- 5 months ago
Bravo's 100 Scariest Movie Moments – S01E05
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TVTranscript
00:00There are moments created by master filmmakers which unleash your childhood fears.
00:10Something can come in and bite you on the neck and turn you into this horrible vampire.
00:16They infuse our nightmares.
00:18The film was so strong that I was sort of worried that I caught some plague off the film.
00:22And terrifies.
00:23Almost every horror movie now has that last little ah.
00:27They push the boundaries.
00:28It's those moments when you think this filmmaker is dangerous.
00:31They make us scream.
00:33For half the movie I was like woo!
00:35And jump out of our seats.
00:36The first time the shark jumped up and I jumped.
00:39I didn't go out and around like daddy.
00:41I was just boom boom.
00:42These are the moments we never forget.
00:45Even Pinhead who doesn't do a decent nice thing through eight movies.
00:50But somehow or other still manages to get fan mail for women who would like to bear his children.
00:58Presenting the 100 scariest movie moments.
01:01A countdown of the greatest moments of cinema shot.
01:05It was fantastic.
01:13It was the most scary thing.
01:16We watched it like this and I still can't watch it all the way through.
01:19It really does frighten me.
01:20I first passed on it because I was in one of those crises where I think I've got to do a normal film.
01:24And so in this opening where the girl was gutted and everything I said I just can't do it again.
01:31And then I was doing an appearance someplace and some little kid came up to me and you know I love Last House on the Left.
01:36You should do something that really kicks ass again.
01:38And I thought God I must be getting soft.
01:41And I literally called up Bob Weinstein and said you know okay let's do it.
01:45When Scream first came out I thought well is the horror film dead now?
01:49Once we make a film that parodies it.
01:52The kids are very savvy about you know what kinds of rules do you have to follow to not be killed in the horror film.
01:58It's really a film about the horror film audience.
02:01I was a huge fan and read the script and thought this is so different than most of them.
02:05It kind of made it, it was like a little bit of a spoof but it was still really scary.
02:08I had never seen a script that was quite like this.
02:10It was a horror film and a slasher film but it was also a murder mystery.
02:14And then it was also a soap opera so I thought wow it's got these three weird elements woven together.
02:19This is going to be good.
02:20What Bob Weinstein was able to do was first say I'm going to put real money into this film.
02:25And I'm going to get really known actors and actresses.
02:28I wanted to play Gail Weathers because she was just a real bitchy character and I thought it would be really fine to play something that wasn't.
02:35You know I was on Friends and I played this nice girl Monica but Gail was just so ruthless.
02:40At the beginning of that film Craven delivers an absolutely beautifully pitched teenage slasher murder.
02:48It was really a pure Wes Craven kind of set up.
02:52To make a really strong horror film you need to nail the audience almost immediately.
02:56And you don't need to hit them as hard ever again in the film until the ending.
03:00And that opening I knew if I was able to pull it off would do it.
03:03This is how you do a terrorized teenager gets killed.
03:07You have a killer who A is speaking from a cell phone which had not been done in a film before.
03:13And B is smart.
03:15It just set the tone of the entire movie.
03:17What's your name?
03:18Uh why?
03:19Oh because I want to know who I'm looking at.
03:21That is aah gives me the chills just to think.
03:26I mean just to think you're in a house and there's all these windows around you and you don't.
03:30And someone is watching you.
03:34Please leave me alone.
03:36Answer the question and I will.
03:40What door am I at?
03:42What?
03:44There are two main doors to your house.
03:46The front door and the patio doors.
03:48If you answer correctly you live.
03:50Very simple.
03:52Don't do this I can't I won't.
03:56Your call.
03:58You have Drew Barrymore we feel like we're safe and boom she's dead in like a heartbeat and all of a sudden it's a free-for-all.
04:06It's anyone can go at that point.
04:08Because it's become iconic so quickly it's hard to see it as scary anymore.
04:12The first time you ever see the caped figure in the mask with the black cloak.
04:16It is scary.
04:21It's all about the fear that artists have that if they've gotten a success in a certain area.
04:26That if they change or grow or do something different that their fans will leave them.
04:32And the feeling that their fans will hate them.
04:35I've had some experience with fans that are clearly a little bit loose in their shoes.
04:41They don't have their their elevators don't go all the way to the top.
04:45Famous writer finishes his novel comes down from the mountain.
04:48It's a tradition he has.
04:49He wrecks his car in a snowstorm.
04:51Kathy Bates comes and rescues him from the snow.
04:53She puts him over her shoulders.
04:55She's so beefy she carries him back.
04:58She puts him in a bed in her house and you got that warm fuzzy.
05:01He's gonna be okay.
05:02Yeah it's gonna be fine.
05:03James Caan was completely and utterly stir-crazy by doing this movie.
05:08And every day he would come to work and I would say to him say okay now Jimmy in this scene I want you to be in bed.
05:18Most of that film takes place in a bedroom.
05:20So you know like Hitchcock's Rear Window to keep the tension alive in a movie like that takes a lot of technique and craft.
05:30Scariest thing about it is just that idea you know because I have some nutty fans and I'm always a little worried you know.
05:41Love can turn into a really sort of perverted thing.
05:44She's like oh did you write that book misery because I love that book misery.
05:47She was so frightening.
05:50What made it frightening was the fact that she was so sweet.
05:54You could feel like she likes to bake cookies.
05:56The movie doesn't work without her or without somebody that could you know play that character as well.
06:02When I saw some of the dailies oh she was to die for.
06:05She was so good she just inhabited that part.
06:09I personally don't get scared at the Freddy's and the Jason's little thing because you know I know it's made up I know that.
06:15But when it's a real person who actually could harm you that to me cuts deeper than anything else.
06:22She's got the log or whatever she's got that thing and she kind of puts it in between his feet and you're like okay well what's she doing there.
06:30It was the ultimate moment for her to make sure that he wouldn't run away.
06:36And there's nothing he can do and he's just laying there and he knows what's gonna happen and his eyes just get bigger and bigger and bigger.
06:42I mean that's just like okay it really went south after there.
06:57Danny, whatever you think I'm not doing, please don't do it.
07:06Danny, for God.
07:09Shh, darling.
07:11Trust me.
07:12For God's sake.
07:14It's for the best.
07:15Danny, please!
07:17Boom!
07:18Wham!
07:19Oh!
07:20Everybody went aww and squirmed and moved and the entire, it became this very mobile moment.
07:25She put that block between his thing and then she just clobbers that foot and you're like no, no, no, no.
07:29And then his foot goes sideways.
07:30You get that great shot of the foot.
07:32Oh!
07:33Swings to one side.
07:35Now what it really is, is it's a foot model that's been filled with jelly.
07:38Andy Scheiman, I think, came up with the idea of putting the block of wood between his feet so that when she hit his ankle, his ankle would just, you know, go bang like a swinging door.
07:48After that movie, I didn't walk for six weeks.
07:51Yeah.
07:52I just sat on a chair.
07:59I think that right now, the only people that are making real horror movies are the Asian horror films, Japanese horror films.
08:05They're so unbelievably terrifying.
08:09Audition, I just found so deeply disturbing on every level.
08:13I, I didn't, I found it so creepy, I didn't like it.
08:16I never feel creeped out by movies.
08:18I just watch them and kind of enjoy them.
08:19And that was the first time I watched it and just starting to feel that this movie is creeping me out.
08:26Audition is such a brilliant film because the whole movie is a build up to the last 15 minutes.
08:31And so few films do that anymore.
08:33This guy meets this girl and they set him up as the nicest guy in the world.
08:37And he, he holds this fake audition and he meets this girl and he says he's going to call her.
08:42And she's like, yes, I'll wait for your call.
08:43And then you see her and she's staring at her phone and you're going, oh my God, she's insane.
08:52And then this sack just starts rolling around and you hear a human voice and then it cuts away.
08:57That terrified me more than anything.
08:59Slow and it just kind of like, it like sneaks up on you when it happens.
09:04And it just so shocks you.
09:05So they just build up this tension like a tightrope.
09:08You just feel like this cable that's going to snap.
09:10And then the last 15 minutes of that movie, you can't even look at the screen.
09:13The girl in the movie is so likable and so nice.
09:16And you know, just when the finally shows her in her apartment, he's like the guy in the bag.
09:21And this guy, he's missing his legs, he's missing his fingers, he's missing his tongue, he's missing his ear.
09:28And we see her vomit into a bowl and feed it to him.
09:33It's so, that's so disturbing.
09:35And then we go right into the torture scene.
09:37What is going on?
09:39You know, just like.
09:40She's there, she's in her white dress with her black leather apron, black leather gloves.
09:46And you know she's ready for some meat work.
09:49It really messes with you.
09:50She's so soft and sweet.
09:53And her torture weapons are very delicate.
09:57Very slowly, plunging the acupuncture needles into his chest, into his eyeballs.
10:03And then by the time she starts working on his foot.
10:27She's just diving into it with this girlish glee.
10:30It's like so out of control.
10:33There's some horror movies, I go, this is unpleasant.
10:35Why do I want to be here?
10:36You know.
10:37Living in New York City, I've dated a few psychos.
10:39And there's some times where you're on a date with a girl and you're like, oh my god, this chick is totally nuts.
10:44And Audition is like the ultimate version of that horrible, horrible, horrible date scenario.
10:50Audition remains too real, I think.
10:53And genuinely, you think, what were they thinking?
10:57Coming up, a Cinderella story by way of Stephen King.
11:04We're counting down to the scariest movie moment of all time.
11:09Wait Until Dark is based on the stage play by Frederick Knott.
11:17He was very famous because he had done dial-in for murder for Hitchcock already.
11:21Audrey Hepburn, the role you're going to remember whenever you're alone.
11:26Audrey Hepburn, does she have a doll stuffed with heroin or not?
11:30Three criminals are trying to find out if she does, and they're going to terrorize her until she gives it up.
11:36What Terrence Young, the director, did, which I think was really clever, was actually set it in a basement.
11:41And it's all completely enclosed like a prison cell.
11:44The reason I think the film works so well is because of Audrey Hepburn.
11:47The audience always loved her in anything she did.
11:50I mean, they always wanted to protect her.
11:52Alan Arkham, who plays one of the greatest villains of all time in this, I think, really nasty.
11:57He sort of does it semi-hammy, but semi-evil.
12:00It's a brilliant performance.
12:02What a blackout scene does is it forces the audience to fill in the blanks.
12:08But this blackout scene, in addition, makes us blind, the way Audrey Hepburn is blind.
12:13During the last eight minutes of this picture, the theater...
12:17The scariest moment of the blackout scene is where Alan Arkham has been stabbed.
12:22He's moved all the furniture in the way, and she's sort of tripping all over it.
12:28Help! Help! Help!
12:40Window.
12:43Alan Arkham leaps out, and it's a boo! And the audience goes,
12:56Yeah!
12:57And I remember everyone leaping out of their seat at that moment.
13:00It was one of the biggest shocks anybody had had since I could.
13:03Suddenly being literally confronted with death.
13:06Mortality, am I safe? Oh, my God!
13:09You know, so it's a very effective moment.
13:12Oh, God!
13:13We actually finished Night of the Living Dead here in Pittsburgh, threw it in the trunk of the car, literally threw it in the trunk of a car, and drove to New York with it to see if anybody would want to show it.
13:30That night, while Russ Streiner and I were driving to New York, we heard on the news, on the car radio, that Martin Luther King had been shot.
13:39As a young black theater person, it was refreshing to see a film that had what I thought was one of the few African American leads.
13:49To have a black hero on film was something that was not common at all during this time.
13:55I wanted it to be more about revolution, a revolutionary society literally, in this case, devouring the old.
14:04It was completely outrageous, you know, people, you know, half nude and eating human flesh and everything else.
14:09And then, at the end, you realize, my God, this guy has made a political statement.
14:13That whole image of what we as society do to ourselves in order to sustain ourselves at the expense of our fellow man.
14:22We were trying to make a little horror movie that had a little more to it, that had some, you know, social satire, but we never thought that it was going to ever become what it's become.
14:31Basically, all the people who are zombies were friends of theirs or people who lived locally.
14:36They had a friend who was a butcher who just donated all these kinds of pieces of meat for the, you know, body eating scenes.
14:42And it was made with no money at all. And yet, it became a huge cult success.
14:47I was playing like in a different state and I had a ride two hours home on my bicycle at like two o'clock in the morning all by myself.
14:53Mixed that documentary style with the black and white and people eating people.
14:58And, you know, you're in the driving, you're in the car, the car starts at the end of the day.
15:03That's the first time that I was scared. I was really scared by a movie.
15:08Just the absolute relentlessness that no matter where you turn, there was something or someone that would get you and kill you.
15:14There's a sense of claustrophobia in that film that's unbelievable.
15:17It could be a kid, it could be your grandmother, it could be your parents, it could be your wife, your boyfriend.
15:22The monster is the neighbors. And to me, the scariest thing in the world is the neighbors.
15:26Man, that was like, you know, you'd have never seen anything like that.
15:30We were trying to push the envelope a little bit and not cut away when the zombies, you know, started to eat people.
15:36We wanted to stay with it.
15:42Karen? Karen?
15:45Karen?
15:49Oh, baby.
15:54Oh, baby.
15:57I just opened my eyes and was like, I've told George this many times, it's like, that's where I realized that a horror film can be, it can go as deep as you're capable of taking it, you know, and as high.
16:20And as long as you scare the shit out of people.
16:26High school is hell. And, uh, the further down the ladder you are, the more like hell it becomes.
16:33And for kids like Carrie, it's really like the ninth circle of hell.
16:38The girl no one likes.
16:40Oh, sorry about this incident, Cassie.
16:43It's Carrie!
16:44And I said, wouldn't it be fantastic, uh, to give them powers that would allow them to get back at the kids who torment them.
16:53The girl with the strange power.
16:56If I concentrate hard enough, I can move things.
16:59It does start out as your typical teen movie.
17:03Just this incredible portrait of a teenage girl.
17:06It really touches a part in you that feels ostracized.
17:09It was such a great film and she was so vulnerable.
17:11And, I mean, everything from her first period in the shower was so painful and the embarrassment that she went through.
17:17Hey Norma, she wants a tampon.
17:20And everyone makes fun of it.
17:22Free Carrie! Free Carrie!
17:26The girl who lives in that creepy house.
17:30With her crazy mother.
17:32The relationship between Carrie and her mother.
17:34Some of the scariest things I've seen on screen.
17:36Her mother was such a whack job.
17:39All the biblical references and calling them her dirty pillows.
17:44Help the Sydney woman see the sin of her days and ways.
17:47That really, really scared me in that film.
17:49It's basically the Cinderella story as done by Stephen King, isn't it?
17:53Going to the prom, something horrible happens.
17:56She doesn't lose her glass slipper, but she just goes, you know, berserk.
18:00It's horrifying.
18:02And then you look at her eyes and you realize something really bad is about to happen.
18:08Carrie lets the bitches have it.
18:10And then at the very end, you know, Amy Irving, Susan Snell.
18:14She's walking down the street.
18:15She's in a pretty dress.
18:17Everything seems very calm.
18:19He asks the actress to walk backwards.
18:22And he filmed it in reverse, so it looks like she's walking forwards.
18:26But it creates this very dreamlike, very slow, very kind of unnatural pacing.
18:34She goes to the grave and she puts flowers down on the grave.
18:38And the role in front of us, there are two huge African-American men, 250 pounders,
19:07at least, they're screaming like children.
19:10They're grabbing each other around the neck.
19:12And one of them says to the other, that's it.
19:15That's it.
19:16She ain't never going to be right.
19:18And I looked at my wife and I said, this movie's going to be huge.
19:21Coming up, a massacre inspired by the power tools at Sears.
19:26We're counting down to the scariest movie moment of all time.
19:31Silence of the Lambs was the first horror movie that swept the Oscars since One Flew Over the Cuckoo's Nest.
19:40Jonathan Demme sent me the script and I thought, this is the best horror script I've ever read.
19:47And the beauty of it is, the monster was not a creature, the monster was a man.
19:53Buffalo Bill was a scary ass killer.
19:56Totally insane and totally terrifying, but isn't trying to be scary.
20:01The dance that he does.
20:03It puts the lotion on its skin or else it gets the hose again.
20:06He's sewing the skin together of all the women that he's murdered.
20:12The character of Hannibal Lecter, who was just so appealing to the public.
20:17He's just this, the most kind of sophisticated individual you can imagine.
20:22Who manages to kind of manipulate people around him and spectators into actually forgetting the fact that he's a cannibal.
20:31If you met him at a party, you would want him to like you.
20:35There's always the, the joke that he likes to eat his victims with Chianti and, you know, and fava beans.
20:40Hannibal Lecter is, if anything, operatic.
20:43He's the kind of guy you want to quote, you want to hang out with.
20:46You know, you're on his side also in a lot of the film.
20:49Which is really upsetting, I think, to a spectator that the film really tricks us in a lot of ways into kind of being on Hannibal's side.
20:58As opposed to Buffalo Bill, who's, you know, in a lot of ways the real monster of the film.
21:02When he escaped it, he killed the guard. He killed him gleefully. He killed him in a way that said,
21:09I'm out of here, man.
21:11When he splays and butterflies that guy, when he escaped that cage, I mean, that is nasty.
21:17He's in a cage. He's in the middle of this huge room.
21:24He's in the middle of this huge room.
21:31He's dying.
21:41You just know that Hannibal Lecter is out there somewhere.
21:53He still wants to eat people.
21:55I had my older brother with me, and we saw it at the movies,
21:57and I had to go to the bathroom afterwards,
21:59and I made him come into the girls' bathroom with me.
22:06You know, I was ahead in the 60s,
22:08and I don't mean I was ahead of other people.
22:11I mean, I was ahead, you know, dropped a lot of acid,
22:14did a lot of peyote, got stoned, went to see 2001,
22:18kind of like, oh, wow, you know.
22:20I was thrilled at the idea that he was going to make my book into a film.
22:25So many people, you hear the soft people,
22:27yeah, I don't really like horror movies, but they always love The Shining.
22:30It was so eerie and strange,
22:32and it was one of those movies that you had to see a few times
22:34to actually uncover more and figure out.
22:37You have a family which you can already sense is having issues,
22:41going to a hotel in the middle of nowhere
22:44and being left to take care of it with no one else there.
22:48You're scared for them before anything really starts to happen.
22:52Most horror pictures,
22:54when the scary stuff starts,
22:57then they find the phones out and their mask around.
22:59Here, we knew that at the beginning.
23:01They're so isolated,
23:03and the quiet is what gets to me.
23:06The hotel was given all the space and the frame,
23:10and the characters were often quite small within the space,
23:13and so you're feeling that the hotel is becoming a character in the film.
23:17You feel the cold, and you feel the loneliness,
23:20and you feel the sort of weirdness.
23:23Jack Nicholson's son on that tricycle.
23:24On the wooden floor, and then over the carpet,
23:28and then the wooden floor and the carpet,
23:29and just the sound effects there,
23:31and it's weird, but it gives you this creepy kind of sensibility.
23:35One of the most terrifying images from that film are the two little girls.
23:40Which scare me more than Jack Nicholson with an axe.
23:44Come play with us. Come play with us.
23:47It's something that's been satirized since,
23:51but the first time that you see it, it's dreadfully unsettling.
23:55The scariest thing about that movie is the things that are unexplained.
23:59There's this scene where at the end,
24:00where Shelley Duvall's running through the hotel,
24:02and she looks down all these different corridors,
24:04and she just sees a guy in a bear suit and another guy in a tuxedo,
24:08and there's some kind of sex thing happening.
24:10You don't know what's going on, but you know it's not good.
24:14When Jack Nicholson goes into that room,
24:15and there's like the beautiful woman in the bathtub,
24:17and he's kissing her and turns into that hideous woman.
24:21It's disgusting.
24:22You don't know whether the horror that takes place
24:25is the product of the hotel,
24:27or is the product of the Jack Torrance character.
24:31The most frightening part in the movie
24:32is where Shelley Duvall goes downstairs,
24:36and she looks at the novel
24:38that Jack Nicholson has been writing all this time.
24:41Picks up that top page and sees the words
24:44all work and no play
24:46makes Jack a dull boy
24:47written over and over and over again
24:50on reams and reams of pages
24:51in different configurations.
24:53What's scary is the look on Shelley Duvall's face,
24:57and it's wordless great acting.
24:59You realize
25:00not only that he's going crazy,
25:03but how long
25:04he's been going crazy.
25:06How do you like it?
25:36That, to me,
25:38is one of the scariest moments
25:39in all of movies.
25:41That's a truly frightening thing
25:43to realize that you're living with somebody
25:45that you don't even know.
25:50I was in a shopping mall,
25:53and the crowds were closing in.
25:55I was wondering,
25:56how the hell can I get out of here?
25:58And as I had that thought,
25:59I found myself.
26:00I was standing in the hardware department.
26:01My focus from the crowd
26:03racked focus into a close-up,
26:05and there's this display
26:06of chainsaws in front of me.
26:08What happened was true.
26:14Toby is this quiet,
26:16self-effacing,
26:17sweet man
26:18who is capable
26:20of thinking ways
26:22that you wouldn't dare think.
26:23And one of the things
26:24a piece of fiction
26:25like Texas Chainsaw Massacre
26:27could present to us
26:28is that this is the real thing.
26:30Like a snuff movie
26:31or a documentary
26:32or just some newsreel footage.
26:34It didn't feel like a movie.
26:38The most bizarre
26:39and brutal series
26:40of crimes in America.
26:42Now, here's something.
26:43Stop!
26:43Stop!
26:44I saw Texas Chainsaw Massacre
26:47mostly like this.
26:48That's just an all-around creepy movie.
26:50Like, you just feel disgusted.
26:52Yeah, that's like
26:52I gotta take a shower movie.
26:54I think it got banned,
26:55actually, in New Zealand.
26:56And it was before the time of video
26:57when there was just no way
26:58to see Texas Chainsaw Massacre.
27:00But a company in England
27:01released it on Super 8.
27:03I remember being so affected by it
27:04that I watched it,
27:06and as soon as it was finished,
27:07I wound the reels back
27:08and I started it all over again.
27:09This was a movie
27:10where it's very much about the killers
27:12and what goes on in their world
27:13and what happens.
27:14And it's so disturbing and creepy.
27:16They're at the dinner table every night.
27:18You know, they're respecting
27:19their grandfather,
27:20but at the same time,
27:22they're, you know, eating flesh.
27:24Putting the hammer in Grandpa's hand
27:26to try and help him club his last victim
27:29is, it's really funny.
27:31It's sick, but it's really funny.
27:34And it's another one
27:34where you're watching like,
27:35are these actors
27:36or did he just find crazy people
27:38to be in a movie?
27:39But boy, these crazy people
27:41sure can't act well.
27:42The way it was shot in daylight,
27:44so unconventional,
27:45um, complete horror.
27:48There's no doubt
27:49that the scene
27:49where Leatherface
27:50just suddenly comes
27:51out of that doorway
27:52and it's very naturalistic
27:54and you're kind of getting bored
27:55and you think,
27:55come on, what's going to happen?
27:56And suddenly,
27:57boom, and bang.
27:58And Leatherface grabs him,
27:59just hits him
28:00and there's this,
28:00oh, and it made that crack sound
28:02and then, boom,
28:02you're down.
28:24Slams the door in his shoes.
28:25He's in the lair now.
28:27He's in the cave of hell.
28:29You don't see anything
28:29in that movie.
28:30It happens behind closed doors.
28:31Um, and your mind
28:33creates what happened.
28:35And that's the genius
28:36of Texas Chainsaw Massacre
28:37is that it's essentially
28:38a bloodless film,
28:39yet it's remembered
28:40as being one of the goriest,
28:41bloodiest films of all time.
28:43Coming up,
28:45evangelists claim Satan
28:47was actually on this film.
28:49We're counting down
28:50to the scariest movie moment
28:52of all time.
28:57Whenever you're in the shower
28:58and you can't really hear,
29:00Tch, tch, tch.
29:03Psycho is the most shocking movie
29:05of all time.
29:06I still envy anybody
29:08who doesn't know
29:08what Psycho is about
29:10and who goes to see it
29:11for the first time.
29:12Hitchcock said,
29:14no one can come in
29:14after the movie.
29:16And he had to convince
29:17theater owners
29:18that this was
29:19worth their while to do.
29:21And of course,
29:22it was an enormously
29:23successful device.
29:25Good afternoon.
29:28Here we have
29:30a quiet little motel.
29:33Psycho was a novel
29:34by Robert Block.
29:35It was based
29:36pretty loosely
29:37on the real-life case
29:39of Wisconsin
29:40cannibal killer
29:41Ed Gein.
29:42People lived alongside
29:43Ed Gein for ages
29:45and then they discovered
29:45that he was an ectrophiliac.
29:47The terrifying monster
29:49may be the guy
29:50sitting next to you.
29:51Anthony Perkins,
29:52up until that point,
29:53had been playing
29:53the boy next door.
29:55And in this house,
29:57the most dire,
29:58horrible events
29:59took place.
30:00This was about
30:01severe mother issues.
30:03He had a very
30:03controlling mother.
30:05Norman?
30:06Yes, mother?
30:07Who's that girl
30:08you're talking to, Norman?
30:09Oh, she's a nice girl, Mom.
30:10She's really all
30:11you would love her.
30:12She's a whore!
30:13A filthy whore!
30:14I think some of her clothes
30:16are still in this wardrobe.
30:18It's not particularly showy.
30:20It was made on the cheap.
30:22All of the people
30:23that worked on
30:24his television show
30:25were working on the picture.
30:26The idea of killing off
30:28the main character
30:29of your movie
30:3030 minutes into it,
30:31you know,
30:32it's just so brave.
30:35She's going to be safe.
30:37She's a big star.
30:38You think you see
30:43the stabs,
30:44you think you see
30:45the knife going
30:45in the body,
30:46you don't.
30:47It's all very elliptical.
30:48Bernard Hamer's music,
30:49how simple are those violins
30:51just sort of like
30:52screeching away
30:52in the background?
30:53How effective is it?
30:55What the shower scene did
30:56was set you up.
30:58The only person
30:59that's left for you
31:00to relate to
31:01is Norman Bates.
31:03When he puts
31:03Marion's body
31:04in the trunk of the car
31:06and drives it in the bog
31:07and it sinks
31:08and then stops,
31:10we, the audience,
31:11are going,
31:11oh my God,
31:12he'll get caught.
31:13The scene where I jumped
31:14was Martin Balsam's
31:16coming up the stairs.
31:17When we see that door
31:18open a crack,
31:20we are terrified for him.
31:22Every muscle is tense,
31:24everything about your body
31:25is tense.
31:26The way in which
31:26the scene is constructed
31:27and shot
31:28is like a dream.
31:29And when he's falling
31:30down the stairs,
31:31it's so surreal looking.
31:37My stomach dropped out
32:00the first time I saw it
32:01because I felt like
32:02I was falling backwards.
32:04It's almost like,
32:05okay, reality
32:06has just been killed.
32:07I went nuts.
32:08I was terrified.
32:11It tumbled and fell
32:13with a horrible crack.
32:14Every slasher film,
32:16no matter how
32:17exploitative
32:18or cheaply made,
32:20has a dark,
32:22threatening psychosis.
32:24And every psychological thriller,
32:26no matter how polished
32:27or pretentious,
32:28has inside of it
32:29a slasher film
32:30waiting to get you.
32:33And Hitchcock
32:33invented them both.
32:40Something beyond comprehension
32:42is happening
32:44to a little girl
32:45on this street,
32:47in this house.
32:48A man has been sent for
32:50as a last resort
32:52to try and save her.
32:57Things happened
33:01that were beyond
33:01anything we had ever seen.
33:03We were shocked
33:03into terror.
33:04I know people that,
33:06as a kid,
33:07adults that went
33:08to see that movie
33:08and were like
33:09in therapy afterwards.
33:10Billy Graham,
33:11the evangelist,
33:11said that there was
33:12an evil hiding
33:13in the celluloid itself.
33:20That was the one time
33:22that I've fully felt
33:22like this filmmaker
33:23has no system
33:27of morality
33:27or ethics
33:28or scruples
33:29about what he is
33:30going to show
33:30and that's really scary.
33:33To really reach
33:34deep down
33:35into the chill factor
33:37of your soul,
33:38you know,
33:38that's The Exorcist.
33:39The first night
33:40where Mom's going
33:40to let me babysit
33:41my little brother,
33:42so it's just the two
33:43of us home alone
33:44who are like,
33:45let's watch The Exorcist.
33:47That was a good movie.
33:48I told my mom
33:48that I snuck in to see it
33:49and I think I got in trouble,
33:50but I needed to tell her
33:52because I wasn't like,
33:54I wanted to get grounded
33:54so she would like
33:55hover over me a little.
33:57Strangely enough,
33:58there's no gore
33:59and there is no sex in it
34:01despite the Greasefix
34:02masturbation sequence.
34:03It's those moments
34:03when you think
34:04this filmmaker is dangerous.
34:06I think it's that sense
34:07that this guy is dangerous.
34:09He's going to harm me
34:11psychically, you know.
34:12It's happening
34:12to this little girl
34:13who's done nothing wrong
34:15and there's no reason
34:16for her to deserve
34:17any of this
34:17and the most horrible force
34:19in the world
34:20has taken over
34:21this little girl
34:22and it's done
34:23in such a realistic way.
34:25Battle between good and evil
34:26and the power of Christ
34:27compels you
34:28and you totally buy it.
34:30It takes a basically
34:31ludicrous premise.
34:34You know,
34:34Satan is in the body
34:35of this little girl
34:35and somehow the church,
34:38when they're not molesting
34:38young boys,
34:39will protect us from Satan
34:40and it makes you
34:42totally believe it.
34:43The first time
34:44that the little girl
34:45spoke in the demon's voice,
34:47I mean,
34:47that was shocking.
34:48Your mother sucks
34:49in hell.
34:50That was the worst,
34:52the absolute worst.
34:56She starts speaking
34:58in Italian
34:58to the one guy
34:59and he's like,
35:00Mama?
35:01No, devil!
35:03And all of a sudden
35:03like green vomit
35:04just spits it out
35:05and she spits it
35:06on a priest.
35:07Dump the holy water
35:08in buckets!
35:09I don't remember
35:10a second of wondering
35:11how they did something
35:12in the exorcist.
35:12It's like,
35:13oh, f***, you know.
35:14It was almost like
35:15a documentary
35:15of what would happen
35:16if the devil
35:17possessed somebody.
35:18When she just turns
35:19and her eyes change
35:21and I just remember
35:22feeling this like,
35:23go!
35:23You didn't see,
35:24well, that's what
35:25I expect a demon
35:25to look like.
35:26It was like,
35:27oh, my God.
35:29Oh, my God.
35:30Look at what is
35:31happening to her head.
35:32Dick Smith,
35:32who is one of the
35:33great makeup effects
35:35artists of all time,
35:37built a complete body
35:38and a complete duplicate
35:40head that would be
35:41able to do that.
35:41At that moment
35:42when her head
35:43spun around,
35:45a Hispanic lady
35:46stood up from her seat
35:48screaming in Spanish
35:49and ran out of the theater.
35:52Be gone
35:53in the name
35:54of the Father
35:55and of the Son
35:57and the Holy Spirit
36:00by this sign
36:01of the Holy Cross
36:02of our Lord Jesus Christ
36:04who lives and reigns
36:06with the Father
36:07and the Holy Spirit.
36:11Damien!
36:13Amen.
36:14God!
36:15Defender of the Lord Jesus Christ!
36:19The hair on the back
36:20of my neck went up
36:20and I'd never had
36:21that happen before
36:22in my life.
36:22I thought that was
36:23just a figure of speech.
36:24I was so frightened
36:24I'd considered
36:25running out of the theater.
36:26It was like,
36:27it was just like
36:27hanging out.
36:28Your brain is
36:29completely befuddled by it.
36:30When you suspend
36:31disbelief like that,
36:33when they make you
36:34in the moment,
36:35that's a great thing.
36:37Coming up,
36:39the scariest moment
36:41of all time.
36:43We're counting down
36:45to the scariest movie moment
36:47of all time.
36:52You got sort of
36:53the best of both worlds,
36:54of the fantasy world
36:55as well as the reality.
36:56It was unknown
36:57times a thousand.
36:59All of that terrifying,
37:01horrifying,
37:01and gross out
37:02all was used
37:04in the movie Alien
37:05by Ridley Scott.
37:06It's Halloween in space.
37:08Simple idea,
37:09then you play it through.
37:10Alien,
37:11they always classify
37:12it as science fiction,
37:13and it's not science fiction,
37:15it's gothic horror.
37:16It solves
37:16the ultimate problem
37:18of the haunted house.
37:19Why don't those people
37:20just get out
37:20of the house?
37:22Well, in Alien,
37:23there is nowhere to go.
37:25And it even had like,
37:26you know,
37:26Harry Dean Stanton
37:27going here,
37:27kitty, kitty.
37:28I mean,
37:28it had classic
37:29old dark house
37:30put in this new setting.
37:32that run-down,
37:34beat-up-looking future.
37:35Any movie that's
37:36that claustrophobic
37:37is scary.
37:38If you look at
37:38Kubrick's 2001,
37:39that was the
37:39white-collar space.
37:41And then you look at
37:42Alien and all the
37:43Alien rip-offs,
37:44it's blue-collar space.
37:45But when you first
37:46saw that Giger design
37:47for the first time,
37:48it was so insane.
37:50Giger's design
37:51of that creature
37:52was totally
37:56nightmarish.
37:57The way Ridley
37:57shot it,
37:58I couldn't comprehend
37:59what it was.
38:01And I couldn't
38:01really see it.
38:02You never saw
38:03that creature
38:03until the very end.
38:05You saw a tongue,
38:05you saw a face,
38:06you saw a slobber.
38:07Some of those aliens
38:08had like really
38:09weird tongues.
38:11It's a very sexual
38:12film because it's
38:12about people
38:13getting violated.
38:14When that thing
38:15was on John Hurt's
38:16face,
38:17and then like the,
38:18you know,
38:19its penis went
38:20into his mouth.
38:21It inseminated it.
38:22Whatever it was,
38:23whatever it is
38:23that went into
38:24his throat.
38:24I don't think
38:25it was a penis.
38:25I think it was
38:26Alien penis.
38:27The absolutely,
38:28hands down,
38:28scariest scene
38:29in Alien is the
38:31scene that looks
38:32as though it's
38:32the calm after
38:34the storm.
38:34Ridley Scott kind
38:35of lures you in
38:36with this
38:36naturalistic
38:37conversation.
38:39And I think
38:39there's a naturalistic
38:40conversation which
38:41feels very much
38:42like improv.
38:43It's all normal
38:44and they're eating.
38:46Sort of having
38:46dinner, basically,
38:47eating those
38:47space crackers.
38:49And then John
38:50Hurt starts to
38:51cough.
38:51A lot of his
38:52success had to
38:53do with the
38:53misdirection.
38:54You just absolutely
38:55did not expect
38:56that to happen.
38:58Completely unexpected
38:59and it goes right
39:01to one of the
39:01core fears of
39:02human beings is
39:03that you don't
39:03want anything to
39:04get inside of
39:04your body.
39:05Oh, God!
39:18Oh, God!
39:18Oh, God!
39:18Oh, God!
39:20I just felt like I had gotten such a sucker punch.
39:39What the hell is going on?
39:41That got me.
39:42I had to change my underwear.
39:44And that look on Veronica Cartwright's face when she gets sprayed with the blood, I mean, it's real.
39:49It was terrifying.
39:51And that wonderful little moment where it goes, oh, before it runs away, because it was so startling.
39:56They made it very real.
39:59They took something ridiculous and made it very real.
40:02I sat there frozen like this for the rest of the movie until it was over, and then I went outside and I threw up every day.
40:07Alien was the first movie that made me barf.
40:09That's why I'd always hold a special place in my heart.
40:19There is a creature alive today who has survived millions of years of evolution without change, without passion, and without logic.
40:33It lives to kill.
40:34Some ideas are so obvious that they're right in front of us all the time, we just don't see them.
40:40A mindless eating machine.
40:43How could we not have known there was the best, exciting, suspenseful movie to be made about a fucking huge white shark that ate you up?
40:52You're going to need a bigger boat.
40:58I remember leaving the theater, and we went to, like, Denny's or something, and I had to go to the bathroom, and I was in the bathroom, in Denny's, still somehow feeling as if I was going to be attacked by a shark.
41:08I'm in a swimming pool with chlorine, and I'm like, shark. Shark is coming.
41:13The theater was so sold out that I had to sit a few rows back, and I remember the first time the shark jumped up, and I jumped.
41:19I didn't go out and around like, Daddy. It was just boom, boom, and I'm two rows ahead, and now I was in his lap.
41:24The idea of really being eaten by an animal came home right into my DNA.
41:29It's not as if a shark never ate anybody. It's not a made-up scare.
41:38No matter what you do, it keeps coming.
41:43Every time it comes again, it's angrier and hungrier.
41:48You see the point of view of Jaws, and they're these little quailing kid legs.
41:53Jaws is one of those miracle movies where apparently everything went wrong that could go wrong.
42:01There was this amazing mechanical shark, and it didn't work, so he couldn't shoot it as much as he wanted to.
42:09That's one of the things that helped build our terror.
42:12To be quite honest, I mean, the shark actually delivered, you know, which for its time was quite remarkable.
42:17When Roy Schneider's chucking the offal off the back of the boat, and he's talking.
42:22Yeah, why don't you tell Quinn to come down here and tell me, and then the shark pops up.
42:28And he has that perfect, like, reaction where he bolts up, and it's like the whole audience had that same reaction, too.
42:34The music was an amazing element.
42:38It's the portent of something. That music makes, you know, uh-oh.
42:43The film opens with a scare.
42:45The girl goes skinny dipping. She, like, rips off her clothes, runs into the ocean. She's, like, feeling good.
42:51Hey, what's your name? Huh? What? What?
42:54She goes into the water, and the guys follow her. They're kind of drunk.
42:59It's nighttime, and I'm in the ocean. What could possibly happen?
43:05The girl, how are you doing? I mean, you're thinking of her legs being chopped off, or the side of her being bitten.
43:11You're thinking, you're not seeing it, but you're thinking it.
43:13It's such a vulnerable feeling, and in this vast ocean where help could be so far away.
43:19It cuts right to a fear that you have, that everyone has.
43:49When you go swimming, something like that could happen at a moment's notice.
43:52Oh, my God. Oh, God. Oh, God.
43:57Oh, God.
43:58Oh, God.
43:59Oh, God.
44:00Oh, God.
44:02Oh, God.
44:04God, help me.
44:06God, please, God.
44:08God.
44:10God.
44:12God.
44:13God.
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