1 00:00:00,120 --> 00:00:03,120 Speaker 1: Charlotte's great because that's where my house is. I'm in Charlotte, 2 00:00:03,120 --> 00:00:03,600 I mean, I mean. 3 00:00:03,560 --> 00:00:05,960 Speaker 2: Yeah, you go, what part of Charlotte are you in? 4 00:00:07,080 --> 00:00:08,720 Speaker 1: I live in mint Hill. 5 00:00:09,279 --> 00:00:12,839 Speaker 3: I'm actually yes, I teach at Seuth Piedmont Community College. 6 00:00:12,839 --> 00:00:16,199 I'm a public speaking instructor and film instructor. But yeah, 7 00:00:16,239 --> 00:00:16,960 I live in min Hill. 8 00:00:17,039 --> 00:00:19,399 Speaker 4: So yeah, yeah, Oh my god, that's just right down 9 00:00:19,440 --> 00:00:21,719 forty five for me. I just get on Providence Road 10 00:00:21,760 --> 00:00:24,559 and just I head right into min Hill like that fast. 11 00:00:25,039 --> 00:00:26,920 Speaker 1: Wow. That's great. Wow. 12 00:00:27,000 --> 00:00:28,920 Speaker 4: So so I mean the but how come I've never 13 00:00:28,920 --> 00:00:31,079 seen you at our movie premieres then? Or have you 14 00:00:31,079 --> 00:00:32,520 been here and I just didn't know it? 15 00:00:34,000 --> 00:00:36,719 Speaker 1: You know, that's a good question. I you know, I 16 00:00:37,159 --> 00:00:37,600 do say. 17 00:00:37,920 --> 00:00:41,159 Speaker 3: We my wife and I we have our we have 18 00:00:41,200 --> 00:00:43,799 one son and he's in college now. But we were 19 00:00:43,840 --> 00:00:47,600 like pretty insular, like I did like a lot of conventions, 20 00:00:47,640 --> 00:00:49,920 a lot of premieres till he was born. And then 21 00:00:49,960 --> 00:00:51,799 after he was born, we didn't do much for about 22 00:00:51,799 --> 00:00:53,759 eighteen years and then I'm getting back into it. 23 00:00:53,880 --> 00:00:56,320 Speaker 4: So that is so awesome. So I should expect to 24 00:00:56,320 --> 00:01:00,479 see you on the guest list then absolutely, you know, 25 00:01:00,560 --> 00:01:04,040 you do something here John. That really what I embraced it, 26 00:01:04,079 --> 00:01:06,280 And the reason why I embraced it is because I 27 00:01:06,319 --> 00:01:08,799 believe that that period between two thousand and two thousand 28 00:01:08,799 --> 00:01:10,879 and nine in Hollywood when it comes to horror films, 29 00:01:11,159 --> 00:01:14,000 that was a game changing. It was almost like they 30 00:01:14,040 --> 00:01:16,120 had to do something in order to survive because all 31 00:01:16,159 --> 00:01:18,599 of a sudden, the saw movies and everything, they weren't 32 00:01:18,640 --> 00:01:22,000 like Jason and Michael and Freddy. A whole new evolution 33 00:01:22,239 --> 00:01:23,159 was starting to happen. 34 00:01:24,120 --> 00:01:27,359 Speaker 1: That's exactly right. Well, I think your feeling on that 35 00:01:27,719 --> 00:01:32,640 is one hundred percent correct. That well, a couple of. 36 00:01:32,640 --> 00:01:37,319 Speaker 3: Things, right. We had a world altering event in September 37 00:01:37,319 --> 00:01:38,280 of two thousand and one. 38 00:01:38,359 --> 00:01:40,000 Speaker 1: Yep, you just said Mber eleven. 39 00:01:39,680 --> 00:01:45,280 Speaker 3: And so horror couldn't stay in that light but smart 40 00:01:45,840 --> 00:01:49,519 vein of scream, urban legend, you know, the sort of 41 00:01:49,560 --> 00:01:54,000 neo slashers. Those were light, amusing, but not terribly substantial. 42 00:01:54,280 --> 00:01:57,120 And then our lives changed and we weren't looking for irony, 43 00:01:57,719 --> 00:02:02,040 you know, and so that changed. But what also changed horror, 44 00:02:02,040 --> 00:02:05,400 I think you're exactly right. It's the in that decade 45 00:02:05,680 --> 00:02:09,080 we began moving towards where we had cell phones and 46 00:02:09,120 --> 00:02:12,319 things like that. And so that's like our technology was 47 00:02:12,400 --> 00:02:17,080 changing too. You know, cameras were cheaper, people had cell phones, 48 00:02:17,120 --> 00:02:19,240 people had cameras on their fronts. So like all the 49 00:02:19,400 --> 00:02:24,919 old paradigms, we're having to be updated to sort of 50 00:02:24,919 --> 00:02:29,680 make sense and tap into what is scaring audiences now, 51 00:02:30,000 --> 00:02:32,599 because that's the only way horror thrives. It's like if 52 00:02:32,599 --> 00:02:35,280 you go back and listen. I love the old horror movies, 53 00:02:35,319 --> 00:02:37,800 but you know, you go back and you watch Bell Legotia, 54 00:02:37,840 --> 00:02:40,800 he's great. You watch Dracula and or you watch Frank 55 00:02:40,919 --> 00:02:43,520 Stin Forstcraft. Those are great movies, but they don't scarce 56 00:02:43,560 --> 00:02:44,719 on the same war because. 57 00:02:44,479 --> 00:02:45,719 Speaker 1: We're not living in that time. 58 00:02:46,199 --> 00:02:48,719 Speaker 3: But like, the only way horror movies are ever successful 59 00:02:48,759 --> 00:02:52,080 in the first place is if they like embody our 60 00:02:52,159 --> 00:02:56,680 horrors of now, right, So I don't know if that's 61 00:02:56,719 --> 00:02:57,680 what you're thinking, but yeah. 62 00:02:57,520 --> 00:03:00,000 Speaker 2: Well yeah, absolutely, it absolutely is. 63 00:03:00,080 --> 00:03:01,479 Speaker 4: And one of the things that you know, because you 64 00:03:01,520 --> 00:03:03,400 brought up nine to eleven and I and I remember 65 00:03:03,520 --> 00:03:05,680 during nine to eleven when we were watching the endless 66 00:03:05,719 --> 00:03:08,080 amounts of news, they kept saying, this is like. 67 00:03:08,039 --> 00:03:09,719 Speaker 2: A movie, this is like a movie. 68 00:03:10,000 --> 00:03:12,159 Speaker 4: Well, you know what today's stories when it comes to 69 00:03:12,560 --> 00:03:15,599 murder and crime are just like another horror movie. And 70 00:03:15,840 --> 00:03:17,360 it's like when I go to the movie, it's like, oh, 71 00:03:17,360 --> 00:03:19,319 I just read about this, you know it didn't this 72 00:03:19,360 --> 00:03:21,800 just happen in Baltimore? And I mean, I mean it's 73 00:03:21,840 --> 00:03:25,039 it just seems to emulate real life, or it's ahead 74 00:03:25,039 --> 00:03:26,879 of real life, and then we catch up. 75 00:03:27,759 --> 00:03:29,159 Speaker 1: Right, That's what I think. 76 00:03:29,199 --> 00:03:34,680 Speaker 3: I always think, you know, our films somehow, horror films, 77 00:03:34,680 --> 00:03:37,080 somehow this way of being like the canary and the coal, 78 00:03:38,639 --> 00:03:41,240 you know, they figure out and those are the ones 79 00:03:41,280 --> 00:03:44,039 that are successful. I figured out, like what's scaring us now? 80 00:03:44,439 --> 00:03:47,680 And then they become like that zeitgeist movie, like something 81 00:03:47,680 --> 00:03:51,800 like The Blair Witch Project or something Cloverfield or what 82 00:03:52,159 --> 00:03:55,000 have you know, something that like captures the moment, and 83 00:03:55,000 --> 00:03:56,479 it's like you think, how did they do it? Because 84 00:03:56,479 --> 00:03:58,360 they were almost they were ahead of the moment, right, 85 00:03:58,400 --> 00:04:01,439 It's you know, how is that possible? But like, I 86 00:04:01,439 --> 00:04:03,960 think that's one of the great things about horror movies 87 00:04:04,039 --> 00:04:07,639 is they sort of tap into whatever you know in 88 00:04:07,680 --> 00:04:10,280 the water that we're not even aware we're imbibing yet. 89 00:04:10,360 --> 00:04:12,639 And then we watched the movie and we realized, yeah, 90 00:04:12,879 --> 00:04:14,560 we're showering in this dude. 91 00:04:14,319 --> 00:04:15,039 Speaker 1: Right, you know. 92 00:04:16,959 --> 00:04:19,519 Speaker 3: This is embodying our time, I think, And you can 93 00:04:19,560 --> 00:04:21,680 talk about lots of different movies through history that have 94 00:04:21,759 --> 00:04:24,079 done that, like you know, Georgia Maro's Dawn of the 95 00:04:24,160 --> 00:04:25,079 Dead in a. 96 00:04:25,120 --> 00:04:28,560 Speaker 1: Shopping mall right, you know, at the Age of Malls right. 97 00:04:30,000 --> 00:04:34,800 Speaker 3: Clover Field, you know, capturing that or mofman prophecies, capturing 98 00:04:34,839 --> 00:04:38,879 like the idea of a major societal like disaster unfolding 99 00:04:38,920 --> 00:04:42,199 before our eyes with you know, people filming them. Right. 100 00:04:42,879 --> 00:04:46,279 Speaker 4: Soah, do you think though, that we've changed from that 101 00:04:46,279 --> 00:04:48,600 that era even in two thousand to two thousand and nine, 102 00:04:48,639 --> 00:04:51,439 to where nowadays, I mean we want that binge watching 103 00:04:51,680 --> 00:04:53,079 horror kind of experience. 104 00:04:53,199 --> 00:04:54,240 Speaker 2: I mean, I mean, you know. 105 00:04:54,560 --> 00:04:56,439 Speaker 4: You know, it's it's one of those things where it's like, God, 106 00:04:56,560 --> 00:04:58,040 we could have had this as a series and I 107 00:04:58,040 --> 00:05:00,120 would have loved to have been scared every week at 108 00:05:00,120 --> 00:05:01,040 this same time. 109 00:05:02,680 --> 00:05:04,480 Speaker 1: I know what you mean. And like I've written a 110 00:05:04,480 --> 00:05:07,040 book about the X Files because I love the X File. 111 00:05:07,160 --> 00:05:10,399 Speaker 3: Yeah, you know, I enjoy The Walking Dead. I do 112 00:05:10,720 --> 00:05:14,720 like horror as a as a series component. I do 113 00:05:14,839 --> 00:05:16,839 wonder you know, this is one of those things that 114 00:05:16,959 --> 00:05:18,560 keeps me, you know, up at nights when I think 115 00:05:18,600 --> 00:05:22,160 about writing and horror movies, and I think, you know, 116 00:05:22,759 --> 00:05:25,759 right now, all of the walls are falling down in 117 00:05:25,879 --> 00:05:28,240 sort of our entertainment as far as like what is 118 00:05:28,279 --> 00:05:28,759 a movie? 119 00:05:29,360 --> 00:05:29,480 Speaker 4: Like? 120 00:05:29,680 --> 00:05:31,800 Speaker 3: If I were to write horror films of the twenty twenties, 121 00:05:31,959 --> 00:05:34,279 is like, is what's on Netflix to movie? 122 00:05:34,399 --> 00:05:37,279 Speaker 1: Or is it a series? Or is it a limited right? Right? 123 00:05:37,360 --> 00:05:37,879 You know what I mean. 124 00:05:37,920 --> 00:05:41,000 Speaker 3: It's like all of a sudden, like our definitions are 125 00:05:41,120 --> 00:05:45,600 changing for these entertainments. If there's not a theatrical experience, 126 00:05:46,199 --> 00:05:49,079 is it a movie, right? Or is it something else? 127 00:05:49,240 --> 00:05:49,439 Speaker 2: You know? 128 00:05:49,519 --> 00:05:53,360 Speaker 3: So even that idea of like definition is changing, I 129 00:05:53,360 --> 00:05:55,879 think is very much like of the moment and what's 130 00:05:55,879 --> 00:05:57,240 happening in the twenty twenties. 131 00:05:57,519 --> 00:05:57,959 Speaker 2: Oh my god. 132 00:05:58,040 --> 00:06:00,000 Speaker 4: You bring up a very interesting point about a lot 133 00:06:00,120 --> 00:06:02,759 of these theatrical movies in the way that they rely 134 00:06:02,920 --> 00:06:05,759 also on the scare that seems to be their big 135 00:06:06,000 --> 00:06:08,800 little crutch. Or basically the hook of the song is 136 00:06:08,800 --> 00:06:10,759 that if I if I can create a scare moment, 137 00:06:10,920 --> 00:06:12,000 I've got him for the rest of. 138 00:06:11,959 --> 00:06:17,480 Speaker 3: The movie, absolutely absolutely, And how that scare arises, I'll 139 00:06:17,519 --> 00:06:17,959 never forget. 140 00:06:18,000 --> 00:06:19,439 Speaker 1: I got to talk to the I'm so excited. 141 00:06:19,480 --> 00:06:21,759 Speaker 3: I got to talk to the composer of the score 142 00:06:21,839 --> 00:06:25,199 for Evil Dead and he said, oh, he said, you know, John, 143 00:06:25,199 --> 00:06:28,360 it's an algebraic equation how we could do a jump scare. 144 00:06:28,680 --> 00:06:30,360 And he taught me about it about I said, you know, 145 00:06:30,439 --> 00:06:32,399 he said, it's not what you see. It's all about 146 00:06:32,399 --> 00:06:35,279 the music and how you diminish the volume and then 147 00:06:35,279 --> 00:06:37,439 at the right moment bring the volume away up. He said, 148 00:06:37,439 --> 00:06:39,720 you know, we all know how to do it, and 149 00:06:39,759 --> 00:06:42,040 you know things like that, and I think, yeah, yeah, 150 00:06:42,279 --> 00:06:44,800 And in the theater when we're watching and we're all 151 00:06:44,839 --> 00:06:48,120 sharing that experience, you know that moment is so magnified. 152 00:06:48,160 --> 00:06:51,279 But it's different in streaming because like you can pause 153 00:06:51,319 --> 00:06:51,959 the movie and go to. 154 00:06:52,000 --> 00:06:53,920 Speaker 1: The bathroom and come back yep. 155 00:06:55,160 --> 00:06:57,040 Speaker 3: And what if somebody you know, is on their phone 156 00:06:57,240 --> 00:06:59,199 and like the jump scare comes and goes. 157 00:06:59,000 --> 00:06:59,560 Speaker 1: And you miss it. 158 00:06:59,680 --> 00:07:02,759 Speaker 3: Right, It's like, h it didn't work for me there, 159 00:07:02,839 --> 00:07:03,079 you know. 160 00:07:04,279 --> 00:07:04,480 Speaker 1: Yeah. 161 00:07:04,519 --> 00:07:07,920 Speaker 3: So it's horror movies, you know, are really out of crossroads, 162 00:07:07,959 --> 00:07:11,240 I think in terms of how they operate. So are 163 00:07:11,279 --> 00:07:15,360 they going to delve more into deeper, darker material? But 164 00:07:15,720 --> 00:07:18,079 you know, not not have the jump scares, but just 165 00:07:18,079 --> 00:07:19,519 be more horrific in general. 166 00:07:20,639 --> 00:07:23,360 Speaker 1: You know, the jump scare part of it. 167 00:07:23,600 --> 00:07:26,160 Speaker 3: You know, to me, that's like the campfire aspect of 168 00:07:26,160 --> 00:07:29,439 Harm's like we like to be scared together, right, and 169 00:07:29,920 --> 00:07:32,160 you know there's a ghost story around the campfire and 170 00:07:32,199 --> 00:07:35,160 that the storyteller raises his voice and we all jump, 171 00:07:35,319 --> 00:07:37,879 you know, like, are we going to lose that part? 172 00:07:37,920 --> 00:07:38,319 Speaker 1: I don't know. 173 00:07:38,800 --> 00:07:41,519 Speaker 4: Please do not move. There's more with John Kenneth Muir 174 00:07:41,680 --> 00:07:46,040 coming up next, the name of the book Horror Movies 175 00:07:46,079 --> 00:07:48,560 two thousand to two thousand and nine. We're back with 176 00:07:48,639 --> 00:07:51,160 John Kenneth Muir. You've run it up twice now with 177 00:07:51,439 --> 00:07:54,199 the smartphone or the cell phone in the way that 178 00:07:54,199 --> 00:07:56,480 That's the reason why I did not see the final 179 00:07:56,519 --> 00:07:58,920 movie of Twilight, nor did I see the final movie 180 00:07:58,920 --> 00:08:00,959 of Harry Potter, because I I was going through that 181 00:08:01,040 --> 00:08:04,079 age where the smartphone was now allowed into theaters. But 182 00:08:04,160 --> 00:08:07,199 I finally saw the final episode of Twilight all these 183 00:08:07,279 --> 00:08:10,000 years later, and I sat there and I thought, you've 184 00:08:10,000 --> 00:08:13,240 got to put yourself back in that decade that movie, 185 00:08:13,480 --> 00:08:15,759 because you can't sit here and judge it by what 186 00:08:15,839 --> 00:08:18,800 you have gone through since the creation of that movie, 187 00:08:18,879 --> 00:08:20,480 and I think a lot of people are in that 188 00:08:20,519 --> 00:08:21,079 same boat. 189 00:08:22,600 --> 00:08:23,360 Speaker 1: You were so right. 190 00:08:23,439 --> 00:08:25,879 Speaker 3: And one of the things that you know, again I'm 191 00:08:25,920 --> 00:08:28,000 going to sound like I'm a monker, but one of 192 00:08:28,000 --> 00:08:31,360 the thing that I insist upon when I watch these 193 00:08:31,439 --> 00:08:34,440 movies is that, like I have to go in like 194 00:08:34,480 --> 00:08:39,200 with a clean palate, and I can't say, sitting here 195 00:08:39,320 --> 00:08:43,519 in twenty twenty five, oh, the special effects. 196 00:08:43,279 --> 00:08:45,840 Speaker 1: Are bad and dragging me to hell, which they're not. 197 00:08:45,879 --> 00:08:46,240 They're good. 198 00:08:46,279 --> 00:08:47,879 Speaker 3: I'm just using it as an example. But like, I 199 00:08:47,879 --> 00:08:49,600 can't say that because it's from two thousand and nine. 200 00:08:49,679 --> 00:08:51,799 You have to go in saying, like, it's two thousand 201 00:08:51,840 --> 00:08:53,759 and nine, what's happening in the world? 202 00:08:54,720 --> 00:08:55,440 Speaker 1: Tell me the story. 203 00:08:55,480 --> 00:08:59,039 Speaker 3: I can't have, you know, fourteen fifteen years of experience 204 00:08:59,080 --> 00:09:01,960 that I'm bringing to the since then, because then the 205 00:09:02,000 --> 00:09:04,240 movie doesn't work. That's not fair to the movie, right, 206 00:09:05,240 --> 00:09:08,759 you know, it was created, you know, in a context, 207 00:09:09,240 --> 00:09:12,360 and so I try to always like consider the context 208 00:09:12,480 --> 00:09:15,279 and review the movies in that context. It's not fair 209 00:09:15,320 --> 00:09:17,559 for me to say, well, three or four movies, did 210 00:09:17,600 --> 00:09:20,759 this better than the Halloween you make ten years later? 211 00:09:21,039 --> 00:09:22,840 You know, that's not fair because they didn't have that 212 00:09:23,000 --> 00:09:24,440 you know, they didn't know that, they didn't have ten 213 00:09:24,519 --> 00:09:26,279 years of the future. 214 00:09:25,919 --> 00:09:27,120 Speaker 1: When they are making their movie. 215 00:09:27,240 --> 00:09:27,519 Speaker 2: Wow. 216 00:09:27,559 --> 00:09:31,039 Speaker 4: So it's like, yeah, all right, are you saying in 217 00:09:31,279 --> 00:09:33,440 the book Horror Movies two thousand and two thousand and 218 00:09:33,519 --> 00:09:36,200 nine that this is this is when horror movies went 219 00:09:36,279 --> 00:09:38,919 to Imax Because I won't do a horror movie unless 220 00:09:38,919 --> 00:09:41,440 it's in Imax. I've got to have that full screen, 221 00:09:41,720 --> 00:09:43,519 i have to have it loud, I've got to have 222 00:09:43,559 --> 00:09:46,200 it so damn cold inside that theater. I mean that, 223 00:09:46,320 --> 00:09:48,519 to me is the movie experience nowadays. 224 00:09:49,120 --> 00:09:51,960 Speaker 3: Yeah, so I think that that shift did occur in 225 00:09:52,000 --> 00:09:56,759 the late two thousand, late aughts and beginning twenty tens. 226 00:09:57,000 --> 00:09:59,519 Certainly when you're talking about you know, some of the 227 00:09:59,639 --> 00:10:04,120 main dream, very popular horror, like The Conjuring, Annabelle, the None, 228 00:10:04,200 --> 00:10:07,240 all of those are the IMAX experience. And I get 229 00:10:07,240 --> 00:10:10,840 what you're saying as far as being cold, Being cold 230 00:10:11,120 --> 00:10:16,879 like begins to trigger your shiver mechanisms, and that sort 231 00:10:16,879 --> 00:10:20,639 of puts you in the perfect physical state to experience 232 00:10:20,679 --> 00:10:23,879 what's coming next. But I mean that again, that's a 233 00:10:23,879 --> 00:10:26,320 perfect example of how that's like different from the house 234 00:10:26,440 --> 00:10:30,679 right where you're streaming something and it's like, oh, there's 235 00:10:30,759 --> 00:10:32,120 so many distractions. 236 00:10:33,159 --> 00:10:35,240 Speaker 1: You know, I'm hot, I'm going to go open the 237 00:10:35,240 --> 00:10:36,480 screen door in the middle of the movie. 238 00:10:36,759 --> 00:10:36,919 Speaker 3: You know. 239 00:10:37,000 --> 00:10:38,799 Speaker 1: It's like ah, yeah, yeah, Well. 240 00:10:38,639 --> 00:10:42,000 Speaker 4: See now you're talking about like what the forty experiences 241 00:10:42,120 --> 00:10:44,039 over there at Regal Stonecrest. Have you been in there 242 00:10:44,039 --> 00:10:45,000 to experience that yet? 243 00:10:45,799 --> 00:10:50,039 Speaker 3: Yes? Yes, it's it's amazing, And you know, I know 244 00:10:50,080 --> 00:10:51,720 some people I'm trying to think about what I went 245 00:10:51,799 --> 00:10:54,639 to see. I'm a big goddilla fan of Oh God, 246 00:10:57,000 --> 00:10:59,600 I saw God to a King of Monsters with my son. 247 00:10:59,679 --> 00:11:02,919 This was like twenty nineteen, and even that where it 248 00:11:03,000 --> 00:11:05,320 was almost it was an amusement park experience. I mean, 249 00:11:05,480 --> 00:11:08,960 like the seats were rocking going side to side, air 250 00:11:09,120 --> 00:11:11,519 was blowing in our face, Smoke was coming up from 251 00:11:11,519 --> 00:11:14,279 the screen, water was blasting us, and I had the 252 00:11:14,320 --> 00:11:17,159 greatest time, and I thought, you know, it has just 253 00:11:17,279 --> 00:11:21,159 immersed me, you know, in this experience. Even more so, 254 00:11:21,240 --> 00:11:24,679 it's odd that we are having these boutique sort of 255 00:11:24,759 --> 00:11:29,240 theatrical experiences which augment the movies, but most people don't 256 00:11:29,240 --> 00:11:30,879 even go to the theater. They're just going to watch 257 00:11:30,879 --> 00:11:34,480 it on streaming, where it's like the absolute opposite. 258 00:11:34,639 --> 00:11:35,840 Speaker 1: They've got their phone. 259 00:11:35,559 --> 00:11:39,159 Speaker 3: With them, kids are playing in the background, the lights 260 00:11:39,159 --> 00:11:41,720 are on. You know, you have to answer an email 261 00:11:41,799 --> 00:11:43,480 during a text during the movie. 262 00:11:43,679 --> 00:11:44,759 Speaker 1: It's like, oh wow. 263 00:11:44,919 --> 00:11:47,360 Speaker 3: I mean, imagine being a filmmaker and having to deal 264 00:11:47,399 --> 00:11:50,519 with that level of distraction from here. 265 00:11:50,080 --> 00:11:52,960 Speaker 4: There are so many experiences there nowadays. I mean, because 266 00:11:52,960 --> 00:11:55,120 even Regal has the speakers in the seat where it 267 00:11:55,200 --> 00:11:56,399 vibrates and scared. 268 00:11:56,240 --> 00:11:58,360 Speaker 2: And that's what scares the crap out of you when 269 00:11:58,360 --> 00:12:01,799 that vibrating go into what the hell what's going on here? 270 00:12:02,639 --> 00:12:05,480 Speaker 1: Yes, yes, it's really funny. 271 00:12:05,480 --> 00:12:08,759 Speaker 3: But sound is a lot of what plays on us 272 00:12:08,799 --> 00:12:11,679 in horror films about about how the sound is modulated 273 00:12:11,759 --> 00:12:15,320 to startle us. Right, So, yeah, sound is so crucially important. 274 00:12:15,320 --> 00:12:17,000 So I'm glad you you mentioned that. 275 00:12:17,159 --> 00:12:20,279 Speaker 4: Yeah, but again I was gonna say, you bring up 276 00:12:20,279 --> 00:12:22,679 something here though that I had to laugh at, only 277 00:12:22,720 --> 00:12:25,120 because that's what I like about getting older, is that 278 00:12:25,159 --> 00:12:28,039 you bring so many experiences throughout all the decades, and 279 00:12:28,080 --> 00:12:30,279 you know, through this time period two thousand or two 280 00:12:30,320 --> 00:12:31,919 thousand and nine, the tortures. 281 00:12:32,000 --> 00:12:33,759 Speaker 2: Yes, there's a lot more of that. 282 00:12:34,039 --> 00:12:36,960 Speaker 4: Zombies of course, because that became the trend and then 283 00:12:37,080 --> 00:12:38,519 one of the words you put in there is porn. 284 00:12:38,519 --> 00:12:40,480 I'm going I know, I'm thinking the seventies porn at 285 00:12:40,480 --> 00:12:42,519 that at dorm movie theater was a lot better than 286 00:12:42,519 --> 00:12:43,360 what we're seeing today. 287 00:12:46,679 --> 00:12:49,240 Speaker 3: I'm reluctant. It's funny I write about torture porn. I've 288 00:12:49,240 --> 00:12:51,120 written the word many times in the book, but I 289 00:12:51,120 --> 00:12:53,399 don't often say torture porn out loud. And I say it, 290 00:12:53,440 --> 00:12:57,200 I immediately think I've said something terrible saying. But I mean, 291 00:12:57,200 --> 00:13:01,000 that's what that's what the you know, that subgenre was named, 292 00:13:02,440 --> 00:13:05,039 you know, or gorno. They called it gorno for a while, 293 00:13:05,080 --> 00:13:08,480 and they called a torture porn, you know, And I 294 00:13:08,639 --> 00:13:11,559 think that you know, what that's talking about is obviously 295 00:13:11,600 --> 00:13:14,840 something that's a lot less fun than what you're talking. 296 00:13:15,200 --> 00:13:16,759 Speaker 4: Well, that was the reason why we went to the 297 00:13:16,840 --> 00:13:18,919 drive in movie theater, because we got that and a 298 00:13:19,000 --> 00:13:20,960 dang foot long hot dog with mustard on it with 299 00:13:21,000 --> 00:13:23,000 sauerkrawd oh listen. 300 00:13:23,000 --> 00:13:24,320 Speaker 1: One of the first movies I ever saw. 301 00:13:24,360 --> 00:13:25,919 Speaker 3: It wasn't a great movie, but when I was a 302 00:13:25,960 --> 00:13:28,000 kid in the seventies, I saw it in a drive 303 00:13:28,039 --> 00:13:30,960 in theater. I saw a legend of Boggy Creek when 304 00:13:30,960 --> 00:13:32,399 I was like three years old, you know, and it 305 00:13:32,519 --> 00:13:35,240 just terrified me. I'd sit, you know in the backseat 306 00:13:35,360 --> 00:13:37,799 and you know, peek out around the corner. But you know, 307 00:13:37,840 --> 00:13:40,480 it was it was an amazing experience, even for you know, 308 00:13:40,799 --> 00:13:42,720 for then. I guess, you know, I guess maybe there 309 00:13:42,720 --> 00:13:44,679 are distractions in a drive in theater. Maybe that's a 310 00:13:44,679 --> 00:13:46,720 way to put it. But the movie was still kind 311 00:13:46,720 --> 00:13:49,559 of the focus. I mean, it's this giant screen, right. 312 00:13:49,919 --> 00:13:52,000 Speaker 4: But you've got to love the way that Fathom Evance 313 00:13:52,080 --> 00:13:54,279 is starting to bring back these movies and putting them 314 00:13:54,279 --> 00:13:55,919 back up on the big screen. And I don't know 315 00:13:55,960 --> 00:13:57,639 if that's just their way of saying, don't watch it 316 00:13:57,679 --> 00:14:00,159 at home, come here, and yet the real vibe of 317 00:14:00,159 --> 00:14:01,600 what this film is all about. 318 00:14:02,279 --> 00:14:06,240 Speaker 3: I think so. And I think that's a wonderful, wonderful service. 319 00:14:06,240 --> 00:14:07,600 I mean, you know, I don't want to get too 320 00:14:07,679 --> 00:14:11,039 far into you know, social cultural trends, but I was 321 00:14:11,080 --> 00:14:13,480 reading last week about you know a number of people 322 00:14:13,519 --> 00:14:17,200 in my son's generation, he's nineteen, who are who have 323 00:14:17,200 --> 00:14:18,960 gotten rid of their phones and. 324 00:14:19,200 --> 00:14:21,840 Speaker 1: They're like into like, you know, disposable. 325 00:14:21,200 --> 00:14:25,960 Speaker 3: Cameras and you know, flip phones and they're buying CDs 326 00:14:26,240 --> 00:14:29,000 or listening to vinyl, and I think, you know, there 327 00:14:29,080 --> 00:14:31,480 is some pull in our culture. I think to realize 328 00:14:31,480 --> 00:14:35,360 that we you know, circa this time, you know, two 329 00:14:35,399 --> 00:14:36,879 thousand and two thousand and nine, even though there were 330 00:14:36,919 --> 00:14:39,240 major world events that were very upsetting, like the War 331 00:14:39,279 --> 00:14:42,879 on Terror, hurri but but like in some ways we 332 00:14:42,919 --> 00:14:45,240 had it better as far as like media was concerned, 333 00:14:45,440 --> 00:14:48,200 you know, as opposed to now where it's like there's 334 00:14:48,200 --> 00:14:50,320 almost so much of it that we're you know, we 335 00:14:50,360 --> 00:14:52,639 have brain thought. They call it what brain rot? Now 336 00:14:52,799 --> 00:14:56,360 you know, you know that that's like a stew you 337 00:14:56,440 --> 00:14:59,360 kind of have to work your way through to find 338 00:14:59,399 --> 00:15:01,879 anything good, right. I mean it's not to say the 339 00:15:01,879 --> 00:15:03,519 good isn't there, but it's like you've got to do 340 00:15:03,519 --> 00:15:04,399 a lot more work. 341 00:15:05,840 --> 00:15:06,600 Speaker 2: I think. 342 00:15:06,679 --> 00:15:08,679 Speaker 4: I think you sitting down with your editors had to 343 00:15:08,679 --> 00:15:11,200 have been a scary experience because I mean, how did 344 00:15:11,240 --> 00:15:15,159 you get so much of this information beyond your editor? 345 00:15:18,279 --> 00:15:20,639 Speaker 3: I have to say I have a wonderful publisher, McFarland. 346 00:15:21,320 --> 00:15:25,720 They they you know, I try to never come at 347 00:15:25,759 --> 00:15:29,960 this from an exploitative, you know, standpoint, and I think 348 00:15:30,000 --> 00:15:32,960 that they're very encouraging you. They have a strong pop 349 00:15:33,000 --> 00:15:36,879 culture line, and they know I'm talking about horror. You know, 350 00:15:36,879 --> 00:15:38,879 I've written horror films of the seventies, har Fiams of 351 00:15:38,879 --> 00:15:41,480 the eighties, Hartfams of the nineties, and this one. And 352 00:15:41,519 --> 00:15:44,240 so they they know, they know what to expect that 353 00:15:44,279 --> 00:15:46,039 I'm going to take this seriously. I mean, I do 354 00:15:46,240 --> 00:15:48,200 talk about this stuff. I mean, you know, I go 355 00:15:48,279 --> 00:15:50,639 into detail. It's true, but it's like you have to like, 356 00:15:50,679 --> 00:15:55,000 how can you meaningfully analyze something if you're not, you know, 357 00:15:55,120 --> 00:15:56,639 discussing the details, right. 358 00:15:56,639 --> 00:15:58,600 Speaker 4: Yeah, And listeners need to understand how much of a 359 00:15:58,600 --> 00:16:01,279 tool this really is in the way when we're sitting around. 360 00:16:01,120 --> 00:16:02,720 Speaker 2: Going, well, what do you want to watch? I don't 361 00:16:02,799 --> 00:16:03,759 know what do you want to watch? 362 00:16:03,799 --> 00:16:03,840 Speaker 3: It? 363 00:16:03,960 --> 00:16:05,279 Speaker 2: Sylloween blah blah blah. 364 00:16:05,320 --> 00:16:07,559 Speaker 4: But you've got three hundred and fifteen horror films that 365 00:16:07,600 --> 00:16:10,559 you're talking about here, when the average person can talk 366 00:16:10,600 --> 00:16:13,600 about two or three. So you're really putting us in 367 00:16:13,679 --> 00:16:16,200 a different kind of a world to say, well, according 368 00:16:16,200 --> 00:16:19,559 to this book, I should be watching this. Oh we 369 00:16:19,559 --> 00:16:23,240 got disconnected. Oh that's awesome. We weren't supposed to bring 370 00:16:23,240 --> 00:16:26,919 that subject up, obviously, er hey, I'm here. Obviously we 371 00:16:26,919 --> 00:16:31,519 weren't supposed to answer that last question. Oh my god, 372 00:16:31,559 --> 00:16:34,279 I mean you start talking about you know, like, okay, there, 373 00:16:34,399 --> 00:16:36,399 you know, three hundred and fifteen horror films here, and 374 00:16:36,440 --> 00:16:38,000 all the ghosts that sit in this forest that I 375 00:16:38,159 --> 00:16:39,480 have right here in South Charlotte. 376 00:16:39,519 --> 00:16:43,440 Speaker 2: They're all going, don't you talk about this? It's private, 377 00:16:43,759 --> 00:16:45,000 we horror people. 378 00:16:46,519 --> 00:16:49,799 Speaker 3: And it's not even Friday the thirteenth. 379 00:16:49,799 --> 00:16:51,519 Speaker 4: I mean, because I mean, you don't you see this 380 00:16:51,600 --> 00:16:54,759 as a viewing tool that because everybody keeps talking about 381 00:16:54,799 --> 00:16:56,960 the same three movies and say, god, there's so much 382 00:16:57,000 --> 00:16:59,120 more than that. Dude, you need to go see what 383 00:16:59,240 --> 00:17:00,120 John is doing. 384 00:17:01,720 --> 00:17:04,920 Speaker 3: I love it when people, you know, take my book 385 00:17:04,960 --> 00:17:07,160 and you know, I love it when they say I 386 00:17:07,160 --> 00:17:10,759 don't always agree with his analysis, but he gave me 387 00:17:10,799 --> 00:17:12,119 something to think about it. And like there are all 388 00:17:12,119 --> 00:17:14,359 these movies I haven't seen, which now I need to watch. 389 00:17:14,559 --> 00:17:16,759 To me, like that's the thing, you know, I'm just 390 00:17:16,920 --> 00:17:19,960 you know, a guy, you know, saying I watched the 391 00:17:20,000 --> 00:17:22,240 movies I analyze and this is what I saw. But 392 00:17:22,400 --> 00:17:24,119 I love it when people say, well I disagree with you, 393 00:17:24,200 --> 00:17:26,039 or you read so much into that. But like Hey, 394 00:17:26,079 --> 00:17:27,920 look at this movie I found, you know, I found 395 00:17:28,000 --> 00:17:30,799 them or the host or the myst or you know, 396 00:17:31,240 --> 00:17:33,680 Thirty Days of Night or whatever they. 397 00:17:33,559 --> 00:17:36,079 Speaker 1: Found from the book. I love when people say that 398 00:17:36,079 --> 00:17:38,079 to me. It's like, you know, I never watched. 399 00:17:38,279 --> 00:17:41,240 Speaker 3: You know, Battle Royale or Audition until I read your book, 400 00:17:41,279 --> 00:17:43,279 and now you know I love that movie that kind 401 00:17:43,319 --> 00:17:43,599 of thing. 402 00:17:43,839 --> 00:17:45,799 Speaker 4: So now with you being right there in Minhill, I 403 00:17:45,839 --> 00:17:47,599 got to ask you the scariest question of the day. 404 00:17:47,640 --> 00:17:49,680 And nobody around the world's can understand this except for 405 00:17:49,720 --> 00:17:52,240 the two of us. So being in being in Minhill, 406 00:17:52,319 --> 00:17:54,319 do you go to Sun Valley in and Row for 407 00:17:54,359 --> 00:17:56,079 your movies? Do you go to Regal Stonecrest, Do you 408 00:17:56,240 --> 00:17:58,319 go to Starlight or are you going up there to Concord Mills? 409 00:17:58,319 --> 00:17:59,000 Speaker 2: Which one you doing? 410 00:18:00,039 --> 00:18:00,279 Speaker 1: Well? 411 00:18:00,319 --> 00:18:03,519 Speaker 3: Historically I've gone to all of them. I think most 412 00:18:03,599 --> 00:18:06,000 recently it's Regal stone Craft. 413 00:18:06,160 --> 00:18:06,799 Speaker 1: Now I do. 414 00:18:06,960 --> 00:18:09,880 Speaker 3: Sometimes we my wiferiend will sometimes go to Sun Valley. 415 00:18:10,640 --> 00:18:13,039 We sometimes go to uh Conquered. 416 00:18:14,400 --> 00:18:15,880 Speaker 1: Oh gosh, it's it's what is that? 417 00:18:15,920 --> 00:18:17,440 Speaker 2: What you say? Four? 418 00:18:18,039 --> 00:18:20,519 Speaker 1: Yes? That one? That's right. That's right. So so we'll 419 00:18:20,559 --> 00:18:21,359 go wherever. 420 00:18:21,119 --> 00:18:25,480 Speaker 3: We can find something we want to see that. 421 00:18:24,400 --> 00:18:26,160 Speaker 4: Well, have you been to the Independent at all? Because 422 00:18:26,160 --> 00:18:29,000 the Independent over there in Noda is really opening up 423 00:18:29,000 --> 00:18:30,480 the door for a lot of these movies that take 424 00:18:30,519 --> 00:18:33,279 place all the you know, the the independent movies. 425 00:18:33,319 --> 00:18:33,799 Speaker 2: Basically. 426 00:18:34,440 --> 00:18:36,640 Speaker 3: Well, that's really interesting because I haven't you know, my 427 00:18:36,960 --> 00:18:39,799 wife friend, we've been in Charlotte since the mid nineties, 428 00:18:39,839 --> 00:18:42,319 and we used to love in the nineties, like we 429 00:18:42,319 --> 00:18:45,200 were just absolutely always this was before my son, always 430 00:18:45,200 --> 00:18:46,119 at the Manor Theater. 431 00:18:46,240 --> 00:18:47,599 Speaker 1: Yes, man, that. 432 00:18:47,839 --> 00:18:50,119 Speaker 2: Owns the Independent, the people that the Manory. 433 00:18:50,359 --> 00:18:53,599 Speaker 1: Yes see, this is how out of it I am. 434 00:18:54,079 --> 00:18:56,880 Speaker 3: I didn't realize that that that was owned by the 435 00:18:56,880 --> 00:18:58,279 people who had the Manor. 436 00:18:59,880 --> 00:19:01,200 Speaker 1: You have to tell me more about that. 437 00:19:01,880 --> 00:19:03,480 Speaker 4: Well, you're here in Charlotte. We're just gonna have to 438 00:19:03,480 --> 00:19:04,920 meet for a face to face. We're gonna have to 439 00:19:04,920 --> 00:19:06,720 go and get a bucket of popcorn, probably have a 440 00:19:06,759 --> 00:19:08,240 dog or two, and you know, and just sit there 441 00:19:08,279 --> 00:19:09,759 and talk movies while it's going on. 442 00:19:10,359 --> 00:19:12,559 Speaker 1: I would love that. That sounds like a lot of fun. 443 00:19:12,599 --> 00:19:14,480 Speaker 4: Excellent, man, well man, thank you for this twenty minutes. 444 00:19:14,519 --> 00:19:16,000 And I know that we have a whole entire future 445 00:19:16,000 --> 00:19:17,000 since you're this close to me. 446 00:19:17,799 --> 00:19:20,000 Speaker 3: Absolutely, that sounds great, and you know I make my 447 00:19:20,079 --> 00:19:23,680 own horror comedy show Abnormal Fixations on YouTube. 448 00:19:23,759 --> 00:19:24,880 Speaker 1: You should come be a part of it. 449 00:19:25,000 --> 00:19:27,640 Speaker 2: Absolutely absolutely Will you be brilliant today? 450 00:19:27,680 --> 00:19:30,920 Speaker 1: Okay o, hey you too, Thank you, Haro, you are brilliant. 451 00:19:30,920 --> 00:19:31,440 Speaker 2: Thank you.