[eerie music playing]
[screaming]
[evil laughter]
[woman screaming]
[laughing maniacally]
[growling]
[screaming]
[Zak] During my investigations into American serial killers,
I've been forced to confront
some of the most disturbing crimes
of the last century.
But when it comes to sheer horror,
few can match the terrifying actions
of Ed Gein.
The Plainfield Butcher.
His crimes provided the inspiration
for films like Psycho, The Texas Chainsaw Massacre,
and one of my favorites,
Silence of the Lambs.
And it's easy to see why.
What investigators found in his Wisconsin home
in 1957, continues to shock us almost 60 years later.
Now, inside Gein's House of Horrors,
the police found it was filled with body parts.
Some taken from victims he had killed himself,
but others dug up from graveyards.
Now, Gein was using his gruesome collection to make masks,
corsets and leggings.
All part of a horrifying skin suit
that he wanted to make and then wear.
And investigators also came upon a large cauldron
that played a very dark role in Gein's plan.
The madman's last victim was strung up over it,
field dressed like a deer.
Draining blood into the heavy metal pot below.
[dripping]
Now, that cauldron was sold at auction in 1958
to an antiques dealer.
And the cauldron ended up in the back of a garage,
where it remained until its owner passed away
several years ago.
Now, immediately after the cauldron was found,
those who were standing closest to it
became severely ill.
And in fact, the people there on the day it was discovered,
five of them died unexpectedly within the next 18 months.
Desperate to get rid of it,
the survivors sold it at an auction in 2016
to me.
And when I agreed to house it in my museum,
they left me with a very chilling warning.
Quote,
"I think you are knocking on the devil's door.
Don't be surprised if he answers."
Now, in hopes of discovering
who was attached to the cauldron,
I asked my good friend, a witch from England,
Lady Snake,
to attempt to make contact.
Rest in peace, Lady Snake.
Now, her terrifying encounter with this entity
left no doubt in my mind
that something truly evil lurks within this artifact.
And following this event,
I began to wonder if the entity
was in fact the spirit of Ed Gein himself.
And that perhaps, his dark work in this world,
was far from over.
These thoughts inspired the film
you are about to watch.
[eerie music playing]
[man] Here we go.
[woman] So, we can take anything we want, right?
[man] Yeah.
[Jess] Hi. Can I get started on something?
[man 2] Just dive in.
[chuckles softly]
[man 1] Looks like a lot of junk.
[man 2] Be nice. It's free.
[man 1] It's a little thrift store in here.
[man 2] No kidding.
[gasps]
[blood dripping]
What the hell?
Ugh.
[Jess] Oh, my God. Are you okay?
[man 1] I'll be right back.
[man 2] Great. We're down a man already.
[ominous music playing]
[breathing heavily]
[rattling]
[sighs]
Hey, Blue.
Hey, buddy!
[dog growling]
[barking]
Hey.
-[dog whimpering] -Hey.
Hey, Blue. Hey. There we go.
[chuckles]
What's wrong, buddy?
[tap on window]
[wind blowing]
[Lucy over phone] How was yesterday?
You feel, uh, closure and all that?
She was an old family friend.
I was just helping to clean up
with some of the neighbors, and one of her nephews--
[Lucy] The nephew, huh?
-The cute, single nephew? -Come on, Lucy. [chuckles]
[Lucy] Well, did you at least get to take away some, uh,
you know, jewelry, diamonds?[chuckles]
No. No hidden treasures.
Although there was this one thing that was kind of...
-weird. -What?
What is it, Jess?
It's nothing.
[Lucy] Hey, are you in tomorrow?
No, I have to pull a double in Emerge this weekend
so I'm taking a couple days off.
[Lucy] Okay.
Mmm. Need to get back.
-Bye, Luce. -Bye, babe.
[suspenseful music playing]
Blue. Lie down.
[bed creaking]
Blue.
[woman whimpering]
Blue?
[dog barking]
Hey, buddy.
[growling]
[ominous music playing]
[sighs]
Blue?
[clicks tongue]
Come on, boy.
Blue?
Blue!
[Jess whistling]
Blue?
[loud rattling]
[woman whimpering]
[eerie groaning]
[eerie groaning continues]
[woman sobbing]
[ominous music playing]
[rattling]
[Lucy] He chased you?
Yeah, but not all the way.
Eventually, I turned around and he was gone.
I ran so fast, Luce.
-Did he say anything? -No. Nothing.
[Lucy] Wasn't Blue there to protect you?
No.
I was actually out there looking for him.
[Lucy] What? Where is he?
I don't know.
I woke up this morning and he was gone.
And the back door was open--
[Lucy] You left the back door open?
No, that's the thing.
I don't think I left it open.
I thought I locked it last night,
but I guess I'm wrong.
[Lucy] Okay. Well...
If you want me to help you look for him,
just let me know.
Oh, Blue.
What are you looking at?
Ouch. When did you get that?
[Jess] I woke up with it.
It hurts.
[Lucy] Wait, let me see it again.
Is it poison ivy? Maybe from your, your walk in the woods.
I wasn't in the woods yesterday.
Luce, I...
I keep seeing this...
-[ominous music playing] -[Lucy] What?
What is it?
He's...
-he's here. -Who?
-I have to call you back. -Wait.
Who? Jessie...
[line ringing]
[operator] 911, what's your emergency?
No, I understand.
But I just checked your entire property
and I didn't find anyone.
But, but he was here and he chased me.
-And... -Hey, it's okay.
I believe you.
Can you describe him to me again?
Yeah. He was wearing...
A green hat and a dark jacket.
It was... I think blue or black.
And, I don't know.
His face...
I don't know, his face was strange,
but, maybe he was wearing a mask?
I, I couldn't really tell.
Listen.
Call me directly if this person shows up again.
That's it?
Miss, there's nothing else I can do right now.
[Jess] Deputy...
If, if you see a dog,
A, a Weimaraner about two years old.
Really, really friendly.
His name's Blue.
Uh, could you let me know?
Sure.
[exhales]
[Lucy] Oh. Oh, my God.
Oh, yeah, that is not poison ivy.
Yeah. I know.
God, it's even worse than this morning.
Okay, I think you need to come back to the hospital with me
and we can show it to Doctor--
I'm, I'm in on the weekend. I'll get it looked at then.
Okay.
Hey, what were you saying earlier?
[Jess] When?
Like, on the phone. That you keep seeing...
Keep seeing what?
Oh.
Ever since the garage...
I keep seeing and dreaming about this... shed.
It's never happened before, but it's so...
It's so vivid. It's like I'm walking towards it.
What... A shed.
There's this feeling that I'm being pulled
by something towards it...
And there's blood on the ground.
And the words, "Archer, Two" are written on it.
Archer...
Like a...
Like a bow and arrow "archer"?
I don't know.
[Lucy] Archer two...
Two Archer?
Maybe? Like an address.
Archer and 2nd Avenue.
[Jess] That's near Plainfield.
[keyboard clacking]
[Jess gasps]
Jessie, is that the one you saw?
Uh... I'm, I'm not sure.
It looks like it.
Keep going.
Wait, wait. Go back.
-Oh, my God. -What?
That cauldron.
I saw it in the garage.
What? Don't they all look the same?
No. No, no, no. That's it.
-Jess, it could just be a coincidence or something. -No!
-That's the one. -Okay.
Um...
Okay, here.
"Gein was arrested on the evening of...
...body found decapitated...
Skin..."
Oh, here, here.
"The cauldron believed to boil hog fat at first
before cooking his victims' body parts in it--"
Can you please just stop?
Well, don't you want to know more?
-[beeping] -Oh, shoot.
Oh, I gotta get back to the hospital.
Hey, are you okay?
Yeah.
It's... it's fine.
Okay.
Well, I gotta go 'cause I'm gonna be late,
but, hey, I was just playing around, okay?
-[exhales] -Hey.
How about I pop by tomorrow?
-Yeah. Okay. -Okay. Get some sleep.
[suspenseful music playing]
[phone ringing]
Hello?
[woman] Yes?
Yes, can I help you?
Who is this?
You called me, honey.
Are you looking for anything?
You have a question?
-[bell dings] -Hold on, I have a customer.
Evening, sir.
If you need help, just let me--
What do you mean by that, sir?
[woman groans]
-[thuds] -[groans]
-Miss? -[woman groaning]
Miss?
[breathing heavily]
Hello?
[line disconnects]
[panting]
[breathing heavily]
[automated voice speaking] Hi, it's Lucy.
Can't come to the phone right now,
but leave a message and I'll get back to you as soon as I can.
[Jess] Hey, Luce, it's, it's me.
Um, my arm has gotten worse. Way, way worse.
I'm gonna be in Emerge in about 20 minutes.
Can you... can you meet me there when you're on break?
Okay. I'll see you in a bit.
[groans]
[moans]
[whimpering]
[woman gasps]
[woman sobbing, panting]
[floor creaking]
[ominous music playing]
[whimpering]
Help me.
[breath trembling]
[woman] Help me.
[jazz music playing]
[distorted] Hello?
[woman on phone] Hello?
Who is this?
Hello?
Miss?
Hello?
[glass breaking]
[woman groans]
[distorted] Hello?
[woman screaming]
[ominous music playing]
Help! Help me!
Help, help!
[screaming]
[high-pitched static]
[grunts]
[phone ringing]
Jessie?
Wait, where are you? Hello?
[Jess] I'm at home.
[Lucy] Were you at Emerge last night?
I couldn't find you.
I, I have to go out there. I have to get to his place.
[Lucy] What are you talking about?
She showed me. She, she showed me.
-Who showed you? -Her.
-Lucy, I... -Showed you what? What are you talking about?
I know that it won't stop. It's not gonna stop and it's in my head,
but it's not in my head.
And I just, I need to get out there.
I have to help her.
[Lucy] Calm down, Jessie.
Please don't go or do anything. I'm coming over.
No, no. I have to go now!
[Lucy] What? Uh, I don't know what's going on with you
but I'm coming over, okay? And we'll go from there.
-You're not listening. -Jessie.
I have to go.
[jazz music playing]
[music looping]
[phone ringing]
[jazz music playing]
[music stops]
[phone ringing]
[Lucy] Jessie?
-Where are you? -It's right here in front of me.
[Lucy] What is?
The house.
[Lucy] That's impossible. It burnt down years ago.
-I'm going to the back. -Wait, no. Just...
Wait until I get there.
Okay? You're not, you're not making any sense.
Jessie?
[ominous music playing]
[blood dripping]
[panting]
[banging on door] Help me!
No! [whimpering]
[metal clanking]
Jessie!
[sobbing] Oh, my God.
Jessie, what happened?
No.
[ominous music playing]
[theme music playing]
♪♪
Hi, I'm Eli Roth, welcome to Filmmaker 2 Filmmaker,
I'm back with the amazing Cat Hostick. Welcome Cat.
Hello, thank you Eli.
Cat is overseas, you are in Paris,
I am in Toronto.
Yes.
ELI: Even though the sets look amazing similar.
How familiar were you with this story, one of the
grizzliest stories in American history?
CAT: Well, I did know there was movies based on
Ed Gein, like Psycho, and Silence the Lambs,
and Texas Chainsaw Massacre.
So I knew that and I was super excited.
Psycho is the first movie that I saw,
so I was like "“oh this kind of feels full circle.
By the way, how crazy is that?
That you did the Haunted Shower episode on
Urban Legend, which is obviously, you know,
"“Psycho"” inspired with the shower?
I know.
ELI: But most of the stuff that you've done, uh, at
least with our, shows have been kind of ghosty,
and this is a pretty grizzly story.
Let's talk about your approach to the story
and telling the story of this gruesome,
gruesome object.
Yeah, so my approach to this story,
it's very dream-like almost,
like we really get into someone's head.
Basically, this girl is helping clean out this garage
for a friend of the family type thing that's passed away,
and she touches this cauldron in the garage,
then she gets this rash that starts evolving,
and she starts seeing things.
♪♪
CAT: The way Adam Macdonald wrote it,
it's very dream-like, though and surreal.
In a way I kind of approached, not even taking so much
from other horror movies, but in a way, my background with art.
Like I almost thought of like "“Salvador Dolly"”
and I'm like how can I bring elements of this to this piece?
Yeah, I don't know if that answered your question but-—
It does because I think with Psycho, Texas Chainsaw Massacre,
Silence the Lambs, Deranged,
even Three on a Meat Hook.
I mean, there's always the weird guy that lives in a barn
that chops people up and skins women.
Yep.
And you went almost the David Lynch approach to it.
Mm-hm.
That's your sensibility, is to approach
the material and turn it almost into a surrealist
dream-sequence, because in a way it's almost like
a body horror movie.
The way the cut goes, and then the rash starts,
and it turns psychological.
Yeah.
Yeah, so I love that you used Dolly,
and that you brought in those different elements
when you were approaching the story
and didn't just go with the straightforward gruesomeness
Thank you.
Yeah, it's um, again, this episode is very different
in the way that I usually approach it, and I really
loved working on the sequence where
she's visited by this woman from the 50's and you learn
that this is the woman that was killed by Ed Gein,
and she was abducted from her store and she
walks towards her and it starts becoming surreal
in that moment, the way in which I shot it,
and then touches her and she goes-—she falls as if she's
falling into this dream, and then the camera falls
with her, which I loved doing that.
We make it all slow-motion and then she goes into
this dream, in this different world,
and we see-—we're in the woman's shop
and seeing the broken glass all over the floor,
obviously there was a struggle,
and then she kind of walks through
the store and out back.
And through that door, we see Ed pulling her into
the shed and she's screaming.
[screaming]
CAT: I just really loved doing that sequence
because it was horrifying, but also it's
very surreal and dream-like
and I just really love shooting stuff like that.
And that's where I think horror excels.
When you're doing a court-room drama
or a comedy or a thriller,
I mean thrillers obviously have more cinematic elements.
But when you're in a dream sequence in a horror movie,
it is just-— it's almost like straight
from your sub-conscious, it's almost like pure cinema.
Oh yeah, no, I totally agree.
Um, it's, I have-—- I don't know about you,
but I dream very vividly.
I remember all my dreams from every night-—I could just.
so for me, doing something like that
is so exciting and really just trying to show
exactly what is in my head and what I experienced,
and put that on camera, and it's the great thing
about doing horror, um,
that you can do that kind of stuff
that you don't get to do in dramas.
You can really experiment and really just...
give your audience-— really make them feel something,
um, in a way that they may not
even fully understand, but it just stays with you.
Well Dreams have their own logic,
and they don't match the logic of our world,
there are things that just make sense
in the context of the dream.
And I've always heard that, movies are almost like
the closest conscious experience we have to dreaming,
because we're experiencing something,
we're seeing it, we feel like we were there,
but we weren't really there.
And, I think that horror movies in particular are
the closest to dreams.
Talk about the Ed Gein character and kind of
taking a super-natural approach to him,
and the tricks you did to sort of give him that
super-natural quality.
We had to create a face for this character,
our artist, Hally, they did such a fantastic job,
when I first saw it, I was like wow.
And people on set, even the actress, she was like,
"I can't even, I can't even look at him"
and people we're really freaked out.
Like multiple people on set we're really
freaked out by this.
This mask that was created for him,
because this whole time he's wearing this mask
so that the idea is that the face of a woman,
like he skinned a woman,
and then it's on his face and you don't know
if it's like a man or a woman and it's very ambiguous,
it's just very.bizarre.
And on a completely different subject,
I know a lot of people will be watching this,
certainly young women will watch this who want to be directors.
Is there any universal piece of advice you would give
to someone that wants to be sitting in the director chair where you are now?
How do they get from making films on their iPhone
to actually getting to tell stories
on a bigger canvas the way you are?
Ooh, um...I think most people just have fear of,
making their first thing, because they don't know how.
I think that you just need too-—even if you do
something with an iPhone, you do something with a
DSLR, you just have to do it and like get it out
of the way and find your voice and experiment
and I think you can just build on that.
Um, and the other thing I would say is, I think
connections and talking to people, and asking
questions is like, absolutely everything,
like put yourself aside and just talk to people,
learn, ask.
I just kept doing that and stopped making
excuses and asked a lot of questions and one thing
led to another so.that's the best advice I can give.
Great advice. No, I completely agree.
I am very glad that you did and that you pursued it.
I love your work, I love your films,
I think that you really are so adept at handling
different styles of horror, of different types of stories
within the horror genre.
I love your dream sequences.
I'd love to see anything you do, inside horror, outside horror,
I'm such a fan of yours's Cat.
I'm so thankful that you directed the episode,
it's really a pleasure to watch you work.
Likewise, Eli, thank you so much.
Always good talking to you.
Awesome.
Enjoy Paris, have a great time,
enjoy those croissants for me,
and we'll see you in the next one.
Okay, thanks a lot.