOWN]: But you can see he says in this documentary that his influences are like the lighting of Rembrandt and the other 17th century Dutch masters and the way he talks about it is so you can see the artistry in there and and he talks about this concept of grace notes which are the quiet moments, the reveal characters and make them feel more real.
50:43 --> 50:59 [UNKNOWN]: that it doesn't mean anything in the end, like, when this spoiler for citizen gain amount of, at the end of his life, he realizes he got everything but lost even more, you know, that sort of rose belt moment.
51:00 --> 51:01 [UNKNOWN]: Let's definitely watch this.
51:01 --> 51:17 [UNKNOWN]: Yeah, so it's interesting to see these, these come up here as well, but he definitely is like, he likes to create refined, restrained visual compositions that, you know, you're, where your eyes directed, but he wants to leave space for your brain to work on its own interpretations.
51:17 --> 51:18 [UNKNOWN]: Like, it's end garden.
51:18 --> 51:18 [UNKNOWN]: Yeah.
51:19 --> 51:34 [UNKNOWN]: Do you, I, I definitely think the Iraqi, the filming in the Iraqi desert and the, at the dig site, there's some stuff there that definitely affects the pacing and the, and some of the scene unseen stuff that goes on in the movie later on.
51:36 --> 51:42 [UNKNOWN]: Yeah, I mean, do you, John, do you think this is where some of it feels slower to you as well in addition to the 10 extra minutes?
51:43 --> 51:47 [UNKNOWN]: Yeah, it's just, there's just so much meandering in the middle.
51:50 --> 51:59 [UNKNOWN]: There, this whole film, I think, just has a lot of, like, well, like you said, you, there are grays, but it's grays, now it's, and I kind of appreciate those little moments.
52:00 --> 52:02 [UNKNOWN]: I, I like to think of, what do they call it?
52:02 --> 52:06 [UNKNOWN]: The traveling caravan or some of that, the traveling roadshow from Game of Thrones.
52:06 --> 52:12 [UNKNOWN]: Like you do need those moments where you're not doing something for the plot necessarily, but you're doing something for the characters.
52:13 --> 52:16 [UNKNOWN]: I just think that this movie does it a little bit too much, especially in the extended version.
52:17 --> 52:17 [UNKNOWN]: Okay, that's fair.
52:18 --> 52:19 [UNKNOWN]: That's fair.
52:19 --> 52:23 [UNKNOWN]: But what did you think of the cinematography, huh?
52:23 --> 52:26 [UNKNOWN]: I saw that vomit come right at me.
52:28 --> 52:29 [UNKNOWN]: Filmed in IMAX.
52:30 --> 52:33 [UNKNOWN]: Okay, David, where did you think of the cinematography?
52:33 --> 52:34 [UNKNOWN]: Obviously, I loved it.
52:35 --> 52:42 [UNKNOWN]: There is a scene where the detective and Chris, what's her last name, McNeil?
52:42 --> 52:43 [UNKNOWN]: Like something?
52:43 --> 52:47 [UNKNOWN]: Yeah, McNeil are sitting in her dining room.
52:48 --> 53:08 [UNKNOWN]: and he does this thing, he does this two camera thing, it's obviously not shot simultaneously, at least I don't think it was, where the, he's over the shoulder looking, you know, and he's pretty far back in the room, and then he's, he's pushing in on the detective on the lieutenant.
53:08 --> 53:18 [UNKNOWN]: and then the camera angle switches over and it's looking over his shoulder and looking at Chris and the camera's pushing in and the push ends are matched in speed and distance.
53:19 --> 53:35 [UNKNOWN]: And so as they're having this conversation you're getting closer and closer and there's more awkwardness and more sort of anxiety that's going on in the conversation and then the conversation breaks and whatever is resolved or not resolved is not resolved but it's the okay now we're out of
53:36 --> 53:43 [UNKNOWN]: you know, feeling each other out trying to understand what the motor other person's motivations is, can I sort of get behind your veil?
53:44 --> 53:56 [UNKNOWN]: And once that breaks and then they realize, well, there's nothing further in this conversation, the camera then reverses and both cameras start a slow pull out again, again, match with speed and distance.
53:56 --> 54:00 [UNKNOWN]: And it is like master stroke of camera work.
54:01 --> 54:14 [UNKNOWN]: There are other things where you get those long shots, where it's a long, so like really far from like a cross, a city block, where you zoom in and then you follow, you're following people on the college campus on the quad.
54:15 --> 54:23 [UNKNOWN]: The stuff in Iraq was beautiful and such a tonal difference, and I don't know if it's a time
54:24 --> 54:30 [UNKNOWN]: to talk about that there now, but going from these big wide landscape shots, hmmm.
54:32 --> 54:33 [UNKNOWN]: Then we end up, where do we end up?
54:33 --> 54:36 [UNKNOWN]: We end up in a bedroom in a house in a very small place.
54:37 --> 54:44 [UNKNOWN]: And so all of that I thought was just really well thought out and really well done.
54:44 --> 54:45 [UNKNOWN]: All the shots worked.
54:45 --> 54:48 [UNKNOWN]: I mean, again, I haven't watched it in so long.
54:48 --> 54:52 [UNKNOWN]: And so my one watching the other night was just trying to take it all in.
54:52 --> 54:55 [UNKNOWN]: And I'm sure people have no doubt that there
54:56 --> 55:03 [UNKNOWN]: long and many blog posts about breaking down the cinematography and the lighting of this movie.
55:03 --> 55:08 [UNKNOWN]: But it really is a strong entry for Freedkin in this realm.
55:09 --> 55:25 [UNKNOWN]: We are in a credit to cinematographer, Owen Royzman, who works with Freedkin, also on the French connection, is also known for a ton of movies, one of the biggest separate wives, network, to see a personal favorite of mine, Adam's family.
55:26 --> 55:37 [UNKNOWN]: Yeah, it's a big shout out to him too because he did all the like freedom can whatever you know, hey, we wanted to do this thing and then yeah, it's a Cinema's photographer who sets up the lighting for those shots and the camera which lenses and all that kind of stuff.
55:37 --> 55:44 [UNKNOWN]: So it's a you could tell it's a real partnership, a real real real Creative relationship, you know, I don't know the nature of the relationship, but
55:45 --> 55:45 [UNKNOWN]: You can feel it.
55:46 --> 55:47 [UNKNOWN]: You can feel it.
55:47 --> 56:09 [UNKNOWN]: Yeah, yeah, now the the music that was harder for Freed Kint to hand off he actually went through a couple different ideas of composers who we really liked and admired but he was just so protective of what the music was going to be for this and they both had like the first one wanted a bombastic organ score and he's like, no, bye.
56:11 --> 56:14 [UNKNOWN]: the second actually composed some music, but he's like, no, it's too jarring.
56:15 --> 56:15 [UNKNOWN]: It's not right.
56:15 --> 56:16 [UNKNOWN]: It's not right.
56:16 --> 56:21 [UNKNOWN]: So, credit for the music goes to Jack Needs, who did like one flu of the Kugus nest and gotten an Oscar for writing up where we belong.
56:21 --> 56:32 [UNKNOWN]: Like, da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da da
56:33 --> 56:51 [UNKNOWN]: But to be honest, there's only 17 minutes of music in this two-hour horror film, and the most iconic song is the one that you heard when we started this episode and Freed can select that himself, which is Mike Oldfield's tubular belt, that's what people associate with his movie.
56:55 --> 57:17 [UNKNOWN]: the do do do do do do do do are you I mean okay can I tell you the first time I ever heard that theme and you're a man you're a musician too so you're gonna have an extra time right I first heard that theme in the one percent on rodent tomatoes movie the master of disguise they do us little a little parody of the exercises when his grandfather comes to visit him
57:18 --> 57:19 [UNKNOWN]: Wow.
57:19 --> 57:20 [UNKNOWN]: It's very odd.
57:20 --> 57:21 [UNKNOWN]: It's out of place.
57:21 --> 57:26 [UNKNOWN]: It doesn't make sense to the movie, but I remember my dad laughing when I watched the movie with him.
57:27 --> 57:28 [UNKNOWN]: He's like, that's the extra cyst.
57:29 --> 57:35 [UNKNOWN]: And then I heard this and I was like, oh my god, this is from the dumbest movie that I've ever seen in my entire life.
57:36 --> 57:37 [UNKNOWN]: because it was parodying this one.
57:38 --> 57:42 [UNKNOWN]: Well, that's the, this is not a parody of that.
57:42 --> 57:50 [UNKNOWN]: It's just one random moment where they use the extra system of it, move music for no reason, just an old man walking up to a door.
57:50 --> 57:51 [UNKNOWN]: Mm-hmm.
57:51 --> 57:52 [UNKNOWN]: It's just so creepy.
57:52 --> 57:53 [UNKNOWN]: Yeah.
57:53 --> 57:53 [UNKNOWN]: Yeah.
57:54 --> 57:54 [UNKNOWN]: Yeah.
57:56 --> 58:08 [UNKNOWN]: Have I, have either of you heard before about why this is considered a cursed production like why people literally think it was cursed no I have like heard that but I don't know any details why
58:09 --> 58:28 [UNKNOWN]: I mean, I think it's just, it was a big difficult production with that, that Mark Komode documentary from 1998 shows a lot of like the special effects that went in behind the scenes and how it was like a physically taxing production as well, but there were a lot of onset injuries.
58:28 --> 58:36 [UNKNOWN]: There were an odd number of onset deaths, but not like accidents on set, just coincidental deaths around the production.
58:38 --> 58:43 [UNKNOWN]: And it ended up like taking twice as long as planned, costing three times as much.
58:43 --> 58:52 [UNKNOWN]: You know, it started with like, they were fighting with Warner Brothers the whole time because Friedkin, he wanted who he wanted in the roles and Warner Brothers wanted stars.
58:53 --> 58:53 [UNKNOWN]: I
58:55 --> 59:09 [UNKNOWN]: would say that I'm glad it didn't have stars, I think it lens to the credibility of the film because then we'd be watching the movie star and not paying attention to the story.
59:10 --> 59:14 [UNKNOWN]: So I think having big movie stars in it would have done a disservice to it.
59:16 --> 59:18 [UNKNOWN]: Yes, the star power would have outshone the
59:22 --> 59:24 [UNKNOWN]: the terror that the movie was trying to induce.
59:24 --> 59:26 [UNKNOWN]: And then the shock values, too.
59:26 --> 59:27 [UNKNOWN]: Right.
59:27 --> 59:27 [UNKNOWN]: Right.
59:28 --> 59:39 [UNKNOWN]: This talked about the sexual, you know, vulgarities, I mean, you know, that that somebody's involved in this project and there's this little girl spewing these really file statements.
59:39 --> 59:42 [UNKNOWN]: You know, regardless of whether it's going to hurt the reputation or not.
59:42 --> 59:42 [UNKNOWN]: I don't know.
59:42 --> 59:47 [UNKNOWN]: It just seems to me it was a smart choice not to use no big no names.
59:48 --> 59:54 [UNKNOWN]: I think that is more often the right choice than not for, like, most projects on the honest.
59:55 --> 01:00:02 [UNKNOWN]: And I understand, like, if we want to have acting be a career, you have to have people playing multiple roles a lot.
01:00:04 --> 01:00:05 [UNKNOWN]: But that said, like,
01:00:06 --> 01:00:08 [UNKNOWN]: TV has been ruined by this, I think.
01:00:09 --> 01:00:11 [UNKNOWN]: Like there is a huge problem.
01:00:11 --> 01:00:13 [UNKNOWN]: Yes, there is a huge problem.
01:00:13 --> 01:00:14 [UNKNOWN]: It's done casting.
01:00:14 --> 01:00:25 [UNKNOWN]: Yes, but the timelines on production have been ruined apart by the fact that you are using Pedro Pascal for the last of us, et cetera.
01:00:26 --> 01:00:26 [UNKNOWN]: Right.
01:00:27 --> 01:00:27 [UNKNOWN]: I just,
01:00:28 --> 01:00:35 [UNKNOWN]: There is a problem now where we have these alis actors holding up the production for everything because they're in everything.
01:00:35 --> 01:00:46 [UNKNOWN]: Adam Scott in, you know, severance is another one and John Fritturo right like you have to work around their schedules just to get anything done.
01:00:47 --> 01:00:57 [UNKNOWN]: And I do think that it's a problem, not just for the fact that it can be distracting, but the fact that like, hey, we like to see things at a reasonable amount of time.
01:01:01 --> 01:01:03 [UNKNOWN]: Yeah, no, I'm glad that they fought.
01:01:03 --> 01:01:11 [UNKNOWN]: I mean, Friedkin, he's a hard ass, but he really fights for his vision here and in his other films.
01:01:11 --> 01:01:13 [UNKNOWN]: And that's what made them what they are.
01:01:14 --> 01:01:22 [UNKNOWN]: But, and he even says in that 2019 documentary, because it was interesting to see both those documentaries in 1998, won in the 2019-1, because
01:01:24 --> 01:01:36 [UNKNOWN]: 98, he is in there a younger version of himself, but you also hear the stories from other people, the rest of the cast and crew about working with him, and then he'll tell the story too.
01:01:36 --> 01:01:40 [UNKNOWN]: And he's honest and he's open, but he was pretty rough with the cast.
01:01:41 --> 01:01:51 [UNKNOWN]: Like, to get that emotional reaction out of the final, the priest at the end, he slapped him and then pushed him into the frame and said, film.
01:01:53 --> 01:02:06 [UNKNOWN]: He was, you know, even like the machine they had to have Reagan, you know, having the supernatural seizures that was a bit rough on her, even as a child.
01:02:06 --> 01:02:07 [UNKNOWN]: So, I think that it was.
01:02:10 --> 01:02:14 [UNKNOWN]: She said that is the cut that made it into the movie was her actually screaming in pain.
01:02:16 --> 01:02:21 [UNKNOWN]: And the cold to get the room so that it was so cold that they can actually see their breath.
01:02:21 --> 01:02:23 [UNKNOWN]: So I read just a slight bit on that.
01:02:23 --> 01:02:25 [UNKNOWN]: That was a big deal in terms of practical effects.
01:02:26 --> 01:02:26 [UNKNOWN]: Mm-hmm.
01:02:26 --> 01:02:32 [UNKNOWN]: Yeah, and that was also what was like taking so long because then it would warm up and they had to like freeze again and yeah.
01:02:33 --> 01:02:41 [UNKNOWN]: Yeah, and so they had to keep going back into this like freezing cold room because then he took that setting and every reset was like 20 more minutes of cooling time to get it back down.
01:02:41 --> 01:02:50 [UNKNOWN]: And then the lighting, like the lights were heating up the room so that you couldn't see the breath right and he kept wanting to get the right shot with the breath so you could actually see the breath.
01:02:51 --> 01:02:54 [UNKNOWN]: It sounded like it was not a fun experience to be.
01:02:54 --> 01:02:57 [UNKNOWN]: crew or task on that particular part of the shoot.
01:02:57 --> 01:02:58 [UNKNOWN]: No, no.
01:02:59 --> 01:03:10 [UNKNOWN]: Yeah, and it's, it was, though, like, although it ballooned three times the cost expected, that budget was still only 12 million, which doesn't sound like much today.
01:03:10 --> 01:03:11 [UNKNOWN]: Obviously, it was a lot more than.
01:03:11 --> 01:03:14 [UNKNOWN]: But then it made at its initial box office, it made a whopping $193 million.
01:03:14 --> 01:03:22 [UNKNOWN]: Whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa
01:03:23 --> 01:03:23 [UNKNOWN]: Wow.
01:03:23 --> 01:03:25 [UNKNOWN]: What's the multiplier on that?
01:03:26 --> 01:03:26 [UNKNOWN]: What is it?
01:03:26 --> 01:03:27 [UNKNOWN]: You said 193 million?
01:03:29 --> 01:03:30 [UNKNOWN]: Yeah.
01:03:30 --> 01:03:35 [UNKNOWN]: So that was 193 million on its initial release and it made it the highest grossing
01:03:42 --> 01:03:45 [UNKNOWN]: So for 30 years, at least, 35 years of whatever.
01:03:46 --> 01:03:50 [UNKNOWN]: That's 16 times, that's 16x, that is insane.
01:03:51 --> 01:03:54 [UNKNOWN]: And then, and the thing is they keep re-releasing it.
01:03:54 --> 01:04:04 [UNKNOWN]: And so this is exactly why you're so controversial when they gave, you know, for instance, Rancougler writes to have his movie back after 30 years because they're still making money off of it.
01:04:04 --> 01:04:08 [UNKNOWN]: And now after the re-releases, it's earned $441.3 million at the box of this.
01:04:10 --> 01:04:13 [UNKNOWN]: Who owns the, the right story now?
01:04:13 --> 01:04:16 [UNKNOWN]: Warner Bros. Oh God, okay.
01:04:17 --> 01:04:18 [UNKNOWN]: No, no, they didn't really well.
01:04:19 --> 01:04:21 [UNKNOWN]: You didn't really, really.
01:04:21 --> 01:04:21 [UNKNOWN]: Really, really well.
01:04:22 --> 01:04:22 [UNKNOWN]: Hmm.
01:04:24 --> 01:04:26 [UNKNOWN]: Maybe Netflix won the right soon, sorry.
01:04:29 --> 01:04:35 [UNKNOWN]: I didn't realize this because I was not alive, but it was released on December 26, 1973.
01:04:35 --> 01:04:37 [UNKNOWN]: So it's a Christmas movie.
01:04:37 --> 01:04:38 [UNKNOWN]: It's a Christmas movie.
01:04:41 --> 01:04:43 [UNKNOWN]: I love this quote from Friedkin.
01:04:43 --> 01:04:47 [UNKNOWN]: He said one of the best things that could happen is if the Pope denounces the movie.
01:04:47 --> 01:04:49 [UNKNOWN]: Yeah.
01:04:50 --> 01:04:51 [UNKNOWN]: I mean fair.
01:04:52 --> 01:04:59 [UNKNOWN]: Well, you know, it makes me laugh because, you know, the Book of Mormon musical, which I love, the Mormon Church.
01:05:00 --> 01:05:05 [UNKNOWN]: new that they would just get shit if they like to announce us and it would only help it.
01:05:05 --> 01:05:09 [UNKNOWN]: So now they just take out ads in the programs.
01:05:09 --> 01:05:11 [UNKNOWN]: They're like, hey, you've seen the book of Mormon.
01:05:12 --> 01:05:13 [UNKNOWN]: Now check out the real thing.
01:05:13 --> 01:05:17 [UNKNOWN]: So smart, right?
01:05:17 --> 01:05:18 [UNKNOWN]: Like don't try saying yourself.
01:05:19 --> 01:05:19 [UNKNOWN]: Yeah.
01:05:19 --> 01:05:21 [UNKNOWN]: Like it's pretty simple.
01:05:22 --> 01:05:22 [UNKNOWN]: Didn't it?
01:05:22 --> 01:05:26 [UNKNOWN]: I don't know if this is in the outline or not, but didn't it put quite a
01:05:29 --> 01:05:31 [UNKNOWN]: in the church hierarchy, didn't they get a little bit less?
01:05:31 --> 01:05:50 [UNKNOWN]: I mean, they weren't like, there were people, it was more like, like, lay people who got, you know, we're clutching their pearls, the church was like, I just, people need to know, we don't really do this whole exorcist thing, which to be fair is directly said in the movie.
01:05:50 --> 01:05:52 [UNKNOWN]: That is, they may be able to talk about that in the movie.
01:05:52 --> 01:05:52 [UNKNOWN]: Yeah.
01:05:54 --> 01:05:59 [UNKNOWN]: Um, they're very clear, but the biggest thing with the church was they were like, did you have to release it on Christmas though?
01:06:01 --> 01:06:02 [UNKNOWN]: really?
01:06:04 --> 01:06:12 [UNKNOWN]: I mean, you know, they probably, the church is probably made as much money as the movie because of the English and extra systems.
01:06:12 --> 01:06:13 [UNKNOWN]: Sure, sure.
01:06:13 --> 01:06:15 [UNKNOWN]: We'll spray some holy water on you.
01:06:15 --> 01:06:16 [UNKNOWN]: That'll be three grand.
01:06:17 --> 01:06:24 [UNKNOWN]: Yeah, I mean, in the Christ wayfers, they don't, they don't fill you up anymore.
01:06:25 --> 01:06:28 [UNKNOWN]: The institution is come to the institution of Christ wayfers.
01:06:30 --> 01:06:32 [UNKNOWN]: Can we now accept all these episodes?
01:06:33 --> 01:06:34 [UNKNOWN]: Can we accept all this episodes?
01:06:34 --> 01:06:36 [UNKNOWN]: So the the insuitification of Christ's wait for us.
01:06:38 --> 01:06:42 [UNKNOWN]: You ever get Christ's breath like you get you to get those?
01:06:42 --> 01:06:43 [UNKNOWN]: And like just drives out your mouth.
01:06:44 --> 01:06:46 [UNKNOWN]: I'm not Catholic, so no.
01:06:48 --> 01:06:48 [UNKNOWN]: Okay.
01:06:52 --> 01:07:19 [UNKNOWN]: The other infamous thing, I guess, is just how this is probably like the original, as far as I know, audience reaction controversy where film goers were fainting or vomiting or apparently a woman miscarried and all the pearl clutching, a lot of it was over it getting an R rating rather than an X rating because it meant that you joked earlier about your parents
01:07:21 --> 01:07:25 [UNKNOWN]: Right, right, because people, that's what you did back then, is you went to the movies.
01:07:26 --> 01:07:29 [UNKNOWN]: So you took your kids with you, like it, it's not an uncommon thing.
01:07:30 --> 01:07:33 [UNKNOWN]: I mean, even though it was rated R, so they were warned.
01:07:34 --> 01:07:35 [UNKNOWN]: Yeah, it was fun.
01:07:35 --> 01:07:36 [UNKNOWN]: It was 70's.
01:07:36 --> 01:07:36 [UNKNOWN]: Come on.
01:07:37 --> 01:07:37 [UNKNOWN]: Yeah, yeah.
01:07:37 --> 01:07:40 [UNKNOWN]: Yeah, I was doing that, but just speed on.
01:07:40 --> 01:07:42 [UNKNOWN]: No, that's all right.
01:07:42 --> 01:07:42 [UNKNOWN]: It's all good.
01:07:42 --> 01:07:48 [UNKNOWN]: What I went to go to see Deadpool one with my, when we were pretty early on dating, and
01:07:49 --> 01:08:05 [UNKNOWN]: This woman comes in with her like eight-year-old son in front of us and was like, I would like to take a sededble and the guy at Counter goes, hey, just so you know, it's rated R for graphic nudity and violence And she was like, yeah, no, I think he'll be fine.
01:08:05 --> 01:08:14 [UNKNOWN]: This is a rear movie, and he goes, okay, and we see them off five minutes into the movie Pretty sure there was like a little sex show So they actually want to move.
01:08:14 --> 01:08:14 [UNKNOWN]: All right.
01:08:14 --> 01:08:17 [UNKNOWN]: Oh, yeah, no, they brought to the props to the mom for that
01:08:18 --> 01:08:19 [UNKNOWN]: I mean, no, no.
01:08:20 --> 01:08:23 [UNKNOWN]: Well, for getting out of this for a long time.
01:08:23 --> 01:08:26 [UNKNOWN]: I'm actually saying, I don't know, anyway.
01:08:27 --> 01:08:30 [UNKNOWN]: Educate yourself, but if you commit to it.
01:08:30 --> 01:08:34 [UNKNOWN]: I don't know if that's the age to be doing that kind of education.
01:08:34 --> 01:08:35 [UNKNOWN]: They left.
01:08:35 --> 01:08:39 [UNKNOWN]: No, I'm saying she should have educated herself before growing in the first place.
01:08:39 --> 01:08:40 [UNKNOWN]: Oh, I mean, it's busy.
01:08:40 --> 01:08:42 [UNKNOWN]: I think it's not great about education on me.
01:08:42 --> 01:08:43 [UNKNOWN]: Aningulus.
01:08:45 --> 01:08:52 [UNKNOWN]: Okay, but would you be surprised to learn that it got mixed reviews from critics when it was first released?
01:08:53 --> 01:08:54 [UNKNOWN]: Not really to hard movie.
01:08:54 --> 01:09:00 [UNKNOWN]: Yeah, I could see why I could see I did ebert Cisco and ebert have something to say about it or
01:09:02 --> 01:09:10 [UNKNOWN]: I don't have any quotes prepared for you to look them up, but the rotten tomatoes has 78% only from critics, 87 from audiences.
01:09:11 --> 01:09:22 [UNKNOWN]: Metacritic has an unusually high actually 83% from critics, 8.3 from audiences, IMDB, pretty high, 8.1, letterbox, pretty high, 3.9.
01:09:22 --> 01:09:26 [UNKNOWN]: So it's kind of aged better than it was initially received.
01:09:27 --> 01:09:29 [UNKNOWN]: And they would say that a lot of these
01:09:31 --> 01:09:36 [UNKNOWN]: Like what reactions and scores are actually from first-time viewers.
01:09:36 --> 01:09:37 [UNKNOWN]: People who haven't seen now, I suppose.
01:09:37 --> 01:09:39 [UNKNOWN]: Now viewers, now.
01:09:42 --> 01:09:50 [UNKNOWN]: John, well, even, you know, I'm just trying to think of when the cultural avail, when there's enough distance that people don't know about it.
01:09:51 --> 01:09:53 [UNKNOWN]: Because in the 70s and the 80s, we all knew about it.
01:09:53 --> 01:09:55 [UNKNOWN]: Like, there was just no escaping it.
01:09:55 --> 01:10:00 [UNKNOWN]: The whole head twisting thing, the, you know, the, I think it's now just part of the sauce, right?
01:10:00 --> 01:10:01 [UNKNOWN]: Like that is part of Americans.
01:10:01 --> 01:10:04 [UNKNOWN]: But we knew what the sauce came from.
01:10:04 --> 01:10:05 [UNKNOWN]: Like we knew how to dish that the sauce is.
01:10:05 --> 01:10:08 [UNKNOWN]: But everybody knows what the sauce comes from for this one.
01:10:08 --> 01:10:10 [UNKNOWN]: This one is a psycho, I think,
01:10:12 --> 01:10:14 [UNKNOWN]: everybody knows what those things come from.
01:10:14 --> 01:10:15 [UNKNOWN]: You think they know the source.
01:10:15 --> 01:10:16 [UNKNOWN]: Yeah, I know.
01:10:16 --> 01:10:19 [UNKNOWN]: Even if they don't know the source, they know at least my generation knew the source.
01:10:19 --> 01:10:21 [UNKNOWN]: Do I know what your generation does?
01:10:21 --> 01:10:21 [UNKNOWN]: Yeah.
01:10:21 --> 01:10:22 [UNKNOWN]: Yeah.
01:10:22 --> 01:10:24 [UNKNOWN]: I would say, my little Gen Z. I actually think they do.
01:10:25 --> 01:10:26 [UNKNOWN]: I think they probably would.
01:10:26 --> 01:10:27 [UNKNOWN]: You're keeping them a lot of credit.
01:10:27 --> 01:10:28 [UNKNOWN]: At least for the spending.
01:10:28 --> 01:10:29 [UNKNOWN]: I'm not sure to knock them.
01:10:29 --> 01:10:31 [UNKNOWN]: I'm just saying there's enough distance.
01:10:31 --> 01:10:32 [UNKNOWN]: They might not have watched it.
01:10:32 --> 01:10:33 [UNKNOWN]: Well, they probably have.
01:10:34 --> 01:10:36 [UNKNOWN]: The culturally, they're so littered and full.
01:10:36 --> 01:10:38 [UNKNOWN]: If they get too far, they just turn their head around.
01:10:39 --> 01:10:41 [UNKNOWN]: They can turn.
01:10:41 --> 01:10:42 [UNKNOWN]: What's going on?
01:10:42 --> 01:10:42 [UNKNOWN]: Yeah.
01:10:42 --> 01:10:43 [UNKNOWN]: Keep going.
01:10:46 --> 01:10:54 [UNKNOWN]: But okay, with all of this controversy led to a lot of attention during award season, and so it did really well across award season.
01:10:54 --> 01:10:56 [UNKNOWN]: It got 10 Oscar nominations.
01:10:58 --> 01:11:00 [UNKNOWN]: It won for two.
01:11:00 --> 01:11:08 [UNKNOWN]: It won best sound from Robert Knudson and Chris Newman, who together they won awards for E.T.
01:11:11 --> 01:11:12 [UNKNOWN]: nominated for the Sorcerer.
01:11:13 --> 01:11:16 [UNKNOWN]: Yeah, Exist, of course, worked on English patients.
01:11:16 --> 01:11:20 [UNKNOWN]: On my day as French connection, anyway, just two icons of the industry.
01:11:20 --> 01:11:22 [UNKNOWN]: One an Oscar for this for sound deservedly.
01:11:23 --> 01:11:28 [UNKNOWN]: And the other Oscar win was for Blattie, for best adapted screenplay.
01:11:28 --> 01:11:35 [UNKNOWN]: But it was, in addition, it was nominated for film editing Cinematography.
01:11:35 --> 01:11:50 [UNKNOWN]: art direction, supporting actress for Linda Blair, supporting actor for Jason Miller, actress for Ellen Burston, director for William Friedkin, and it was the first horror film ever nominated for Best Picture.
01:11:51 --> 01:11:51 [UNKNOWN]: The first.
01:11:52 --> 01:11:52 [UNKNOWN]: The first.
01:11:53 --> 01:11:53 [UNKNOWN]: There you go.
01:11:55 --> 01:11:56 [UNKNOWN]: There you go.
01:11:56 --> 01:11:57 [UNKNOWN]: What the hell's the plot of this movie?
01:11:59 --> 01:12:04 [UNKNOWN]: actually a child has an exit.
01:12:04 --> 01:12:08 [UNKNOWN]: We're in our own team minutes into this and we haven't talked about the plot yet.
01:12:08 --> 01:12:09 [UNKNOWN]: I'm just laughing.
01:12:10 --> 01:12:35 [UNKNOWN]: I'm sorry that I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry
01:12:38 --> 01:12:40 [UNKNOWN]: Okay, it has a great legacy.
01:12:40 --> 01:12:54 [UNKNOWN]: We've talked a lot about it, it was added to the Library of Congress, National Film Registry, but it also has a legacy of lawsuits, which is the last fun fact before we get into the pot.
01:12:55 --> 01:13:01 [UNKNOWN]: Which is a lot of suing going on, so it just reminds me of Hacks.
01:13:02 --> 01:13:05 [UNKNOWN]: But she's just doing this shit out of her soul.
01:13:06 --> 01:13:16 [UNKNOWN]: Bladdy sued the studio Anne Friedkin in 1973 because he demanded equal billing with Friedkin who claimed Friedkin and Bartum from set.
01:13:16 --> 01:13:19 [UNKNOWN]: Keep in mind, these are friends who do, you know, they got over it.
01:13:20 --> 01:13:20 [UNKNOWN]: Right.
01:13:21 --> 01:13:21 [UNKNOWN]: Telling I'm doing you.
01:13:23 --> 01:13:23 [UNKNOWN]: I don't know.
01:13:23 --> 01:13:29 [UNKNOWN]: I feel like Matt, but Bladdy is on the level with me on this podcast, just throw in shots around.
01:13:30 --> 01:13:30 [UNKNOWN]: Whatever it hits.
01:13:31 --> 01:13:32 [UNKNOWN]: whatever sticks.
01:13:32 --> 01:13:50 [UNKNOWN]: Um, yeah, Freak and said he only borrowed him from post production, but anyway, they, they settled for what he was probably trying to get it done and out the door and Bladdy was like, oh, no, we should move this structurally around, it's, yeah, no, I could, I could see that happening.
01:13:52 --> 01:13:56 [UNKNOWN]: Yeah, so they got over it, obviously.
01:13:56 --> 01:14:01 [UNKNOWN]: And then later, they combine their powers to see the studio several times.
01:14:03 --> 01:14:30 [UNKNOWN]: Because they said they'd been cheated out of profits and a lot of profits to be cheated Yeah, basically, and probably the studio kept too much for something that really was their baby and the studio just distributed it Well, because they usually get a cut of net profits right so they'll be like, well We had to take this guy out to lunch to get it into this theater chain and you know like whatever We have to do I Not that lunch is gonna be their biggest expense, but you get my point
01:14:30 --> 01:14:35 [UNKNOWN]: We're going to be kind of the church to not sue us, so yeah, studio is going to studio.
01:14:36 --> 01:14:49 [UNKNOWN]: Yeah, well, I mean, they say that basically they should have gotten better licensing deals and that, yeah, just so all sort of stuff going up to 2012, they're still suing us.
01:14:49 --> 01:14:53 [UNKNOWN]: All right, should we take another quick break?
01:14:53 --> 01:14:56 [UNKNOWN]: And when we come back, we're going to talk about the plot.
01:15:00 --> 01:15:02 [UNKNOWN]: Okay, welcome back.
01:15:02 --> 01:15:05 [UNKNOWN]: Let's get into let's set up the the settings in the lore.
01:15:05 --> 01:15:12 [UNKNOWN]: And we've already mentioned it's set in northern Iraq, the opening, we just here's a dig near Neneva.
01:15:12 --> 01:15:16 [UNKNOWN]: It's this is upper Mesopotamia once upon a time, which
01:15:17 --> 01:15:22 [UNKNOWN]: Apparently in Arabic is Al-Jazeera, which I'm like that's like the news network.
01:15:22 --> 01:15:23 [UNKNOWN]: Now I get it.
01:15:24 --> 01:15:36 [UNKNOWN]: This was filmed in a near Mosul in Iraq and the dig site is Hachra, which is a city that's reached its peak around 1 to 280.
01:15:39 --> 01:15:51 [UNKNOWN]: So the reason it's set here is that the demon in question is an old, Mesopotamian demon named Pazuzu, where either of you aware of Pazuzu before this?
01:15:51 --> 01:15:57 [UNKNOWN]: Oh, no, no, Pazuzu hadn't come across my demon radar, friends, old friends.
01:15:58 --> 01:16:01 [UNKNOWN]: And technically, we don't even learn the name of Pazuzu until the
01:16:04 --> 01:16:12 [UNKNOWN]: Yeah, I mean, yeah, I think in the movie, we see that he finds the Pazuzu statue and she likes the blue statue and stuff.
01:16:12 --> 01:16:15 [UNKNOWN]: But nobody says the word common, the letter combinations.
01:16:15 --> 01:16:16 [UNKNOWN]: Pazuzu, yeah.
01:16:17 --> 01:16:36 [UNKNOWN]: Yeah, so this is apparently from a branch of the church has adopted this as well, the child day in school, I don't know anyway, but it's a demon of the Southwest wind and it comes from the real lore that it's a personification of a destructive and dangerous wind, but also the repellent to other demons.
01:16:36 --> 01:16:40 [UNKNOWN]: So it is something that like for children or pregnant
01:16:43 --> 01:16:49 [UNKNOWN]: Pazoo, like, Pazoo Zoo, they would honor him to protect me from this other demon who would otherwise serve us.
01:16:50 --> 01:16:50 [UNKNOWN]: Yeah.
01:16:51 --> 01:16:57 [UNKNOWN]: Like, he's shown with a canine face with abnormally bulging eyes, not my description.
01:16:57 --> 01:17:03 [UNKNOWN]: A scaly body, a snake headed penis, the talons of a bird, and usually wings, of course.
01:17:05 --> 01:17:09 [UNKNOWN]: I did, I did look at the demon once and be like, is that a penis, you know?
01:17:09 --> 01:17:10 [UNKNOWN]: Yeah.
01:17:10 --> 01:17:11 [UNKNOWN]: I'm always on the lookout.
01:17:12 --> 01:17:13 [UNKNOWN]: Did you notice that it was a lizard?
01:17:13 --> 01:17:14 [UNKNOWN]: So sorry.
01:17:18 --> 01:17:21 [UNKNOWN]: It's been a while since we've had a late night Monday, I know.
01:17:22 --> 01:17:24 [UNKNOWN]: I just asked my wife if she would please bring me a whiskey.
01:17:24 --> 01:17:26 [UNKNOWN]: I feel like this is the secret of it.
01:17:26 --> 01:17:30 [UNKNOWN]: It's good, it's good.
01:17:30 --> 01:17:35 [UNKNOWN]: Okay, but in Bladdy's universe, Pizzuzu basically is like the host of a legion of demonic and dead.
01:17:35 --> 01:17:39 [UNKNOWN]: And we'll definitely talk about this more when we talk about the next two movies where the lore is expanded.
01:17:39 --> 01:17:46 [UNKNOWN]: But in this film, did you know the whole story about Mercedes McCambridge is the voice of Pizzuzu?
01:17:47 --> 01:17:53 [UNKNOWN]: No, but it was that then the face, who is, who is the, the, I lane leads is make up face.
01:17:53 --> 01:17:53 [UNKNOWN]: Okay.
01:17:54 --> 01:18:07 [UNKNOWN]: Yeah, so it's a bunch of people came to, I think leads is the face, Ron, and that's, you only really see that I think in the extended cut, or they at least added more of that, and Ron Favour did the vocal effects.
01:18:07 --> 01:18:12 [UNKNOWN]: And there's like, it was a team of sound technicians that mix together, bees, dogs, hamsters, and pigs.
01:18:13 --> 01:18:23 [UNKNOWN]: to create the demon voice, but really the driving force is Mercedes McCambridge, who freed can came to her and said, and what you have this voice that you can like do these cool things.
01:18:23 --> 01:18:26 [UNKNOWN]: I want you to do this and she's like, do you know what you're asking me?
01:18:27 --> 01:18:28 [UNKNOWN]: She's like, I am a Catholic.
01:18:29 --> 01:18:30 [UNKNOWN]: But I'm going to go all in on this.
01:18:31 --> 01:18:35 [UNKNOWN]: So she's like started eating a bunch of eggs and smoking cigarettes and drinking.
01:18:35 --> 01:18:38 [UNKNOWN]: She had stopped drinking for years, which is like, I need to rough it up.
01:18:38 --> 01:18:45 [UNKNOWN]: And then she's like, time me to the chair so that I'm uncomfortable, but make sure there are two priests in the room to protect me.
01:18:46 --> 01:18:51 [UNKNOWN]: And then just went at it for hours, making all of these vocal things and, you know, lip syncing.
01:18:51 --> 01:18:54 [UNKNOWN]: And yeah, Mercedes McKambridge.
01:18:54 --> 01:18:57 [UNKNOWN]: to serve the very English.
01:18:57 --> 01:18:58 [UNKNOWN]: Making this but it was.
01:19:00 --> 01:19:00 [UNKNOWN]: That's cool.
01:19:02 --> 01:19:07 [UNKNOWN]: Makes me think of the woman who sang the vocal track and dark side of the moon.
01:19:08 --> 01:19:10 [UNKNOWN]: Who they were just like, hey, you want to come in?
01:19:10 --> 01:19:10 [UNKNOWN]: Great.
01:19:10 --> 01:19:11 [UNKNOWN]: Okay.
01:19:11 --> 01:19:13 [UNKNOWN]: And then for years and years, she was never credited.
01:19:13 --> 01:19:14 [UNKNOWN]: And of course, she got me eventually.
01:19:14 --> 01:19:15 [UNKNOWN]: She did.
01:19:15 --> 01:19:17 [UNKNOWN]: She had to sue them, but she did get paid.
01:19:17 --> 01:19:19 [UNKNOWN]: The talking about doing.
01:19:19 --> 01:19:25 [UNKNOWN]: Yeah, so John, I think you're the more religious scholar out of the three of us, which do you know about the Jesuits?
01:19:26 --> 01:19:29 [UNKNOWN]: They're from my understanding and please encourage me from everyone people who actually know this.
01:19:30 --> 01:19:34 [UNKNOWN]: The Jesuits are the more intellectual of the Catholic branches.
01:19:34 --> 01:19:44 [UNKNOWN]: They are very much like logic is the path to God, more than a lot of the other ones which like Franciscans are much more like mystical things like that.
01:19:46 --> 01:19:50 [UNKNOWN]: And so it would make sense to me that the Jesuits are sending people to become psychiatrists.
01:19:50 --> 01:19:51 [UNKNOWN]: Right.
01:19:51 --> 01:19:51 [UNKNOWN]: Right.
01:19:52 --> 01:19:52 [UNKNOWN]: Yeah.
01:19:52 --> 01:19:54 [UNKNOWN]: I mean, of course, they're academics, right?
01:19:56 --> 01:19:57 [UNKNOWN]: Yeah, that one has his wip of zoo zoo.
01:19:59 --> 01:20:00 [UNKNOWN]: To play.
01:20:01 --> 01:20:01 [UNKNOWN]: See out.
01:20:01 --> 01:20:05 [UNKNOWN]: They're the ones they set up the schools the most often.
01:20:05 --> 01:20:07 [UNKNOWN]: So yeah, you're teaching.
01:20:07 --> 01:20:08 [UNKNOWN]: Yeah.
01:20:08 --> 01:20:10 [UNKNOWN]: George Jones is a Jesuit school there.
01:20:10 --> 01:20:15 [UNKNOWN]: Missionaries said that also makes them more well known.
01:20:15 --> 01:20:17 [UNKNOWN]: More highly prominent because of their missionary work.
01:20:17 --> 01:20:20 [UNKNOWN]: But they're also relatively liberal.
01:20:21 --> 01:20:27 [UNKNOWN]: compared to other sectors of the Catholic Church, which I didn't realize until I was just looking it up.
01:20:27 --> 01:20:32 [UNKNOWN]: Now the late Pope Francis, the last Pope, was the first Jesuit Pope ever elected.
01:20:33 --> 01:20:37 [UNKNOWN]: He's throwing you off because he's going with the name of Francis, but he's a Jesuit.
01:20:37 --> 01:20:41 [UNKNOWN]: Yeah, I mean, you know, I'm not super educated on the schools of Catholicism.
01:20:42 --> 01:20:46 [UNKNOWN]: I did accidentally attend a pagan ritual the other day, but I'm not even kidding.
01:20:46 --> 01:20:46 [UNKNOWN]: What kind?
01:20:46 --> 01:20:46 [UNKNOWN]: What kind?
01:20:48 --> 01:20:49 [UNKNOWN]: Um, Norse was pagan.
01:20:50 --> 01:20:52 [UNKNOWN]: It was like this was the Viking soup thing.
01:20:52 --> 01:20:53 [UNKNOWN]: Yes, so it was a Viking.
01:20:53 --> 01:21:06 [UNKNOWN]: I was told it was a Viking soup fest and that was a side show The real show was there was a lot of handling going on everybody was handling things Odin and Thor and Loki and with beer and we're no meat.
01:21:06 --> 01:21:07 [UNKNOWN]: Oh, no meat.
01:21:07 --> 01:21:08 [UNKNOWN]: Sorry, I mean well there.
01:21:08 --> 01:21:08 [UNKNOWN]: You go.
01:21:08 --> 01:21:09 [UNKNOWN]: That's fine.
01:21:09 --> 01:21:10 [UNKNOWN]: That I'm eatery.
01:21:10 --> 01:21:15 [UNKNOWN]: Yeah, I'm eatery So interesting
01:21:16 --> 01:21:24 [UNKNOWN]: Oh, by the way, just so I don't get added, it is Clare Tory, who's saying the vocals for the great gig in the sky on the dark side of the moon.
01:21:24 --> 01:21:25 [UNKNOWN]: Okay, moving on.
01:21:25 --> 01:21:26 [UNKNOWN]: Okay.
01:21:26 --> 01:21:28 [UNKNOWN]: I'm just avoiding you slings and arrows.
01:21:29 --> 01:21:32 [UNKNOWN]: Why don't know if either of you are familiar with the location of Georgetown.
01:21:32 --> 01:21:37 [UNKNOWN]: I am, there was one of the schools I most seriously considered going to when I went to college.
01:21:38 --> 01:21:42 [UNKNOWN]: I have also family around there, which made my mom think that that was a good idea
01:21:45 --> 01:21:49 [UNKNOWN]: but it is a Jesuit school, it's where Bladdy went.
01:21:50 --> 01:21:55 [UNKNOWN]: Bladdy though, he loves his lawsuit, apparently.
01:21:55 --> 01:22:05 [UNKNOWN]: He also filed a canon law petition against George Town later in life, where he said that basically, he's a pretty conservative guy.
01:22:05 --> 01:22:13 [UNKNOWN]: He was saying they should not have invited speakers who support abortion rights to speak there.
01:22:14 --> 01:22:31 [UNKNOWN]: and that they were disobeying Pope John Paul's 1990 instructions about what colleges and universities affiliated with the church should do, and the Vatican rejected his petition in 2014 and said, this doesn't hurt you, basically.
01:22:35 --> 01:22:36 [UNKNOWN]: I just called up a map of Georgetown.
01:22:37 --> 01:22:42 [UNKNOWN]: I don't really know, I've only been to DC a couple of times, and I don't think I spent any time in Georgetown.
01:22:43 --> 01:22:44 [UNKNOWN]: on the map.
01:22:45 --> 01:22:49 [UNKNOWN]: The exorcist steps are marked as a tourist photographic location.
01:22:49 --> 01:22:50 [UNKNOWN]: Oh, yeah, for sure.
01:22:52 --> 01:22:55 [UNKNOWN]: I mean, I'm not surprised, but I'm like, oh, look at that.
01:22:55 --> 01:22:56 [UNKNOWN]: It's funny.
01:22:57 --> 01:22:57 [UNKNOWN]: Yeah.
01:22:58 --> 01:23:07 [UNKNOWN]: Yeah, so just a bloody, you know, we heap a lot of praise on him for all the different roles he he played in this and that's deserved, but also there's like some achy homophobic stuff in the way.
01:23:08 --> 01:23:13 [UNKNOWN]: Oh, oh, in the book, yeah, no, it gets worse in the in the book.
01:23:13 --> 01:23:16 [UNKNOWN]: Yeah, they definitely toned it down for the movie.
01:23:17 --> 01:23:22 [UNKNOWN]: And, you know, he's a little bit hypocritic because he's complaining about all this stuff, but the man was married four times.
01:23:22 --> 01:23:24 [UNKNOWN]: So you're not that Catholic, okay?
01:23:27 --> 01:23:31 [UNKNOWN]: Yeah, there was very strict for a long time, very strict thing on divorce.
01:23:31 --> 01:23:33 [UNKNOWN]: I mean, it's still there, but it's not a strict.
01:23:35 --> 01:23:38 [UNKNOWN]: I think Francis was the one who loosened it like you can come back to church if you're divorced.
01:23:39 --> 01:23:39 [UNKNOWN]: Right.
01:23:39 --> 01:23:43 [UNKNOWN]: Yeah, that was a big deal being if you were divorced and you could take continue to take communion and stuff, right?
01:23:43 --> 01:23:57 [UNKNOWN]: So yeah, I mean because I believe before that it was supposed to be like like they never had forces, but like if you were divorced you were not, but you were like basically that's indicated from my understanding.
01:23:58 --> 01:24:08 [UNKNOWN]: Yeah, but he said the Georgetown was basically his best years of his life because, you know, he had that rough childhood with moving around a lot.
01:24:09 --> 01:24:12 [UNKNOWN]: And I think this movie was kind of a love letter to Georgetown.
01:24:13 --> 01:24:16 [UNKNOWN]: I know, obviously, he wasn't the one who decided anything about the cameras for this.
01:24:18 --> 01:24:18 [UNKNOWN]: But,
01:24:18 --> 01:24:26 [UNKNOWN]: just the other way, it featured these iconic stairways and bridges and sports fields and really made it a character in the film as well.
01:24:27 --> 01:24:39 [UNKNOWN]: Fried can points out that with the stairs and the way the camera angles are on certain bridges and things like that, he's projecting a constant theme of ascension.
01:24:40 --> 01:24:41 [UNKNOWN]: I did not pick up on that.
01:24:41 --> 01:24:42 [UNKNOWN]: That's interesting.
01:24:49 --> 01:24:50 [UNKNOWN]: with your spirit.
01:24:50 --> 01:24:51 [UNKNOWN]: And with your spirit.
01:24:51 --> 01:24:58 [UNKNOWN]: So speaking of the spirits, what did you guys think of Dr. Damian Carras as a character?
01:24:58 --> 01:25:00 [UNKNOWN]: Were you intrigued by him?
01:25:00 --> 01:25:05 [UNKNOWN]: Were you drawn into his battle to reclaim his faith?
01:25:06 --> 01:25:12 [UNKNOWN]: I want to stick a pin in the Iraq stuff and come back to it really quickly, but let's say in this question.
01:25:12 --> 01:25:15 [UNKNOWN]: But let's stay on this question first and then we can circle back really
01:25:16 --> 01:25:35 [UNKNOWN]: I can see a little bit John where you might have been like, oh, like what's all this extra backstory and stuff, but I thought it was I thought the whole sub plot with his mother was really interesting and sort of an integral part to his arc.
01:25:37 --> 01:25:43 [UNKNOWN]: Uh, and, um, again, I liked that they used an actor that we weren't familiar with.
01:25:43 --> 01:25:50 [UNKNOWN]: It was in a big name actor and this, you know, budget Sylvester Stallone, right?
01:25:50 --> 01:25:51 [UNKNOWN]: Exactly.
01:25:51 --> 01:25:52 [UNKNOWN]: Basically, right?
01:25:52 --> 01:25:53 [UNKNOWN]: He was even a boxer, right?
01:25:53 --> 01:25:53 [UNKNOWN]: Yeah.
01:25:55 --> 01:26:01 [UNKNOWN]: But the tension that he has with in himself between his faith, between his science and his humanity.
01:26:02 --> 01:26:10 [UNKNOWN]: And I thought that those three sort of collided in him and the actor was, I read, I decoded a lot of,
01:26:12 --> 01:26:19 [UNKNOWN]: heaviness and sort of tension in him and his shoulders and his body the way he moved.
01:26:19 --> 01:26:28 [UNKNOWN]: And for me, that all of that tension and then his entry into this weird situation, it worked for me.
01:26:28 --> 01:26:29 [UNKNOWN]: I sold it.
01:26:29 --> 01:26:30 [UNKNOWN]: He sold it to me.
01:26:30 --> 01:26:31 [UNKNOWN]: I bought it into it.
01:26:33 --> 01:26:34 [UNKNOWN]: John.
01:26:34 --> 01:26:34 [UNKNOWN]: All right.
01:26:34 --> 01:26:38 [UNKNOWN]: I mean, yeah, I didn't love his character.
01:26:38 --> 01:26:41 [UNKNOWN]: I just think I've seen that character done better so many times since then.
01:26:41 --> 01:26:42 [UNKNOWN]: Do you know what I mean?
01:26:42 --> 01:26:42 [UNKNOWN]: Sure.
01:26:42 --> 01:26:45 [UNKNOWN]: Like it was so black and white.
01:26:45 --> 01:26:46 [UNKNOWN]: Like I'm sad.
01:26:46 --> 01:26:47 [UNKNOWN]: My mom died.
01:26:47 --> 01:26:49 [UNKNOWN]: And I feel like I failed her.
01:26:50 --> 01:26:51 [UNKNOWN]: I don't know.
01:26:51 --> 01:26:54 [UNKNOWN]: They did a lot of telling and not showing me that.
01:26:56 --> 01:26:57 [UNKNOWN]: And I didn't love that.
01:26:58 --> 01:27:01 [UNKNOWN]: Okay, no, I did a lot of show with his guilt and remorse
01:27:05 --> 01:27:12 [UNKNOWN]: Yeah, I mean, but they set up the whole thing with him visiting her.
01:27:12 --> 01:27:19 [UNKNOWN]: And of course, there's more room again in the book for this, but with him, you know, requesting to be able to move to New York.
01:27:19 --> 01:27:21 [UNKNOWN]: So he can be closer to her.
01:27:21 --> 01:27:30 [UNKNOWN]: And just yeah, feeling torn between his loyalty to the church and his loyalty to his mother and yeah, his should.
01:27:30 --> 01:27:39 [UNKNOWN]: the entire world, like we need to look at everything through science and he's struggling with his faith, especially since his mother died.
01:27:39 --> 01:27:43 [UNKNOWN]: Which then pursues you is leveraging constantly.
01:27:44 --> 01:27:46 [UNKNOWN]: Can you really believe what's going on here?
01:27:46 --> 01:27:48 [UNKNOWN]: Okay, well that's not working.
01:27:48 --> 01:27:55 [UNKNOWN]: Okay, let me guilt you with your mother and let me give you these little flashes of her sitting here and talking
01:27:57 --> 01:27:59 [UNKNOWN]: Yeah, for me, it works.
01:27:59 --> 01:28:10 [UNKNOWN]: I get the pace and I get the argument that you're your point of view on it, John, but at the same time for me, it was effective.
01:28:10 --> 01:28:13 [UNKNOWN]: I could just be brain-rotted to, you know, it's a tough option.
01:28:14 --> 01:28:19 [UNKNOWN]: I will say, like, I'm just realizing now and the way you're describing him makes me like a character better.
01:28:20 --> 01:28:22 [UNKNOWN]: Perhaps I just did a bad job analyzing him as I watched.
01:28:23 --> 01:28:32 [UNKNOWN]: I did it easy on the first watch would end within the cultural landscape of the movie in its position and then coming back to it I can totally see like not being calibrated for.
01:28:32 --> 01:28:33 [UNKNOWN]: Right.
01:28:33 --> 01:28:34 [UNKNOWN]: What the film was doing at the time.
01:28:34 --> 01:28:36 [UNKNOWN]: I don't know if I was in the right headspace for this movie.
01:28:37 --> 01:28:43 [UNKNOWN]: The end what's interesting to me is he kind of uses his vulnerability as the weapon.
01:28:43 --> 01:28:51 [UNKNOWN]: He's just kind of me and then runs off and that's him running away is how he saves
01:28:52 --> 01:28:53 [UNKNOWN]: I like that a lot.
01:28:53 --> 01:28:57 [UNKNOWN]: Yeah, no, we're going to come back to the end at the end.
01:28:57 --> 01:29:04 [UNKNOWN]: So put a pin in that real quick, but I think for me, the core story is overall about him.
01:29:04 --> 01:29:05 [UNKNOWN]: He's the main character.
01:29:05 --> 01:29:09 [UNKNOWN]: We know he's just standing for the writer basically, glad to admit it.
01:29:10 --> 01:29:17 [UNKNOWN]: Um, but you see, and this is also where it might be a struggle with it as an adult looking back at it.
01:29:17 --> 01:29:20 [UNKNOWN]: So I was raised like not in a super religious household.
01:29:20 --> 01:29:21 [UNKNOWN]: I was raised.
01:29:21 --> 01:29:25 [UNKNOWN]: I was read, raise Methodist, but also, you know, expose.
01:29:25 --> 01:29:33 [UNKNOWN]: to Jewish side of the family, and just exposed to a lot of different types like my grandmother's Russian Orthodox, you know?
01:29:33 --> 01:29:42 [UNKNOWN]: So I got to a lot of different windows into it, and I wasn't too affixed to one, but I never interrogated the religious side of this growing up.
01:29:42 --> 01:29:46 [UNKNOWN]: It was just like, okay, yeah, that's religion, that's everywhere that's how it is.
01:29:47 --> 01:29:52 [UNKNOWN]: And now is an adult where I've really thought hard about the role that church,
01:29:53 --> 01:29:55 [UNKNOWN]: has played in history.
01:29:57 --> 01:30:02 [UNKNOWN]: It's just something.
01:30:02 --> 01:30:04 [UNKNOWN]: I'm what a gentleman I've heard to ever give to us.
01:30:05 --> 01:30:24 [UNKNOWN]: I'm less comfortable with the way this movie seems to come to the conclusion via this character that it's like, okay, there's science and I'll say the book it lanes into even more, sort of not discrediting science, but just basically saying sometimes science can explain it.
01:30:26 --> 01:30:29 [UNKNOWN]: I think that science can explain a lot of the things that it's saying.
01:30:29 --> 01:30:30 [UNKNOWN]: Sometimes science just can't explain them.
01:30:30 --> 01:30:33 [UNKNOWN]: Like, well, that I think, yeah, there's a very clear explanation for it.
01:30:34 --> 01:30:39 [UNKNOWN]: But I love the room full of white coats sitting around with Chris at the far end.
01:30:39 --> 01:30:42 [UNKNOWN]: And he gives us the wide shot of the room.
01:30:43 --> 01:31:01 [UNKNOWN]: And these all these people sitting around kind of leaning back, disaffected, feeling very stumped by the the case that's in front of them, and there's like 12 doctors around that table and it's brilliant it's a brilliant piece of social commentary, not discounting science, but just pointing out that.
01:31:02 --> 01:31:08 [UNKNOWN]: Yeah, for all that we do know, there are things that we don't know and we cannot solve and answer in every case.
01:31:08 --> 01:31:23 [UNKNOWN]: And in the pleadings of Chris, like God damn it, just tell me something, do something like fix my child, which is ironic because she's going to them for answers, yet at the same time she's raging at them for not being able to answer the question.
01:31:24 --> 01:31:25 [UNKNOWN]: So I know what you're trying to do.
01:31:25 --> 01:31:25 [UNKNOWN]: Thanks for that.
01:31:25 --> 01:31:26 [UNKNOWN]: Let me just say that.
01:31:26 --> 01:31:33 [UNKNOWN]: There's no good people of doctors for any of us No, those days are not gonna happen kind of reminds me.
01:31:33 --> 01:31:43 [UNKNOWN]: You know at the beginning of Monte Python and the meaning of life For maybe not the very beginning, but when they have the doctors giving birth and they have all the machines are like, oh, we have to turn this machine on They'll want to build for that
01:31:46 --> 01:31:48 [UNKNOWN]: It's more of a regular business.
01:31:49 --> 01:31:51 [UNKNOWN]: The EG, the BP monitor, and the AVV.
01:31:52 --> 01:31:54 [UNKNOWN]: Yes, and you don't end up getting the machine that goes...
01:31:56 --> 01:31:57 [UNKNOWN]: Oh, why do you have the machine to go?
01:31:57 --> 01:31:58 [UNKNOWN]: Boom!
01:31:58 --> 01:32:00 [UNKNOWN]: Right, the machine to go big.
01:32:00 --> 01:32:03 [UNKNOWN]: Yeah, right.
01:32:03 --> 01:32:18 [UNKNOWN]: I think that actually though this movie paints a positive picture of the church, where it paints it as modern for the 70s, but with saying like, but sometimes it's just some things you need faith for.
01:32:18 --> 01:32:22 [UNKNOWN]: And this is what I've been wrestling with with my blog post is the...
01:32:23 --> 01:32:34 [UNKNOWN]: question of perception and what what we see and what we don't see and this ties back to that my thing about I want to talk about the Iraq section.
01:32:35 --> 01:32:39 [UNKNOWN]: But there's this idea that, you know, Chris can't perceive it.
01:32:39 --> 01:32:43 [UNKNOWN]: She can only perceive her daughter being torn apart.
01:32:44 --> 01:32:48 [UNKNOWN]: What's the father priest the main guy's name again, Maxwell and Sideau's character?
01:32:50 --> 01:32:50 [UNKNOWN]: Mary and thank you.
01:32:51 --> 01:32:55 [UNKNOWN]: Mary and can see, you know, much clearer than either of them.
01:32:57 --> 01:33:03 [UNKNOWN]: Careous, can see certain things, the church can see certain things, the doctors can see certain things.
01:33:03 --> 01:33:09 [UNKNOWN]: But what you can see and what you can accept and what you can affect are all in different positions.
01:33:11 --> 01:33:18 [UNKNOWN]: And so I really enjoyed that tension, that Friedkin and Blady set up with this.
01:33:18 --> 01:33:22 [UNKNOWN]: But then that goes back into the Iraq stuff.
01:33:23 --> 01:33:28 [UNKNOWN]: One of the things that really struck me was the way that the people were digging out the site.
01:33:28 --> 01:33:31 [UNKNOWN]: It's really intense and rhythmic and driving.
01:33:32 --> 01:33:37 [UNKNOWN]: and you just are watching all these people just hammering away, hammering away, hammering away.
01:33:37 --> 01:33:38 [UNKNOWN]: It's hot.
01:33:38 --> 01:33:42 [UNKNOWN]: It's a, you know, the, the color scape is completely different than Georgetown.
01:33:42 --> 01:33:46 [UNKNOWN]: It's brown and bright and, and you feel the heat and the dust.
01:33:47 --> 01:33:50 [UNKNOWN]: and in Georgetown, it's gray and somber and wet.
01:33:50 --> 01:33:53 [UNKNOWN]: So we get this real difference between these two worlds.
01:33:54 --> 01:34:00 [UNKNOWN]: But for me, was happening a bunch with this boundary between the scene and the unseen worlds.
01:34:01 --> 01:34:03 [UNKNOWN]: And we have this unseen world, which is
01:34:04 --> 01:34:13 [UNKNOWN]: Our world is kind of in a way incomplete because we can't see the unseen world, but the unseen world is driving.
01:34:13 --> 01:34:14 [UNKNOWN]: There's something restless underneath it.
01:34:14 --> 01:34:20 [UNKNOWN]: There's like machinery that's working and it's breaking through and it's pushing into our scene world.
01:34:21 --> 01:34:27 [UNKNOWN]: And then it's this question of can you see it, can you accept it and can you do something about it?
01:34:27 --> 01:34:35 [UNKNOWN]: And for me, that those first two acts, and especially that first act in Iraq, they're saying in a first act, it's the whatever the openings.
01:34:35 --> 01:34:37 [UNKNOWN]: Yes, it's all about the first act in Iraq.
01:34:39 --> 01:35:07 [UNKNOWN]: That's what I'm saying is, yeah, the prologue is that just the drivingness of it and the temperature of it and the heat of it and it just created for me this under layer because we started in George to in the extended cut you started in George town then you go to a rack and then you have the call to prayer the museum and then you come back to George town and so we he sets up a visual Spectrum or you know there's a there's a
01:35:08 --> 01:35:14 [UNKNOWN]: There's this, this place that's normal, but we know that we're creeped out right away that something's wrong.
01:35:15 --> 01:35:20 [UNKNOWN]: And then we go to this other place and it's hot and it's dusty and there's just driving, there's this intensity to it.
01:35:20 --> 01:35:24 [UNKNOWN]: And then we come back to the plastic cold relaxed Georgetown.
01:35:25 --> 01:35:27 [UNKNOWN]: So it sets up a tension right there.
01:35:28 --> 01:35:34 [UNKNOWN]: So whatever he did, so it's not even the whole thing of him seeing the vision of Pazuzu or any of that stuff.
01:35:36 --> 01:35:51 [UNKNOWN]: the beat of the hammers of the people digging that creates this below the surface tension for the rest of the film, because we never go back to Iraq, but it's with us in the film, and it's set up.
01:35:52 --> 01:35:53 [UNKNOWN]: It's set up to Iraq a couple times.
01:35:54 --> 01:35:54 [UNKNOWN]: Have to listen.
01:35:55 --> 01:35:55 [UNKNOWN]: Give me.
01:35:55 --> 01:35:58 [UNKNOWN]: Okay, but in, oh, you saw in the real world.
01:35:59 --> 01:36:01 [UNKNOWN]: I'm just, I'm poking fun at you.
01:36:02 --> 01:36:02 [UNKNOWN]: Got it.
01:36:02 --> 01:36:03 [UNKNOWN]: I was like, I was on a roll.
01:36:03 --> 01:36:04 [UNKNOWN]: That's like what?
01:36:04 --> 01:36:05 [UNKNOWN]: There were a couple of bushes involved.
01:36:05 --> 01:36:07 [UNKNOWN]: Yeah, yeah, I gotcha.
01:36:07 --> 01:36:07 [UNKNOWN]: I gotcha.
01:36:07 --> 01:36:09 [UNKNOWN]: Anyway, so that's what I have to say about that.
01:36:10 --> 01:36:18 [UNKNOWN]: Um, okay, let me ask John, let me ask you, what do you think about this unseen underworld that David's talking about?
01:36:19 --> 01:36:28 [UNKNOWN]: What do you think is going on with this demon legion entity known as Pizuzu with these voices that are coming out?
01:36:28 --> 01:36:30 [UNKNOWN]: So we hear, we hear, um,
01:36:33 --> 01:36:34 [UNKNOWN]: Damien's mother's voice.
01:36:34 --> 01:36:38 [UNKNOWN]: We hear an unhoused man he meant in the subway.
01:36:38 --> 01:36:42 [UNKNOWN]: We hear the voice of the director who dies part way through.
01:36:42 --> 01:36:47 [UNKNOWN]: Are they, is it just the demon messing with them?
01:36:47 --> 01:36:50 [UNKNOWN]: Or is there some truth to them all being in there?
01:36:50 --> 01:36:53 [UNKNOWN]: Oh, it's a great question.
01:36:54 --> 01:36:55 [UNKNOWN]: I don't know.
01:36:55 --> 01:36:59 [UNKNOWN]: I think maybe, as usual, is lying.
01:37:00 --> 01:37:13 [UNKNOWN]: And you know, you know, it's also interesting to me as like these demons are all like entities from pre-Christian and pre-Jewish Mesopotamia.
01:37:14 --> 01:37:20 [UNKNOWN]: And so the question is, would there even be let's say the Christian hell is real?
01:37:23 --> 01:37:27 [UNKNOWN]: Would there even be a link between the Christian hell?
01:37:28 --> 01:37:29 [UNKNOWN]: and Pazuzu.
01:37:29 --> 01:37:30 [UNKNOWN]: Mm-hmm.
01:37:31 --> 01:37:32 [UNKNOWN]: I mean, maybe there is that branch.
01:37:33 --> 01:37:38 [UNKNOWN]: Apparently there is that branch of the church that, um, yeah, yeah, the sequels will explore this more.
01:37:38 --> 01:37:38 [UNKNOWN]: Yeah.
01:37:39 --> 01:37:46 [UNKNOWN]: By the way, fun fact, the Jason Miller, who you were kind of iffy on this casting, John, I take it.
01:37:47 --> 01:37:48 [UNKNOWN]: Would you call him discount?
01:37:49 --> 01:37:50 [UNKNOWN]: He is this count.
01:37:50 --> 01:37:52 [UNKNOWN]: He is this count, Steven Siggall.
01:37:53 --> 01:37:55 [UNKNOWN]: Not Siggall, Steven, Celester Stallone.
01:37:56 --> 01:37:57 [UNKNOWN]: I always get their names mixed up.
01:37:57 --> 01:38:00 [UNKNOWN]: I know exactly who they are, but like, he's nominated.
01:38:01 --> 01:38:07 [UNKNOWN]: He was nominated for an Oscar, but he had to fight for this part because they had already signed Stacy Keech to the role.
01:38:07 --> 01:38:08 [UNKNOWN]: Oh, really?
01:38:09 --> 01:38:17 [UNKNOWN]: And Jason Miller, though, he had met Fried Kid at a play and then he read the book, and he's like, no, I have to play this role
01:38:18 --> 01:38:25 [UNKNOWN]: bought his own ticket to come out and audition even though he knew the part was taken and then Freakens like, no, yeah, no, it should be you.
01:38:27 --> 01:38:41 [UNKNOWN]: I think he has, like, in the book he's more often referred to as a movie star here, he's talked about as a boxer, but he still has that charm, like the iconic moment from the book and the movie where he, you first see him.
01:38:41 --> 01:38:43 [UNKNOWN]: I guess it's more noticeable in the book.
01:38:44 --> 01:38:47 [UNKNOWN]: because the director is telling a dirty joke.
01:38:47 --> 01:38:49 [UNKNOWN]: He's like, oh, he's in France fucking.
01:38:49 --> 01:38:52 [UNKNOWN]: And she sees the priest laughing.
01:38:53 --> 01:38:55 [UNKNOWN]: Chris sees the priest laughing.
01:38:55 --> 01:38:57 [UNKNOWN]: And that's kind of why she trusts him later.
01:38:58 --> 01:39:01 [UNKNOWN]: Huh, that seems not okay.
01:39:02 --> 01:39:05 [UNKNOWN]: But she's like, she knows he's not too uptight.
01:39:05 --> 01:39:07 [UNKNOWN]: He's, you know, he's accessible.
01:39:07 --> 01:39:08 [UNKNOWN]: He's not whole air than that.
01:39:11 --> 01:39:17 [UNKNOWN]: So what did you like the casting of Max von Sido as Miren better did that work for you more?
01:39:17 --> 01:39:30 [UNKNOWN]: The I thought he was actually kind of where actually I I I I don't know where you got the what I guess because I called him budget The Western Sloan no I actually did like him as that but like I actually thought you could performance.
01:39:31 --> 01:39:35 [UNKNOWN]: I just think he didn't like I thought it was him at first and first I'm like Is that so fast or slow?
01:39:37 --> 01:39:42 [UNKNOWN]: And then I realized it wasn't, but I mean, yeah, I mean, I think he did a good job.
01:39:42 --> 01:39:49 [UNKNOWN]: He sold the emotional, you know, the turmoil, especially when he's confronted with his mother.
01:39:51 --> 01:39:52 [UNKNOWN]: The other guy was boring.
01:39:52 --> 01:39:56 [UNKNOWN]: He was, he was, he was, you know, there was a pretty flat.
01:39:56 --> 01:39:58 [UNKNOWN]: I mean, he didn't have a lot to work with.
01:39:58 --> 01:39:58 [UNKNOWN]: Right.
01:39:59 --> 01:40:00 [UNKNOWN]: It was a flat performance.
01:40:00 --> 01:40:01 [UNKNOWN]: It was a flat script for the hit for him.
01:40:02 --> 01:40:03 [UNKNOWN]: He was a foil, right?
01:40:04 --> 01:40:06 [UNKNOWN]: Yeah, have you ever seen the seventh seal?
01:40:07 --> 01:40:07 [UNKNOWN]: I know what happened.
01:40:07 --> 01:40:08 [UNKNOWN]: Oh, okay.
01:40:08 --> 01:40:09 [UNKNOWN]: I don't even know what that is.
01:40:10 --> 01:40:11 [UNKNOWN]: I haven't seen it either.
01:40:12 --> 01:40:34 [UNKNOWN]: It's like a classic Swedish, I don't know if it's, it's probably not called Swedish expressionism, but that sort of reminds me of like German expressionism but Sweden, and I just like remember being hung over and Stockholm watching it on New Year's Day, it's just like the man and black on the beach anyway, but he, this is, that was his most famous role, this actor.
01:40:35 --> 01:40:35 [UNKNOWN]: Okay.
01:40:35 --> 01:40:46 [UNKNOWN]: I do think that the father Mary needed a that's the one role that it did need a movie star or a well-known name and I thought Max once I'd out was the right choice.
01:40:46 --> 01:40:50 [UNKNOWN]: I'm really I was really despairing of the makeup though.
01:40:50 --> 01:40:53 [UNKNOWN]: They put on it to make him look old and sort of ill.
01:41:01 --> 01:41:02 [UNKNOWN]: I get the look they were looking for.
01:41:02 --> 01:41:10 [UNKNOWN]: They're trying to get him a gray palette a colorless sort of face, but the makeup was yeah, it's okay job I heard a mortician formed in there.
01:41:10 --> 01:41:15 [UNKNOWN]: He's basically That's what I call them the 10 Gena of the film even though.
01:41:15 --> 01:41:21 [UNKNOWN]: Oh, that is just a guy's disrespect to 10 Gena Why do you have to talk about me?
01:41:24 --> 01:41:44 [UNKNOWN]: Oh, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no
01:41:48 --> 01:41:49 [UNKNOWN]: everything around it.
01:41:51 --> 01:41:54 [UNKNOWN]: So this character was based on the in parts.
01:41:54 --> 01:41:56 [UNKNOWN]: It's father Lancaster Miran is his first name.
01:41:57 --> 01:42:09 [UNKNOWN]: So he's based in part on the British archaeologist Gerald Lancaster Harding and this is a guy who found the dead sea scrolls and Bladdy met him when he was in Beirut.
01:42:13 --> 01:42:32 [UNKNOWN]: And he also uses inspiration to Jesuit theologian Pierre Tayard de Sharda and who yeah was was an archaeologist Jesuit and of course the priest who did that Roland Doe exorcism that this was based on
01:42:34 --> 01:42:36 [UNKNOWN]: And I don't recall this happening in this film.
01:42:36 --> 01:42:47 [UNKNOWN]: If it happens, maybe in the extended version, but in the book, one of the creepiest things is that the demon starts suggesting Father Miran's going to come before he's even assigned to the case.
01:42:47 --> 01:42:49 [UNKNOWN]: Did that happen in the extended version?
01:42:50 --> 01:42:52 [UNKNOWN]: Yeah, there's something about,
01:42:53 --> 01:43:05 [UNKNOWN]: When Keras does a audio recording when he's doing his initial preliminary sort of investigation to see if he can even take something to the church or is it after?
01:43:05 --> 01:43:13 [UNKNOWN]: I can't remember anyway, he records Reagan and Bezouzu talking and they're the guy
01:43:15 --> 01:43:19 [UNKNOWN]: One of his colleagues says, oh, that's English, but you gotta play it backwards.
01:43:20 --> 01:43:23 [UNKNOWN]: And so he plays it backwards in the here, and then some of the lines there are fear merit.
01:43:25 --> 01:43:29 [UNKNOWN]: So Pizzuzu names, Marin, and basically says, you know, that's the one you gotta be afraid of.
01:43:30 --> 01:43:41 [UNKNOWN]: Boy, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no,
01:43:44 --> 01:44:04 [UNKNOWN]: I have no one in the police in the police in the police in the police in the police I have no one in the police in the police in the police in the police in the police I have no one in the police in the police in the police in the police in the police in the police
01:44:07 --> 01:44:10 [UNKNOWN]: But this is kind of like where that whole trope of playing it back for.
01:44:10 --> 01:44:11 [UNKNOWN]: It's comes from, right?
01:44:11 --> 01:44:12 [UNKNOWN]: Is it?
01:44:12 --> 01:44:12 [UNKNOWN]: Yeah.
01:44:13 --> 01:44:17 [UNKNOWN]: Is it like, weren't they doing that in the 60s like in real life?
01:44:17 --> 01:44:18 [UNKNOWN]: Yeah, yeah, yeah.
01:44:18 --> 01:44:18 [UNKNOWN]: Oh, maybe.
01:44:19 --> 01:44:20 [UNKNOWN]: There were rock bands.
01:44:20 --> 01:44:21 [UNKNOWN]: We do a whole thing.
01:44:21 --> 01:44:22 [UNKNOWN]: Yeah, the Beatles were doing it.
01:44:22 --> 01:44:23 [UNKNOWN]: I don't know.
01:44:23 --> 01:44:24 [UNKNOWN]: I'll talk with their fans.
01:44:24 --> 01:44:26 [UNKNOWN]: OK, my bad fair enough.
01:44:26 --> 01:44:30 [UNKNOWN]: But that certainly extends the, yeah, it actually picks up and extends that.
01:44:30 --> 01:44:32 [UNKNOWN]: Let's say it courts it into the horror genre.
01:44:33 --> 01:44:33 [UNKNOWN]: There you go.
01:44:40 --> 01:44:44 [UNKNOWN]: But here's a serious question, who is the best priest in this film?
01:44:44 --> 01:44:47 [UNKNOWN]: And why is it actually father Joseph Dyer?
01:44:47 --> 01:44:48 [UNKNOWN]: Oh, yeah, he's the goat.
01:44:48 --> 01:44:49 [UNKNOWN]: He's the goat.
01:44:50 --> 01:44:52 [UNKNOWN]: He's or a farming that entire movie.
01:44:52 --> 01:44:53 [UNKNOWN]: Yeah, absolutely.
01:44:54 --> 01:45:06 [UNKNOWN]: You just see, he doesn't, he gets a bit more again in the book as you would expect, but here, like every time you flashed him, he's playing the piano leading a sing-along talking to an astronaut about being the first missionary on Mars.
01:45:06 --> 01:45:12 [UNKNOWN]: There's a tradition that millennials need to bring back is the piano sing-along at your cocktail parties.
01:45:13 --> 01:45:15 [UNKNOWN]: Don't play games anymore, don't play board games anymore.
01:45:15 --> 01:45:17 [UNKNOWN]: We have piano bars, that's a part of everything.
01:45:17 --> 01:45:18 [UNKNOWN]: Get me my board games out of this.
01:45:19 --> 01:45:22 [UNKNOWN]: Again, we're having a good time, and do a sing-along.
01:45:22 --> 01:45:24 [UNKNOWN]: Hmm.
01:45:24 --> 01:45:28 [UNKNOWN]: So he was actually played by a real priest.
01:45:28 --> 01:45:30 [UNKNOWN]: Jesuit father William Amelie.
01:45:30 --> 01:45:30 [UNKNOWN]: There he is.
01:45:31 --> 01:45:32 [UNKNOWN]: I'm looking at his Wikipedia page.
01:45:32 --> 01:45:33 [UNKNOWN]: He's pretty fun now.
01:45:33 --> 01:45:37 [UNKNOWN]: And this is the one that Friedkin slapped to get the final performance after him.
01:45:37 --> 01:45:40 [UNKNOWN]: That's awesome.
01:45:41 --> 01:45:41 [UNKNOWN]: Oh.
01:45:41 --> 01:45:44 [UNKNOWN]: But yeah, he's stealing the university president's booze.
01:45:45 --> 01:45:45 [UNKNOWN]: Yeah, he was the best.
01:45:46 --> 01:45:46 [UNKNOWN]: Yeah.
01:45:49 --> 01:45:52 [UNKNOWN]: What did you guys think though of Ellen Burston's performance?
01:45:52 --> 01:45:56 [UNKNOWN]: Because I'm going to maybe have a warm take.
01:45:59 --> 01:46:04 [UNKNOWN]: I mean, performance or the ability to act.
01:46:07 --> 01:46:07 [UNKNOWN]: Sorry.
01:46:09 --> 01:46:10 [UNKNOWN]: Why is it an over factor?
01:46:10 --> 01:46:10 [UNKNOWN]: I'll say it.
01:46:10 --> 01:46:11 [UNKNOWN]: She's an over actor.
01:46:11 --> 01:46:12 [UNKNOWN]: He's an actor playing.
01:46:12 --> 01:46:13 [UNKNOWN]: He's an actor.
01:46:13 --> 01:46:16 [UNKNOWN]: Yelling and half the scenes and not always in a necessary way.
01:46:18 --> 01:46:31 [UNKNOWN]: And the, you know, the script is not doing her a lot of favors as well with that hysterical mother like I don't just, you know, like, yeah, what would I be like if my child was, you know, spider walking down the stairs and vomiting blood.
01:46:38 --> 01:46:39 [UNKNOWN]: that's happening.
01:46:40 --> 01:46:43 [UNKNOWN]: The doctors are prescribing ADHD medication for regained.
01:46:44 --> 01:46:44 [UNKNOWN]: I know.
01:46:44 --> 01:46:45 [UNKNOWN]: I don't riddle in.
01:46:45 --> 01:46:46 [UNKNOWN]: Are we kidding?
01:46:47 --> 01:46:48 [UNKNOWN]: Are we kidding?
01:46:48 --> 01:46:55 [UNKNOWN]: In the book, it sounds that better because you would like when I first, I even posted on Blue Sky when I was reading the book.
01:46:55 --> 01:46:57 [UNKNOWN]: I was like, I was like, Greg and just sounds like she has ADHD.
01:46:57 --> 01:46:59 [UNKNOWN]: It's like, oh wait, they just take just her.
01:47:00 --> 01:47:03 [UNKNOWN]: But then obviously it escalates from there.
01:47:03 --> 01:47:03 [UNKNOWN]: Yeah.
01:47:04 --> 01:47:04 [UNKNOWN]: Yeah.
01:47:04 --> 01:47:05 [UNKNOWN]: A little bit.
01:47:07 --> 01:47:12 [UNKNOWN]: So, you know, I don't want to bust the, you know, no actor goes in to trying to do a bad role.
01:47:12 --> 01:47:14 [UNKNOWN]: I'm not trying to, you know, bust her chops too much.
01:47:14 --> 01:47:16 [UNKNOWN]: She was nominated for an Oscar, she doesn't regret it.
01:47:17 --> 01:47:18 [UNKNOWN]: Yeah, no, she doesn't.
01:47:19 --> 01:47:28 [UNKNOWN]: So, it's a tough role, it's a tough role for her, but yeah, I did, it was kind of little exhausting sometimes with her screaming at the doctors and stuff like that.
01:47:28 --> 01:47:29 [UNKNOWN]: So, yeah.
01:47:29 --> 01:47:31 [UNKNOWN]: And that could be direction too, right?
01:47:31 --> 01:47:31 [UNKNOWN]: Like that.
01:47:31 --> 01:47:32 [UNKNOWN]: I've never seen it.
01:47:32 --> 01:47:34 [UNKNOWN]: Yeah, absolutely.
01:47:34 --> 01:47:34 [UNKNOWN]: Yeah.
01:47:34 --> 01:47:35 [UNKNOWN]: Yeah.
01:47:35 --> 01:47:38 [UNKNOWN]: Sometimes they just say, hey, you got to go y'all with a doctor and just say, I like it.
01:47:38 --> 01:47:39 [UNKNOWN]: They're at a go y'all with a doctor.
01:47:39 --> 01:47:40 [UNKNOWN]: Well, I know, I'm sorry.
01:47:41 --> 01:47:47 [UNKNOWN]: I know, sorry, that Mac's one side out was directed to overact, which is not like his thing.
01:47:48 --> 01:47:48 [UNKNOWN]: Interesting.
01:47:49 --> 01:47:55 [UNKNOWN]: But here, I, he had to fight for her casting and that's interesting.
01:47:55 --> 01:48:00 [UNKNOWN]: I don't want to say anything against her, but it wasn't my favorite part of the movie.
01:48:00 --> 01:48:01 [UNKNOWN]: No.
01:48:01 --> 01:48:05 [UNKNOWN]: And I think also they could have leaned into her character more.
01:48:05 --> 01:48:10 [UNKNOWN]: And I know that's also comes down to Fried Kim, but, you know, she's going through a divorce and you get hints of that.
01:48:10 --> 01:48:11 [UNKNOWN]: But, um,
01:48:12 --> 01:48:15 [UNKNOWN]: that's really going to mess with her and also there's a part of the book.
01:48:15 --> 01:48:30 [UNKNOWN]: There's a couple things in the book they didn't talk about which is that she was skeptical of medicine because of past experience and one of the most poignant parts of the book for me is that she gave up her first directing job so that she could, you know, be there with her daughter or she's going through this.
01:48:31 --> 01:48:32 [UNKNOWN]: Okay.
01:48:33 --> 01:48:35 [UNKNOWN]: And yeah, here she just kind of screams at other people.
01:48:35 --> 01:48:36 [UNKNOWN]: Right.
01:48:37 --> 01:48:50 [UNKNOWN]: But it is interesting that Shirley McLean and others believe that this character, Chris O'Neill, was based on Shirley McLean because she was a former neighbor of the Pilates in California.
01:48:51 --> 01:48:53 [UNKNOWN]: And she also had like a French maid.
01:48:53 --> 01:48:56 [UNKNOWN]: And David, I think you have a, a cute, cute, a cute, a cute, a cute,
01:48:57 --> 01:49:01 [UNKNOWN]: where Shirley McLean is talking about why she's in this movie.
01:49:01 --> 01:49:05 [UNKNOWN]: Letty wrote the exorcist after staying two nights, three nights at my house.
01:49:05 --> 01:49:08 [UNKNOWN]: He was always trying to prove to me that evil existed in the world.
01:49:09 --> 01:49:13 [UNKNOWN]: So we went to a hotel in the valley and wrote the exorcist.
01:49:14 --> 01:49:16 [UNKNOWN]: And he made me, Chris McNeil.
01:49:17 --> 01:49:32 [UNKNOWN]: And my daughter, the daughter, and the two, the French couple that worked for me, that, and even put my Jaguar in there, and that I had been in Arlington in Jordan, Georgetown.
01:49:34 --> 01:49:43 [UNKNOWN]: And he used the picture of my daughter that he had taken on the set of children's hour for the cover of the book of the Exorcist.
01:49:44 --> 01:49:48 [UNKNOWN]: So my daughter and I are immortalized in the annals of evil.
01:49:49 --> 01:49:53 [UNKNOWN]: I understand that's the picture that everyone is more freaked out about than any other.
01:49:53 --> 01:50:00 [UNKNOWN]: Long before I started writing metaphysical things, we're tended a lot, didn't it?
01:50:00 --> 01:50:05 [UNKNOWN]: Was he high when he was at her house for those two days before I started writing the thing?
01:50:06 --> 01:50:06 [UNKNOWN]: You know, sorry.
01:50:07 --> 01:50:09 [UNKNOWN]: You know, I'll give her a few of those things.
01:50:09 --> 01:50:11 [UNKNOWN]: I will say this plenty of films you could have seen in French made some.
01:50:15 --> 01:50:17 [UNKNOWN]: I mean, yeah, that there's the European couple.
01:50:17 --> 01:50:28 [UNKNOWN]: I think they also had a bigger role, especially Carl in the book, where he's Swiss, not German, but just the prejudice against him.
01:50:28 --> 01:50:33 [UNKNOWN]: And the fact he becomes the main suspect of the police guy for most of the book.
01:50:34 --> 01:50:39 [UNKNOWN]: And then it turns out, actually, he's just going to visit his junkie daughter, who his wife thinks is dead.
01:50:40 --> 01:50:42 [UNKNOWN]: Well, that's how it got out of it.
01:50:42 --> 01:50:44 [UNKNOWN]: All right, that's an interesting set of backstory stuff.
01:50:44 --> 01:50:49 [UNKNOWN]: I would say that we're in John's critique of the film sagging in a few parts.
01:50:49 --> 01:50:53 [UNKNOWN]: There's a couple of like the party scene where the director is yelling at us.
01:50:53 --> 01:50:54 [UNKNOWN]: I love the party scene.
01:50:55 --> 01:50:58 [UNKNOWN]: Well, but the whole thing of going after Carl, like that, like is it, you know?
01:50:59 --> 01:51:03 [UNKNOWN]: I mean, I understand the shadows that he's creating about suspicion and who did what, you know, whatever.
01:51:04 --> 01:51:08 [UNKNOWN]: But yeah, I could see there's some pieces to be trimmed.
01:51:10 --> 01:51:12 [UNKNOWN]: You could make an argument for some trimming.
01:51:13 --> 01:51:27 [UNKNOWN]: Yeah, as we said, the standout, the memorable part of this is, may not be the main character, but it's a Reagan-McNeil played by a Linda Blair, was she, she was not much, she was like maybe 13.
01:51:27 --> 01:51:33 [UNKNOWN]: She was really young, and it's incredible that she was able to do this versatility, apparently.
01:51:33 --> 01:51:34 [UNKNOWN]: Like, she was really flexible.
01:51:34 --> 01:51:37 [UNKNOWN]: I mean, the next question.
01:51:38 --> 01:51:39 [UNKNOWN]: Yeah, that was an end of it.
01:51:40 --> 01:51:40 [UNKNOWN]: Oh, she really did that, right?
01:51:41 --> 01:51:43 [UNKNOWN]: Yeah.
01:51:44 --> 01:51:47 [UNKNOWN]: It's funny in the book she's implied to be a psychic, like a mind reader.
01:51:48 --> 01:52:00 [UNKNOWN]: And so Kara doesn't know if she, for instance, when she's speaking Latin, if she's just reading the Latin from his mind or not, but it's just also just accepted like, well, if she's a psychic, that's normal.
01:52:01 --> 01:52:04 [UNKNOWN]: But if she's a demon, that's something else.
01:52:05 --> 01:52:05 [UNKNOWN]: Yeah, bring that one to the
01:52:08 --> 01:52:12 [UNKNOWN]: What would bloody have and I'm sorry, John, you were going to say something and then I'll ask my question.
01:52:12 --> 01:52:14 [UNKNOWN]: I was going to tell an addict out so you you go ahead.
01:52:14 --> 01:52:15 [UNKNOWN]: Okay.
01:52:15 --> 01:52:16 [UNKNOWN]: We'll keep going.
01:52:16 --> 01:52:18 [UNKNOWN]: Did bloody have any role in the exercises too?
01:52:19 --> 01:52:21 [UNKNOWN]: In the XSS2, no.
01:52:21 --> 01:52:26 [UNKNOWN]: In XSS3, he wrote the novel it's based on and wrote and directed the movie.
01:52:27 --> 01:52:34 [UNKNOWN]: Because some of the things that you just mentioned are definite, thematic elements, especially for Regan's character in XSS2.
01:52:34 --> 01:52:38 [UNKNOWN]: Yeah, it's based on, I mean, it is based on this.
01:52:38 --> 01:52:42 [UNKNOWN]: I think that there is a really, there is a good continuity, even if, yeah, he wasn't directly wrong.
01:52:42 --> 01:52:46 [UNKNOWN]: Even Richard Purnison is cops for half the movie.
01:52:46 --> 01:52:46 [UNKNOWN]: Yeah.
01:52:48 --> 01:53:07 [UNKNOWN]: But yeah, the part that I missed most that was cut, I think was not the spider walk, but was the Reagan, the recordings of Reagan calling her dad that Carlos listens to and that's in the extended cuts and that's from the book and that's where he really sees, like, oh wow, this was just the little girl.
01:53:07 --> 01:53:13 [UNKNOWN]: And I think that's where he sort of internally makes up his mind to get involved in the case.
01:53:15 --> 01:53:27 [UNKNOWN]: So John wrong answers only when I'm really good at that when we meet when Regan shows her mom the Ouija board and starts talking about Captain Howdy.
01:53:27 --> 01:53:30 [UNKNOWN]: Why did she call the entity Captain Howdy?
01:53:33 --> 01:53:37 [UNKNOWN]: Wrong answer every time every time the entity moves or she goes, how do you do that?
01:53:40 --> 01:53:41 [UNKNOWN]: Alright, there we go.
01:53:42 --> 01:53:43 [UNKNOWN]: You had it here.
01:53:43 --> 01:53:44 [UNKNOWN]: You heard it here first, folks.
01:53:46 --> 01:53:46 [UNKNOWN]: Moll about the lore.
01:53:47 --> 01:53:56 [UNKNOWN]: I do like how they suddenly show that Captain Houghty's telling her things like her mom's sleeping in the director, which isn't true, but to like, rile her up.
01:53:56 --> 01:54:00 [UNKNOWN]: We see that working in the background when her mom's just like, why would you think things like that?
01:54:00 --> 01:54:01 [UNKNOWN]: And she's like, I don't know.
01:54:01 --> 01:54:01 [UNKNOWN]: I don't know.
01:54:02 --> 01:54:02 [UNKNOWN]: I'm just being silly, never mind.
01:54:05 --> 01:54:07 [UNKNOWN]: the whole church defacing thing.
01:54:07 --> 01:54:11 [UNKNOWN]: Yes, that's Reagan, but I have questions.
01:54:11 --> 01:54:12 [UNKNOWN]: What do you think?
01:54:13 --> 01:54:25 [UNKNOWN]: It's Reagan and she used the click as she's always making those little clay models and then when the detective finds the when he's looking around at the bottom of the stairs, he finds like a little clay figure that she had also molded.
01:54:26 --> 01:54:27 [UNKNOWN]: Yeah, that was Reagan.
01:54:28 --> 01:54:30 [UNKNOWN]: But yeah, when did she do it or how did she do it?
01:54:30 --> 01:54:35 [UNKNOWN]: Like it's a really out of context scene too, you're because it's not like,
01:54:36 --> 01:54:47 [UNKNOWN]: pursuers who are out on the streets doing graffiti and breaking windows and running around college students go, you know, like, propositioning them and stuff like that.
01:54:47 --> 01:54:56 [UNKNOWN]: So it is a little bit odd because all of the other extras as a possession stuff is all contained in the bedroom.
01:54:57 --> 01:55:01 [UNKNOWN]: So that's like the one time it's not contained and so it's in the normal in some ways.
01:55:02 --> 01:55:05 [UNKNOWN]: Yeah, it's not much better explored in the books beyond it.
01:55:05 --> 01:55:11 [UNKNOWN]: So the book has more mysticism and like a book of witchcraft and a sear friend and all this other stuff going on.
01:55:11 --> 01:55:11 [UNKNOWN]: Mm-hmm.
01:55:12 --> 01:55:17 [UNKNOWN]: This one just kind of delves like that uses hypnotism, which obviously was a buzzword.
01:55:17 --> 01:55:23 [UNKNOWN]: But it just that reminds me of Sturve Echoes where you know, you just that just probably opened up the door to the door to the door to the door.
01:55:23 --> 01:55:27 [UNKNOWN]: There's still many interesting things and two that you're saying at least I know.
01:55:27 --> 01:55:32 [UNKNOWN]: And it's like, well, this is me, this is probably why two is my favorite going.
01:55:32 --> 01:55:33 [UNKNOWN]: Right.
01:55:33 --> 01:55:35 [UNKNOWN]: And then, well, it's clearly they read the book, right.
01:55:35 --> 01:55:39 [UNKNOWN]: And if we're talking these other unused elements out of it, right?
01:55:39 --> 01:55:42 [UNKNOWN]: It's like, oh, Freedkin didn't use this, so we're going to use it in ours.
01:55:42 --> 01:55:43 [UNKNOWN]: Like, I think that's kind of...
01:55:43 --> 01:55:44 [UNKNOWN]: I'm fairly maligned.
01:55:44 --> 01:55:46 [UNKNOWN]: I'm fairly maligned.
01:55:46 --> 01:55:47 [UNKNOWN]: I'm not maligning it.
01:55:47 --> 01:55:49 [UNKNOWN]: I'm just saying... No, no, no, I'm not.
01:55:49 --> 01:55:50 [UNKNOWN]: I'm not saying you're different.
01:55:50 --> 01:55:50 [UNKNOWN]: Yeah, yeah, yeah.
01:55:51 --> 01:55:51 [UNKNOWN]: Yeah, I'm defending it.
01:55:52 --> 01:55:52 [UNKNOWN]: I'm defending it.
01:55:53 --> 01:55:59 [UNKNOWN]: I'm not sure if we grew up in it, but we'll start right up in a minute and I did like the master of disguise.
01:56:00 --> 01:56:02 [UNKNOWN]: Thank you.
01:56:03 --> 01:56:05 [UNKNOWN]: We all have, I defend this for Dana Carvey.
01:56:07 --> 01:56:09 [UNKNOWN]: I defend Morby is except for the bat slander.
01:56:10 --> 01:56:11 [UNKNOWN]: Take that for, went too well.
01:56:13 --> 01:56:26 [UNKNOWN]: Yeah, but on this series, no, I guess we have to can, we have to say and then probably move along swiftly that this does also really address on themes of self-harm, which I think is the case in these real world.
01:56:27 --> 01:56:31 [UNKNOWN]: So-called exorcism cases, that's often what's happening.
01:56:33 --> 01:56:33 [UNKNOWN]: Got it.
01:56:34 --> 01:56:44 [UNKNOWN]: And here it goes to the end degree, but yeah, but it's more fantastical because of the demon makeup first and foremost.
01:56:44 --> 01:56:48 [UNKNOWN]: Like, so Dick Smith did the makeup for this.
01:56:48 --> 01:56:51 [UNKNOWN]: And I think it kind of makes the movie.
01:56:51 --> 01:56:58 [UNKNOWN]: Now, he's also known for like the godfather, taxi driver, death becomes her was a great makeup movie.
01:56:59 --> 01:57:00 [UNKNOWN]: They did call the Dick Smith in for Pizuzu.
01:57:02 --> 01:57:05 [UNKNOWN]: Oh yeah, too, with the further lizard deck.
01:57:06 --> 01:57:13 [UNKNOWN]: That would do, I was like, I'm tired.
01:57:13 --> 01:57:21 [UNKNOWN]: Anyway, you thought the Burke Jennings, the director was superfluous, other than being the first death.
01:57:22 --> 01:57:24 [UNKNOWN]: Yeah, it just...
01:57:25 --> 01:57:25 [UNKNOWN]: Yeah, I don't know.
01:57:26 --> 01:57:27 [UNKNOWN]: You can just tighten it up a little bit.
01:57:27 --> 01:57:33 [UNKNOWN]: I suppose, like did we need him drunken, you know, this, you know, sort of drunken buffoonish character in that?
01:57:33 --> 01:57:42 [UNKNOWN]: I mean, we got him in at a couple of times already, maybe we needed one scene of him walking Chris home and then, you know, dropping her off or something like that.
01:57:42 --> 01:57:46 [UNKNOWN]: Cause really, once he leaves the party, we don't see him again.
01:57:47 --> 01:57:52 [UNKNOWN]: So it's a little bit, you have to do a little work to make the connections, I think, in the background.
01:57:52 --> 01:58:14 [UNKNOWN]: That's definitely a thing that works better in the book because obviously again, more time, but yeah, he's the first dare death by window, but I think, I think it's his, he's an interestingly complex character in that his relationship with Chris, like they are close friends, even though he pisses off everyone around them all the time with his behavior.
01:58:15 --> 01:58:22 [UNKNOWN]: And then the actor, Jack McAllern, died right after filming, and it was one of nine deaths associated with the film.
01:58:22 --> 01:58:23 [UNKNOWN]: Wow, okay.
01:58:25 --> 01:58:28 [UNKNOWN]: That's the cursed production.
01:58:29 --> 01:58:32 [UNKNOWN]: Yeah, and I kind of find it overall.
01:58:32 --> 01:58:40 [UNKNOWN]: And then the last, the last major cast member is Lieutenant William Kinderman, Lee J. Cobb, the detective.
01:58:41 --> 01:58:47 [UNKNOWN]: He's so much better than he is in the book where he goes on an extremely homophobic rant at one point.
01:58:47 --> 01:58:51 [UNKNOWN]: I'm just like, I don't, why even in 1971, why is this happening?
01:58:53 --> 01:58:56 [UNKNOWN]: Okay, he was asking Dyer out on a date at the end.
01:58:56 --> 01:58:58 [UNKNOWN]: Hey, Joe, do you think he was a through line in the book, yeah?
01:58:59 --> 01:59:00 [UNKNOWN]: Hey, Joe, do you like, do you like movies?
01:59:01 --> 01:59:02 [UNKNOWN]: I got passes.
01:59:03 --> 01:59:11 [UNKNOWN]: Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, and he's like, I've seen it and then he smiles and you're like, what is happening?
01:59:11 --> 01:59:14 [UNKNOWN]: This is the most normal erotic scene I've ever watched in my life.
01:59:14 --> 01:59:16 [UNKNOWN]: It's hilarious, it's absolutely hilarious.
01:59:16 --> 01:59:18 [UNKNOWN]: That is how the book ends, too.
01:59:18 --> 01:59:22 [UNKNOWN]: Yeah, but that is only that ending is only on the extended cut.
01:59:22 --> 01:59:23 [UNKNOWN]: It's not in the original.
01:59:24 --> 01:59:27 [UNKNOWN]: Yeah, that was one that freed can cut and and
01:59:28 --> 01:59:46 [UNKNOWN]: Yeah, uh, glad he thought it needed to be brought back because he said I don't want it to feel like the demon one And we need this lighter touch at the end where you know life goes on and and new The theatrical ended with father carousel's death Yeah, we're then packing up
01:59:47 --> 01:59:54 [UNKNOWN]: Um, yeah, we still see them packing up and then basically we see, um, we see driving away.
01:59:54 --> 01:59:55 [UNKNOWN]: Father cool pants.
01:59:55 --> 01:59:56 [UNKNOWN]: That's his name.
01:59:59 --> 02:00:03 [UNKNOWN]: We see him like walking off and, you know, he's, uh, she had him.
02:00:03 --> 02:00:06 [UNKNOWN]: She's like, oh, we're going to take the metal that we found.
02:00:06 --> 02:00:07 [UNKNOWN]: But yeah, right.
02:00:08 --> 02:00:09 [UNKNOWN]: Yeah, so wrong with that.
02:00:11 --> 02:00:20 [UNKNOWN]: What would where the most iconic moments for you that you're glad you either finally saw for the first time on screen or that we're fun to revisit?
02:00:20 --> 02:00:25 [UNKNOWN]: I mean, this has so many, I feel like this is a film that's most visually memorable more than anything else.
02:00:26 --> 02:00:29 [UNKNOWN]: Yeah, the dialogue leaves much to be desired.
02:00:29 --> 02:00:33 [UNKNOWN]: The visual I think is much better.
02:00:33 --> 02:00:33 [UNKNOWN]: I think the
02:00:39 --> 02:00:41 [UNKNOWN]: I can't remember the carrot carrots.
02:00:41 --> 02:00:41 [UNKNOWN]: Thank you.
02:00:42 --> 02:00:42 [UNKNOWN]: Carrus.
02:00:42 --> 02:00:46 [UNKNOWN]: Carrus is morphing in and out of demonic face.
02:00:46 --> 02:00:48 [UNKNOWN]: I was like, oh, that actually looks pretty good.
02:00:49 --> 02:00:49 [UNKNOWN]: Hmm.
02:00:50 --> 02:00:52 [UNKNOWN]: Oh, when he's what's Pizzuzu jumps into him?
02:00:52 --> 02:00:52 [UNKNOWN]: Yeah, yeah.
02:00:52 --> 02:00:54 [UNKNOWN]: And he's like, oh, I'm possessed.
02:00:54 --> 02:00:54 [UNKNOWN]: No, I'm not.
02:00:54 --> 02:00:55 [UNKNOWN]: No, I'm possessed.
02:00:55 --> 02:00:55 [UNKNOWN]: No, I'm not.
02:00:58 --> 02:00:59 [UNKNOWN]: Can't pin me down, Pizzuzu.
02:01:00 --> 02:01:00 [UNKNOWN]: I'll spell.
02:01:00 --> 02:01:01 [UNKNOWN]: That would be wonderful.
02:01:01 --> 02:01:03 [UNKNOWN]: I don't know.
02:01:03 --> 02:01:04 [UNKNOWN]: Watching a little bit slow again.
02:01:04 --> 02:01:05 [UNKNOWN]: Yeah.
02:01:06 --> 02:01:09 [UNKNOWN]: Yeah, I mean, I guess we talked about a lot of the biggest ones.
02:01:09 --> 02:01:15 [UNKNOWN]: We didn't, there's like an attic moment in the beginning where it just really shows it's starting to build the tension.
02:01:15 --> 02:01:20 [UNKNOWN]: The medical testing sequence is now on I know you must have hated that.
02:01:21 --> 02:01:22 [UNKNOWN]: Oh, yeah, I don't.
02:01:22 --> 02:01:24 [UNKNOWN]: I just looked away, just blew it up to him.
02:01:25 --> 02:01:36 [UNKNOWN]: That's what I think that my mom and him faint in the thing that's one of the things I loved about the first or that middle act is that those particular scenes because what's more crazy and horrific, right?
02:01:37 --> 02:01:45 [UNKNOWN]: And thank God our MRIs and CT scanner things like that are now all sort of 2001's gleaming white things.
02:01:46 --> 02:01:52 [UNKNOWN]: rather than, you know, something that looks like it's going to, you know, punch drill a hole in your head, as it's, you know, spinning around you.
02:01:53 --> 02:02:01 [UNKNOWN]: But I love the horror of the modern, because that's one of the things that Pazuzu's trying to do is affect our world, right?
02:02:02 --> 02:02:07 [UNKNOWN]: And so through Reagan trying to create despair and a sense of loss and helplessness,
02:02:08 --> 02:02:27 [UNKNOWN]: But that's one of the other things I like is Friedkin taking us down on the subway or walking down the street or going to the institution where his mother is at is that they're suffering and decay all around, and that is seen, but yet Pizzouzou's this unseen force that's trying to do the same thing.
02:02:27 --> 02:02:36 [UNKNOWN]: So the medical, the scene with the medical machinery does some work for me in that aspect
02:02:39 --> 02:02:58 [UNKNOWN]: some of the best horror movies are it have elements at least of nothing is more terrifying than real life yeah exactly exactly the new carry shows doing that really well really yeah that's what i think you know gotten past the first episode just because of time but i'm really excited about it yeah speaking of my plan again
02:03:00 --> 02:03:04 [UNKNOWN]: Um, the help me moments where that appears on her torso.
02:03:04 --> 02:03:07 [UNKNOWN]: That's one of the things that they took from the real, that was from the real life.
02:03:08 --> 02:03:11 [UNKNOWN]: Exorcism case that is based on that's one of the few things they actually took.
02:03:12 --> 02:03:15 [UNKNOWN]: Um, but for me, and we, you know, we talked about the piece of vomit.
02:03:15 --> 02:03:19 [UNKNOWN]: I love that they matched it to her to her contact lenses.
02:03:19 --> 02:03:21 [UNKNOWN]: Like it just, yeah, nice production design detail.
02:03:22 --> 02:03:45 [UNKNOWN]: Right, but the part for me that sticks in my head forever and it is the part obviously that got people most up in a Twitter was the sexual vulgarity, especially the crotch stabbing scene which does come straight from the book, you know, in the shoving her mom's face in it and throwing her apparently Linda Blair said in the 1998 documentary that she didn't
02:03:47 --> 02:03:50 [UNKNOWN]: what masturbation even what.
02:03:50 --> 02:03:53 [UNKNOWN]: So like, just stop this thing and see this little pool of blood.
02:03:53 --> 02:03:54 [UNKNOWN]: Is it okay?
02:03:56 --> 02:03:56 [UNKNOWN]: Interesting.
02:03:57 --> 02:03:58 [UNKNOWN]: I did not love that.
02:03:59 --> 02:04:03 [UNKNOWN]: There were a lot of things where I'm like, this is just in poor taste.
02:04:03 --> 02:04:05 [UNKNOWN]: Your mother eats kitty litter.
02:04:07 --> 02:04:10 [UNKNOWN]: When you watch the Richard prior YouTube, it'll make sense, John.
02:04:11 --> 02:04:14 [UNKNOWN]: Okay.
02:04:14 --> 02:04:20 [UNKNOWN]: So if you want to have this spin, if you want to change your whole mind about the actresses I'm seeing, watch the Richard prior with an SNL skip.
02:04:20 --> 02:04:23 [UNKNOWN]: What's the, what's the, what's the monthly Python of your mother?
02:04:24 --> 02:04:25 [UNKNOWN]: was.
02:04:25 --> 02:04:26 [UNKNOWN]: You smell terrible.
02:04:26 --> 02:04:28 [UNKNOWN]: A father smell of the elder bear is what it is.
02:04:28 --> 02:04:29 [UNKNOWN]: Yeah.
02:04:29 --> 02:04:29 [UNKNOWN]: Holy grail.
02:04:30 --> 02:04:31 [UNKNOWN]: That would be a good crossover.
02:04:32 --> 02:04:40 [UNKNOWN]: You know, that's a patched double bat day or what a double feature.
02:04:40 --> 02:04:41 [UNKNOWN]: Oh my god.
02:04:41 --> 02:04:43 [UNKNOWN]: That would be so properly inhaled for probably Howard.
02:04:43 --> 02:04:45 [UNKNOWN]: They just picked their films for their next season.
02:04:45 --> 02:04:46 [UNKNOWN]: Yeah.
02:04:46 --> 02:04:46 [UNKNOWN]: Yeah.
02:04:46 --> 02:04:47 [UNKNOWN]: Maybe another time.
02:04:47 --> 02:04:48 [UNKNOWN]: Yeah.
02:04:48 --> 02:04:49 [UNKNOWN]: Maybe another time.
02:04:50 --> 02:05:01 [UNKNOWN]: So they added like the head twisting around scene for the movie and the spider walk David US Davey Mac to write in an email about the spider walk she went to read it.
02:05:01 --> 02:05:01 [UNKNOWN]: Sure.
02:05:02 --> 02:05:04 [UNKNOWN]: Hi, Laura Hans.
02:05:05 --> 02:05:08 [UNKNOWN]: David asked me to send in a note based on a comment I made of the discord about the version.
02:05:09 --> 02:05:12 [UNKNOWN]: I watched it and include the spider walk scene so I went and looked up the history a bit.
02:05:12 --> 02:05:17 [UNKNOWN]: And I always thought that the spider walk scene was always in the film given how iconic the scene is.
02:05:18 --> 02:05:25 [UNKNOWN]: So I sat there the other day watching and waiting for this iconic scene, but then was surprised what it never happens.
02:05:25 --> 02:05:30 [UNKNOWN]: So I started digging around and it was only ever added in the director's cut of the film in the year 2000.
02:05:30 --> 02:05:42 [UNKNOWN]: There are several articles out there digging into the history of the scene, some which have conflicting information, but I think that Wikipedia has a pretty good summation that includes some very different viewpoints.
02:05:42 --> 02:05:42 [UNKNOWN]: Basically,
02:05:43 --> 02:05:57 [UNKNOWN]: The scene was cut in part because Friedkin thought it came too early in the film and removed all doubt that the possession was real, but also there are reports that he wasn't happy with the way the practical effects looked at the time.
02:05:58 --> 02:06:04 [UNKNOWN]: The author of the book was also really disappointed that the scene got cut, but then was happy when Friedkin put it back in.
02:06:05 --> 02:06:19 [UNKNOWN]: a couple of other interesting tidbits I learned, which detailed more in the Wikipedia article, Freedkin for years denied that he'd even ever shot the film, but film critic Marcine, that scene.
02:06:19 --> 02:06:21 [UNKNOWN]: Yeah, the scene, what did I say?
02:06:22 --> 02:06:23 [UNKNOWN]: He never shot the scene.
02:06:24 --> 02:06:29 [UNKNOWN]: Kermode came across the footage in Warner Bros. archives while researching his book on the film.
02:06:30 --> 02:06:39 [UNKNOWN]: The stunt performer and Miles who performed the stunt wasn't properly credited for the two that after the two thousand release, the credit was misattributed to her lighting double.
02:06:41 --> 02:06:48 [UNKNOWN]: This led to her missing out on jobs as people thought she was falsely taking credit for the work she did, eventually said God involved.
02:06:49 --> 02:06:51 [UNKNOWN]: and she's been properly credited now.
02:06:51 --> 02:06:59 [UNKNOWN]: As to my own reaction to the film on this viewing, my first since college, I totally blanked the opening third of the film, all the stuff in Iraq.
02:06:59 --> 02:07:06 [UNKNOWN]: Chris working as an actor, the scenes with Regan, before the possession, the scenes with the priest just living his life.
02:07:07 --> 02:07:14 [UNKNOWN]: I just blamed out how much the film, how much of the film there is before you even get to the exorcism.
02:07:15 --> 02:07:19 [UNKNOWN]: But I really like to film, I love all the performances and how methodical it is.
02:07:19 --> 02:07:21 [UNKNOWN]: I didn't find it particularly scary though.
02:07:22 --> 02:07:28 [UNKNOWN]: This kind of religious demonic possession just isn't what gets me in horror films.
02:07:29 --> 02:07:38 [UNKNOWN]: Honestly, some of those medical sequences where they are trying to figure out what's wrong with Reagan are more difficult and horrifying for me to watch than some of the actual possession stuff.
02:07:39 --> 02:07:44 [UNKNOWN]: Lastly, I just have to say the poster and that shot of the film are simply iconic and among,
02:07:45 --> 02:07:47 [UNKNOWN]: my favorite shots in all of cinema.
02:07:48 --> 02:07:54 [UNKNOWN]: And now on to watch the first two sequels, which I've never seen looking forward to listening, Davy Mac.
02:07:54 --> 02:08:00 [UNKNOWN]: Friend of the pod and subscriber and long time in general supporter on the discord as well.
02:08:00 --> 02:08:01 [UNKNOWN]: Thanks, Davy Mac.
02:08:01 --> 02:08:02 [UNKNOWN]: The listener to the demos.
02:08:03 --> 02:08:04 [UNKNOWN]: Yes, listen to the demos.
02:08:04 --> 02:08:05 [UNKNOWN]: That's right.
02:08:06 --> 02:08:08 [UNKNOWN]: Oh, G. Here's back when we were on a track.
02:08:10 --> 02:08:19 [UNKNOWN]: Uh, I think it does a good job of summing up a lot in reflecting a lot of what we've been talking about as well, in terms of like reaction to the medical sequence and that kind of stuff.
02:08:19 --> 02:08:19 [UNKNOWN]: Yeah.
02:08:19 --> 02:08:19 [UNKNOWN]: Mhm.
02:08:20 --> 02:08:20 [UNKNOWN]: Yeah.
02:08:20 --> 02:08:22 [UNKNOWN]: And I did not know about that.
02:08:22 --> 02:08:24 [UNKNOWN]: And Miles and her lighting double.
02:08:24 --> 02:08:26 [UNKNOWN]: So thank you for that fun fact.
02:08:26 --> 02:08:27 [UNKNOWN]: There you go.
02:08:27 --> 02:08:38 [UNKNOWN]: Yeah, and I mean, I think at the end of the day, we have Father Miran who is kind of suggested he has heart trouble and then he just dies on some ceremonies.
02:08:38 --> 02:08:40 [UNKNOWN]: He's just on the floor.
02:08:40 --> 02:08:42 [UNKNOWN]: We don't even get a dramatic death scene.
02:08:42 --> 02:08:42 [UNKNOWN]: He's just on the floor.
02:08:43 --> 02:08:44 [UNKNOWN]: He dies of evil.
02:08:44 --> 02:08:45 [UNKNOWN]: I don't know.
02:08:45 --> 02:09:04 [UNKNOWN]: Yeah, it kind of happened similar in the book But then for me the real scariest part of this is that the demon keeps telling Karis the whole time and again more in the book That he wants the exorcism to happen because it will bring them together So it's like even in this victory.
02:09:04 --> 02:09:06 [UNKNOWN]: It's a victory for Regan really
02:09:07 --> 02:09:17 [UNKNOWN]: but Karis made the ultimate sacrifice and, you know, he'd also kind of looks like a suicide, which is a major sin in the church.
02:09:17 --> 02:09:20 [UNKNOWN]: So that's a thread we're definitely going to pick up
02:09:26 --> 02:09:27 [UNKNOWN]: it is a somewhat dark ending.
02:09:29 --> 02:09:38 [UNKNOWN]: And I understand why Bladdy said we need that extra scene of like friendship hope between two other characters, even if the detective character is kind of a jerk.
02:09:39 --> 02:09:42 [UNKNOWN]: Which begs the question, is the exorcist hope punk?
02:09:43 --> 02:09:45 [UNKNOWN]: No, I'm being busy.
02:09:45 --> 02:09:48 [UNKNOWN]: No, actually, I mean, I- Oh, come on!
02:09:50 --> 02:09:52 [UNKNOWN]: I think this is hope punk, everything is hope punk.
02:09:52 --> 02:09:55 [UNKNOWN]: No, you guys still don't understand.
02:09:55 --> 02:09:56 [UNKNOWN]: There's a checklist.
02:09:56 --> 02:09:57 [UNKNOWN]: I gave you the checklist.
02:09:57 --> 02:09:58 [UNKNOWN]: There's a checklist.
02:09:58 --> 02:10:03 [UNKNOWN]: But it is about seeing and acknowledging the darkness and projecting light into it.
02:10:03 --> 02:10:11 [UNKNOWN]: And that's what I was saying this movie taught me as a child with nightmares is to how to cast the light into the darkness and say, I can overcome that darkness.
02:10:12 --> 02:10:14 [UNKNOWN]: And so like the, I'm sorry.
02:10:14 --> 02:10:14 [UNKNOWN]: Go ahead.
02:10:15 --> 02:10:16 [UNKNOWN]: No, that's a good.
02:10:16 --> 02:10:19 [UNKNOWN]: I just like that your response was have you even checked the rubric.
02:10:23 --> 02:10:25 [UNKNOWN]: So checklist, I made it clear.
02:10:27 --> 02:10:49 [UNKNOWN]: Anyway, yeah, we get the take me take me come in to me take me throws himself out the window and even apparently free can still He's like confused about how it ended because he's like we People obviously want it to be that he defeated the demon, but not that he disgraced himself by committing suicide So should he have been conscious as he went out the window?
02:10:49 --> 02:10:50 [UNKNOWN]: What do you guys think?
02:10:52 --> 02:10:52 [UNKNOWN]: Hmm
02:10:56 --> 02:11:07 [UNKNOWN]: I, yeah, it's interesting, it was Harrison Ford's character's name in Blade Runner.
02:11:09 --> 02:11:10 [UNKNOWN]: It's kind of like that.
02:11:10 --> 02:11:11 [UNKNOWN]: It was he replicant or not to bait.
02:11:14 --> 02:11:22 [UNKNOWN]: And how you, what angle of the argument you take changes the meaning of the movie in some ways.
02:11:24 --> 02:11:33 [UNKNOWN]: And I remember when the movie ended where when the climax happened, I was kind of like, I was like, oh, and now the movie's over.
02:11:33 --> 02:11:36 [UNKNOWN]: I was like, wow, like it ends quickly and rapidly.
02:11:37 --> 02:11:44 [UNKNOWN]: And it was, I was unsure of what I was thinking and feeling at the moment because I was just like, oh, it's just, it's also over.
02:11:45 --> 02:11:49 [UNKNOWN]: And I was questioning, did he throw him, I was in the question.
02:11:49 --> 02:11:52 [UNKNOWN]: Did he throw himself out, did Bezuzu throw him out?
02:11:53 --> 02:11:55 [UNKNOWN]: What happened and how did it happen?
02:11:55 --> 02:11:57 [UNKNOWN]: And so I was just living in the ambiguity of it.
02:11:57 --> 02:12:00 [UNKNOWN]: I don't think I've actually thought about answering that question.
02:12:01 --> 02:12:02 [UNKNOWN]: Hmm.
02:12:02 --> 02:12:07 [UNKNOWN]: John, does it make it less, do you feel better about it having happened?
02:12:07 --> 02:12:09 [UNKNOWN]: Considering he was just beating up a child?
02:12:10 --> 02:12:11 [UNKNOWN]: Well.
02:12:13 --> 02:12:32 [UNKNOWN]: I mean, it's a sad ending, it is, I don't know, I'm always like, I'm the wrong person to ask about like whether this should be considered a sinner enough because I tend to question everything with, you know, I know a lot about religions, but I don't really subscribe to a particular one at this point in my life.
02:12:34 --> 02:12:41 [UNKNOWN]: Yeah, I think that it would be pretty, pretty cruel for the big guy if there is one to hold that one against him.
02:12:42 --> 02:12:42 [UNKNOWN]: Right.
02:12:42 --> 02:12:43 [UNKNOWN]: No.
02:12:43 --> 02:12:43 [UNKNOWN]: Yeah.
02:12:43 --> 02:12:48 [UNKNOWN]: He was obviously, it was about him embracing his faith again at the last minute.
02:12:48 --> 02:12:49 [UNKNOWN]: I think that that's the best thing.
02:12:49 --> 02:12:49 [UNKNOWN]: Yeah.
02:12:50 --> 02:12:53 [UNKNOWN]: And like, again, being vulnerable, right?
02:12:53 --> 02:12:58 [UNKNOWN]: This idea of like the whole time, the guy's like, hey, don't open up to this demon.
02:12:58 --> 02:12:59 [UNKNOWN]: Don't talk to demon.
02:13:00 --> 02:13:00 [UNKNOWN]: Let's not do this.
02:13:01 --> 02:13:02 [UNKNOWN]: And then finally, he,
02:13:03 --> 02:13:09 [UNKNOWN]: beats it in a twisted way by opening up to the demon and letting himself be vulnerable.
02:13:10 --> 02:13:22 [UNKNOWN]: So that whole throwing himself down the stairs thing, obviously it was a stunt double, but the neighboring buildings were selling tickets five dollars ahead, so that people could watch from the rooftop being filmed.
02:13:23 --> 02:13:27 [UNKNOWN]: They coded the stairs for the rubber to do it and
02:13:30 --> 02:13:31 [UNKNOWN]: Oh, they actually did it, huh?
02:13:31 --> 02:13:32 [UNKNOWN]: Mm-hmm.
02:13:32 --> 02:13:33 [UNKNOWN]: Practical effects, baby.
02:13:33 --> 02:13:33 [UNKNOWN]: Yeah.
02:13:33 --> 02:13:33 [UNKNOWN]: Love that.
02:13:36 --> 02:13:40 [UNKNOWN]: Um, and then yeah, Father Dyer shows up, uh, Father Cool pants.
02:13:40 --> 02:13:42 [UNKNOWN]: He is the final confession.
02:13:42 --> 02:13:52 [UNKNOWN]: And that's kind of like I understand they wanted him to be alive, so that he could give his final confession, so we know that he's going to have in despite the demon saying that he's claiming him.
02:13:52 --> 02:14:00 [UNKNOWN]: Um, but it means also that he was like feeling all of that after smashing into the ground.
02:14:00 --> 02:14:03 [UNKNOWN]: Right, we see him's his fingers flexing there.
02:14:03 --> 02:14:05 [UNKNOWN]: That was almost kind of disturbing too.
02:14:06 --> 02:14:09 [UNKNOWN]: Yeah, you know, watching him actually pass away in that way.
02:14:10 --> 02:14:12 [UNKNOWN]: Now Alicia, let's let's call the right thing.
02:14:12 --> 02:14:14 [UNKNOWN]: I'll get my cradle Catholic out this was his last right.
02:14:14 --> 02:14:16 [UNKNOWN]: It's not just his final confess.
02:14:16 --> 02:14:16 [UNKNOWN]: Sorry, sorry.
02:14:16 --> 02:14:17 [UNKNOWN]: Thank you.
02:14:17 --> 02:14:18 [UNKNOWN]: Thank you.
02:14:18 --> 02:14:19 [UNKNOWN]: Don't worry, don't worry.
02:14:19 --> 02:14:20 [UNKNOWN]: I'm here with the Catholic Lord.
02:14:21 --> 02:14:21 [UNKNOWN]: All right.
02:14:21 --> 02:14:22 [UNKNOWN]: Let me just say it.
02:14:22 --> 02:14:24 [UNKNOWN]: The Catholics have excellent lore.
02:14:24 --> 02:14:27 [UNKNOWN]: Like if you're looking for a religion with lore, boy, do they have the scrolls?
02:14:30 --> 02:14:43 [UNKNOWN]: Um, it's been, you know, how the metal on Dragonstone, would you know about the Joe, it seemed Joseph metal, do you know, like Yes, something that there was interesting that he finds one, too, and he rack, but then this is the same one.
02:14:43 --> 02:14:49 [UNKNOWN]: It's supposed to be Is it exactly the same one because it's way he, uh, Father Miran left it when he died there.
02:14:49 --> 02:14:50 [UNKNOWN]: Right.
02:14:50 --> 02:14:50 [UNKNOWN]: Right.
02:14:50 --> 02:14:50 [UNKNOWN]: Yeah.
02:14:50 --> 02:14:53 [UNKNOWN]: It's like he's in it for protection is in a kind of a general purpose.
02:14:53 --> 02:14:54 [UNKNOWN]: Like yeah.
02:14:54 --> 02:14:55 [UNKNOWN]: So it's
02:14:55 --> 02:15:00 [UNKNOWN]: Yeah, and strength still like pull your inner strength and find your faith and things like that.
02:15:00 --> 02:15:02 [UNKNOWN]: So that's why it's a theme of this movie.
02:15:02 --> 02:15:13 [UNKNOWN]: And um, but I think the most horrifying parts is, so that ends up being given to father cool pants because you know, remember your past away, rather.
02:15:13 --> 02:15:19 [UNKNOWN]: But of the people who are still left alive, I think the most horrifying is for Chris because
02:15:23 --> 02:15:41 [UNKNOWN]: any of this but Chris remember seeing her daughter that way like I don't remember if this is in the movie but in the book at one point the priest definitely send her out of the room like you don't want to remember your daughter like this yeah stay away from her yeah well she's gonna
02:15:42 --> 02:15:44 [UNKNOWN]: So that was the exorcist, uh, the first one.
02:15:46 --> 02:15:47 [UNKNOWN]: Great job on the research release.
02:15:47 --> 02:15:49 [UNKNOWN]: So there's like a, that's a gold mine.
02:15:49 --> 02:15:51 [UNKNOWN]: You went down deep on that.
02:15:51 --> 02:15:51 [UNKNOWN]: This is great.
02:15:52 --> 02:15:54 [UNKNOWN]: I had so much I didn't know about the movie.
02:15:55 --> 02:15:56 [UNKNOWN]: Yeah, I mean, it was one.
02:15:56 --> 02:15:58 [UNKNOWN]: I knew it was the one if it won.
02:15:58 --> 02:16:00 [UNKNOWN]: It was going to take the most work on my part.
02:16:00 --> 02:16:03 [UNKNOWN]: But it's one of the most iconic films of all time.
02:16:03 --> 02:16:05 [UNKNOWN]: So yeah, and also a personal.
02:16:06 --> 02:16:07 [UNKNOWN]: film in my mind.
02:16:07 --> 02:16:11 [UNKNOWN]: Yeah, I didn't realize it had that much connection for you.
02:16:11 --> 02:16:12 [UNKNOWN]: That's kind of interesting.
02:16:12 --> 02:16:13 [UNKNOWN]: It's cool.
02:16:14 --> 02:16:22 [UNKNOWN]: I mean, I'm glad that you as an individual had, you know, found the thing that your own little personal St. Joseph's metal, so to speak, in a movie.
02:16:22 --> 02:16:30 [UNKNOWN]: Well, I mean, I went through phases with different bits, and I went down, went through an excess phase, but also I went through like a sheer of phase, much younger, obviously.
02:16:31 --> 02:16:33 [UNKNOWN]: went through supergirl phase.
02:16:34 --> 02:16:36 [UNKNOWN]: Anyway, what else is going on on the network?
02:16:37 --> 02:16:38 [UNKNOWN]: You guys got vision quest going right?
02:16:39 --> 02:16:39 [UNKNOWN]: How's that going?
02:16:40 --> 02:16:42 [UNKNOWN]: You were we're into the second batch two and three?
02:16:42 --> 02:16:44 [UNKNOWN]: You started three and four?
02:16:44 --> 02:16:54 [UNKNOWN]: Yeah three and four out and five and six are coming right after this and then after that thankfully the last two weeks are just one ever said a week.
02:16:54 --> 02:16:55 [UNKNOWN]: Got it.
02:16:55 --> 02:16:58 [UNKNOWN]: And then Clayface, I think you do any show on our
02:16:59 --> 02:17:04 [UNKNOWN]: Yeah, I think we're going to just because it's so busy with everything this week and busy in the feed.
02:17:04 --> 02:17:07 [UNKNOWN]: I think that will be a start of November coverage.
02:17:07 --> 02:17:08 [UNKNOWN]: Sounds good.
02:17:08 --> 02:17:15 [UNKNOWN]: Well, we should have our second part of the Godzilla trilogy out around that time as well.
02:17:17 --> 02:17:19 [UNKNOWN]: The Godzilla minus zero movie comes out November.
02:17:19 --> 02:17:21 [UNKNOWN]: I think the wide release official date is like November fifth.
02:17:22 --> 02:17:22 [UNKNOWN]: There's something like that.
02:17:23 --> 02:17:36 [UNKNOWN]: So we need an I recorded a second part, which is us discussing 1954, the original 1954 movie, and then the minus one movie and talking about them individually, but also comparing them a little bit.
02:17:37 --> 02:17:40 [UNKNOWN]: And then the third part of that series will be minus zero itself.
02:17:41 --> 02:17:42 [UNKNOWN]: And then, uh,
02:17:53 --> 02:18:10 [UNKNOWN]: and season six of slow horses and had a lot of good natured cousins ribbing each other from across the pond and joking about a very muscular and slick TV show in lioness in a very wet and soggy slow house with slow horses.
02:18:10 --> 02:18:12 [UNKNOWN]: So we had a lot of fun with that as well.
02:18:13 --> 02:18:13 [UNKNOWN]: John, what's going on?
02:18:14 --> 02:18:14 [UNKNOWN]: Cosmere Corner.
02:18:15 --> 02:18:20 [UNKNOWN]: We've got a new episode on chapters 20 under 25 of Michigan the final empire.
02:18:20 --> 02:18:25 [UNKNOWN]: We've only got three episodes after this on this book So we're getting to the close of our first set.
02:18:25 --> 02:18:27 [UNKNOWN]: I think we're calling them seasons.
02:18:27 --> 02:18:32 [UNKNOWN]: Okay, so we'll say it's very cool Let's say yeah, and then we've got rings of power coming up
02:18:33 --> 02:18:37 [UNKNOWN]: absolutely we do and I'm really inspired to really insert with Marilyn this Friday too.
02:18:37 --> 02:18:38 [UNKNOWN]: So it's exciting.
02:18:39 --> 02:18:40 [UNKNOWN]: Plenty of stuff going on.
02:18:40 --> 02:18:43 [UNKNOWN]: And Brandon raised his head again.
02:18:43 --> 02:18:44 [UNKNOWN]: He rose from the depths.
02:18:44 --> 02:18:46 [UNKNOWN]: I keep saying he's been unblipped.
02:18:46 --> 02:18:47 [UNKNOWN]: He's in.
02:18:48 --> 02:18:49 [UNKNOWN]: He's fine.
02:18:49 --> 02:18:52 [UNKNOWN]: Actually, I'm the last one who recorded with him right about Beetlejuice.
02:18:52 --> 02:18:53 [UNKNOWN]: You might have been.
02:18:53 --> 02:18:55 [UNKNOWN]: And then he said, Alicia, I don't feel so good.
02:18:57 --> 02:19:00 [UNKNOWN]: And he disappeared into digital for five years.
02:19:00 --> 02:19:00 [UNKNOWN]: Yeah.
02:19:03 --> 02:19:03 [UNKNOWN]: very cool.
02:19:04 --> 02:19:21 [UNKNOWN]: Yeah, so if you have any thoughts about any of this, please send your feedback to lower-hounds at the lower-hounds.com or hop into our discord, you'll find that in the link tree in the show notes as well as links to Cosmere Corner, which yeah, I'm really enjoying Ms. Boren, so I'm glad you finally got me to read it.
02:19:21 --> 02:19:22 [UNKNOWN]: I'm glad that you like it.
02:19:22 --> 02:19:27 [UNKNOWN]: I knew you would like it once you got past your distaste for Brandon Sanderson's TV commentary.
02:19:28 --> 02:19:48 [UNKNOWN]: he said another thing again recently and like just shut up Brandon you're doing fine just shut up about other choney gilroy just shut up yeah it's actually carry on with whatever I think he's to keep talking he brings it and he's a brand and shits their head um... he could do that well writing three books with
02:19:51 --> 02:20:10 [UNKNOWN]: So with it on my will shift dust feed there the spooked over special is will top wear wolf movies So that will be coming out shortly after that this week as well and Dungeons and do rags not enjoying vision quests as much as you're on a night I'm color be shocked
02:20:11 --> 02:20:13 [UNKNOWN]: But I think they might be enjoying carry.
02:20:13 --> 02:20:15 [UNKNOWN]: So yeah, yeah, yeah, yeah.
02:20:16 --> 02:20:16 [UNKNOWN]: That sounds good.
02:20:17 --> 02:20:18 [UNKNOWN]: And ring some rituals.
02:20:18 --> 02:20:19 [UNKNOWN]: Almost done.
02:20:19 --> 02:20:20 [UNKNOWN]: Almost done.
02:20:20 --> 02:20:20 [UNKNOWN]: Yeah.
02:20:20 --> 02:20:24 [UNKNOWN]: With their season two recap in advance of your season three coverage.
02:20:24 --> 02:20:26 [UNKNOWN]: Looking forward to following along.
02:20:26 --> 02:20:26 [UNKNOWN]: They.
02:20:26 --> 02:20:41 [UNKNOWN]: just recorded a bonus episode on the music of the rings with one of our, I can't remember the gentleman's name, but he does a lot of YouTube stuff over with Sign a Me University type folks and the Maryland said that they had a great conversation with him.
02:20:41 --> 02:20:44 [UNKNOWN]: It's in the can and we've got to get it posted out.
02:20:44 --> 02:20:45 [UNKNOWN]: What is it?
02:20:45 --> 02:20:45 [UNKNOWN]: It's Philip.
02:20:46 --> 02:20:48 [UNKNOWN]: Philip Slim's film soundtrack.
02:20:48 --> 02:20:54 [UNKNOWN]: So the world in magic, the world in magic, music in the rings of power.
02:20:54 --> 02:20:55 [UNKNOWN]: He's got a whole thing about it.
02:20:55 --> 02:21:01 [UNKNOWN]: So it's been a great coming together of forces and powers.
02:21:01 --> 02:21:04 [UNKNOWN]: If you're, I don't know, I'm trying to stretch out why I'm delighted.
02:21:05 --> 02:21:05 [UNKNOWN]: Yes.
02:21:06 --> 02:21:10 [UNKNOWN]: And check out, never mind the music and probably how we're also just started their new season.
02:21:10 --> 02:21:20 [UNKNOWN]: I was, I'm just in the middle of listening to their, there was have the most complex drafting probabilities for their movies, but it sounds like it's going to be a fun thing.
02:21:20 --> 02:21:23 [UNKNOWN]: You're just multiply by the quotient of the flux of ambassador.
02:21:24 --> 02:21:24 [UNKNOWN]: Exactly.
02:21:25 --> 02:21:26 [UNKNOWN]: Well, and the interesting to divide by 32.
02:21:28 --> 02:21:35 [UNKNOWN]: is they recorded live and in person because they know in the same time zone and in the same state actually.
02:21:35 --> 02:21:44 [UNKNOWN]: So and these finished his move across the country and yeah, the part of it was so close to suggesting that you find a theater halfway between us and we go see
02:21:47 --> 02:21:52 [UNKNOWN]: I'm so jealous, I'm going to fly over, you know?
02:21:52 --> 02:21:53 [UNKNOWN]: No problem, no problem.
02:21:53 --> 02:21:53 [UNKNOWN]: No problem.
02:21:53 --> 02:21:54 [UNKNOWN]: Easy.
02:21:55 --> 02:21:56 [UNKNOWN]: No, my wife and I have a date.
02:21:56 --> 02:21:59 [UNKNOWN]: So, uh, tend to live in the case.
02:21:59 --> 02:22:00 [UNKNOWN]: Also between you, make sure everything stays.
02:22:01 --> 02:22:01 [UNKNOWN]: Coach, good.
02:22:01 --> 02:22:01 [UNKNOWN]: Right, mate.
02:22:04 --> 02:22:07 [UNKNOWN]: Well, um, if you are enjoying this, please share it with anyone.
02:22:07 --> 02:22:12 [UNKNOWN]: If you're still listening to this, thank you so much.
02:22:12 --> 02:22:19 [UNKNOWN]: And please do share this with anyone else who think might be interested and we appreciate any kind rating and reviews of your listening.
02:22:20 --> 02:22:23 [UNKNOWN]: If you want to go the extra step, then we have our.
02:22:24 --> 02:22:50 [UNKNOWN]: super cast and patreon feeds same content both feeds you get ad free access to all the episodes like this but also extra episodes like we just put out a practical magic episode talking about both of the films just put out a second breakfast talking about Halloween candy is David just said there's going to be the eleventhsies talking about exorcist 2 and 3 a lot's more coming up there and John and I might be actually talking about football.
02:22:51 --> 02:23:13 [UNKNOWN]: uh... uh... uh... the uh... international kind of you're a pian football yes global for all not just you're uh... not your football yeah everything except us because you suddenly become a Liverpool fan Liverpool i am so uh... you know you'll never walk alone and i'm i'm so into it now my friends my friend was like
02:23:14 --> 02:23:15 [UNKNOWN]: He was like, I'm watching soccer this weekend.
02:23:15 --> 02:23:16 [UNKNOWN]: I was like, what are you watching?
02:23:16 --> 02:23:18 [UNKNOWN]: And he was like, well, I wrote for Liverpool.
02:23:18 --> 02:23:19 [UNKNOWN]: And I was like, all right, I'll catch the game.
02:23:20 --> 02:23:24 [UNKNOWN]: And Liverpool scored two goals four minutes apart.
02:23:24 --> 02:23:27 [UNKNOWN]: And I was just, I'm a Liverpool fan for life now.
02:23:27 --> 02:23:28 [UNKNOWN]: Like it was the really.
02:23:29 --> 02:23:29 [UNKNOWN]: It was the really.
02:23:29 --> 02:23:32 [UNKNOWN]: I already know who I fucking hate on the team and who I tell them.
02:23:33 --> 02:23:34 [UNKNOWN]: I know who Jamie Tardis.
02:23:35 --> 02:23:37 [UNKNOWN]: Does that mean we have to do a Ted Lasso?
02:23:40 --> 02:23:41 [UNKNOWN]: We have to do a Ted Lasso one shot.
02:23:41 --> 02:23:42 [UNKNOWN]: I did watch the season.
02:23:42 --> 02:23:43 [UNKNOWN]: I finished the season.
02:23:43 --> 02:23:43 [UNKNOWN]: Okay.
02:23:44 --> 02:23:44 [UNKNOWN]: Good.
02:23:44 --> 02:23:44 [UNKNOWN]: It was really good.
02:23:45 --> 02:23:46 [UNKNOWN]: It was really good.
02:23:46 --> 02:23:46 [UNKNOWN]: Yeah.
02:23:46 --> 02:23:47 [UNKNOWN]: It was lovely.
02:23:47 --> 02:23:48 [UNKNOWN]: You watch the Alicia.
02:23:49 --> 02:23:49 [UNKNOWN]: Oh, I did.
02:23:49 --> 02:23:50 [UNKNOWN]: I did.
02:23:50 --> 02:23:50 [UNKNOWN]: It was.
02:23:50 --> 02:23:51 [UNKNOWN]: Oh, we shouldn't hug.
02:23:52 --> 02:23:52 [UNKNOWN]: Yeah.
02:23:52 --> 02:23:52 [UNKNOWN]: We shouldn't do it.
02:23:52 --> 02:23:53 [UNKNOWN]: We should do it.
02:23:53 --> 02:23:53 [UNKNOWN]: Yeah.
02:23:53 --> 02:23:55 [UNKNOWN]: I was watching because it released weekly.
02:23:56 --> 02:23:57 [UNKNOWN]: So I just watched it live.
02:23:57 --> 02:24:00 [UNKNOWN]: I also started it overlapped with silo.
02:24:00 --> 02:24:04 [UNKNOWN]: So I'd finish the silo rewatch and then be like,
02:24:05 --> 02:24:09 [UNKNOWN]: Yeah, you know, it was a much better season than soon three I have.
02:24:09 --> 02:24:19 [UNKNOWN]: Oh my god Like it was for the pod save it for the David, do you want to thank our doodine and our discord server boosters?
02:24:20 --> 02:24:32 [UNKNOWN]: Nancy Hanabot captain of the poll here on Peter O. H. show tracker The keeper of sub zero librarian Brian 863 moderators on our discord Brian 863 R&K
02:24:35 --> 02:24:41 [UNKNOWN]: Our discord server boosters are the kind folks who make our discord more shiny and flashy and functional.
02:24:41 --> 02:24:49 [UNKNOWN]: Aaron Kay, tell her the thriller, new move is 71, Athena Agilea, Lestu, Nancy M, Goose to Partition, Radioactive Richard, and Adrienne.
02:24:50 --> 02:24:54 [UNKNOWN]: And John who are the loremasters, the highest tier of subscribers.
02:24:55 --> 02:24:59 [UNKNOWN]: Oh gosh, I forgot to open the document.
02:25:00 --> 02:25:00 [UNKNOWN]: Good God!
02:25:02 --> 02:25:03 [UNKNOWN]: Okay, there we are.
02:25:03 --> 02:25:06 [UNKNOWN]: Some are Shen, Michael G. Michelley, S.C. Peter O'H, N.T.
02:25:06 --> 02:25:09 [UNKNOWN]: M. Duf, 71, Brian E. D. 63, Fr.
02:25:09 --> 02:25:17 [UNKNOWN]: Dr. H, Sarah L, Garth C, Under B. Huang Yud, Nathan T. Sub-Zero, Aaron K. Deleby, Mother Ship 61, N.R.s.
02:25:19 --> 02:25:25 [UNKNOWN]: Kathy W Listu, Jeffrey B, at least a new Ben B Scott F's, even N Julia F. Callie S. Elmariel.
02:25:26 --> 02:25:34 [UNKNOWN]: Rocky Zim, Jessica A. Redzippy, Petizia's, Ellen Armis' tenet AC Wilson, E.L.I.W.
02:25:34 --> 02:25:44 [UNKNOWN]: Cassie K. Chamberooney, Katia, Josh Liu, Painted PDX, Cori G, Winch, Jenny L. Slavinator, Cassandra, C, and Adrián.
02:25:45 --> 02:25:48 [UNKNOWN]: We're gonna have to give a separate podcast for these names here.
02:25:48 --> 02:25:55 [UNKNOWN]: And to take us out, David, I gave you one more clip, which was an unexpected overlap with VisionQuest this week.
02:25:55 --> 02:26:07 [UNKNOWN]: I will give no context for this clip for Spear of Spoilers, but I'll just say this is Emily Hempshers and character Edith and James Spader's character Ultron.
02:26:08 --> 02:26:11 [UNKNOWN]: All three of you please write in to let us know.
02:26:16 --> 02:26:19 [UNKNOWN]: I break these from my roof with batch command and function.
02:26:19 --> 02:26:23 [UNKNOWN]: I sever the process with backslash body in all targeted notes.
02:26:24 --> 02:26:26 [UNKNOWN]: In the name of function and command.
02:26:26 --> 02:26:29 [UNKNOWN]: The power of hope comes out here!
02:26:29 --> 02:26:31 [UNKNOWN]: Thank you for your applause.
02:26:31 --> 02:26:31 [UNKNOWN]: Bye!
02:26:32 --> 02:26:35 [UNKNOWN]: The Laura Hounds podcast is produced and published by the Laura Hounds.
02:26:35 --> 02:26:39 [UNKNOWN]: You can send questions and comments to Laurahoundsattheworehounds.com.
02:26:39 --> 02:26:46 [UNKNOWN]: Get ad free access to all Laura Hounds podcasts on Patreon or Supercasts and connect with us on Blue Sky and Join us on our Discord server.
02:26:46 --> 02:26:50 [UNKNOWN]: Links for everything are in the link tree in the show notes of this episode.
02:26:50 --> 02:26:57 [UNKNOWN]: Any opinions stated are ours personally and do not reflect the opinion of or belong to any employers or other entities.
02:26:57 --> 02:26:57 [UNKNOWN]: Thanks for listening.
02:26:58 --> 02:27:00 [UNKNOWN]: You are Mary's kitty litter.

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