1 00:00:01,392 --> 00:00:04,222 male narrator: I'm Eli Roth. 2 00:00:04,265 --> 00:00:07,525 I want to introduce you to nine uncategorizable films 3 00:00:07,572 --> 00:00:08,922 that pushed the boundaries of horror... 4 00:00:08,965 --> 00:00:11,135 [terrifying music] 5 00:00:11,185 --> 00:00:14,615 Nine films that tell us dark truths about society 6 00:00:14,666 --> 00:00:16,186 and ourselves. 7 00:00:16,233 --> 00:00:17,803 - [screams] 8 00:00:17,843 --> 00:00:19,763 narrator: Nine films filled with fear... 9 00:00:19,802 --> 00:00:21,062 and fun. 10 00:00:21,108 --> 00:00:22,758 - [screaming] 11 00:00:22,805 --> 00:00:25,155 narrator: Nine nightmares you'll never forget. 12 00:00:25,199 --> 00:00:26,369 [tense music] 13 00:00:26,417 --> 00:00:27,457 - [screams abruptly] 14 00:00:27,505 --> 00:00:30,465 [eerie music] 15 00:00:30,508 --> 00:00:37,298 ♪ 16 00:00:38,168 --> 00:00:39,738 - [screams] 17 00:00:47,134 --> 00:00:48,744 [chainsaw revving] 18 00:00:55,359 --> 00:00:58,319 narrator: Horror is the outlier genre of cinema. 19 00:00:58,362 --> 00:01:00,102 Some people fear it. 20 00:01:00,147 --> 00:01:03,017 Others don't respect it, 21 00:01:03,063 --> 00:01:05,763 but that renegade status lets it go places 22 00:01:05,804 --> 00:01:08,114 no other genre can reach. 23 00:01:08,155 --> 00:01:12,455 Great horror films entertain us and provoke us. 24 00:01:12,507 --> 00:01:15,247 They put society under a microscope... 25 00:01:15,292 --> 00:01:17,032 - Sam? 26 00:01:17,077 --> 00:01:18,557 narrator: Making us question not just what we fear... 27 00:01:18,600 --> 00:01:21,300 [bell rings] - [screams] 28 00:01:21,342 --> 00:01:22,822 narrator: But why we fear it. 29 00:01:22,865 --> 00:01:25,125 [suspenseful music] 30 00:01:25,172 --> 00:01:27,302 And there's no better recent example 31 00:01:27,348 --> 00:01:29,738 than Jordan Peele's "Us." 32 00:01:29,785 --> 00:01:31,825 ♪ 33 00:01:31,874 --> 00:01:37,144 In 2017, Jordan released his first film, "Get Out," 34 00:01:37,184 --> 00:01:39,364 an Oscar-winning commercial and critical hit 35 00:01:39,403 --> 00:01:42,673 satirizing racism in America. 36 00:01:42,711 --> 00:01:44,061 ♪ 37 00:01:44,104 --> 00:01:48,544 - The Armitages are so good to us. 38 00:01:48,586 --> 00:01:50,496 - What you experienced in your first movie is, like, 39 00:01:50,545 --> 00:01:51,805 to come up with the Academy Award, 40 00:01:51,850 --> 00:01:53,370 to make a movie that is, like, 41 00:01:53,417 --> 00:01:55,847 probably the most culturally significant horror film 42 00:01:55,898 --> 00:01:57,728 since "Night of the Living Dead," 43 00:01:57,769 --> 00:01:59,859 and then you're like, "Now I have to follow that up." 44 00:01:59,902 --> 00:02:03,172 - The expectationswere a bitch. 45 00:02:03,210 --> 00:02:05,860 As you know, you, like--you kind of have to say, 46 00:02:05,908 --> 00:02:08,128 "Okay, well what got me herein the first place?" 47 00:02:08,171 --> 00:02:10,961 looking at "Get Out"and imagining 48 00:02:11,000 --> 00:02:12,220 what people are expecting. 49 00:02:12,262 --> 00:02:13,352 [ominous notes] 50 00:02:13,394 --> 00:02:15,144 [heart pounding] 51 00:02:15,178 --> 00:02:17,438 If I can kind of start to understand or pinpoint 52 00:02:17,485 --> 00:02:20,175 what I think people are expecting, 53 00:02:20,227 --> 00:02:23,967 I can start to plot how to subvert that. 54 00:02:24,013 --> 00:02:25,883 ♪ 55 00:02:25,928 --> 00:02:28,798 [deep ominous notes] 56 00:02:28,844 --> 00:02:35,984 ♪ 57 00:02:36,025 --> 00:02:39,585 - There is a Black family vacationing in Santa Cruz 58 00:02:39,637 --> 00:02:41,157 at their summer home, 59 00:02:41,204 --> 00:02:43,124 basically the only Black family you can see 60 00:02:43,163 --> 00:02:44,563 on this beach. 61 00:02:44,599 --> 00:02:47,209 So it speaks to isolation almost immediately. 62 00:02:47,254 --> 00:02:51,354 And over the course of a normal evening, the young son, Jason, 63 00:02:51,388 --> 00:02:53,478 realizes there's a family standing outside. 64 00:02:53,521 --> 00:02:55,741 ♪ 65 00:02:55,784 --> 00:02:57,314 [dramatic musical sting] 66 00:02:57,351 --> 00:03:00,051 And once the family breaks into the house, 67 00:03:00,092 --> 00:03:03,182 we realize these are doppelgangers, 68 00:03:03,226 --> 00:03:05,316 that everyone who's broken into the house 69 00:03:05,359 --> 00:03:09,149 is a mirror image of this family. 70 00:03:09,189 --> 00:03:11,229 ♪ 71 00:03:11,278 --> 00:03:13,018 - You know, I think both films, in a strange way, 72 00:03:13,062 --> 00:03:15,592 are about losing your identity and sort of who you are-- 73 00:03:15,630 --> 00:03:17,680 like, what the external world sees 74 00:03:17,719 --> 00:03:19,499 and what you are on the inside. 75 00:03:19,547 --> 00:03:22,717 - Both of these moviesbecame clear to me 76 00:03:22,767 --> 00:03:25,157 when I decidedto be vulnerable 77 00:03:25,205 --> 00:03:27,115 and--and--andlook--look within. 78 00:03:27,163 --> 00:03:28,433 - [shouts unintelligibly] 79 00:03:28,469 --> 00:03:30,379 [pants wheezily] 80 00:03:30,427 --> 00:03:32,997 Asked myself what really scares me, 81 00:03:33,038 --> 00:03:36,478 asked myselfwhat I'm not ready to face. 82 00:03:36,520 --> 00:03:38,390 - What are you people? 83 00:03:38,435 --> 00:03:41,785 - Which felt related to what we're not ready to face. 84 00:03:41,830 --> 00:03:44,310 - [hoarsely] We're Americans. 85 00:03:44,354 --> 00:03:46,144 [ominous music] 86 00:03:46,182 --> 00:03:47,842 - What would it be like to see someone 87 00:03:47,879 --> 00:03:49,269 who looked exactly like you? 88 00:03:49,316 --> 00:03:51,096 Who is that person? What does that mean? 89 00:03:51,143 --> 00:03:52,843 Are they taking something away from you, 90 00:03:52,884 --> 00:03:54,844 or are you taking something away from them? 91 00:03:54,886 --> 00:03:57,366 - [hoarsely] Run! - [yelping] 92 00:03:57,411 --> 00:03:59,151 narrator: At first, 93 00:03:59,195 --> 00:04:01,365 the film seems to be about one family in peril... 94 00:04:01,415 --> 00:04:03,235 - [roaring] 95 00:04:03,286 --> 00:04:05,026 narrator: Then we discover 96 00:04:05,070 --> 00:04:07,900 everyone has a doppelganger living underground, 97 00:04:07,943 --> 00:04:11,563 invisibly tethered to their counterparts on the surface. 98 00:04:11,599 --> 00:04:14,339 Now, our tethered twins have emerged 99 00:04:14,384 --> 00:04:15,864 to murder us. 100 00:04:15,907 --> 00:04:17,297 [sharp musical sting] 101 00:04:17,344 --> 00:04:20,484 [suspenseful music] 102 00:04:20,521 --> 00:04:22,131 I remember you telling me after we shot last year 103 00:04:22,174 --> 00:04:23,224 that you were gonna go shoot something 104 00:04:23,263 --> 00:04:24,483 that felt like "Lost Boys." 105 00:04:24,525 --> 00:04:28,745 ♪ 106 00:04:28,790 --> 00:04:30,400 - Yeah, we're in the same place-- 107 00:04:30,444 --> 00:04:32,924 Santa Cruz Boardwalk-- the exact same location. 108 00:04:32,968 --> 00:04:35,008 Did you hear the lineabout "Lost Boys" in there? 109 00:04:35,057 --> 00:04:36,747 - You know, they're filming something about a carousel. 110 00:04:36,798 --> 00:04:38,448 You should see if they're looking for extras. 111 00:04:38,495 --> 00:04:39,835 - [screams] 112 00:04:39,888 --> 00:04:40,848 [shouts unintelligibly] 113 00:04:40,889 --> 00:04:42,849 [dramatic music] 114 00:04:42,891 --> 00:04:43,941 - But I always thought this idea of "Lost Boys"-- 115 00:04:43,979 --> 00:04:46,159 that there's a monster up here, 116 00:04:46,198 --> 00:04:47,808 and so I thought,with that same location, 117 00:04:47,852 --> 00:04:50,032 what if there's a monsterunderneath as well? 118 00:04:50,072 --> 00:04:51,202 - Mm-hmm. - On the opposite side. 119 00:04:51,247 --> 00:04:52,767 - Yeah. 120 00:04:52,814 --> 00:04:55,514 - [hoarsely] They created the Tethered 121 00:04:55,556 --> 00:04:58,206 so they could use them to control the ones above. 122 00:04:58,254 --> 00:05:00,174 [unsettling music] 123 00:05:00,212 --> 00:05:02,782 Like puppets. 124 00:05:02,824 --> 00:05:05,484 - I was thinking about, uh, incarceration. 125 00:05:05,522 --> 00:05:07,052 I was thinking about class. - Mm-hmm. 126 00:05:07,089 --> 00:05:09,869 - I--I was thinking about the term "us and them," 127 00:05:09,918 --> 00:05:12,138 the--the idea of "us and them" 128 00:05:12,181 --> 00:05:14,101 and the--the--the division 129 00:05:14,139 --> 00:05:16,709 when--when yousort of identify an "us." 130 00:05:16,751 --> 00:05:19,801 You create a "them."You create an other. 131 00:05:19,841 --> 00:05:22,281 - Don't waste your strength. Don't try to fight it. 132 00:05:22,322 --> 00:05:24,722 You can't stop the inevitable. 133 00:05:24,759 --> 00:05:26,499 - Much like "Get Out," 134 00:05:26,543 --> 00:05:29,853 this is a--a systemic monster we're dealing with. 135 00:05:29,894 --> 00:05:31,594 - It really does appear to be, 136 00:05:31,635 --> 00:05:33,585 on a fairly straightforward level, 137 00:05:33,637 --> 00:05:35,767 a story about the haves and the have-nots. 138 00:05:35,813 --> 00:05:38,733 [pleasant orchestral music] 139 00:05:38,773 --> 00:05:44,173 ♪ 140 00:05:44,213 --> 00:05:47,393 - Sort of existing with a privilege 141 00:05:47,434 --> 00:05:50,654 and--and a privilege that many of us enjoy 142 00:05:50,698 --> 00:05:52,698 is a violent act. 143 00:05:52,743 --> 00:05:54,483 And that's--that'sthe central theme of "Us," 144 00:05:54,528 --> 00:05:56,398 is this idea that, 145 00:05:56,443 --> 00:05:58,403 when we look at the mirror, 146 00:05:58,445 --> 00:06:00,265 both individually and collectively, 147 00:06:00,316 --> 00:06:01,796 we might realize, well, 148 00:06:01,839 --> 00:06:05,099 it's not as simple as, "I'm the good guy." 149 00:06:05,147 --> 00:06:07,237 - You know, we're all part of a system. 150 00:06:07,279 --> 00:06:10,279 There's a story behind everything we enjoy. 151 00:06:10,326 --> 00:06:12,756 There's a factory. There's a--a line. 152 00:06:12,807 --> 00:06:14,367 There's--there's somebody working overtime, 153 00:06:14,417 --> 00:06:16,287 you know, to--to try to make us happy 154 00:06:16,332 --> 00:06:17,512 if we can afford it. 155 00:06:17,551 --> 00:06:19,251 ♪ 156 00:06:19,291 --> 00:06:21,381 Our little pleasures are coming 157 00:06:21,424 --> 00:06:23,174 at the cost of invisible people 158 00:06:23,208 --> 00:06:24,858 that we really don't want to acknowledge or see 159 00:06:24,906 --> 00:06:26,856 because it's inconvenient. 160 00:06:26,908 --> 00:06:28,908 [ominous notes] 161 00:06:28,953 --> 00:06:30,743 narrator: The family at the center of the film 162 00:06:30,781 --> 00:06:32,911 are better equipped to handle the Tethered 163 00:06:32,957 --> 00:06:34,567 than most horror film protagonists... 164 00:06:34,611 --> 00:06:36,441 - [shrieks] 165 00:06:36,483 --> 00:06:38,793 narrator: Partly because, as Black people in America, 166 00:06:38,833 --> 00:06:41,103 they are always on guard. 167 00:06:41,139 --> 00:06:42,449 - Let's make some traps or something, 168 00:06:42,489 --> 00:06:44,009 like some "Home Alone"-type stuff. 169 00:06:44,055 --> 00:06:45,445 That way if she comes-- 170 00:06:45,492 --> 00:06:47,362 - Tell me you did notjust reference "Home Alone." 171 00:06:47,407 --> 00:06:48,577 - Well, havinga Black protagonist 172 00:06:48,625 --> 00:06:50,145 in--in a horror movie, 173 00:06:50,192 --> 00:06:51,592 as a writer, is a trap 174 00:06:51,628 --> 00:06:55,108 because you can't have them dothe stupid response. 175 00:06:55,153 --> 00:06:57,113 - They have the upper hand. 176 00:06:57,155 --> 00:06:58,805 This is the time to run, 177 00:06:58,853 --> 00:07:02,423 not to be sprinklingMicro Machines on the floor. 178 00:07:02,465 --> 00:07:03,675 - What are Micro Machines? 179 00:07:03,727 --> 00:07:05,207 - What's "Home Alone"? 180 00:07:05,250 --> 00:07:07,560 - It's--it's partlya satirical comment, 181 00:07:07,601 --> 00:07:10,211 but partly very groundedin real--real life. 182 00:07:10,255 --> 00:07:12,645 This country is--is a-- 183 00:07:12,693 --> 00:07:14,043 is a horror show... 184 00:07:14,085 --> 00:07:15,215 - Yeah. - For Black people, you know? 185 00:07:15,260 --> 00:07:16,220 This is--we're in a horror movie. 186 00:07:16,261 --> 00:07:19,221 [eerie music] 187 00:07:19,264 --> 00:07:20,964 I try and access 188 00:07:21,005 --> 00:07:22,085 what I'm actually afraid of or what I'm--you know. 189 00:07:22,137 --> 00:07:23,697 - Mm-hmm. 190 00:07:23,747 --> 00:07:26,447 - And that--part of the processof making these movies, 191 00:07:26,489 --> 00:07:29,009 I swear, I kind--I--I overcome my fear. 192 00:07:29,057 --> 00:07:30,487 [match snaps and hisses] 193 00:07:30,537 --> 00:07:31,927 - [rasping] 194 00:07:31,973 --> 00:07:33,543 narrator: Race and class divisions 195 00:07:33,583 --> 00:07:36,763 can turn everyday lives into horror movies, 196 00:07:36,804 --> 00:07:38,554 but what about people 197 00:07:38,588 --> 00:07:41,068 in the most privileged position in society? 198 00:07:41,112 --> 00:07:43,382 What nightmares stalk the ruling class? 199 00:07:43,419 --> 00:07:44,419 - [screams wildly] 200 00:07:48,337 --> 00:07:51,117 narrator: In the year 2000, 201 00:07:51,166 --> 00:07:53,296 Christian Bale gave an unforgettable performance 202 00:07:53,342 --> 00:07:55,912 as the antihero of "American Psycho"... 203 00:07:55,953 --> 00:07:57,393 [chainsaw revving] 204 00:07:57,433 --> 00:07:59,613 A dark satire of human behavior 205 00:07:59,653 --> 00:08:01,573 at the top of the economic ladder. 206 00:08:01,611 --> 00:08:03,571 [suspenseful music] 207 00:08:03,613 --> 00:08:05,223 - "American Psycho," 208 00:08:05,267 --> 00:08:08,227 based on the notorious novel by Bret Easton Ellis, 209 00:08:08,270 --> 00:08:11,490 is about a young, wealthy businessman 210 00:08:11,534 --> 00:08:13,454 who seems to have a perfect life. 211 00:08:13,493 --> 00:08:15,453 - I work on Wall Street. 212 00:08:15,495 --> 00:08:17,015 - So he's, uh, very handsome; 213 00:08:17,061 --> 00:08:18,541 he has a perfect apartment; 214 00:08:18,585 --> 00:08:21,275 he has a-- you know, a high-paying job. 215 00:08:21,326 --> 00:08:22,846 So it's about someone 216 00:08:22,893 --> 00:08:24,723 whose life is full of perfect surfaces 217 00:08:24,765 --> 00:08:27,545 and who is so filled with, sort of, rage and emptiness 218 00:08:27,594 --> 00:08:30,514 that he disembowels young women. 219 00:08:30,553 --> 00:08:32,163 - I like to dissect girls. 220 00:08:32,207 --> 00:08:33,947 Did you knowI'm utterly insane? 221 00:08:33,991 --> 00:08:35,431 - Uh... [chuckles] 222 00:08:35,471 --> 00:08:37,781 Uh, great tan, Marcus. 223 00:08:37,821 --> 00:08:39,301 I mean, really impressive. 224 00:08:39,344 --> 00:08:41,004 Where do you tan? - Salon. 225 00:08:41,042 --> 00:08:42,832 [musical sting] 226 00:08:42,870 --> 00:08:47,270 - "American Psycho" is one of the best satires of all time. 227 00:08:47,309 --> 00:08:50,269 - You can always be thinner, look better. 228 00:08:50,312 --> 00:08:54,012 - To me, it really, really caught what the '90s was about. 229 00:08:54,055 --> 00:08:55,745 ♪ 230 00:08:55,796 --> 00:08:58,096 Suddenly, metrosexuality came in 231 00:08:58,146 --> 00:09:00,576 and men became obsessive with grooming products, 232 00:09:00,627 --> 00:09:03,277 skin care, waxing, tanning booths. 233 00:09:03,325 --> 00:09:05,495 - What beautiful skin you have, Mr. Bateman. 234 00:09:05,545 --> 00:09:07,285 - And what suits you were wearing, 235 00:09:07,329 --> 00:09:10,419 the kind of explosion in fashion and commerce 236 00:09:10,462 --> 00:09:12,382 and restaurants and status. 237 00:09:12,421 --> 00:09:14,821 It was just this Wall Street world. 238 00:09:14,858 --> 00:09:16,728 - Gene, great jacket. Matsuda? 239 00:09:16,773 --> 00:09:18,693 - Valentino Couture. 240 00:09:18,732 --> 00:09:20,562 - It's really a satire of consumerism... 241 00:09:20,603 --> 00:09:22,873 - Where did you get that overnight bag? 242 00:09:22,910 --> 00:09:24,740 [car trunk slams] - Jean Paul Gautier. 243 00:09:24,781 --> 00:09:26,391 - You know, American vulture capitalism 244 00:09:26,435 --> 00:09:28,385 at the end of the 20th century. 245 00:09:28,437 --> 00:09:31,397 And it's all expressed in this person who looks good, 246 00:09:31,440 --> 00:09:33,620 but is actually a monster. 247 00:09:33,660 --> 00:09:35,050 - [hollowly] I guess you could say 248 00:09:35,096 --> 00:09:36,356 I just want to have meaningful relationship 249 00:09:36,401 --> 00:09:38,321 with someone special. 250 00:09:38,360 --> 00:09:40,800 - I wanted Bateman to be the object of fear. 251 00:09:40,841 --> 00:09:43,321 [tense music] 252 00:09:43,365 --> 00:09:45,315 When Christian and I were in preparation 253 00:09:45,367 --> 00:09:47,057 for "American Psycho," 254 00:09:47,108 --> 00:09:48,678 we talked about him as being like a--a Martian-- 255 00:09:48,718 --> 00:09:50,458 someone from another planet 256 00:09:50,502 --> 00:09:52,242 who doesn't know how to be a human being. 257 00:09:52,287 --> 00:09:54,857 ♪ 258 00:09:54,898 --> 00:09:57,068 So when Bateman's going to have sex with someone, 259 00:09:57,118 --> 00:09:58,898 he watches a porno movie. 260 00:09:58,946 --> 00:10:00,596 [chainsaw revving and woman screaming on TV] 261 00:10:00,643 --> 00:10:02,343 - If he's gonna, uh, commit a murder, 262 00:10:02,384 --> 00:10:04,344 he's gonna watch a--a famous horror movie. 263 00:10:04,386 --> 00:10:06,166 [chainsaw revving and woman screaming on TV] 264 00:10:06,214 --> 00:10:08,304 - The fact that it was directed by a woman, I think, 265 00:10:08,346 --> 00:10:11,826 was such an interesting counterbalance to the book. 266 00:10:11,872 --> 00:10:14,532 Even though he's doing all of these crazy things, 267 00:10:14,570 --> 00:10:17,530 there isn't this misogynist, 268 00:10:17,573 --> 00:10:20,453 anti-woman, kind of gross tone about the movie. 269 00:10:20,489 --> 00:10:21,619 - Jean? 270 00:10:23,231 --> 00:10:24,751 Sorbet? 271 00:10:24,798 --> 00:10:26,538 - When we were filming "American Psycho," 272 00:10:26,582 --> 00:10:28,062 I realized that 273 00:10:28,105 --> 00:10:30,535 the fear a woman has of going on a date 274 00:10:30,586 --> 00:10:33,756 or going to a guy's apartment and something bad happening 275 00:10:33,807 --> 00:10:35,847 or him suddenly transforming 276 00:10:35,896 --> 00:10:39,506 from one kind of person into another 277 00:10:39,551 --> 00:10:44,031 is-- is a very strong female fear. 278 00:10:44,078 --> 00:10:46,208 - Can we go now? 279 00:10:46,254 --> 00:10:48,564 - We're not through yet. 280 00:10:48,604 --> 00:10:51,834 - Movies are a way of exploring those fears. 281 00:10:51,868 --> 00:10:53,168 [chainsaw revving] - [yelps] 282 00:10:55,219 --> 00:10:59,619 [wet impact] - [screams] 283 00:10:59,659 --> 00:11:02,139 - We don't want to admit it, but all of us-- 284 00:11:02,183 --> 00:11:04,663 there's a part of us that is like Patrick Bateman, 285 00:11:04,707 --> 00:11:07,057 that is obsessive, that wants things. 286 00:11:07,101 --> 00:11:11,021 It's like this personification of all the greed 287 00:11:11,061 --> 00:11:13,591 and the vanity and the consumption 288 00:11:13,629 --> 00:11:15,329 and the vapidness-- 289 00:11:15,370 --> 00:11:16,980 all the stuff that we suppress; 290 00:11:17,024 --> 00:11:18,594 that we say we don't have; 291 00:11:18,634 --> 00:11:20,684 that we say, "That's just other people"; 292 00:11:20,723 --> 00:11:22,253 it's all reflected in Patrick Bateman, 293 00:11:22,290 --> 00:11:23,770 but we're watching him 294 00:11:23,813 --> 00:11:26,253 and there is a part of him that's in all of us. 295 00:11:26,294 --> 00:11:27,954 - [laughing] 296 00:11:27,991 --> 00:11:29,561 I... [gasps] 297 00:11:29,601 --> 00:11:32,001 Just have to kill a lot of people! 298 00:11:32,039 --> 00:11:33,649 And um... 299 00:11:33,693 --> 00:11:36,133 [tense music fades] 300 00:11:36,173 --> 00:11:37,743 [stutters and sniffles] 301 00:11:37,784 --> 00:11:42,834 I'm not sure I'm gonna get away with it this time. 302 00:11:42,876 --> 00:11:44,526 - He's not punished at the end, 303 00:11:44,573 --> 00:11:46,363 so you're not giving the audience that satisfaction, 304 00:11:46,401 --> 00:11:47,751 actually. 305 00:11:47,794 --> 00:11:49,324 But I felt like the-- 306 00:11:49,360 --> 00:11:52,450 the satirical and also of the moral point 307 00:11:52,494 --> 00:11:54,544 of Bret Easton Ellis's book 308 00:11:54,583 --> 00:11:56,673 was that he wouldn't get found out 309 00:11:56,716 --> 00:11:59,196 because society didn't care to find him out. 310 00:11:59,240 --> 00:12:02,900 - I chopped Allen's [bleep] head off. 311 00:12:02,939 --> 00:12:08,029 The whole message I left on your machine was true. 312 00:12:08,075 --> 00:12:11,245 - Excuse me.I really must be going now. 313 00:12:11,295 --> 00:12:12,775 - Society just didn't care 314 00:12:12,819 --> 00:12:15,649 as long as he conformed to the perfect, you know, 315 00:12:15,691 --> 00:12:17,611 surfaces and perfect, uh, stereotypes 316 00:12:17,649 --> 00:12:19,479 of--of the successful businessman. 317 00:12:19,521 --> 00:12:21,221 No one would bother. 318 00:12:21,262 --> 00:12:25,052 - This confession has meant nothing. 319 00:12:25,092 --> 00:12:26,882 [unsettling music] 320 00:12:26,920 --> 00:12:28,750 [musical sting] 321 00:12:28,791 --> 00:12:30,751 narrator: Faced with the emptiness of consumer culture, 322 00:12:30,793 --> 00:12:33,623 many turned to the spiritual comforts of religion. 323 00:12:33,665 --> 00:12:35,185 - ...accursed! 324 00:12:35,232 --> 00:12:36,712 ♪ 325 00:12:36,756 --> 00:12:38,236 narrator: But there can be a fine line 326 00:12:38,279 --> 00:12:40,189 between a religion and a death cult. 327 00:12:40,237 --> 00:12:41,537 - No! - No! 328 00:12:46,113 --> 00:12:49,813 narrator: Most religions teach the way of peace, 329 00:12:49,856 --> 00:12:52,116 yet religious differences have led 330 00:12:52,162 --> 00:12:54,432 to an almost unthinkable amount of bloodshed. 331 00:12:54,469 --> 00:12:56,169 - He brought you upto be a pagan. 332 00:12:56,210 --> 00:12:57,990 [eerie music] 333 00:12:58,038 --> 00:12:59,738 narrator: This paradox is at the heart 334 00:12:59,779 --> 00:13:01,219 of two films about faith... 335 00:13:01,258 --> 00:13:02,828 [musical sting] 336 00:13:02,869 --> 00:13:06,829 "Midsommar" from 2019... 337 00:13:06,873 --> 00:13:08,053 and "The Wicker Man"... 338 00:13:08,091 --> 00:13:09,481 [all gasp] 339 00:13:09,527 --> 00:13:11,087 From 1973. 340 00:13:11,138 --> 00:13:12,698 ♪ 341 00:13:12,748 --> 00:13:14,748 "The Wicker Man" has the reputation 342 00:13:14,794 --> 00:13:17,234 for being the greatest British horror film of all time. 343 00:13:17,274 --> 00:13:19,844 [goat shrieking] 344 00:13:19,886 --> 00:13:22,016 It was one of those movies I didn't see until late in life 345 00:13:22,062 --> 00:13:23,892 because I would look at the video box and go, 346 00:13:23,933 --> 00:13:26,113 "What's scary about a wicker man?" 347 00:13:26,153 --> 00:13:29,463 - Oh, God! Oh, Jesus Christ! 348 00:13:29,504 --> 00:13:31,724 [single drum beating ominously] 349 00:13:31,767 --> 00:13:33,377 - I finally saw it, 350 00:13:33,421 --> 00:13:36,251 and it's one of those movies that changed my life. 351 00:13:36,293 --> 00:13:38,643 [organ playing hymn] all: ♪ In pastures green 352 00:13:38,687 --> 00:13:41,597 ♪ He leadeth me 353 00:13:41,646 --> 00:13:45,216 - It has to do with Christianity versus paganism. 354 00:13:45,259 --> 00:13:47,869 [tense music] 355 00:13:47,914 --> 00:13:49,964 A police inspector is sent 356 00:13:50,003 --> 00:13:52,573 to this remote isle of Summerisle 357 00:13:52,614 --> 00:13:55,364 to investigate the disappearance of a young girl. 358 00:13:55,399 --> 00:14:00,229 [chalk scraping] - Rowan Morrison. 359 00:14:00,274 --> 00:14:02,494 - And he's this repressed, uh, Christian 360 00:14:02,537 --> 00:14:04,667 coming to grips with this society 361 00:14:04,713 --> 00:14:07,853 that is the total opposite of everything he believes in. 362 00:14:07,890 --> 00:14:10,020 - I find degeneracy,and there is brawling in bars. 363 00:14:10,066 --> 00:14:12,496 There is indecencyin public places. 364 00:14:12,547 --> 00:14:15,197 - Open sex and wild dancing 365 00:14:15,245 --> 00:14:19,815 and all this uninhibited craziness that he's not used to 366 00:14:19,859 --> 00:14:21,689 and he has a hard time adjusting to that. 367 00:14:21,730 --> 00:14:23,990 - Can I do anything for you, sergeant? 368 00:14:24,037 --> 00:14:27,687 - Oh, I doubt it...seeing you're all raving mad. 369 00:14:27,736 --> 00:14:29,296 - And the fun of the film 370 00:14:29,346 --> 00:14:32,046 is watching him getting taken down a notch or two. 371 00:14:32,088 --> 00:14:34,698 - They do love their divinity lessons. 372 00:14:34,743 --> 00:14:38,053 - But they--they are--are naked. 373 00:14:38,094 --> 00:14:39,184 - Naturally. 374 00:14:39,226 --> 00:14:40,656 It's much too dangerous 375 00:14:40,705 --> 00:14:42,485 to jump through the fire with your clothes on. 376 00:14:42,533 --> 00:14:44,363 - Oh, Christopher Lee did that picture for almost no money 377 00:14:44,405 --> 00:14:45,795 because he liked the part so much. 378 00:14:45,841 --> 00:14:46,801 And I think it was his favorite part 379 00:14:46,842 --> 00:14:47,972 of anything he'd ever done. 380 00:14:48,017 --> 00:14:49,927 [peaceful music] 381 00:14:49,976 --> 00:14:54,016 It's a truly weird, pagan, fascinating movie. 382 00:14:54,067 --> 00:14:55,587 It's almost a musical. 383 00:14:55,633 --> 00:14:57,683 I mean, it's got all these Paul Giovanni songs. 384 00:14:57,722 --> 00:14:59,642 [pianist playing slow song] - ♪ She took the tinker 385 00:14:59,681 --> 00:15:00,731 ♪ By the hand 386 00:15:00,769 --> 00:15:02,339 - They created a score 387 00:15:02,379 --> 00:15:04,859 that are folk songs integral to this island 388 00:15:04,904 --> 00:15:06,084 to tell the story 389 00:15:06,122 --> 00:15:07,122 of their religion and their culture. 390 00:15:07,167 --> 00:15:08,857 together: ♪ For patching 391 00:15:08,908 --> 00:15:12,688 ♪ And plugging is his delight ♪ 392 00:15:12,737 --> 00:15:13,997 [echoing musical sting] 393 00:15:14,043 --> 00:15:17,003 - The lyrics of these songs are so-- 394 00:15:17,046 --> 00:15:19,216 everything's a double entendre and everything's sexual. 395 00:15:19,266 --> 00:15:21,306 [musicians playing upbeat folk music] 396 00:15:21,355 --> 00:15:24,705 And it's a very, very subversive, sexual movie. 397 00:15:24,749 --> 00:15:26,099 - [raps loudly on bar] 398 00:15:26,142 --> 00:15:27,882 [music stops] 399 00:15:27,927 --> 00:15:30,887 - This police officer is unwittingly being led, 400 00:15:30,930 --> 00:15:32,890 thinking he's on an investigation, 401 00:15:32,932 --> 00:15:35,892 thinking he's gonna catch the killer of a little girl, 402 00:15:35,935 --> 00:15:37,405 until he realizes 403 00:15:37,458 --> 00:15:39,588 that he's been a sucker this entire time. 404 00:15:39,634 --> 00:15:40,814 [ominous musical sting] 405 00:15:40,852 --> 00:15:42,202 - It's about faith 406 00:15:42,245 --> 00:15:43,455 and how faith doesn't really pan out for you. 407 00:15:43,507 --> 00:15:45,597 - There is no sun god! 408 00:15:45,640 --> 00:15:50,210 There is no... goddess of the fields! 409 00:15:50,253 --> 00:15:52,913 - I wouldn't say it's on the side of the pagans, 410 00:15:52,952 --> 00:15:54,302 but it certainly comes close, 411 00:15:54,344 --> 00:15:56,134 because as devout as the hero is, 412 00:15:56,172 --> 00:15:57,392 it doesn't save him. 413 00:15:57,434 --> 00:15:59,224 - No! No! Think! 414 00:15:59,262 --> 00:16:00,442 Just think what you're doing! 415 00:16:00,481 --> 00:16:02,091 [words echoing] 416 00:16:02,135 --> 00:16:04,655 Think what you're doing! Think! 417 00:16:04,702 --> 00:16:07,922 - The reason "The Wicker Man" has such staying power is 418 00:16:07,967 --> 00:16:09,617 you look at this cult 419 00:16:09,664 --> 00:16:12,624 that believes that burning and sacrificing a virgin 420 00:16:12,667 --> 00:16:14,317 is going to bring back the crops. 421 00:16:14,364 --> 00:16:15,894 That makes perfect sense to them. 422 00:16:15,931 --> 00:16:19,891 pagans: [together] ♪ Summer is a-comin' in 423 00:16:19,935 --> 00:16:22,235 - To this other person, it's absolutely insane 424 00:16:22,285 --> 00:16:23,935 because everything he believes 425 00:16:23,983 --> 00:16:25,943 is from a Christian perspective... 426 00:16:25,985 --> 00:16:27,985 pagans: [together] ♪ And blows the mead 427 00:16:28,030 --> 00:16:30,470 - And these are coming from a pagan perspective. 428 00:16:30,511 --> 00:16:32,731 What is totally normal to one person 429 00:16:32,774 --> 00:16:34,824 is absolutely terrifying to another, 430 00:16:34,863 --> 00:16:36,603 and I think there's something very real about that. 431 00:16:36,647 --> 00:16:38,947 [suspenseful music] 432 00:16:38,998 --> 00:16:41,478 The culture clash captured by "The Wicker Man" 433 00:16:41,522 --> 00:16:44,482 was a big influence on my film "Hostel." 434 00:16:44,525 --> 00:16:46,825 So I visually paid tribute to it. 435 00:16:46,875 --> 00:16:49,915 ♪ 436 00:16:49,965 --> 00:16:51,355 And you can see elements of both films 437 00:16:51,401 --> 00:16:54,141 in Ari Aster's "Midsommar." 438 00:16:54,187 --> 00:16:57,057 ♪ 439 00:16:57,103 --> 00:16:59,243 In the wake of a devastating loss, 440 00:16:59,279 --> 00:17:01,979 a young woman joins her self-absorbed boyfriend 441 00:17:02,021 --> 00:17:04,201 and his fellow grad students 442 00:17:04,240 --> 00:17:06,110 on a trip to the Swedish countryside. 443 00:17:06,155 --> 00:17:08,065 They've been invited to witness 444 00:17:08,114 --> 00:17:09,384 an annual folk celebration. 445 00:17:09,419 --> 00:17:11,029 [locals whoop] 446 00:17:12,901 --> 00:17:15,821 - The writing of "Midsommar" was pretty therapeutic. 447 00:17:15,860 --> 00:17:18,820 I was going through a breakup and was looking for, uh, 448 00:17:18,863 --> 00:17:21,043 kind of an angle on a breakup movie. 449 00:17:21,083 --> 00:17:22,653 ♪ 450 00:17:22,693 --> 00:17:25,523 What's, like, the evil version of that? 451 00:17:25,566 --> 00:17:27,656 [echoing scream] 452 00:17:27,698 --> 00:17:30,008 narrator: The students enter what at first appears to be 453 00:17:30,049 --> 00:17:33,099 a peaceful community of nature-worshipping pagans. 454 00:17:33,139 --> 00:17:34,619 [bell dings] 455 00:17:34,662 --> 00:17:38,012 - I love that it is, like "The Wicker Man," 456 00:17:38,057 --> 00:17:42,407 set in this isolated, very homogenous community 457 00:17:42,452 --> 00:17:46,202 that is supposed to signify safety... 458 00:17:46,239 --> 00:17:47,719 - [gasps] 459 00:17:47,762 --> 00:17:48,892 - And then have it completely turn around. 460 00:17:48,937 --> 00:17:50,897 - No! - No! 461 00:17:50,939 --> 00:17:52,249 - [gasps] 462 00:17:52,288 --> 00:17:54,118 - The Americans are trying to be cool, 463 00:17:54,160 --> 00:17:56,120 and they want to be open and they want to embrace it 464 00:17:56,162 --> 00:17:57,902 and they want to understand it 465 00:17:57,946 --> 00:17:59,506 and they don't quite get what's going on. 466 00:17:59,556 --> 00:18:02,116 - What's going on? 467 00:18:02,168 --> 00:18:05,128 - [claps] [ethereal whooshing] 468 00:18:05,171 --> 00:18:07,301 - But they get caught up in the ritual 469 00:18:07,347 --> 00:18:08,957 and the pomp and the circumstance 470 00:18:09,000 --> 00:18:10,520 and they don't want to offend the culture 471 00:18:10,567 --> 00:18:12,397 and, you know, they wind up paying the price for it. 472 00:18:12,439 --> 00:18:14,309 - [blows] 473 00:18:14,354 --> 00:18:16,794 ♪ 474 00:18:16,834 --> 00:18:19,054 narrator: The film's protagonist is gradually drawn 475 00:18:19,098 --> 00:18:21,318 into what turns out to be a death cult... 476 00:18:21,361 --> 00:18:23,841 ♪ 477 00:18:23,885 --> 00:18:26,235 And the other travelers are ritual sacrifices. 478 00:18:26,279 --> 00:18:30,719 - She ends up finding, in this community, 479 00:18:30,761 --> 00:18:32,591 what might be a home. 480 00:18:32,633 --> 00:18:34,813 - You are the family now, yes? 481 00:18:34,852 --> 00:18:36,992 Yes, you are the family! 482 00:18:37,028 --> 00:18:38,508 - And of course, 483 00:18:38,552 --> 00:18:41,472 the irony is that they are a eugenicist community 484 00:18:41,511 --> 00:18:43,301 of murderers. 485 00:18:43,339 --> 00:18:45,909 - [shrieking] 486 00:18:45,950 --> 00:18:49,130 - But they're also much more empathic, 487 00:18:49,171 --> 00:18:50,301 they're--they're much more compassionate. 488 00:18:50,346 --> 00:18:54,176 [all wailing] 489 00:18:54,220 --> 00:18:56,740 - And that's why people join cults. 490 00:18:56,787 --> 00:19:00,177 [eerie music] 491 00:19:00,226 --> 00:19:03,616 People don't join cults because they want to be mass murderers. 492 00:19:03,664 --> 00:19:06,584 [ominous droning music] 493 00:19:06,623 --> 00:19:12,503 ♪ 494 00:19:12,542 --> 00:19:15,632 They join cults because they need connection. 495 00:19:15,676 --> 00:19:18,586 [peaceful droning music] 496 00:19:18,635 --> 00:19:21,415 ♪ 497 00:19:21,464 --> 00:19:23,474 narrator: "Midsommar" was a slow-burn film 498 00:19:23,510 --> 00:19:27,300 that built to a fiery conclusion. 499 00:19:27,340 --> 00:19:29,950 But horror can also go way over the top to make a point. 500 00:19:29,994 --> 00:19:30,874 [rushing music] 501 00:19:35,783 --> 00:19:38,613 narrator: When you think of a morality tale, 502 00:19:38,655 --> 00:19:40,215 you might picture something like this. 503 00:19:40,266 --> 00:19:43,306 - [speaking Swedish] Amen. 504 00:19:43,356 --> 00:19:44,786 others: Amen. 505 00:19:44,835 --> 00:19:47,745 [suspenseful music] 506 00:19:47,795 --> 00:19:49,665 ♪ 507 00:19:49,710 --> 00:19:53,020 - I hope you rot in hell. 508 00:19:53,061 --> 00:19:54,671 narrator: But in horror, 509 00:19:54,715 --> 00:19:56,925 stories about suffering terrible consequences 510 00:19:56,978 --> 00:20:00,898 for your poor behavior can be scary and fun, 511 00:20:00,938 --> 00:20:02,938 like "Creepshow." 512 00:20:02,984 --> 00:20:04,334 "Creepshow" was a horror fan's dream. 513 00:20:04,377 --> 00:20:05,897 It still is. 514 00:20:05,943 --> 00:20:07,823 It's the combination of George Romero, 515 00:20:07,858 --> 00:20:10,558 Stephen King, and Tom Savini. 516 00:20:10,600 --> 00:20:12,780 Me, as a 12-year-old horror fan, 517 00:20:12,820 --> 00:20:14,430 knowing that this was the director 518 00:20:14,474 --> 00:20:15,524 of "Dawn of the Dead"... 519 00:20:15,562 --> 00:20:19,002 ♪ 520 00:20:19,043 --> 00:20:20,613 This was the guy that did all the gore 521 00:20:20,654 --> 00:20:21,614 in "Dawn of the Dead" and "Friday the 13th." 522 00:20:21,655 --> 00:20:24,825 [intense string music] 523 00:20:24,875 --> 00:20:27,265 And Stephen King writing these stories? 524 00:20:27,313 --> 00:20:30,143 This was gonna be the greatest movie ever made. 525 00:20:30,185 --> 00:20:32,185 [sparse ominous music] 526 00:20:32,231 --> 00:20:33,711 ♪ 527 00:20:33,754 --> 00:20:35,844 - Well, my first thing with George was he said, 528 00:20:35,886 --> 00:20:37,186 "Why don't we do a number of stories 529 00:20:37,236 --> 00:20:38,586 like 'Tales from the Crypt'?" 530 00:20:38,628 --> 00:20:41,068 And I went, "Yeah, let's--let's do that." 531 00:20:41,109 --> 00:20:42,549 - It's a comic book. - What? 532 00:20:42,589 --> 00:20:44,289 - It's a comic book! - It's a comic book! 533 00:20:44,330 --> 00:20:46,290 [musical sting] - Look. 534 00:20:46,332 --> 00:20:47,992 - Because really, what is a comic book? 535 00:20:48,029 --> 00:20:50,119 It's a storyboard for a movie, right? 536 00:20:52,207 --> 00:20:53,817 narrator: "Creepshow" is presented 537 00:20:53,861 --> 00:20:57,171 like an EC comic book from the 1950s, 538 00:20:57,212 --> 00:20:59,302 with five macabre stories... 539 00:20:59,345 --> 00:21:00,735 ♪ 540 00:21:00,781 --> 00:21:02,301 - [shouts] 541 00:21:02,348 --> 00:21:04,048 narrator: And an all-star cast. 542 00:21:04,088 --> 00:21:05,658 Stephen King himself 543 00:21:05,699 --> 00:21:08,089 plays the doomed hayseed, Jordy Verrill. 544 00:21:08,136 --> 00:21:09,876 ♪ 545 00:21:09,920 --> 00:21:12,620 - I'm a goner already, Daddy... 546 00:21:12,662 --> 00:21:13,712 ain't I? 547 00:21:13,750 --> 00:21:15,320 ♪ 548 00:21:15,361 --> 00:21:17,151 narrator: Each story was a moral tale 549 00:21:17,188 --> 00:21:20,668 in which sinners were rewarded with ironic deaths, 550 00:21:20,714 --> 00:21:24,764 and sometimes, ironic afterlives. 551 00:21:24,805 --> 00:21:27,495 The teenaged Greg Nicotero was a frequent visitor 552 00:21:27,547 --> 00:21:29,847 to the "Creepshow" set. 553 00:21:29,897 --> 00:21:32,727 - I remember seeing them shooting the actors 554 00:21:32,769 --> 00:21:35,249 with the colored lights in the background. 555 00:21:35,294 --> 00:21:38,474 - I got my cake. 556 00:21:38,514 --> 00:21:40,084 - All of a sudden, like, there's a bunch of guys 557 00:21:40,124 --> 00:21:41,694 on dimmers, and they'd go... [imitates electricity] 558 00:21:41,735 --> 00:21:44,865 - [screaming] - Happy Father's Day. 559 00:21:44,912 --> 00:21:47,262 - Then they would turn it and the lights would change. 560 00:21:47,306 --> 00:21:50,956 They were trying to immerse you into the comic book world. 561 00:21:51,005 --> 00:21:52,745 ♪ 562 00:21:52,789 --> 00:21:55,529 narrator: One of my favorite stories is "The Crate," 563 00:21:55,575 --> 00:21:57,485 where a henpecked college professor 564 00:21:57,533 --> 00:21:59,363 comes into possession of a vicious animal... 565 00:21:59,405 --> 00:22:01,355 - ...a couple of emeralds! - Don't! 566 00:22:01,407 --> 00:22:04,187 narrator: With a thirst for human blood. 567 00:22:04,235 --> 00:22:05,925 - [screaming] 568 00:22:05,976 --> 00:22:10,546 - [laughing deliriously] I don't even know what it was. 569 00:22:10,590 --> 00:22:13,460 - And it's Hal Holbrook and Fritz Weaver 570 00:22:13,506 --> 00:22:16,546 and Adrienne Barbeau and this old crate, 571 00:22:16,596 --> 00:22:17,726 and you're just waiting for Fluffy. 572 00:22:17,771 --> 00:22:19,731 - [roars] 573 00:22:19,773 --> 00:22:21,303 - I remember, as a kid, I read "Fangoria" magazine 574 00:22:21,340 --> 00:22:22,560 and I saw pictures 575 00:22:22,602 --> 00:22:24,132 of the monster that they called Fluffy. 576 00:22:24,168 --> 00:22:26,168 And when that thing comes out of the crate... 577 00:22:26,214 --> 00:22:28,704 ♪ 578 00:22:28,738 --> 00:22:31,088 - The fun is inventing how to do this stuff. 579 00:22:31,132 --> 00:22:33,922 ♪ 580 00:22:33,961 --> 00:22:36,791 You know, the script, kind of, is sometimes very vague. 581 00:22:36,833 --> 00:22:38,793 "We see a flash of fur and teeth." 582 00:22:38,835 --> 00:22:40,875 [dramatic tense music] 583 00:22:40,924 --> 00:22:42,624 Well, I gotta create a creature from that 584 00:22:42,665 --> 00:22:44,185 that comes out of a crate 585 00:22:44,232 --> 00:22:45,892 underneath steps in "Creepshow," you know? 586 00:22:45,929 --> 00:22:47,449 - Something shiny. 587 00:22:47,496 --> 00:22:49,496 - I had never built an animatronic creature before. 588 00:22:49,542 --> 00:22:52,632 So I called Rob Bottin on the phone. 589 00:22:52,675 --> 00:22:54,415 Took me to his house. 590 00:22:54,460 --> 00:22:56,380 He tore the skins off to show me 591 00:22:56,418 --> 00:22:58,988 how the mechanisms worked in the heads, 592 00:22:59,029 --> 00:23:00,469 the fake heads that he was making. 593 00:23:00,509 --> 00:23:03,429 [suspenseful music] 594 00:23:03,469 --> 00:23:05,339 - As great as "The Crate" is, 595 00:23:05,384 --> 00:23:08,474 nothing quite prepares you for E.G. Marshall's performance 596 00:23:08,517 --> 00:23:09,817 as Upson Pratt. 597 00:23:09,866 --> 00:23:11,866 "This is Upson Pratt, the Upson Pratt." 598 00:23:11,912 --> 00:23:13,912 - Well, I found anothercockroach this evening, George. 599 00:23:13,957 --> 00:23:14,957 - Oh, no. 600 00:23:15,002 --> 00:23:16,442 - One of those big ones 601 00:23:16,482 --> 00:23:19,352 right here in my $3,200-a-monthpenthouse apartment. 602 00:23:19,398 --> 00:23:22,788 ♪ 603 00:23:22,836 --> 00:23:25,526 narrator: Upson Pratt is a wealthy and vicious germaphobe 604 00:23:25,578 --> 00:23:26,928 who treats everyone like vermin. 605 00:23:26,970 --> 00:23:29,280 - You might go far, boy. 606 00:23:29,320 --> 00:23:31,710 I've noticed that, in service jobs, 607 00:23:31,758 --> 00:23:34,668 people like yourself often do-- 608 00:23:34,717 --> 00:23:36,197 people of color. 609 00:23:36,240 --> 00:23:38,980 - You know, the Marshall story does represent 610 00:23:39,026 --> 00:23:40,456 a lot of the sociopolitical things 611 00:23:40,506 --> 00:23:42,806 that were going on at the time, you know, 612 00:23:42,856 --> 00:23:46,246 with him being a blatant racist character 613 00:23:46,294 --> 00:23:47,904 who is trying to live 614 00:23:47,948 --> 00:23:50,208 in this sort of protected white bubble, literally, 615 00:23:50,254 --> 00:23:51,874 in his compound, 616 00:23:51,908 --> 00:23:53,428 and he's terrified 617 00:23:53,475 --> 00:23:55,995 of other things getting into that world. 618 00:23:56,043 --> 00:23:57,223 [bugs squeaking] 619 00:23:57,261 --> 00:23:59,131 - Damn bugs--ugh! 620 00:23:59,176 --> 00:24:00,526 Bugs! [shouts] 621 00:24:00,569 --> 00:24:02,659 - Now you'd have a digital cockroach. 622 00:24:02,702 --> 00:24:04,052 Back then, you really hadto do it with cockroaches. 623 00:24:04,094 --> 00:24:05,364 - Cockroaches. 624 00:24:05,400 --> 00:24:06,530 They were everywhere, Eli! - Yeah. 625 00:24:06,575 --> 00:24:07,875 - Those cockroaches were everywhere. 626 00:24:07,924 --> 00:24:10,934 [ominous music] 627 00:24:10,971 --> 00:24:12,711 [cockroaches chittering] - [screaming] 628 00:24:12,755 --> 00:24:15,145 - And when we did the final scene, where the b-- 629 00:24:15,192 --> 00:24:18,632 he just sort of explodes with bugs all inside him-- 630 00:24:18,674 --> 00:24:21,724 everybody was, like, right-- 631 00:24:21,764 --> 00:24:24,294 nervous, scared to death. 632 00:24:24,332 --> 00:24:26,162 It could be one take. - Yeah. 633 00:24:26,203 --> 00:24:27,473 - That's the only thing you could do. 634 00:24:27,509 --> 00:24:29,209 There were, like, 5,000 cockroaches 635 00:24:29,250 --> 00:24:32,250 and they were gonna blow 'em through this--this tube. 636 00:24:33,994 --> 00:24:35,434 Quiet on the set, 637 00:24:35,474 --> 00:24:37,004 get the cockroaches ready. 638 00:24:37,040 --> 00:24:39,300 [chuckling] You know, cue the cockroaches. 639 00:24:39,347 --> 00:24:42,307 [eerie music] 640 00:24:42,350 --> 00:24:44,920 ♪ 641 00:24:44,961 --> 00:24:47,751 - [screaming] 642 00:24:47,790 --> 00:24:49,400 - And it was perfect 643 00:24:49,444 --> 00:24:51,844 and everybody in the place just exploded into applause. 644 00:24:51,881 --> 00:24:53,271 - It's one of the-- 645 00:24:53,317 --> 00:24:55,487 it's one of the great,great moments in movies. 646 00:24:55,537 --> 00:24:57,537 [cockroaches chittering] 647 00:24:57,583 --> 00:24:59,723 - "Creepshow" was-- was way ahead of its time 648 00:24:59,759 --> 00:25:03,019 in terms of George and Steve King's 649 00:25:03,066 --> 00:25:04,976 sort of love letter to EC comics. 650 00:25:05,025 --> 00:25:06,805 - [cackles] 651 00:25:06,853 --> 00:25:08,683 [thunder booms] 652 00:25:08,724 --> 00:25:11,904 - Doing "Creepshow" really was--was their opportunity 653 00:25:11,945 --> 00:25:15,725 to pay tribute to the stuff that inspired them. 654 00:25:15,775 --> 00:25:17,515 [tense musical sting] - [screams] 655 00:25:17,559 --> 00:25:19,169 narrator: In "Creepshow," 656 00:25:19,213 --> 00:25:22,563 bad people are punished with gruesome deaths. 657 00:25:22,608 --> 00:25:24,778 The violence upset audiences 658 00:25:24,827 --> 00:25:28,787 expecting a lightweight comic book movie, 659 00:25:28,831 --> 00:25:31,141 but to really upset Americans, 660 00:25:31,181 --> 00:25:32,661 do what Brian De Palma did: 661 00:25:32,705 --> 00:25:36,055 make a horror film about sex. 662 00:25:39,886 --> 00:25:41,016 - [gasps] 663 00:25:41,061 --> 00:25:42,931 [dramatic music] 664 00:25:42,976 --> 00:25:45,146 [gagging] 665 00:25:45,195 --> 00:25:47,105 narrator: Few things provoke audiences more 666 00:25:47,154 --> 00:25:49,504 than sexual violence. 667 00:25:49,548 --> 00:25:51,248 It's a taboo region 668 00:25:51,288 --> 00:25:54,988 that horror films are uniquely able to explore 669 00:25:55,031 --> 00:25:57,601 because horror goes where the timid fear to tread. 670 00:25:57,643 --> 00:25:59,563 - [screams] 671 00:26:00,341 --> 00:26:02,391 narrator: And even a comically bad slasher 672 00:26:02,430 --> 00:26:05,610 can carry a surprising message about toxic masculinity. 673 00:26:05,651 --> 00:26:08,091 - Where did this filth come from? 674 00:26:08,131 --> 00:26:09,961 [grunts] 675 00:26:10,003 --> 00:26:15,103 [screaming] 676 00:26:15,138 --> 00:26:19,098 - "Pieces" is one of the greatest WTF horror films 677 00:26:19,142 --> 00:26:20,102 of all time. 678 00:26:20,143 --> 00:26:22,153 [saw scraping] 679 00:26:22,189 --> 00:26:23,799 [telephone ringing] 680 00:26:23,843 --> 00:26:25,243 For me, it might be 681 00:26:25,279 --> 00:26:26,539 my favorite horror movie of all time 682 00:26:26,585 --> 00:26:27,755 after all these years 683 00:26:27,803 --> 00:26:29,543 because it just defies every rule 684 00:26:29,588 --> 00:26:30,938 of what you're supposed to do. 685 00:26:30,980 --> 00:26:31,940 [dramatic synthesized music] 686 00:26:31,981 --> 00:26:33,501 - [weeps] 687 00:26:33,548 --> 00:26:35,248 - It is so absurd 688 00:26:35,289 --> 00:26:37,679 that, if you put it on with a room of people, 689 00:26:37,726 --> 00:26:39,116 you will guarantee to have 690 00:26:39,162 --> 00:26:40,422 the whole audience come out of it going, 691 00:26:40,468 --> 00:26:41,768 "That's the best movie I've ever seen." 692 00:26:41,817 --> 00:26:44,817 [dramatic music] - [screaming] 693 00:26:44,864 --> 00:26:48,264 [mirrors shattering] 694 00:26:48,302 --> 00:26:51,702 - Horror is the genre that gave us the idea of bad-good. 695 00:26:51,740 --> 00:26:55,740 - [screams] [chainsaw revving] 696 00:26:55,788 --> 00:26:57,398 - Like, there can be a really great horror movie, 697 00:26:57,441 --> 00:26:59,661 and that's fun to watch, but a really bad horror movie 698 00:26:59,705 --> 00:27:01,175 can be fun to watch too. 699 00:27:01,228 --> 00:27:03,708 - [shrieking]Bastard! 700 00:27:03,752 --> 00:27:06,192 Bastard! 701 00:27:06,233 --> 00:27:08,063 [suspenseful music] 702 00:27:08,104 --> 00:27:10,064 Bastard! 703 00:27:10,106 --> 00:27:11,846 [booming musical sting] 704 00:27:11,891 --> 00:27:14,591 narrator: The plot of "Pieces" follows a campus stud 705 00:27:14,633 --> 00:27:17,033 and an undercover policewoman 706 00:27:17,070 --> 00:27:20,380 trying to catch a mysterious chainsaw killer. 707 00:27:20,421 --> 00:27:23,381 - [screaming] [chainsaw revving] 708 00:27:23,424 --> 00:27:25,604 - It's got all the classic tropes of slasher movies. 709 00:27:25,644 --> 00:27:27,344 [chainsaw revving] 710 00:27:27,384 --> 00:27:28,694 - You! 711 00:27:28,734 --> 00:27:30,474 - They have these beautiful Spanish girls 712 00:27:30,518 --> 00:27:32,518 that always get naked right before they're chopped. 713 00:27:32,563 --> 00:27:34,483 [dramatic music] - [gasps] 714 00:27:34,522 --> 00:27:36,092 - The deaths are so over-the-top. 715 00:27:36,132 --> 00:27:40,222 ♪ 716 00:27:40,267 --> 00:27:41,877 At the end of the film, 717 00:27:41,921 --> 00:27:43,491 the police catch the killer 718 00:27:43,531 --> 00:27:45,841 and they're about to leave 719 00:27:45,881 --> 00:27:47,711 and they open the door and the body falls out. 720 00:27:47,753 --> 00:27:48,843 - Really-- 721 00:27:48,884 --> 00:27:51,154 - [screaming] 722 00:27:51,191 --> 00:27:52,191 - [screams] 723 00:27:52,235 --> 00:27:53,845 - And you realize 724 00:27:53,889 --> 00:27:55,059 this guy's been making a human jigsaw puzzle. 725 00:27:55,108 --> 00:27:56,718 It's an incredible shock moment. 726 00:27:56,762 --> 00:27:58,332 - [screaming] 727 00:27:58,372 --> 00:28:02,382 [sobbing] 728 00:28:02,419 --> 00:28:04,069 - And then at the very end, 729 00:28:04,117 --> 00:28:06,337 Ian Sera comes back 'cause he forgot his coat 730 00:28:06,380 --> 00:28:08,430 and the hand of the body comes out 731 00:28:08,469 --> 00:28:11,079 and just rips his genitals off. 732 00:28:11,124 --> 00:28:13,004 - [screaming] 733 00:28:13,039 --> 00:28:14,609 [flesh squelches] 734 00:28:14,649 --> 00:28:16,039 - You can watch the movie on one level 735 00:28:16,085 --> 00:28:17,955 and go, "This is a grade-Z slasher movie." 736 00:28:18,000 --> 00:28:19,310 Or you could say, 737 00:28:19,349 --> 00:28:21,439 "This is a subversive work of art 738 00:28:21,482 --> 00:28:24,092 "by a master director who's making a comment 739 00:28:24,137 --> 00:28:27,707 on this character who uses women like pieces of meat." 740 00:28:27,749 --> 00:28:29,579 These girls are then killed 741 00:28:29,620 --> 00:28:33,490 and the body... is the residual anger. 742 00:28:33,537 --> 00:28:35,097 The anger of these girls 743 00:28:35,148 --> 00:28:36,798 and the resentmentof these girls 744 00:28:36,845 --> 00:28:41,275 of being used by this guyall boils up 745 00:28:41,328 --> 00:28:43,978 and they castrate him at the end of the movie. 746 00:28:44,026 --> 00:28:45,806 narrator: You don't expect great depth 747 00:28:45,854 --> 00:28:48,774 from a movie like "Pieces." 748 00:28:48,814 --> 00:28:51,904 More confounding to critics is when a brilliant filmmaker 749 00:28:51,947 --> 00:28:54,207 deliberately challenges an audience 750 00:28:54,254 --> 00:28:57,694 by fusing sex and violence with high cinematic style. 751 00:28:57,736 --> 00:28:59,346 ♪ 752 00:28:59,389 --> 00:29:02,649 Exhibit A: Brian De Palma's "Dressed to Kill," 753 00:29:02,697 --> 00:29:04,567 a provocative film 754 00:29:04,612 --> 00:29:08,572 about the corrosive effects of sexual repression. 755 00:29:08,616 --> 00:29:11,616 - "Dressed to Kill" is an interesting juxtaposition 756 00:29:11,662 --> 00:29:14,582 of two women's expression of their own sexuality-- 757 00:29:14,622 --> 00:29:16,412 one being a conservative housewife 758 00:29:16,450 --> 00:29:18,320 who is oppressed by her sexuality 759 00:29:18,365 --> 00:29:20,315 and one being a young sex worker 760 00:29:20,367 --> 00:29:23,237 who is empowered by her sexuality-- 761 00:29:23,283 --> 00:29:25,813 and the man who is a psychiatrist 762 00:29:25,851 --> 00:29:28,421 who is his own worst patient 763 00:29:28,462 --> 00:29:29,942 who's trying to draw the bridge 764 00:29:29,985 --> 00:29:33,335 between his own relationship with his sexuality 765 00:29:33,380 --> 00:29:36,640 and these two women. 766 00:29:36,687 --> 00:29:38,517 narrator: Sexually frustrated Kate, 767 00:29:38,559 --> 00:29:40,389 played by Angie Dickinson, 768 00:29:40,430 --> 00:29:44,040 acts the part of the perfect wife and mother, 769 00:29:44,086 --> 00:29:48,216 but she yearns for a more stimulating life. 770 00:29:48,264 --> 00:29:51,354 Kate confides her feelings to her psychiatrist, 771 00:29:51,398 --> 00:29:53,358 arousing his own secret desires. 772 00:29:53,400 --> 00:29:54,490 [sweeping music] 773 00:29:54,531 --> 00:29:56,751 - Would you want to sleep with me? 774 00:29:56,795 --> 00:29:57,835 - Yes. 775 00:29:57,883 --> 00:29:59,623 [tense dramatic music] 776 00:29:59,667 --> 00:30:01,277 - [gasps] 777 00:30:01,321 --> 00:30:03,111 [screaming] 778 00:30:03,149 --> 00:30:05,279 ♪ 779 00:30:05,325 --> 00:30:07,105 narrator: Then, in a shocking twist, 780 00:30:07,153 --> 00:30:08,723 Kate is brutally murdered 781 00:30:08,763 --> 00:30:12,073 by a mysterious black-gloved killer... 782 00:30:12,114 --> 00:30:16,084 - [screaming] 783 00:30:16,118 --> 00:30:18,378 narrator: A crime witnessed by the movie's other heroine, 784 00:30:18,425 --> 00:30:21,775 Liz Blake, played by Nancy Allen. 785 00:30:21,820 --> 00:30:24,520 - I think my nightmares on "Dressed to Kill" 786 00:30:24,561 --> 00:30:27,131 really started when they did the... [imitates slashing] 787 00:30:27,173 --> 00:30:30,793 [soft eerie music] 788 00:30:30,829 --> 00:30:33,479 It's so strange because it's all so technical. 789 00:30:33,527 --> 00:30:36,787 ♪ 790 00:30:36,835 --> 00:30:38,745 But emotionally, 791 00:30:38,793 --> 00:30:41,543 it really does-- somehow, it gets in. 792 00:30:41,578 --> 00:30:43,968 At least with me, it gets back in there. 793 00:30:44,016 --> 00:30:45,966 ♪ 794 00:30:46,018 --> 00:30:49,498 Maybe it's all "Psycho's" fault for making me so scared. 795 00:30:49,543 --> 00:30:52,373 ["The Murder"] - [screaming] 796 00:30:52,415 --> 00:30:53,755 narrator: Alfred Hitchcock's "Psycho" 797 00:30:53,808 --> 00:30:55,898 famously kills off its protagonist 798 00:30:55,941 --> 00:30:58,121 more than half an hour into the film. 799 00:30:58,160 --> 00:31:03,340 ♪ 800 00:31:03,383 --> 00:31:06,343 "Dressed to Kill" both updates and parodies "Psycho." 801 00:31:08,518 --> 00:31:10,998 De Palma turns the trail blazed by Hitchcock 802 00:31:11,043 --> 00:31:13,443 into a slyly satirical boulevard, 803 00:31:13,480 --> 00:31:16,660 going places Hitchcock couldn't in 1960. 804 00:31:16,700 --> 00:31:18,660 [soft ominous music] 805 00:31:18,702 --> 00:31:20,272 narrator: The second half of "Dressed to Kill" 806 00:31:20,313 --> 00:31:21,843 is a detective story 807 00:31:21,880 --> 00:31:24,360 led by two amateur sleuths: 808 00:31:24,404 --> 00:31:27,714 Liz Blake and Kate's adoring son Peter, 809 00:31:27,755 --> 00:31:29,795 played by Keith Gordon. 810 00:31:29,844 --> 00:31:31,854 Every scene is enhanced 811 00:31:31,890 --> 00:31:34,540 by De Palma's vast knowledge of film technique. 812 00:31:34,588 --> 00:31:37,198 ♪ 813 00:31:37,243 --> 00:31:39,203 - Obviously, the story involves 814 00:31:39,245 --> 00:31:42,635 a lot of double and mirror and two people looking alike 815 00:31:42,683 --> 00:31:45,343 and, you know, having two personalities and splits. 816 00:31:45,381 --> 00:31:47,121 [tense music] 817 00:31:47,166 --> 00:31:49,996 Really good visual directors will find themes 818 00:31:50,038 --> 00:31:51,778 and then they'll continue to find places to inject it 819 00:31:51,822 --> 00:31:53,562 where maybe they hadn't even planned ahead of time, 820 00:31:53,607 --> 00:31:55,297 but they keep seeing opportunities. 821 00:31:55,348 --> 00:31:56,698 - When I speak of transsexuals, 822 00:31:56,740 --> 00:31:58,740 I tend to speak of male-to-female 823 00:31:58,786 --> 00:32:00,396 because there are a whole lot more of them 824 00:32:00,440 --> 00:32:01,960 than the going the other way. 825 00:32:02,007 --> 00:32:04,617 - The scene I remember the most is the television 826 00:32:04,661 --> 00:32:06,931 where Donahue is interviewing someone 827 00:32:06,968 --> 00:32:09,008 and Michael Caine is watching it. 828 00:32:09,057 --> 00:32:11,357 Just the--the lighting, the way it's photographed, 829 00:32:11,407 --> 00:32:13,057 and as kid, split screens drive me crazy. 830 00:32:13,105 --> 00:32:14,405 You're like,"What am I supposed to watch? 831 00:32:14,454 --> 00:32:15,674 What am I supposed to watch?" 832 00:32:15,716 --> 00:32:17,276 But you just sort of give over to it. 833 00:32:17,326 --> 00:32:18,626 It's got a very, very interesting effect 834 00:32:18,675 --> 00:32:20,585 on the audience. 835 00:32:20,634 --> 00:32:21,814 - More than that, I've always been a devout heterosexual. 836 00:32:21,852 --> 00:32:23,552 [chuckles] 837 00:32:23,593 --> 00:32:25,513 - The interview with the transsexual woman 838 00:32:25,552 --> 00:32:28,162 signals to the audience that Kate's psychiatrist, 839 00:32:28,207 --> 00:32:30,907 played by Michael Caine... 840 00:32:30,949 --> 00:32:33,129 is also the killer. 841 00:32:33,168 --> 00:32:35,128 - The cinematography is absolutely gorgeous. 842 00:32:35,170 --> 00:32:36,780 It's breathtaking. 843 00:32:36,824 --> 00:32:38,654 So it's unfortunate 844 00:32:38,695 --> 00:32:42,345 that l--it sits on a foundation of transphobia 845 00:32:42,395 --> 00:32:46,655 in a really big way, in a really blatant way. 846 00:32:46,703 --> 00:32:48,103 - It played into a lot of clichés. 847 00:32:48,140 --> 00:32:49,880 I mean, there were, you know-- 848 00:32:49,924 --> 00:32:51,324 trans people as being weird, 849 00:32:51,360 --> 00:32:54,710 being dangerous, being other, being crazy. 850 00:32:54,755 --> 00:32:58,625 - Because "Dressed to Kill" came out at a time 851 00:32:58,672 --> 00:33:03,682 when trans people were still thought of as illegal, 852 00:33:03,720 --> 00:33:07,200 making us murderers made perfect sense. 853 00:33:07,246 --> 00:33:09,116 It wasn't a big stretch 854 00:33:09,161 --> 00:33:12,121 to think that we would go from jail to killing someone. 855 00:33:12,164 --> 00:33:14,694 [eerie music] 856 00:33:14,731 --> 00:33:16,341 - I don't think that's what Brian's intention 857 00:33:16,385 --> 00:33:17,775 of making the film was about. 858 00:33:17,821 --> 00:33:19,261 Doesn't mean it's cool. 859 00:33:19,301 --> 00:33:20,521 I mean, you know, I mean, that part of the film, 860 00:33:20,563 --> 00:33:23,223 I feel like yeah, that has not dated well. 861 00:33:23,262 --> 00:33:25,132 narrator: In 1980, 862 00:33:25,177 --> 00:33:28,217 far more people were upset by the character of Liz Blake, 863 00:33:28,267 --> 00:33:30,527 a sex worker the movie never judges or shames. 864 00:33:30,573 --> 00:33:31,713 - Well, hi. 865 00:33:31,748 --> 00:33:33,488 I'm Liz from the escort service. 866 00:33:33,533 --> 00:33:36,063 I love Liz Blake. 867 00:33:36,101 --> 00:33:38,711 She's smart. She has a sense of humor. 868 00:33:38,755 --> 00:33:42,185 She's comfortable with her sexuality. 869 00:33:42,237 --> 00:33:43,537 She's not afraid of it 870 00:33:43,586 --> 00:33:45,106 or feels like she has to cover it up. 871 00:33:45,153 --> 00:33:47,553 She just--she's a free s-- kind of free spirit. 872 00:33:47,590 --> 00:33:48,900 Do you think you could put together 873 00:33:48,939 --> 00:33:52,069 a--a coffee break and a hot lunch? 874 00:33:52,117 --> 00:33:53,987 For tomorrow? 875 00:33:54,032 --> 00:33:57,172 Yeah, I need a thousand dollars for my mother's operation. 876 00:33:57,209 --> 00:34:01,129 Which was somewhat reflective of my own personality, 877 00:34:01,169 --> 00:34:02,609 but not completely, you know? 878 00:34:02,649 --> 00:34:04,479 I am a child of the '50s. 879 00:34:04,520 --> 00:34:06,040 So I do have that repression. 880 00:34:06,087 --> 00:34:08,087 [chuckles] Liz still lives in me a little bit. 881 00:34:08,133 --> 00:34:10,183 Thank God straight [bleep]s are still in style. 882 00:34:10,222 --> 00:34:11,922 ♪ 883 00:34:11,962 --> 00:34:15,662 - That's why the film doesn't smack of misogyny to me-- 884 00:34:15,705 --> 00:34:17,575 because it feels like 885 00:34:17,620 --> 00:34:21,710 Brian De Palma trying to understand 886 00:34:21,755 --> 00:34:24,845 why people are so hung up on their sexuality. 887 00:34:24,888 --> 00:34:26,848 ♪ 888 00:34:26,890 --> 00:34:29,760 And it is designed to get you 889 00:34:29,806 --> 00:34:31,106 to question your own relationship 890 00:34:31,156 --> 00:34:33,376 with your sexuality. 891 00:34:33,419 --> 00:34:35,249 narrator: In the hands of a master, 892 00:34:35,290 --> 00:34:38,470 graphic scenes of violence become stylish explorations 893 00:34:38,511 --> 00:34:40,511 of the language of cinema, 894 00:34:40,556 --> 00:34:42,816 but film can also be a blunt instrument... 895 00:34:42,863 --> 00:34:44,213 - [screams] 896 00:34:44,256 --> 00:34:45,776 ♪ 897 00:34:45,822 --> 00:34:47,392 narrator: Using violent horror 898 00:34:47,433 --> 00:34:49,743 to make us face the worst parts of ourselves. 899 00:34:49,783 --> 00:34:52,183 ♪ 900 00:34:55,223 --> 00:34:58,923 - [screaming] 901 00:34:58,966 --> 00:35:01,526 narrator: My great love is Italian horror. 902 00:35:01,577 --> 00:35:03,317 - [screaming] 903 00:35:03,362 --> 00:35:05,192 - Italian horror, as opposed to American horror-- 904 00:35:05,233 --> 00:35:07,063 they're like horror movies with no rules. 905 00:35:07,105 --> 00:35:08,315 There were no limits on gore. 906 00:35:08,367 --> 00:35:11,887 [indistinct chatter] 907 00:35:11,935 --> 00:35:12,935 [dramatic music] 908 00:35:12,980 --> 00:35:14,240 - [gasps] 909 00:35:14,286 --> 00:35:15,676 [screams] 910 00:35:15,722 --> 00:35:17,202 narrator: In the '70s and '80s, 911 00:35:17,245 --> 00:35:20,025 directors like Mario Bava, Lucio Fulci, 912 00:35:20,074 --> 00:35:21,604 and Dario Argento... 913 00:35:21,641 --> 00:35:23,731 - [sobbing] 914 00:35:23,773 --> 00:35:25,783 narrator: Took the conventions of horror 915 00:35:25,819 --> 00:35:28,819 and dialed them up to operatic intensity. 916 00:35:28,865 --> 00:35:31,345 [intense dramatic music] - [cries out] 917 00:35:31,390 --> 00:35:32,870 - They didn't know you weren't allowed 918 00:35:32,913 --> 00:35:35,393 to have eyeballs exploding and eviscerations, 919 00:35:35,437 --> 00:35:38,567 whereas American movies or Canadian movies like "Scanners" 920 00:35:38,614 --> 00:35:41,364 had one big moment or a couple of big moments. 921 00:35:41,400 --> 00:35:43,180 [loud pops] 922 00:35:43,228 --> 00:35:46,578 - [howling bestially] 923 00:35:46,622 --> 00:35:48,062 - The Italian movies, 924 00:35:48,102 --> 00:35:51,502 it's just like one after another after another. 925 00:35:51,540 --> 00:35:53,460 narrator: Dario Argento's debut film, 926 00:35:53,499 --> 00:35:55,409 "The Bird with the Crystal Plumage," 927 00:35:55,457 --> 00:35:58,677 took the brutal Italian crime genre called giallo... 928 00:35:58,721 --> 00:36:01,121 [horn honks] 929 00:36:01,159 --> 00:36:02,509 narrator: And turned it into high art. 930 00:36:02,551 --> 00:36:05,951 - [screaming] 931 00:36:05,989 --> 00:36:08,429 [suspenseful music] 932 00:36:08,470 --> 00:36:10,300 - So there was certain tropes you had to follow 933 00:36:10,342 --> 00:36:12,132 for it to be a giallo. 934 00:36:12,170 --> 00:36:14,350 You had to have red herrings. 935 00:36:14,389 --> 00:36:16,609 You had to be guessing who the killer was the whole movie. 936 00:36:16,652 --> 00:36:19,262 The killer had to wear gloves. 937 00:36:19,307 --> 00:36:20,997 ♪ 938 00:36:21,048 --> 00:36:23,748 Dario Argento rewrites the rules 939 00:36:23,790 --> 00:36:24,970 with "The Bird with the Crystal Plumage." 940 00:36:25,008 --> 00:36:28,708 - [shrieking] 941 00:36:28,751 --> 00:36:30,621 - It's got all of the signature things 942 00:36:30,666 --> 00:36:32,926 from Argento and the most fantastic score by Morricone. 943 00:36:32,973 --> 00:36:35,153 The black-gloved killer-- 944 00:36:35,193 --> 00:36:37,283 that, most of the time, was Dario Argento's hands 945 00:36:37,325 --> 00:36:38,585 'cause it had to be done right. 946 00:36:38,631 --> 00:36:40,501 - [screaming] 947 00:36:40,546 --> 00:36:42,976 - Penetrating the victim with a knife... 948 00:36:43,026 --> 00:36:45,026 - [shrieking] 949 00:36:45,072 --> 00:36:46,812 - But very, very stylish. 950 00:36:46,856 --> 00:36:49,596 [intense music] 951 00:36:49,642 --> 00:36:53,042 "Bird with the Crystal Plumage" really announces 952 00:36:53,080 --> 00:36:55,260 the era of the modern horror film... 953 00:36:55,300 --> 00:36:59,390 ♪ 954 00:36:59,434 --> 00:37:02,614 narrator: And was a big influence on Brian De Palma. 955 00:37:02,655 --> 00:37:04,395 - You look at "Dressed to Kill" 956 00:37:04,439 --> 00:37:06,049 and you look at "Bird with the Crystal Plumage"-- 957 00:37:06,093 --> 00:37:07,663 you could put the movies on top of each other. 958 00:37:07,703 --> 00:37:09,843 ♪ 959 00:37:09,879 --> 00:37:11,749 narrator: But the most groundbreaking, 960 00:37:11,794 --> 00:37:14,714 provocative Italian horror film of all time... 961 00:37:16,321 --> 00:37:19,451 Is Ruggero Deodato's "Cannibal Holocaust." 962 00:37:19,498 --> 00:37:21,328 ♪ 963 00:37:21,369 --> 00:37:25,289 Deodato apprenticed under two master directors, 964 00:37:25,330 --> 00:37:28,460 Sergio Corbucci and Roberto Rossellini. 965 00:37:28,507 --> 00:37:30,117 - Francesco! 966 00:37:30,160 --> 00:37:32,950 Francesco! Francesco! 967 00:37:32,989 --> 00:37:34,509 - Think of the violence and the realism 968 00:37:34,556 --> 00:37:35,726 of "Rome, Open City"... 969 00:37:35,775 --> 00:37:37,115 [gunfire] 970 00:37:37,167 --> 00:37:39,737 - Mama! Mama! 971 00:37:39,779 --> 00:37:42,479 ♪ 972 00:37:42,521 --> 00:37:45,221 - And the violence and politics of Corbucci's films. 973 00:37:45,263 --> 00:37:49,623 [gunshot] - [shouting and moaning] 974 00:37:49,658 --> 00:37:51,828 - And you combine them and you get Ruggero Deodato. 975 00:37:51,878 --> 00:37:53,308 [people chanting] 976 00:37:53,358 --> 00:37:54,578 - You're about to witness an ancient ritual 977 00:37:54,620 --> 00:37:56,800 never before seen by civilized man. 978 00:37:56,839 --> 00:37:59,579 - And that's why "Cannibal Holocaust" is so effective. 979 00:37:59,625 --> 00:38:01,275 It's no accident. 980 00:38:01,322 --> 00:38:02,762 [music rushing] 981 00:38:02,802 --> 00:38:04,982 ♪ 982 00:38:05,021 --> 00:38:08,591 - Today is, uh, Saturday the 25th. 983 00:38:08,634 --> 00:38:10,854 If I were in New York right now, 984 00:38:10,897 --> 00:38:12,987 I'd probably be out shopping. 985 00:38:13,029 --> 00:38:14,199 - "Cannibal Holocaust" is the first 986 00:38:14,248 --> 00:38:15,338 kind of found-footage movie. 987 00:38:15,380 --> 00:38:18,510 - [wailing] 988 00:38:18,557 --> 00:38:21,207 [cries out in Spanish] 989 00:38:21,255 --> 00:38:22,595 ♪ 990 00:38:22,648 --> 00:38:24,168 - "Cannibal Holocaust" starts out 991 00:38:24,214 --> 00:38:26,354 with a group of documentary filmmakers 992 00:38:26,391 --> 00:38:29,221 who went down to the jungles of the Amazon 993 00:38:29,263 --> 00:38:31,613 to make a movie about cannibals and never returned. 994 00:38:31,657 --> 00:38:32,957 "Cannibal Holocaust" narrator: Are they still alive? 995 00:38:33,006 --> 00:38:34,696 And if so, where are they? 996 00:38:34,747 --> 00:38:36,007 - They've disappeared 997 00:38:36,052 --> 00:38:37,452 and we don't know what happened to them, 998 00:38:37,489 --> 00:38:39,359 so then Professor Monroe goes through 999 00:38:39,404 --> 00:38:40,714 and kind of retraces their steps 1000 00:38:40,753 --> 00:38:42,453 and finds all these clues 1001 00:38:42,494 --> 00:38:45,374 until he finally finds the skulls of the people, 1002 00:38:45,410 --> 00:38:47,800 and they're dead and there are all the film cans there. 1003 00:38:47,847 --> 00:38:50,547 ♪ 1004 00:38:50,589 --> 00:38:51,719 [eerie whirring] - Okay. 1005 00:38:51,764 --> 00:38:53,374 - The second half of the movie 1006 00:38:53,418 --> 00:38:55,508 is him back in New York City, watching the footage, 1007 00:38:55,550 --> 00:38:56,940 and what he sees is shocking. 1008 00:38:56,986 --> 00:38:59,726 [intense ominous music] 1009 00:38:59,772 --> 00:39:03,652 ♪ 1010 00:39:03,689 --> 00:39:05,469 - You know thisis gonna make us famous. 1011 00:39:05,517 --> 00:39:06,687 - Yeah, you think so, huh? 1012 00:39:06,735 --> 00:39:07,865 - Yeah. - How famous? 1013 00:39:07,910 --> 00:39:09,870 - Real famous and real rich. 1014 00:39:09,912 --> 00:39:12,262 [gunshot] - Die! 1015 00:39:12,306 --> 00:39:14,086 - But Professor Monroe discovers 1016 00:39:14,134 --> 00:39:15,884 that it wasn't that these documentary gr--filmmakers 1017 00:39:15,918 --> 00:39:18,048 were preyed on by cannibals and eaten by cannibals. 1018 00:39:18,094 --> 00:39:19,404 They were actually the manipulators. 1019 00:39:19,444 --> 00:39:22,324 [Riz Ortolani's "Love with Fun"] 1020 00:39:22,360 --> 00:39:25,320 [slow upbeat music] 1021 00:39:25,363 --> 00:39:32,503 ♪ 1022 00:39:32,544 --> 00:39:35,244 narrator: Deodato has said the film was a reaction 1023 00:39:35,285 --> 00:39:37,455 to the media's sensationalized coverage 1024 00:39:37,505 --> 00:39:39,155 of Italian terrorists. 1025 00:39:39,202 --> 00:39:41,162 [eerie music] 1026 00:39:41,204 --> 00:39:42,604 But for many viewers, 1027 00:39:42,641 --> 00:39:44,771 the political message was overshadowed 1028 00:39:44,817 --> 00:39:47,597 by the film's extremely realistic violence. 1029 00:39:47,646 --> 00:39:49,386 [tragic music] 1030 00:39:49,430 --> 00:39:51,740 - Everyone thought "Cannibal Holocaust" was real, 1031 00:39:51,780 --> 00:39:54,440 and this was years before "Blair Witch." 1032 00:39:54,479 --> 00:39:56,699 "Cannibal Holocaust" was so shocking 1033 00:39:56,742 --> 00:39:59,882 that Ruggero Deodato was brought up on murder charges. 1034 00:39:59,919 --> 00:40:02,049 ♪ 1035 00:40:02,095 --> 00:40:04,305 - But when he actually ended up in court, 1036 00:40:04,358 --> 00:40:06,928 Deodato was acquitted on the--the human killing 1037 00:40:06,969 --> 00:40:09,279 because he actually brought out the actors and said, 1038 00:40:09,319 --> 00:40:10,629 "Okay, you-- you think these guys are dead. 1039 00:40:10,669 --> 00:40:11,759 Here they are." 1040 00:40:11,800 --> 00:40:13,540 [indistinct shouting] 1041 00:40:13,585 --> 00:40:16,805 narrator: "Cannibal Holocaust" deeply affected me, 1042 00:40:16,849 --> 00:40:19,159 so much so that I had to make my own cannibal movie. 1043 00:40:19,199 --> 00:40:21,549 [all shrieking] 1044 00:40:21,593 --> 00:40:23,123 The documentary 1045 00:40:23,159 --> 00:40:25,029 that the kids in "Cannibal Holocaust" are making 1046 00:40:25,074 --> 00:40:26,994 is called "The Green Inferno." 1047 00:40:27,033 --> 00:40:28,993 So I named my movie "The Green Inferno" 1048 00:40:29,035 --> 00:40:30,595 as a nod to "Cannibal Holocaust." 1049 00:40:30,645 --> 00:40:34,075 [man screaming, flesh squelching] 1050 00:40:34,127 --> 00:40:35,957 This was the feature-film version of that. 1051 00:40:35,998 --> 00:40:38,698 [man screaming, flesh squelching] 1052 00:40:38,740 --> 00:40:41,790 - [exclaims in language] 1053 00:40:41,830 --> 00:40:43,570 narrator: Some artists are compelled 1054 00:40:43,615 --> 00:40:47,305 to challenge their audiences, but how far is too far? 1055 00:40:47,357 --> 00:40:50,577 For me, "Cannibal Holocaust" is right at the edge. 1056 00:40:50,622 --> 00:40:53,362 For others, it's way over it. 1057 00:40:53,407 --> 00:40:55,497 - I really think it's a movie that is so offensive 1058 00:40:55,540 --> 00:40:56,890 and so horrific 1059 00:40:56,932 --> 00:40:59,372 and really has something to offend everybody. 1060 00:40:59,413 --> 00:41:02,293 [dissonant music] 1061 00:41:02,329 --> 00:41:03,549 - It's supposed to be shocking. 1062 00:41:03,591 --> 00:41:04,771 You're not supposed to just watch it 1063 00:41:04,810 --> 00:41:05,460 and then move on to something else. 1064 00:41:05,506 --> 00:41:06,936 You know, 1065 00:41:06,986 --> 00:41:08,286 if you can get through "Cannibal Holocaust," 1066 00:41:08,335 --> 00:41:09,505 you see some of the most incredible, 1067 00:41:09,554 --> 00:41:11,294 incredible filmmaking ever. 1068 00:41:11,338 --> 00:41:15,908 ♪ 1069 00:41:15,951 --> 00:41:18,741 [eerie music] 1070 00:41:18,780 --> 00:41:23,050 narrator: Horror is where our nightmares come to life. 1071 00:41:23,089 --> 00:41:26,479 It reveals humanity at its best and its worst... 1072 00:41:26,527 --> 00:41:28,487 ♪ 1073 00:41:28,529 --> 00:41:31,529 What we desire and what we dread, 1074 00:41:31,576 --> 00:41:32,526 who we are... 1075 00:41:32,577 --> 00:41:34,227 [gunshot] 1076 00:41:34,274 --> 00:41:35,584 And what we're afraid we might be. 1077 00:41:35,623 --> 00:41:36,973 - [grunts] 1078 00:41:37,016 --> 00:41:38,276 narrator: If we have the courage 1079 00:41:38,321 --> 00:41:40,061 to face our nightmares, 1080 00:41:40,106 --> 00:41:42,366 we can conquer our deepest fears. 1081 00:41:42,412 --> 00:41:43,502 - [screaming]