Speaker 1: You're listening to an airwave media podcast.
Speaker 2: It's actually quite unlike anything we've ever seen before.
Speaker 3: A giant, very creature.
Speaker 4: Part eight, Part Matt in Luckness, a twenty four mile
Speaker 4: long bottomless lake in the Highlands of Scotland.
Speaker 2: It's a creature known as the Luckness Monster.
Speaker 5: Monstert Hello, I'm Blake Smith and in today's special bonus
Speaker 5: episode of Monster Talk, Ben Radford and I interview a
Speaker 5: movie director. Then I get a weird phone call from Scott's.
Speaker 5: Information about the new movie and about Scott Siegler's book
Speaker 5: are in the show notes. Monstrut We're talking with Daniel Netheim,
Speaker 5: director of the new film The Hunter, which is adapted
Speaker 5: from the award winning novel by Alice Addison. The film
Speaker 5: stars Willem Dafoe and Sam Neil and it tells the
Speaker 5: story of a man tasked with finding the last living
Speaker 5: Filo scene, if it exists. So, Daniel, what drew you
Speaker 5: to the thila scene as a film topic.
Speaker 6: So the whole project came from a novel. As you know,
Speaker 6: the Thilos scene has a particular place in Australian mythology
Speaker 6: as well as an Australian history. You know, It's one
Speaker 6: of those red beasts that kind of straddles both as
Speaker 6: a child, you know, as an adult. I'd always found
Speaker 6: the story of the demise of this creature particularly moving,
Speaker 6: and I'd always been affected by that. You know, those
Speaker 6: bits of footage that are quite well known, you can
Speaker 6: see them on YouTube, you know, we got the rights
Speaker 6: to use them in the film that the Last Living
Speaker 6: Tasmanian Tiger roaming around and around in circles in the
Speaker 6: Hobart Zoo, right. I'd always found that very poignant. But
Speaker 6: what I liked, what I liked about the use of
Speaker 6: this creature as the object of a mission in the
Speaker 6: book was you know, both symbolic and physical, you know,
Speaker 6: like on a literal level, it represents the search for
Speaker 6: something unobtainable, you know, that something that can't be found,
Speaker 6: and symbolically it represents very strongly the mistakes of our past,
Speaker 6: the things that we can't undo, you know, And both
Speaker 6: of these are kind of very lead to a very
Speaker 6: poignant and profound character journey for the late lead character
Speaker 6: played in the film by Willem.
Speaker 7: Let me ask how I know have I've covered film
Speaker 7: quite a bit also at the tru and by the way,
Speaker 7: as I mentioned in Toronto Film.
Speaker 3: Firstal, congratulations on your suggests there. Thanks, you want to
Speaker 3: tell us a little bit about that. Look, it was great.
Speaker 6: We we'd only just finished the film. We're invited to
Speaker 6: screen as a special presentation at Toronto and within the
Speaker 6: first couple of days we had amazing international sales, you know,
Speaker 6: so selling to Magnolia in the US was great, but
Speaker 6: we sold to a good you know, twenty five thirty
Speaker 6: countries apart from that, So just you know, it's very
Speaker 6: exciting to know that the film is going to reach
Speaker 6: such wide audiences.
Speaker 3: And we're it's opening, Nish and Wade, what this weekend?
Speaker 3: Next weekend? What's what's the official.
Speaker 6: April sixth for theatrical and it's it has a premium
Speaker 6: VIAD window that's already started. So depending on your choice,
Speaker 6: you can look at it now on the small screen
Speaker 6: or April six you can see it the way the
Speaker 6: film makes as would prefer you to see it on
Speaker 6: the big screen with amazing five point one Dolby surround sound.
Speaker 3: Beautiful, beautiful.
Speaker 5: Now, a lot of the shots look really stunning. Where
Speaker 5: was the footage actually taken?
Speaker 6: The film was shot entirely in Tasmania, which is a
Speaker 6: large island state off the south coast of mainland Australia.
Speaker 6: It's a small island. We spent a bit of time
Speaker 6: in the north, bit of time in the south, a
Speaker 6: bit of time in the center. A couple of weeks
Speaker 6: we spent in and around a small farmhouse, but for
Speaker 6: most of the time we were going out to driving
Speaker 6: out to pretty remote but spectacular looking landscapes to tell
Speaker 6: the story of this man who, for a lot of
Speaker 6: the film is essentially alone in the spectacular wilderness looking
Speaker 6: for this elusive creature.
Speaker 3: What did it take to bring this to the big screen?
Speaker 6: The film was financed out of Australia. We have a
Speaker 6: different system over there with you know, a certain amount
Speaker 6: can be subsidized by government aunts, but you still have
Speaker 6: to have interest from distributors, you know, both local distributors
Speaker 6: and foreign sales agents. And the one recurring question that
Speaker 6: we were getting when we were touting the script around,
Speaker 6: I mean everyone was saying, this is a beautiful story.
Speaker 6: You know, it's a great script. It's really really well written,
Speaker 6: it's very cinematic. But who was going to play the hunter?
Speaker 3: Right?
Speaker 6: And it was only once we could say Willem Dafoe
Speaker 6: is the hunter that we could see people's eyes light
Speaker 6: up and go, all right, okay, I get this movie now,
Speaker 6: I know the kind of film you want to make.
Speaker 6: You know, great casting, and so that in the end,
Speaker 6: it was the casting of Willem that triggered the final
Speaker 6: pieces of the puzzle.
Speaker 3: And how did you end up getting Defoe to do that?
Speaker 3: Did you know him personally or you just sort of.
Speaker 6: Amazingly we sent him the script, but you know, we
Speaker 6: sent the script to his management company and we got
Speaker 6: a pretty prompt reply saying that Willem had liked it.
Speaker 6: You know, he was intrigued, he wanted to know more.
Speaker 6: So I flew from Sydney to New York to have
Speaker 6: a face to face meeting h and at the end
Speaker 6: of an hour of talking about the project, he pretty
Speaker 6: much said, get your people to talk to my people.
Speaker 6: Let's do let's let's make this beautiful nice. I didn't
Speaker 6: think it would be that easy, and it probably never
Speaker 6: will be again, but you know, thank thank goodness.
Speaker 5: You know, we talk about movies a lot because there's
Speaker 5: so many that deal with monsters, and in this particular case,
Speaker 5: it's nice to talk to the director and I could
Speaker 5: ask this question directly, when you shoot the film or
Speaker 5: when you shot this film, what did you think of
Speaker 5: the theme or what did you think the theme would
Speaker 5: be and how much did that drive the way you
Speaker 5: actually produced actually put it all together.
Speaker 6: Yeah, look, you know, I mean, for me, the best
Speaker 6: film works on many levels. There's a story, you know,
Speaker 6: which is what you watch and enjoy and what you follow,
Speaker 6: and then I really like to have layers of thematic
Speaker 6: resonance underneath, so you know, you want to you want
Speaker 6: to get the audience thinking about things that are important to you.
Speaker 6: I mean, I think in this case, the strong theme
Speaker 6: was the uneasy relationship between mankind and the natural environment.
Speaker 6: And on the one hand, the history of what actually
Speaker 6: happened to the Tasmanian tiger speaks of that. You know,
Speaker 6: the thing was wiped out by farmers. It had a
Speaker 6: government bounty on its head because it was seen as
Speaker 6: a threat to the industry of sheep farming. You know,
Speaker 6: as simple as that boom kiss goodbye the Thila scene.
Speaker 6: The same story is being repeated in Tasmania with certain
Speaker 6: areas of old growth forests, you know, which is under
Speaker 6: threat from logging. So the story hasn't gone away, you know,
Speaker 6: and the ever present theme there is is kind of like.
Speaker 3: How the greed, how our greed.
Speaker 6: And pursuing what we think we need can affect the
Speaker 6: natural environment around us. But you know what, I was
Speaker 6: never setting out to make a message film. You know,
Speaker 6: the idea was we tell a great story first. But
Speaker 6: you have these layers, you know, you hint at this
Speaker 6: thematic stuff underneath and hype that the audience carries something
Speaker 6: away with it.
Speaker 7: No, and I'm glad you brought that up, because that's
Speaker 7: one of the things I wanted to ask you about,
Speaker 7: is that is that.
Speaker 3: It's not a message film. It's not.
Speaker 7: It's and it's frankly, to be honest, it's not even
Speaker 7: a monster film. It's a thriller that of a monster
Speaker 7: in it. And that's one of things I really enjoyed
Speaker 7: about it is that it has themes about ecology and environmentalism,
Speaker 7: but it's.
Speaker 3: Not cut and dried.
Speaker 7: You know, you have many the characters have unclear motives,
Speaker 7: and you have sort of moral shades of gray. You've
Speaker 7: got loggers who are concerned about the impact of their livelihood.
Speaker 7: If the animal has proven to exist, you know, are
Speaker 7: they going to suddenly declare all this, you know, off limits.
Speaker 7: But then you also have people who are sensibly trying
Speaker 7: to help the animal but also kill it. So that
Speaker 7: was it was just really interesting to see characters that
Speaker 7: had such such nuances.
Speaker 6: Yeah, certainly the moral complexity of the story was one
Speaker 6: of the things I found really attractive. Might be one
Speaker 6: of the things that might have difficult to get the
Speaker 6: script rot, you know, because it was a difficult balance
Speaker 6: to tread. You know, I'm glad you think it's what,
Speaker 6: thank you.
Speaker 3: Yeah.
Speaker 7: In fact, let me let me also ask about this
Speaker 7: the one of the concerns that I don't want to
Speaker 7: put words in enough, but on occasion i've heard director's
Speaker 7: concerned that their film is too cerebral.
Speaker 3: It's too it.
Speaker 7: Takes too much thinking, and American audiences don't like thinking.
Speaker 7: And and because it is, it's not a straightforward action film,
Speaker 7: it's not a straightforward monster film, and it raises really profound,
Speaker 7: interesting questions. And I guess my question to you is,
Speaker 7: how do you balance making an entertaining action film that
Speaker 7: also has is also slows down enough so that people
Speaker 7: can can can have these these you know, larger questions resonate.
Speaker 6: Look you know, we we we worked hard to find
Speaker 6: that balance when we were writing the script, and then
Speaker 6: we worked hard all over again, and when the when
Speaker 6: we were in the edit room, you know, and I
Speaker 6: think we tried, you know, we pushed the film to
Speaker 6: both the extremes during the cut. I mean, sometimes looked
Speaker 6: at it and it had gotten too meditative and too
Speaker 6: slow and the story wasn't moving forwards and at other
Speaker 6: at other times we tried things and suddenly, you know,
Speaker 6: it's moving at a great breakneck pace, but you're missing
Speaker 6: out on the poetry. And I wanted to contain both,
Speaker 6: so really, you know, I mean part of that was
Speaker 6: actually getting getting small audiences in during the edit, showing
Speaker 6: film fresh and just asking them, you know, is it
Speaker 6: too slow? Is it too fast? You know, are you
Speaker 6: are your questions being answered? Or are you happy to
Speaker 6: have questions that remain unanswered?
Speaker 3: Right?
Speaker 6: You lose it's really easy to lose perspective when you're stuck.
Speaker 6: When you hold up in an edit room for like
Speaker 6: fourteen weeks, you know, not bad, the outside perspective becomes
Speaker 6: really important.
Speaker 3: Do you uh.
Speaker 5: You know, there's sort of this underlying theme of a
Speaker 5: national loss at this animal being extinct. Is there is
Speaker 5: that culturally, I don't, you know, not being from there,
Speaker 5: it is that the sort of thing that that the
Speaker 5: opportunity to save one of these animals would sort of
Speaker 5: in a way, be it kind of redemption or is that?
Speaker 2: Is that?
Speaker 5: Am I reading too much into that?
Speaker 2: No?
Speaker 6: Absolutely, I think that you know, if we could revive
Speaker 6: this creature, it would be it would be a form
Speaker 6: of redemption. You know, we would be able to shed
Speaker 6: ourselves of that guilt, you know, correct the mistakes of
Speaker 6: our past. I mean, I think that was one of
Speaker 6: the big attractions of this, you know now derailed attempt
Speaker 6: to clone the creature that was happening a few years
Speaker 6: back when they had DNA extracted from the specimen of
Speaker 6: a pup that had been sitting in formaldehyde in a
Speaker 6: museum for like, you know, seventy years, and they thought
Speaker 6: that they could cross breed this with something else, and
Speaker 6: you know, I mean it was a dubious project that
Speaker 6: had ethicists up in arms, but there are a lot
Speaker 6: of people prepared to put a lot of money into
Speaker 6: it because it was a sexy topic, you know, reviving
Speaker 6: an extinct species, you know, I for better off, for
Speaker 6: worse the DNA that they had was proven to be
Speaker 6: too deteriorated to be any use, and that project has dropped.
Speaker 6: But you know, the I can see why the enduring
Speaker 6: mythology that it is still out there is attractive, you know,
Speaker 6: for the same reasons. It offers us a hope of redemption.
Speaker 6: But it's also dangerous because it lets us off the hook,
Speaker 6: you know, for facing up to the reality of what
Speaker 6: we did and what people all over the world are
Speaker 6: still doing, which is kind of killing off endangered species.
Speaker 5: I don't want to spoil anything for the listeners because
Speaker 5: obviously mysteries are kind of what drives you to go
Speaker 5: see a film in a way. But there's this ongoing
Speaker 5: debate in the cryptozoology world about capture or kill, like,
Speaker 5: you know, for example, with Bigfoot, would you want to
Speaker 5: capture a kill one even though they might be in
Speaker 5: danger if they're real? Now, you know, our position is,
Speaker 5: I think, you know, get the DNA, prove it right,
Speaker 5: but how did you deal with that in the film?
Speaker 6: One of the great experiences for an audience of watching
Speaker 6: this film is not knowing, like you know, what Ivy
Speaker 6: finds it, what's he going to do? In fact, is
Speaker 6: he even going to find it or is it a
Speaker 6: completely unattainable goal? And I think it's a great it's
Speaker 6: a great driving narrative question to have, and I think
Speaker 6: everybody has their own take on it. I mean, when
Speaker 6: we were shooting down in Tasmania, we were shooting a
Speaker 6: lot of behind the scenes footage and we interviewed most
Speaker 6: of the locals we met about the Thila scene. You know,
Speaker 6: do you think it still exists? Do you have any stories?
Speaker 6: What would you do if you saw one? The majority
Speaker 6: of the people, no matter what they believed, said that
Speaker 6: if they found one, they wouldn't tell you know, they
Speaker 6: would leave it alone. They wouldn't tell anybody ever, So
Speaker 6: you know, it seems to be some kind of like
Speaker 6: you know, profound in a compassion, like if the thing's
Speaker 6: still out there, leave it alone. I mean, logger saw one.
Speaker 6: You know, as you mentioned before, they're not going to
Speaker 6: tell anybody because it would mean suddenly you've got half
Speaker 6: the world's scientific community trapesing around the areas they're meant
Speaker 6: to be, you know, chopping down trees.
Speaker 3: Right.
Speaker 6: You know, Likewise, if an environmentalist saw one, it's not
Speaker 6: in their interest to tell anybody, because you get the
Speaker 6: half the world's journalist stuf there, you know, treading all
Speaker 6: over the delicate ecosystem. So yeah, it's it's it's very
Speaker 6: open for debate. What would you do? I recommend to
Speaker 6: the viewers see the film with a friend and then
Speaker 6: have the debate yourselves afterwards.
Speaker 3: And put you on this right, what would you do
Speaker 3: if if if while you.
Speaker 7: Were out filming this this fictional this fictional film, and
Speaker 7: you're just wandering around on location and you you'll you
Speaker 7: you by now you're familiar with the Diallos scene.
Speaker 3: You've seen hours of footage.
Speaker 7: And you just happen to look to your right and
Speaker 7: you see something that is almost certainly.
Speaker 3: A dialy scene. And what what would you do?
Speaker 6: You know what? I would take the camera off. Willem
Speaker 6: Dafoe put it that that fall Asa in the bush,
Speaker 6: and I would exploit. I would exploit it for publicity,
Speaker 6: for the film, for all of us.
Speaker 2: What you would shoot but not to kill? Got it?
Speaker 3: Shoot but not killed?
Speaker 7: Well that's no, It's interesting and it brings up and
Speaker 7: that that's another element that I really enjoyed about the
Speaker 7: film is, uh, there's this not only you have sort
Speaker 7: of a mystery within a mystery, uh, sort of within
Speaker 7: a mystery.
Speaker 3: Depending on how you want to shake it out.
Speaker 7: But you also have conspiracy theories in it, you know
Speaker 7: where where again you're not sure what are people's motives?
Speaker 3: Why are you know? What's it?
Speaker 7: Because you know, you know, are they doing this to
Speaker 7: exploit the creature? Are you doing it to save the creature?
Speaker 2: Uh?
Speaker 7: And really, at the end of the day, doesn't matter.
Speaker 7: I mean, if you if what you have truly is
Speaker 7: the very last animal of its kind, uh, in a way,
Speaker 7: it doesn't really matter. I mean whether you whether it
Speaker 7: dies on its own because it you know, it falls
Speaker 7: into a river or shot one way or the other.
Speaker 7: Whether it's tomorrow or next month or next year or
Speaker 7: five years from now, it will die and there will
Speaker 7: be no more. So it's sort of interesting to sort
Speaker 7: of have that that for enveloping mystery and intention there.
Speaker 6: Yeah, yeah, very true. You know, like on a number
Speaker 6: of times people who have seen the film, you know,
Speaker 6: and this doesn't give anything away, but have said to me,
Speaker 6: all right, so so this guy is looking for the
Speaker 6: last what is meant to be the last Tasmanian tiger.
Speaker 6: But that's ridiculous. If there's one, surely there are others.
Speaker 6: You know, surely there's a breeding population. And my answer
Speaker 6: to that is, you know, as you said, at one point,
Speaker 6: I mean, the last nine Tasmanian tiger died in captivity
Speaker 6: in nineteen thirty six. At one point there was going
Speaker 6: to be only one left out there somewhere in the wilderness,
Speaker 6: you know, and that was the last one. How long
Speaker 6: it lasted on its own, I don't know. We can
Speaker 6: only speculate, but yeah, what you say is true. You know,
Speaker 6: like once a population gets below a critical mass, it's
Speaker 6: going to die out regardless. So what do you do
Speaker 6: do you if you want to stop people from getting it,
Speaker 6: you want to stop at people using it for for
Speaker 6: whether for good or bad. You know, there's profoundly confronting
Speaker 6: moral choices to be made.
Speaker 5: Well, Daniel, thanks for being with us today. I know
Speaker 5: you have to go. But we always ask her our
Speaker 5: guests what their favorite monster is. It's kind of our
Speaker 5: closer question.
Speaker 6: That that is a great question, one that I'm not
Speaker 6: quite prepared for.
Speaker 5: Like, it could be anything.
Speaker 3: It could be any.
Speaker 7: Monster, but either fictional or real, allegedly real, whatever you want.
Speaker 6: Well, I'm really always attracted to this notion of the
Speaker 6: giant squid.
Speaker 3: Nice, yeah, you know this.
Speaker 6: I mean I think that the depths of the ocean
Speaker 6: have got such great potential for you know, deep dark,
Speaker 6: murky secrets. But the idea of this, you know, these
Speaker 6: giant squids you can kind of you know, do battle
Speaker 6: with sperm whales. I mean, I find that really something
Speaker 6: very attractive about that notion, you know, And I always
Speaker 6: spoked on by the fact that occasionally these things get
Speaker 6: washed up in remote places, you know. I mean for me,
Speaker 6: that's fascinating.
Speaker 5: Yeah, what are the experts? Is Steve O'Shea who's from
Speaker 5: down there? So yeah, all right, okay, right, anyway, thank
Speaker 5: you so much for your time.
Speaker 3: Good good job on an excellent film, and good luck
Speaker 3: with it.
Speaker 6: Thank you so much.
Speaker 2: Monstertle Man Blake you there, Hello? Who is like?
Speaker 8: This is Scott Siggler.
Speaker 2: That Siggler. Dude, it's like three in the morning. Why
Speaker 2: are you calling me? Listen.
Speaker 8: I've got an idea.
Speaker 1: I've got my new book, Nocturnal is out and it's
Speaker 1: about monsters, so I thought we should talk about it.
Speaker 8: On Monster Talk.
Speaker 2: But dude, it's three in the morning. What kind of monsters? Like?
Speaker 1: Okay, here's the thing right. It's basically skeptical horror. So
Speaker 1: it's about monsters, but it's not about all the bs
Speaker 1: monsters like vampires and walking dead and all that other stuff.
Speaker 1: These they're like hard science monsters, okay, and they're all
Speaker 1: original monsters. I'm telling you. This is skeptical horror. This
Speaker 1: is a perfect for your show. You got to put
Speaker 1: it on.
Speaker 2: Well. Is called Nocturnal.
Speaker 1: Yeah, it's called Nocturnal, and it's in bookstores right now,
Speaker 1: right now. People could go look at it at Scott
Speaker 1: sigler dot com slash Nocturnal, where we have a video
Speaker 1: trailer of the book that is full of you guessed it, monsters.
Speaker 2: That's right, you've got a video of the book.
Speaker 1: We got a book trailer, so we've got a video
Speaker 1: that shows what the book is about. It's full of
Speaker 1: all these monsters that are in San Francisco, because this
Speaker 1: subset of humanity is living in the shadows of San
Speaker 1: Francisco and only comes out at night to feed on
Speaker 1: the people who won't be missed. But in the book,
Speaker 1: my main character, Brian Klauser starts to have all these
Speaker 1: crazy dreams about these monsters and then starts to track
Speaker 1: down this serial killing cult that dresses up like monsters.
Speaker 1: And there's other stuff I you know, I can't reveal
Speaker 1: because maybe you'll read it. But look, no vampires, no mummies,
Speaker 1: no no zombies, no walking dead. These are straight up
Speaker 1: hard science monsters. And this book has the best Punnett
Speaker 1: square your people will ever see, because now there's not
Speaker 1: just two sex chromosomes, there's three. It's a nine square
Speaker 1: Punnet square as a feature point of the book.
Speaker 2: That's a lot of math for three in the morning. Hey,
Speaker 2: what did you say? It's got cops in it? So
Speaker 2: this is not a sports book.
Speaker 1: No, this is like a starts out like a police procedural.
Speaker 1: And then Brian Klaus and Puki cheg are two San
Speaker 1: Francisco homicide inspectors, start to get on the path of
Speaker 1: these kids who are being killed. And all of these
Speaker 1: teenage kids are bullies, a young man named Rex Dapravachuck.
Speaker 1: So it's almost like a twisted Harry potter S type
Speaker 1: story where Rex is bully an ostracized and there's trouble
Speaker 1: at home, and that phrase absolute power corrupts absolutely comes
Speaker 1: into play as Rex finds all kinds of connections, shall
Speaker 1: we say, with these monsters.
Speaker 8: I'm making air quotes.
Speaker 2: Dude.
Speaker 1: You can't see it with these monsters in San Francisco.
Speaker 1: So it's perfect for monster talk because it's full of unique,
Speaker 1: original monsters and it's scientific.
Speaker 2: What do you think of that? Does it have big
Speaker 2: Foot in it?
Speaker 8: It does not have big foot in it? Big puts
Speaker 8: some existing monster? No Bigfoot?
Speaker 2: What about chupacabra? Is are they actually tracking chupacabra.
Speaker 1: No, they're not trackingchupicabra. Man, these are now original monsters.
Speaker 1: They're they're crazy and gross and disgusting, but they are
Speaker 1: not a slightly hairless mutated dog from southern Mexico.
Speaker 2: They yeah, Okay, okay, let me tell you something. I am.
Speaker 2: I consider myself something of an expert on monsters, even
Speaker 2: even at this hour of the night, and I have
Speaker 2: to tell you Bigfoot, chup ofcabra, these are really popular.
Speaker 2: I think if you would take your work that you've
Speaker 2: got here and just sort of change it a little
Speaker 2: bit and make the cops bigfoot and they're chasing a
Speaker 2: chroop of cabra, you may have a thing that'll really fly.
Speaker 8: Okay.
Speaker 1: Look, if I did that, I could get on the
Speaker 1: A and E channel with a black and white TV
Speaker 1: show that goes green at night, and I would look
Speaker 1: at other people and say.
Speaker 8: Dude, did you feel that? Dude, did you hear that?
Speaker 8: But that's not what I'm going for.
Speaker 1: I'm trying to come up with something new and original
Speaker 1: with monsters that are actually based in genetics and science
Speaker 1: and real cops and that kind of thing. Not Bigfoot
Speaker 1: chasing troop of Cabra.
Speaker 2: Okay, okay, I'm not an expert on the writing books
Speaker 2: and stuff, but I have to tell you that what
Speaker 2: seems to really work is if you take an existing
Speaker 2: monster that everybody knows and you add glitter to it.
Speaker 2: So could you maybe make some sparkling Bigfoot? No, I can't.
Speaker 8: I can't America sparkling Bigfoot.
Speaker 1: There's no crazy vampire rewrite of the Miliu that's been
Speaker 1: around for hundreds of years. And Dude, if Bigfoot sparkled,
Speaker 1: I think that would go wrong. It'd be like a
Speaker 1: phosphorescent mushroom eating Bigfoot lurking about the southern forests of
Speaker 1: the Castro District. I don't think that's gonna work out.
Speaker 1: I think we go new monsters.
Speaker 2: Dude, No sparkly Bigfoot. He partners with Yeti, and then
Speaker 2: they're gonna solve this crime about the cheep of Cabra.
Speaker 2: And then yet He's like, I'm getting too old for this,
Speaker 2: but they keep doing it, and they fight that cup
Speaker 2: of Cabra until they win. I am telling you, if
Speaker 2: you just make a few changes, this could be totally sweet.
Speaker 1: Well, you're actually depressing the hell out of me, because,
Speaker 1: knowing today's marketplace, that would probably work extremely well and
Speaker 1: would get a primetime Friday slot on the Sci Fi Channel.
Speaker 1: But the book's already done. Nocturnle's done. It's hardcover, its
Speaker 1: in stores, it's ebook. You can get it an Amazon,
Speaker 1: Barnes and Noble, or any any brick and mortar bookstore.
Speaker 8: So it's out. So I just I can't make any
Speaker 8: changes to it.
Speaker 2: Can I tell you that you should not call me
Speaker 2: for advice if you've already got the book on the shelf.
Speaker 8: Well, I was just trying to pimp out your audience,
Speaker 8: that's all. I'm thinking.
Speaker 1: They might like monsters, man, they like skepticism. Maybe they'd
Speaker 1: like some skep horror monsters.
Speaker 2: Okay, Okay, I'll tell you what I'll do. I will
Speaker 2: tell them about your book. I will give them the information,
Speaker 2: but I have to say they're probably going to be
Speaker 2: looking for this Sparkling Bigfoot book and I can't blame them.
Speaker 1: Well, hopefully Stephanie Myer can wade the Sparkling Bigfoot book
Speaker 1: and then all all audiences are happy.
Speaker 8: But I just I can't.
Speaker 2: I can't do it.
Speaker 8: I just can't.
Speaker 2: Well, good luck and I My only other advice is, dude,
Speaker 2: seriously learn about time zones.
Speaker 8: All right? Well, you know, you know mean sleep? What
Speaker 8: if sleep?
Speaker 2: All about?
Speaker 1: Anyways, I didn't mean to wake up, but this is
Speaker 1: a great idea. I'm telling you, this is the greatest
Speaker 1: thing ever.
Speaker 2: I will pass it along. Thanks sir, You're welcome.
Speaker 5: Monster Thanks for listening to Monster Talk, the science show
Speaker 5: about monsters. Today's special bonus episode featured interviews with director
Speaker 5: Daniel Netheim and author Scott Sigler. We'll be back to
Speaker 5: our regular format in two weeks when we tackle one
Speaker 5: of the most surprisingly explicit monster topics, the homunculus. Don't
Speaker 5: miss it. Monster Talk is an official podcast of Skeptic Magazine.
Speaker 5: The opinions you hear on this show are not necessarily
Speaker 5: those of Skeptic Magazine or the Skeptic Society. Monster Talk's
Speaker 5: theme song is by Pete Stealing Monkeys.
Speaker 4: Thanks for listening, Hungary for more skepticism. Want to learn
Speaker 4: the truth about the scientific controversies of our time, then
Speaker 4: subscribe to Skeptic, the quarterly magazine Stephen J. Gould called
Speaker 4: the best journal in the field. To subscribe, visit skeptic
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