- 5 months ago
Bravo's 100 Scariest Movie Moments – S01E03
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TVTranscript
00:00There are moments created by master filmmakers which unleash your childhood fears.
00:09Something can come in and bite you on the neck and turn you into this horrible vampire.
00:15They infuse our nightmares.
00:17The film was so strong that I was sort of worried that I caught some plague off the film.
00:21And it terrifies.
00:23Almost every horror movie now has that last little ah.
00:26They push the boundaries.
00:27It's those moments when you think this filmmaker is dangerous.
00:30They make us scream.
00:32For half the movie I was like ah!
00:34And jump out of our seats.
00:35First time the shark jumped up and I jumped.
00:38I didn't go out and around like daddy.
00:40I was just boom boom.
00:41These are the moments we never forget.
00:44Even Pinhead who doesn't do a decent nice thing through eight movies.
00:49But somehow or other still manages to get fan mail from women who would like to bear his children.
00:57Presenting the 100 scariest movie moments.
01:00A countdown of the greatest moments of cinema shot.
01:04It was the film that your friends older brothers had seen when it would play in the drive.
01:17And when you were a kid you weren't old enough to see but you just heard about how notorious this film was.
01:20It's revolting and horrible and shocking and visceral and taboo breaking and nasty and unforgivable all at the same time.
01:30I think I saw about the first four minutes of Last House on the Left.
01:34To avoid fainting, keep repeating.
01:37It's only a movie.
01:38I just knew that I wouldn't be able to handle it.
01:41Only a movie.
01:43You have this virgin that is raped by a bunch of robbers and the father seeks retribution.
01:50In such a simple story encapsulated so much of the human condition about violence coming out of people that you never think it could come out of or nations.
01:59It became a sort of political statement about the nature of repressed violence in American society.
02:06Because we had gone to see one of those man with no name Clint Eastwood movies.
02:09And by actual count I think there were something like 300 dead bodies.
02:13And you know armed with that sort of philosophical orientation two peace and love flower children went out to make this violent film.
02:21Sights and sounds far beyond anything you've tested.
02:26You think what the hell was going on at the time that someone would think to do this.
02:30And if you think about it from television the images people were getting were saturated with Vietnam.
02:35And then they turn on the radio and it's Harry Nilsson music.
02:37You'd have these unbelievably violent disturbing scenes.
02:41And then this kind of goofball folk music.
02:43Where they're like ripping up and there's girls and you hear these wheels turning.
02:46David Hess is terrifying.
02:49I think he scared me more than any horror monster when I was a kid.
02:53Everybody wanted to make an anti-violent film.
02:57Well how do you do that given the subject matter.
03:00Given the violence of the subject matter.
03:02You push the envelope.
03:05Shoot the mom.
03:06Rape the daughter.
03:07Kill the dog.
03:08Burn the dad.
03:09It's one of those films that you don't think oh I've got an evening frill.
03:12What's Last House on the Left.
03:13I just watched it again just the other day and it feels like you're watching just you're watching a snuff movie.
03:17I never felt the really full strength of how appalling what we were doing was even though I knew mentally.
03:23Until the death of Phyllis who was killed in the woods and stabbed repeatedly until she's virtually disemboweled.
03:29Even now the British censors will not allow it to be shown uncut.
03:53We filmed that I remember in one morning and when it was all over we broke for lunch.
04:04Everybody was covered with artificial blood and I just remember everybody went off by themselves and nobody ate.
04:11Diabolique is a French psychological horror film that took American audiences very much by surprise.
04:23People were calling it the scariest movie ever.
04:26People were saying it out Hitchcocked Hitchcock.
04:28I don't think without it we would ever have had Psycho.
04:31It's the story of two women.
04:33One of whom is married to a very abusive man.
04:36The headmaster of a boys boarding school.
04:38The other of whom is having an affair with him.
04:40She's a teacher at the school.
04:42And the way the two of them conspired to kill him.
04:45The scariest scene is where you think Vera Clouseau's husband is dead.
04:49And then she's sort of awoken at night.
04:51That surprise shock moment that in fact causes a heart attack.
05:13Almost caused some of the people in the theater to have a heart attack.
05:16Stephen King once told me look the cliches in Hollywood are that you keep every monster in the dark.
05:28You never see the face of the devil.
05:30Don't ever show it.
05:31He said however if you can come up with something that's so astonishing looking on screen you'll hit a home run out of the ballpark.
05:38They'll never forget it.
05:40So being stupid I said let's try that.
05:42The alien is a microscopic organism.
05:45That whatever it touches it can replicate genetically.
05:49What Carpenter did so well is creating this unbelievable sense of paranoia.
05:55We don't know who's a thing and who isn't.
05:59And it was also a chance to just let loose with special effects.
06:04Something I had not done before.
06:06There's one scene that's my particular favorite.
06:08The head rips off and throws stalks and crawls across the floor.
06:13That whole thing peaks around the corner.
06:16And that took it to such a level I thought you know this is how cool is this.
06:22It's so great.
06:23It's so nuts.
06:24Kurt Russell has this way of actually figuring out if you're the alien or not.
06:28The blood test scene when they're all strapped in.
06:30I mean there's nothing better than that.
06:31And the way Carpenter shoots it is so smart.
06:35Because you know Carpenter is like Howard Hawks.
06:38He's extremely spares with his camera.
06:41He just makes it almost a mathematical type of montage.
06:45Where you're feeling rhythmically secure.
06:48And then BAM!
06:49This is pure nonsense.
06:51It doesn't prove a thing.
06:53I thought you'd feel that way Gary.
06:55You were the only one that could have got to that blood.
06:58We'll do you last.
07:00I would say it's one of the top 10 scares of my life.
07:25I never understood why it was not successful.
07:28In Mexico it was successful.
07:30I saw it in a packed theater.
07:32And it was full of happy Mexicans seeing tentacles and viscera.
07:37And liquids.
07:38And all of us were like screaming in a soccer match.
07:42And they were like ahhh!
07:47Nosferatu is to this day an extraordinary film.
07:52And one of the creepiest movies ever made.
07:56It is the first real adaptation of Dracula.
07:58And it is a phenomenal one.
08:00There's an insanity there.
08:02You get the sense that the guy maybe really you know.
08:05He's really way too into it.
08:07I don't really like it.
08:08And this we're talking about you know silent movies.
08:10Where everybody's overacting.
08:12F.W. Murna was a truly innovative filmmaker.
08:15He wasn't content just to point a camera at things that were moving and record them.
08:19And was always experimenting.
08:21Was always looking at ways to use light.
08:23To use setting.
08:24Murna uses real locations throughout.
08:28And to tremendous effect.
08:30We go off into the mountains which are real mountains.
08:32The story serves so that we can watch this incredibly frightening monster.
08:37The bald head and the distorted face.
08:40And the pointy ears.
08:41And the huge teeth.
08:43And the hands with the long nails.
08:46He would turn his head.
08:48His eyes go first.
08:49And then his head follows.
08:50And he does this great stuff.
08:52When Count Orlok rises.
08:54He's not handsome.
08:55He's not suave.
08:56You wouldn't want to go to the opera with him.
08:57Nobody has lived in that building for three years.
09:12A supermodel moves into a brand new brownstone apartment.
09:16That is a portal to hell.
09:18Oh yeah.
09:19There is horror.
09:21And she finds out she's the new gatekeeper.
09:25There are scary, scary people with totally white eyes.
09:29That crazy scene where the supermodel is walking through with one shoulder down.
09:46Scary as hell.
09:47Scary as hell.
09:48Because you don't even know what's going on.
09:50Was that her dad?
09:51Was that some freaky guy?
09:52Did she build a robot and forgot about it?
09:55What do you want from me?
09:58Who are you?
10:01Who are you?
10:14Coming up, which moment turns diaper rash into diaper rage?
10:18We're counting down to the scariest movie moment of all time.
10:23It doesn't have your serial killer.
10:29It doesn't have your ghost.
10:31It doesn't have your monster created by man.
10:34It doesn't have your strange creature.
10:36The frightening thing of The Wicker Man is man's beliefs.
10:40Whose lightest word would harrow up my soul.
10:44Freeze thy young blood.
10:46The Wicker Man is pretty much the definitive cult movie.
10:49It's based on the idea of a pagan cult living in a remote part of the British Isles, which in order for their crops not to fail, needs to be fed a sacrifice.
11:01I am here to investigate the disappearance of a young girl.
11:06In the name of God, woman, what kind of mother are you?
11:09He comes from a British, staunch, you know, stiff upper lip background, religious.
11:17And when he sees the people on Lonson Rose Island being naked and just dancing around in the evening, you're copulating by the moonlight.
11:28He is completely aghast.
11:31Give God in heaven, even these people can't be that night.
11:35Is this place wonderful and pleasant?
11:37I mean, everybody's singing and dancing and happy and naked, but there's something very disturbing about it all.
11:44And why is everyone so secretive?
11:46The entire time that Sergeant Howie has been looking for this missing girl, the girl hasn't been missing at all.
11:52You are the fool, Mr. Howie.
11:54The real sacrifice is Sergeant Howie himself.
11:57Oh my God!
11:58When that scene hits, you're like, you're like him, you're like, oh my God.
12:03And the last sequence of the film in which the screaming, shouting Edward Woodward is hauled bodily up into the wicker man and then set fire to,
12:13even as he screams out to his Christian God and sings hymns whilst the flames engulf him, is absolutely mesmerising.
12:23It doesn't feel for me the way they might have in the old witch trials or Jesus on the cross or whatever.
12:43It's a group of people being like, yay!
12:50When I was watching it, I felt, I started looking around the room.
12:53What's going on?
12:54Who's, what's behind that mirror?
12:56Something's, something's wrong.
12:58It's basically about a rich guy who gets a birthday present from his brother.
13:03He's reaching the birthday that his father committed suicide.
13:07Here you go.
13:08Happy birthday.
13:09I got you some steaks from Omaha Steaks.
13:11No, I didn't.
13:12I got you a really creepy and horrible game where this company is going to come in and rearrange your whole life and mess with you.
13:19That's the game, which ends up being this corporation that you think at the beginning is just sort of, you know, a fun role playing type of game.
13:29Game.
13:30Michael Douglas is a character who, it would take a lot to change him, to change his life.
13:34And so this game is almost more than he can tolerate.
13:39And you're never sure just how far the game has gone.
13:42Are you following me?
13:43I doubt about a company called Consumer Recreation Services.
13:47You don't know who's playing the game and who's not playing the game.
13:50And, you know, where, where the, where the periphery of this game is.
13:53Where does it end?
13:54This was one of David Fincher's early movies.
13:57He's very good at establishing a mood where you're not sure, uh, if you're still in reality.
14:03My worst nightmare, anyway, is that everyone's out to get you.
14:06And that everyone's done the joke except you.
14:08When he comes home and he, and everything's rearranged and there's this clown staring at him.
14:12First of all, you don't know it's a clown at first.
14:14All you see is a figure lying in a very similar position to his father.
14:21And the clown grinning, someone's laughing at you.
14:38And who is laughing at you and why?
14:42Everyone's in on it.
14:43And you're not.
14:47One day I just was listening to a baby.
14:49I very angrily cry in hysterical fit.
14:53And I said, gee, if this infant had the physical power to lash out, it would probably wipe out everybody in the room.
14:59The opening of It's Alive is the best thing because it's just so wonderfully wacky.
15:04It's a real twist on what should be the happiest moment of a couple's life turned into horror.
15:12At the moment of birth, to have your baby murder everyone in the room?
15:19I don't know.
15:20I think I'd send that one off to military school.
15:22She starts to worry that there's complications and the doctor keeps looking and saying, well, the head looks kind of big.
15:27But don't worry.
15:28You're fine.
15:29God, the head looks really big.
15:31You're okay.
15:32I always think that things that are small are more frightening than things that are large.
15:39He runs.
15:40He hears all the screaming.
15:41He runs in the hospital room.
15:59What does my baby look like?
16:02What's wrong with my baby?
16:05It's alive.
16:06Up next, the fur begins to fly on the full moon.
16:12We're counting down to the scariest movie moment of all time.
16:21I witnessed a sort of a weird burial in Yugoslavia when I was there on Kelly's Heroes.
16:30I was a flunky.
16:31He wrote American Werewolf when he was 19 years old and the script didn't change much from that time until when he finally made it after having the success of Animal House and the Blues Brothers.
16:41The reason they were burying him, feet first, by the way, standing up deep in this thing, was so that his body wouldn't get up and cause trouble.
16:50And the guy, Sasha, the interpreter who talked to them and then talked to me, he thought it was very funny.
16:55They were stupid peasants and stuff.
16:57And that's where I got the idea.
16:58I said, it is very funny, but what would Sasha and I do if the body got up?
17:02One of my favorite parts of the movie are the undead friends who are always talking to him.
17:07Griffin Dunn keeps showing up, like, you know, getting worse and worse.
17:11His face has been half ripped off and then he makes a couple of other visits and he's getting more and more deteriorated each time he comes back.
17:18And those moments are actually really creepy and they're memorable and they're well written.
17:24I was trying to take something totally unreal and make it realistic.
17:27So, for instance, my guy turns into a wolf.
17:29We've seen plenty of werewolves with lap dissolves and add some hair and a nose and the like.
17:35But to shoot a transformation in full hard light, not in the shadows, not trying to hide any of the seams or anything, but showing everything right there.
17:45And they show the whole thing and, you know, it's just so creepy and I think that he was hurting so much.
17:50When you see his hand go...
17:52It looks so painful and it looks like, you know, you actually start to feel like you're going through that.
17:58Especially where his face just comes apart, I can like still feel that.
18:01It's horrifying, but it's really funny too.
18:05And it is so John Landis.
18:06It was films like that that just kept inspiring you.
18:07It's horrifying, but it's really funny too.
18:08And it is so John Landis.
18:10It was films like that that just kept inspiring you and you wanted to try to do make-up effects as good as that.
18:11You were never going to be able to, of course.
18:12You were never going to be able to, of course.
18:13But it was pushing the boundaries.
18:14You were never going to be able to.
18:15You were never going to be able to.
18:16You were never going to be able to.
18:17But it was pushing the boundaries and it was exciting.
18:24If you're looking like from Last House on the left, this is, you know, the next step.
18:28This is like a movie.
18:29And it is so John Landis.
18:31And it is so John Landis.
18:32It was films like that that just kept inspiring you and you wanted to try to do make-up effects as good as that.
18:38You were never going to be able to, of course.
18:39But it was pushing the boundaries and it was exciting.
18:43But if you're looking like from Last House on the left, this is, you know, the next step.
18:54This is like Mad Max, Last House on the left.
18:56They wanted to see something different, but something different saw them first.
19:01The hills have eyes.
19:04I was just doing general research on murder.
19:06Basically I was in the New York public library and found this book called,
19:09The Encyclopedia of Murder and Mayhem.
19:11and mayhem and had this great account of a family called the Shawnee Bean family in this 16th century
19:17that had been a feral family that was murdering people and literally eating them. An American
19:24family who lost everything except the will to survive. If you're faced with your life or the
19:31life of your child you will find that place in yourself to retaliate and and save yourself for
19:38man. It's these two archetypes you had these people I guess you know from the suburbs or city life
19:42clashing with these people in these desert dwellers. You're driving through the desert there's you know
19:48you get stuck of course and then you go checking out stuff very kind of similar to I guess the
19:54Texas Chainsaw Massacre. A family of people go out to camping and they run into a group of cannibals.
20:00What began as a vacation ended as a nightmare.
20:08Casting Michael Berryman in the hills of Issa was kind of the chronic achievement but at the time
20:13we just thought we have this guy that looks really strange. Michael Berryman has got to be the most
20:17terrifying looking person. He creepy looking guy. He was shaved head and he was just freaky looking
20:23every time he came on screen I was just like ah. It was very unsettling at the same time he uh you
20:29know he was a good actor so he could project this character that had foibles and was sometimes scared
20:35and he was bested by his brother and his feelings were hurt and you had all this complexity. It sort of
20:38captured the best of what I hoped the movie would be about which was that the good guys that first
20:44seemed like monsters turn turn out to be humans too.
20:47The most appalling scene to me is the attack on the trailer and with the death of the two mothers
20:59in the steaming of the baby. How are you going with my baby? Yeah, Louise!
21:03Ah!
21:04Ah!
21:05Ah!
21:06Ah!
21:07Ah!
21:08Ah!
21:09Ah!
21:10Ah!
21:11Ah!
21:12Ah!
21:13Ah!
21:14Ah!
21:15Ah!
21:16Ah!
21:17Ah!
21:18Ah!
21:19Ah!
21:20Ah!
21:21Ah!
21:22Ah!
21:23Ah!
21:24Ah!
21:25Ah!
21:26Ah!
21:27Ah!
21:28Ah!
21:29Ah!
21:30Ah!
21:31Ah!
21:32Just the idea that we would kill these two mothers, you know, and steal the baby, I think
21:36from that point on the audience was just, they were terrified that they were in the presence
21:41of a filmmaker who would subject him to anything.
21:48Gothic literature and film are very much locked with a sense of place and no one has that mastery
21:58at giving that place a dread like mama.
22:01Black Sunday is the first great horror movie to be directed by the very great Italian horror
22:07filmmaker Mario Barber.
22:09Set in a spine-chilling atmosphere of fear.
22:13It's one of the most beautiful black and white horror movies ever made.
22:20Death!
22:21I've just seen death!
22:22Having been a production designer, he wants to showcase his sets and his miniatures and
22:28it's that love of his craft that makes all those painterly compositions and black and
22:33white so exquisite.
22:35The opening of the film is Justify Be Famous.
22:43When they put the mask and a hammer this big lodges it into place.
22:49As Asa the witch strapped to a stake, about to be put under the witch, before that happens,
22:56a metal spiked mask.
22:59No!
23:00I shall return to torment and destroy throughout the night of time!
23:09It was the first movie I sort of rushed back and saw four times in a row at the cinema.
23:27I went one day and then I just had to go again the next day and the next day and the next day.
23:31What's the happiest place on earth but your shopping mall?
23:34And to turn that into like, you know, hell.
23:37Dawn of the Dead is basically a way to make fun of mall culture.
23:42What a place!
23:43You know, you can hole up in here for forever.
23:46There's food, there's clothing, there's whatever you need.
23:49And I love the idea of it satirizing consumers.
23:54Why do the zombies keep coming to the mall?
23:57They're like, well, it's just something left over from their past.
24:00They just can't, you know, when they were alive, they just came here to get everything,
24:03so they just keep coming back.
24:05Seeing the zombies in color, I don't know, I don't know if that made them scarier,
24:08but it certainly made them bloodier.
24:11I would cringe and it was very early in the movie when they find a very small room
24:16and there's zombies feeding on a corpse.
24:19And there's just a moment where a zombie kind of rips flesh.
24:23Tom and I would hang out at night because we had to shoot at night in order to get into the mall.
24:29And, you know, I'd say, well, we need, we need to, you know, we need some new grizzly way to kill somebody.
24:35If we cast your head, we'd fill it up with, you know, corn cobs and rubbers filled with blood
24:39and cheese dip, anything on the craft service table, you know.
24:42And I took a double barrel of shotgun and blew it off.
24:45A lot of great gags in that movie.
24:48And one of the ones that I always love as a favorite is the, um,
24:53the zombie coming towards them under the blades of the helicopter.
24:57When the zombie walks too close to the helicopter and gets the top of his head cut off, I mean, come on!
25:03Roger!
25:05They're not fast, they're not strong, they're not smart, but there are so many of them.
25:28Coming up, a hug that's out of this world.
25:34We're counting down to the scariest movie moment of all time.
25:43Look out!
25:45Take care, you are being watched.
25:48Baby Tom is a unique film and it still remains so because it's one of the very few to deal with voyeurism.
25:55One critic said I've gone to the most disgusting areas of society and, and, but I've never seen something like this.
26:02You had a cameraman, um, you know, obviously completely psychotic, uh, using the third tripod on his camera as really, let's be honest, as like a phallus.
26:12It's great, you know, psycho DP.
26:14He, uh, takes the, the sheaths off the spike and, and sticks it in his, his victims' necks while simultaneously photographing them.
26:22And he's got a mirror above the camera so they can look at themselves screaming with terror as they die.
26:28Probably the scariest sequence is the bit where the, the mother of the heroine, who is blind, comes in and the, the murderer realises he doesn't have to turn off the film.
26:39The main woman who senses the danger that threatens her and her daughter, but is helpless.
26:45Don't be frightened, frightened, hot. So put that camera away!
26:53Critics were so disgusted that it basically ruined Michael Powell's career.
26:57He was never really given the opportunity to make another mainstream film.
27:07William Castle was making movies when everybody in Hollywood was really afraid of television.
27:12He would pile all kinds of gimmicks on top of his films.
27:16You had to sign a release that if you suffered a heart attack from the terror of this film, you wouldn't sue the film company.
27:25House on Haunted Hill is a great example of what William Castle does best.
27:30A gimmicky horror movie that, uh, brought out the audiences in droves.
27:35I'm Vincent Price, and you're invited to my party in the House on Haunted Hill.
27:41The House on Haunted Hill is a classic. A bunch of people invited to a party at the Haunted House.
27:46And the scary things that happen, and the deaths that accrue over the course of the film.
27:51It defined one of the structures of what ultimately became the slasher films.
27:57Uh, a bunch of kids are together in a camp, and they die one by one.
28:01It has one of my favorite shock moments of all time.
28:05When they're, like, knocking on walls and moving around, they come up and that woman is there.
28:17She seems to be pulled on a little skateboard or something.
28:20She's moving in a kind of a supernatural way.
28:23That is still very scary.
28:26I study that damn scene and say, why is that so scary?
28:29It's the timing or whatever, the build-up.
28:31That woman, and then she floats out?
28:33Fuck me!
28:43Cape Fear is everybody's fear, you know?
28:46It's like a bad guy is gonna come and disrupt your family.
28:50You identify with Gregory Peck, that's the whole point.
28:53You identify with Peck and his family, uh, the archetypal, normal, happy American family.
29:00And along comes this guy.
29:03Feel fear, numbing, paralyzing fear.
29:07Who is so menacing, but so believably menacing, that, uh, he sends chills down your spine.
29:15He's not frothing at the mouth, he's not mean or anything like that.
29:20He's just a guy who's just gonna come and kill you.
29:23Robert Mitchum's character in Cape Fear was a prototype for Freddy, uh, Jason Voorhees, uh, Michael Myers.
29:31The truck in Duel, uh, Jaws in Jaws.
29:34Robert Mitchum.
29:35I've seen the worst, the dregs, but you, you are the lowest.
29:41Robert Mitchum is so ahead of his time in that film in terms of sexual predator and rapist, and not apologizing and defending the character all the way.
29:53I got a little plan for your wife and kids that they're never gonna forget. Never.
29:59He says to Greg Peck, I'm not going to kill your family, I'm going to defile your girls.
30:04I'm gonna rape your daughter and wife, and then kill them.
30:07And, uh, it's a very distasteful set up.
30:12And, again, it works because Mitchum is, is a brute and really scary.
30:16When he stalks the daughter, and the way they, and it's closer and closer.
30:21He's here! He's here!
30:25You know, J. Lee Thompson starts it with a lot of separation, and he just gets closer and closer and closer.
30:31.
30:51She is set up almost as a Lolita, you know, innocent Lolita.
30:55And, uh, it's very frightening stuff.
30:58It does have a lot of the, um, the mystery of the first one, but it's also an action movie.
31:07Sigourney Weaver, now, that's, I mean, that's a heroine that we can look up to.
31:11When the character that Sigourney Weaver plays, Ripley, says, get away from her, you bitch.
31:18Superwoman versus big bad bitchy monster.
31:22The Queen Alien, who was 14 feet tall and was not stop motion animation, we built that puppet.
31:29And I'll never forget Jim Cameron coming to me when he had the idea.
31:32And he said, Stan, I know what we're going to do.
31:34We'll put a couple of guys in a suit, and we'll carry them on a crane,
31:37and they'll, uh, their arms will be the forearms of the creature,
31:41and we'll puppet the legs on the outside.
31:43And I'm looking at him, I'm going, you're lost your mind.
31:45In the original Alien, having one Alien was, was terrifying, um, but you could get away from it.
31:51There, there were ways you could get away. The Alien wasn't everywhere.
31:54And, and the sequel, they were everywhere.
31:56The chestburster, the facehugger, the warrior Alien, and we introduced a new one, the Queen Alien.
32:03We allow these characters to become more alive by allowing them to do more than they did in the original movie.
32:13This movie just took me totally by surprise. I think it was a big leap forward.
32:17I walked up to one of those tubes, and, and the, the thing leaped at me and scared the hell out of me.
32:22I didn't know I was going to do that. Jim did that on purpose.
32:25The facehugger in the original movie laid on a face, and tightened its tail around the neck.
32:33The facehuggers in this movie carried an entire scene.
32:37One of the scariest moments is when Ripley and Newt are caught in that room,
32:40where they were locked in the room with the one facehugger.
32:43Um, again, very much like the scenes, uh, with the raptors from Jurassic Park being caught in the kitchen.
32:48It's a sense that, a sense that you're in an enclosed area. You can't get away.
32:52They're coming.
32:53They're coming.
32:54Yeah!
32:55They're coming.
32:56They're coming.
32:57They're coming.
32:59I didn't know how to do this.
33:01What the hell?
33:03That's right.
33:04Nope!
33:05Yeah!
33:06Ah!
33:07Ah!
33:08Ah!
33:09Ah!
33:10Ah!
33:11Ah!
33:13Ah!
33:16Ah!
33:17Ah!
33:18up next an 80s answer to teen sex we're counting down to the scariest movie moment of all time
33:31talking to the director he said here's a book uh you know about ted bundy and i read it and
33:42tell me if that does anything for you and i started reading this book about bundy and i went
33:50this sucks because that's not the movie i think i want to make i don't want to play reality i want
33:57to play fiction it's dark and it's rainy and uh recker howard gets into his car and as they start
34:03talking recker howard sort of lets on that the previous family that picked him up he dismembers
34:10him and then he says in no uncertain terms that he's going to do the same to see thomas howell
34:14he's a great villain and he's got that great big interesting head and the minute he comes on in
34:21the hitcher you're like okay there's something going on with this dude he's creepy rutger howard in the
34:26hitcher is absolutely bone chilling rocker you are twisted you are mad he doesn't want to kill him
34:36he just wants to just ruin his life they sort of develop a sick sort of symbiotic relationship
34:43the sickest scene the one scene i remember in the hitch is when c thomas howell is in the diner
34:48and he's eating his fries he's eating his fries he's picking them up and all of a sudden he picks
34:51up this finger that the hitcher is cut off and he's like the final game is about to be resolved which
35:01is uh is uh the kid gonna step up to the plane and shoot you're gonna shoot him through the head
35:09or not and if not then the girl will you know be torn apart the scene where she where she gets drawn
35:16and quartered in that film is absolutely taking a road movie a road thriller and taking it into horror
35:27she's hyperventilating and you're hyperventilating oh god
35:35you useless
35:43waste
35:47and they've got you know in the truck exhaust and the spinning wheels
36:04and it's sadomasochistic and it's bondage even at the end you never sort of figure out
36:10what their relationship was you're sort of left with what the hell happened
36:20and things just start falling off ah walking on the wall like
36:26kronenberg is is a is a true poet of disgust he taps into a very uh common human fear which is the fear
36:37of decay of the flesh and the infidelity of our bodies you know the fact that your bodies betray
36:43you the film was produced by mel brooks that the first screening of the fly the distributors or the
36:48publicists in question believing it to be you know a film produced by mel brooks based on a kind
36:52of goofy uh science fiction horror movie gave out weenie boppers to everybody you know fly because hey
36:58it's gonna be the fly it's gonna be really funny and the whole audience sat there with all these you
37:02know these fly tentacles on the head oh then the film started and then jeff goldblum's body started
37:06falling apart and it became really not funny at all it's this scientist who wants to uh create a
37:14transporting device that goes very very wrong and jeff goldblum starts to merge genetically with the
37:21fly these bodily horrors are done in a way that no one else has ever even attempted i don't think most
37:29horror films work by building up tension and then releasing it in a scary scene cronenberg's films
37:37work by accumulating tension as they go oh is he really good is he going to be worse this time when
37:44we see him is he going to be even worse this time when he see how could he be any worse this time when
37:51we see him oh god oh what's frightening is not just the monster that the character becomes it's the
37:59character becoming the monster you give birth to something else or something comes shooting out
38:04of your stomach you know those are always just the the scariest the most disgusting the most
38:11i can't believe this is happening to me moments come on you can push you can push it up you can push it
38:17up come on push that's it come on that's it give us a push you can push it up come on that's it come
38:25on no wait wait no you can do it oh wait oh no no no no no no no no no no no no it's a pleasure to leave a
38:46cronenberg film and to go out and step onto a real side onto the firmament of a real sidewalk and look
38:51around at real people but you know you never quite look at them the same again
39:00if you lost a loved one how far would you go to have that loved one back one of those forbidden
39:05questions that led me to write this story which i thought was so awful and so personal and so painful
39:12to write so many ways that the idea that it would ever become a book let alone a movie never even
39:17crossed my mind this cat gets hit by a truck father takes it buries the cat the cat comes back
39:25the small monster in a dream or in your imagination usually represents something that's repressed inside
39:34of you the sun is now killed which is tragic but the father thinks huh cat comes back let's do it with
39:44the sun the body as a temple is an ideal the body is actually meat you know it's animated meat um but the
39:55pet cemetery kind of shows that body without soul is not life he takes the sun and buries the sun
40:01and the sun comes back but it's not the same sun i think it's pretty phenomenal that mary lambert a
40:09woman directed pet cemetery and that a woman could be that dark and that sick i can't imagine it being
40:17any any harder or harder edge than it is now the tendon slicing is the the moment that seems to get
40:24everybody in the place where they really live just thinking about it where did you
40:43that was the one that the um the mpaa went after but certainly not as bad as a chainsaw coming
41:06through the roof of the car and slicing out somebody's head or something it's the kid under the bed
41:12the fact that he still looks like a kid but we understand that he isn't a kid any longer he's a
41:17demon and then it's that one unprotected spot
41:25when you hear that
41:32that is so scary i almost didn't do it i mean i was so close to not doing it when i first read the
41:39script i said this is a piece of dreck you know and it's never going to be seen and uh in the
41:45meantime i think this children's film that i've been working on that's going to be the one that's
41:49going to put us put us over the top i had no idea that that friday the 13th was ever going to be
41:53anything more than a potboiler when friday the 13th came out in the summer of 1980 halloween had set the
41:59stage but halloween as great a film as it was was incredibly suspenseful but it wasn't bloody it
42:05wasn't glory and friday the 13th really just took halloween and the conventions of halloween to the
42:12nth degree what's great about friday the 13th the first one is if that jason's not the killer after
42:18all this is a story of a mom who loved her son so much that she would lose her head for him there's
42:24nothing better than going off to a campsite where nobody else is around i think friday the 13th was
42:29was a anti-sex message and um the best way to treat teens and sex is just with pure carnage
42:36there's a drop of blood and we recognize that above the two lovers there's a dead body dripping down
42:42and it's like and it's like it's so creepy but you're all your focus is on the dead body above
42:50and then completely unexpectedly the arrow comes from below
42:55hey that's a good way to go after having sex and you just find blood oh it was so scary i fell for
43:03the ending of the first friday the 13th as a kid i remember saying to sean you know we should do
43:08something like carrie well what can we do i mean jason he died a long time ago i says well you know if
43:13it's a dream the film is over and it's peaceful and we're in the lake you know the music's played and
43:21so you think that okay you know all these people have died but they're safe the police are up on the
43:26hill oh it's gonna be all nice
43:40boom my mother went up in the air 25 feet screamed i swear to god and i heard the guys in the back like
44:07you know paramount warner brothers whoever it was with sean and everything i said i said mom i think
44:13you just sold the movie the scream came out of nowhere the audience just screamed says whoa what the
44:18hell must have been jason so then we watched it and forgot all about that and then we all screamed you
44:23know so it was quite the moment
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