Gilbert Gottfried's Amazing Colossal Podcast - GGACP Classic: Halloween 2020 with Joe Dante and Mick Garris

Episode Date: October 31, 2024

GGACP celebrates one of Gilbert's favorite seasons by revisiting this Halloween episode from 2020, featuring film directors (and monster kids) Joe Dante and Mick Garris. In this episode, Joe and Mick join the boys for a frighteningly good conversation about giant insects, evil hunchbacks, cheesy haunted house flicks, the glory days of horror anthologies and the 60th anniversary of “Psycho.” Also, Basil Rathbone goes slumming, Bogie plays a mad scientist, Anthony Perkins puts Mick to the test and Joe sings the praises of Dick Miller and John Carradine. PLUS: “She-Wolf of London”! “The Man with Kaleidoscope Eyes”! The genius of William Castle! The “Colossal” cinema of Bert I. Gordon! And Joe and Mick salute the late, great Larry Cohen! Learn more about your ad choices. Visit megaphone.fm/adchoices

It's hockey season, and you can get anything you need delivered with Uber Eats. Well, almost, almost anything. So no, you can't get an ice rink on Uber Eats. But iced tea, ice cream, or just plain old ice? Yes, we deliver those. Goaltenders, no. But chicken tenders, yes. Because those are groceries, and we deliver those too.

Along with your favorite restaurant food, alcohol, and other everyday essentials. Order Uber Eats now. For alcohol, you must be legal drinking age. Please enjoy responsibly. Product availability varies by region. See app for details. After decades of shaky hands caused by debilitating tremors, Sunnybrook was the only hospital in Canada who could provide Andy with something special. Three neurosurgeons, two scientists, one movement disorders coordinator, 58 answered questions, 2 focused ultrasound

procedures, 1 specially developed helmet, thousands of high intensity focused ultrasound waves, 0 incisions, and that very same day, 2 steady hands. From innovation to action, Sunnybrook is special. Learn more at sunnybrook.ca slash special. TV, comics, movies, stars, hit singles and some toys. Trivia and dirty jokes. An evening with the boys. Once is never good enough for something so fantastic.

So here's another Gilbert and Franks. Here's another Gilbert and Franks. Here's another Gilbert and Franks! Colossal Podcast with my co-host, Frank Santopadre. Well, it's my favorite time of year again, and Frank and I are hosting a special Halloween double feature this year by welcoming back two guests and two of the most original, inventive, audacious filmmakers of their generation.

Joe Dante is a writer, producer, occasional actor, podcaster, and film historian, and the celebrated director or co-director of much loved feature films such as Piranha, Gremlins, Gremlins 2, The New Batch, The Howling, Explorers, Twilight Zone, the movie, Inner Space, The Burbs, Amazon Women on the Moon, Matinee, Small Soldiers, Looney Tunes Back in Action, The Hole, among others, as well as the popular TV series including Amazing Stories, Eerie Indiana, Police Squad,

Splatter, and Twilight Zone. He's also one of the world's leading authorities on world cinema and motion picture history, and one of the founders of the wonderful, old consuming website Trailers from Hell, as well as the co-host of the wildly entertaining podcast The Movies That Made Me, featuring guests like Martin Short, Edgar Wright, William Friedkin, and even his old boss Roger Corman. Mick Garris is an author, journalist, producer, screenwriter,

Edgar Award winning TV writer and the director of celebrated features and miniseries for the big and small screen including Critters 2, Writing the Bullet, The Stand, The Shining, Quicksilver Highway, Desperation, Bag of Bones, Nightmare Cinema, Psycho 4, The Beginning, as well as Stephen King's first original screenplay, Sleepwalkers. He also wrote screenplays for the original stories for films, batteries not included, The Fly 2 and Hocus Pocus. And he's written and directed hours of episodic television for amazing stories, the magical world of Disney, Tales from the Crypt, Once Upon a Time, and the acclaimed anthology series Masters of Horror, which he also created. He's the host of the essential podcast Postmortem, which has included guests such as Elijah Wood, David Cronenberg, Stephen King, John Carpenter, and his new

book is called These Evil Things We Do, The McGarris Collection. Please welcome back for a special Halloween episode, two true masters ofara and two of our favorite grown-up monster kids, Joe Dante and Mick Garris. Well, how are we gonna follow that? I think we're wrapping it up now. Thank you. These these introductions could also be used as obituaries. I feel I'm there. How Halloweenish of you. Now first I'll start with Mick. You thought the Claude Rains version of The Lost World was good? I did because what was I 10 years old when I saw it and I saw it in the theater and it was color and it had dinosaurs in it even though they were lizards with fake gills but sure anything like that was great and Claude Rains was the invisible man so to a 10 or 12 year old it was Nirvana.

Yeah because I I hated I always hated when I'd watch a dinosaur movie and it would be lizards. And because that, that even as a kid, I couldn't watch lizards there. I want stop action. Well, there was always, there was always the cruelty factor, you know, if you really started to think about how did they get there to do that stuff? And you know, how did they glue that stuff on them, those fins and all those things? But that all started basically with 1 million BC because, you know, before that, they'd

been stop motion pictures like the lost world. But when Hal Roach decided to make the One Million BC, he did arguably the best lizards as dinosaurs that had been done. And also they were so effective that that footage ended up appearing in movies for the next 20 years. They would actually write entire movies

around the footage from One Million BC. Because it was quite elaborate. They had their sets and they had exploding volcanoes and they had earth falling apart and all that stuff. And all that stuff ended up being used over and over and over to a point where finally I think Erwin Allen, when it was time to make The Lost World, he said, you know, our picture is in color. We can do the same thing, we gotta do it. We gotta do it ourselves.

And yet they still copy some of the setups and some of the ways the rear screen was used in Moe Me and B.C. in Lost World. Which I agree was a lot of fun when I was a kid. I mean, it was like, it was a very exciting movie to see on a big screen. Dr. Challenger, after all, yeah. And they used to, I think, stick pins It's a very exciting movie to see on a big screen. Dr. Challenger after all.

And they used to, I think, stick pins in the dinosaurs to fasten the horns on them and then they would burn them and poke them to get them to move. Oh, and roll them down the hills. You know, I'm now a vegan and have been for years. Good for you Mick there was no such thing back when I was 10 or 12 years old but you know I loved Willis O'Brien and Ray Harryhausen and all their creations but I took whatever I could get when I was a kid and I could never figure out how they got them to fight because there's always these scenes

where they're fighting which harksarks back to all the underwater pictures that are constructed around footages of octopuses and sharks fighting. Because if any low budget producer got ahold of some good footage of animals fighting, he'd just make a movie around it. Usually Mexican. Yeah.

And also in the universe, He'd just make a movie around it usually Mexican And also in the Universal Frankenstein pictures It was constantly scenes from previous films That would pop up like when Glenn strange in House of Dracula's in the fire, we see Lon Chaney face being burned and Boris Karloff being hit by the giant thing and it was just old scenes from previous Frankensteins. But that was when they were, you know, cutting the budgets and the series was on its last legs. But when those pictures were sold to television, you know, they were all sold out of order.

So you know that you did get to see the first first Dracula, the first Frankenstein, the first Wolfman, the first mummy together. But then after that, the sequels that the guys who are programming this stuff had no idea what all these pictures were made in. And so when you're a kid, you had to piece together what the continuity of the series was. And it was hard to do because sometimes they would cheat and he would get killed at the end of one episode and then he'd get resurrected in the next episode. And you'd have to figure out, oh, now this is the one where he gets burned

and then he comes back and he's got burn marks on him. And, you know, they did that with the mummy too. And it really got to be, until Famous Monsters came out and you could actually get somebody to write seriously about the movies, you had to just put it together in your own 11 year old head as to what the continuity was for these movies, which the first one is, the first Frankenstein is a 1930s set movie. It was a contemporary movie.

But Bride of Frankenstein, which is this direct sequel, is a period picture. It's the same character. Strange. But now it takes place a hundred years earlier. Right, now you got Mary Shelley, the prologue. Gil, tell Joe and Mick the thing you bit used to do in your act about the Frankenstein castle.

Yes, I used to grab the go to the mic and go No, don't touch that lever. It'll blow up the castle. I Years ago when we built the castle. Hey the guy said you want to live it or blow it up Now I gotta be careful not to accidentally throw my coat on it. But you know, the Frankenstein and Wolfman and Dracula pictures, they gave up on, at least in Bride of Frankenstein, he was burned and his clothes were torn up.

But then after that, they gave up on it. It was different time periods, different countries. Yes. And, uh, but what was really interesting about the series and all the pictures they were making at Universal in the forties is they're all set in Europe and it's all during the war and there's no war. Yeah. It's all in Vassarie, this strange land where there's no effort to worry about the

Nazis or anything like that. The only picture from the 40s, monster picture that I can remember that addressed the war was Return of the Vampire, which actually takes place in a bombed out graveyard during the war. But for the most part, they just sort of ignored it. And it was like wartime horror audiences just didn't want to think about the war. Well, they became kind of kitty matinees too. And they were monster mashes once it was, see Frankenstein's monsters, see Dracula,

see the Wolfman all in one big movie together. And it really became much more for younger audiences than the originals. You know, the original Frankenstein and Dracula and Wolfman are very adult. They're dramas that, they're dramas first that happen to have monsters in them and later they became monster parties. And when they had the monster parties, what always made me laugh is the original hunchback of Notre Dame. He's a completely deformed man, half blind and deaf. And then after a while, just being a hunchback

made you a monster. That's true. So they'd have these people that looked 100% normal, but they'd have a pillow in the back of their shirt. Well, at least when J. Carroll Nash played it in House of Frankenstein, he actually hung out with a bunch of real people who were deformed to try to figure out who they were and how they acted. But by the time they got to the next picture, they used this starlet named Jane Adams to

play a hunchback by literally sticking a pillow up her back. And otherwise she was just this cute girl. In a nurse's uniform. But on the poster was like a hunchback. Yeah, they used to go Frankenstein Dracula a hunchback. Not very aware. It was kind of like someone with a learning disorder. Someone who lisp. See the lisp-er.

Guys, we had Rick Baker here last year and Gilbert and I talked about a movie that comes up a lot on this show and that's The Black Cat, which I've seen Joe write about as one of his favorites. And it's a film that's impossible to define or describe to anybody who hasn't seen it. It's an acid dream. It's a very strange film. And it ruined his career because that was the picture

where he got kicked off the lot for sleeping with the wrong people. That's right. Oh dear. But it's a very, very weird movie and it's a very dark World War I death trip. There's various claims that it was successful or it wasn't successful. It's only 65 minutes, so it couldn't have been that many single bills of, of the black cat, but it, and it was reshot like in the middle of shooting, they just said, no, we can't do this. This is too horrible.

They went back and they reshot a whole bunch of it to make Bela Lugosi into a sort of a hero because he was just as bad as Karloff originally. And he's actually skinned him alive in the, in the script. There's a description of the skinned alive body crawling toward him, you know. And I don't know if they ever shot any of that stuff, but by the time Uncle Carl got a look at it, it was like, wait a minute, wait a minute. Cause you know, he was responsible

for taking 10 minutes out of Dracula before it was released, much to Todd Browning's chagrin. And if you see the Spanish version that was shot at the same time at night on the same sets with a different crew, you see all of the ends and beginnings of the scenes that have been removed from the American version. There's a great scene where the maid faints

and Renfield is crawling toward her and we figure when he gets her, he's gonna like vampirize her or something and it cuts away. But in the Spanish version, you see that what he was going after was that there was a fly on her that he eats. And that was apparently in the original American version, but it was all cut out.

Wow. But Black Cat still remains pretty effective and cruel for its time. It's kinky too. And it's so artistic. It's so beautiful, the use of shadows and just the horror of that scalpel and knowing that a skinning is about to take place, a flaying is underway. It's beautifully done and it's terribly, horrifyingly tense. And it's got a great music score by many of the great composers. And it's got art deco design and a digital clock. Yep. They have it oh and it has my favorite dialogue, one of my favorite dialogue screwups

from Baito Legosi where I guess they either said tear or flay the body and Legosi says now I'm going to fare the body. It's a combination. It works. Joe, I heard you talking about how you would go searching for those movies in the old days. It was something you'd discover at two o'clock in the morning. And you were talking about how we live in an era where everything is available all the time.

Everybody has access to this stuff, to physical media. Do you miss, you think it's sad for these kids that they don't have, they don't get to take part in the hunt? Well, you know what I mean? That era, it was a specific era that we were lucky to be in. Lucky in that it was a bonding experience for all of us and we all have this vestigial memory of the fact that we saw these things together and discovered there were other people like ourselves out there.

And because the movies weren't that easy to see, you know, when they were finally aggregated and put on TV as shock theater, then it was like at least every Friday night and Saturday night, you knew that these pictures were gonna run. But before that, it was like if you wanted to see a movie and you missed it, you had to wait a year

for them to run it again. And if it was on in the middle of the night, you had to prop up your eyes with toothpicks and try to stay awake. And of course you'd fall asleep. And so then you'd have to wait another year. And so it became holy grail to get to see some of these movies, you know, and some of them were just not in the same package that your station had. And so you'd have to try to tune them in from faraway cities

where there's snowy reception on your TV, but you can sort of hear it and sort of see it, but you've always wanted to see it and it's all grainy and it's Devil Girl from Mars, which you've never heard of, but now you don't know any more about it than you did before you tried to watch it. But today, it's an embarrassment of riches. I mean, we not only we have better prints and the people have gone back to the negatives

and, you know, restored stuff and which is terrific. But because of its easy availability and because there's so much else going on and so many other opportunities for people to see things, it's just a little harder to have the kind of intense identification sure to stuff that we did. I remember going through TV Guide every week as soon as it would come in the mail and mark everything that was was titled melodrama. They wouldn't have the balls to call it horror, but it was Dracula melodrama or the four skulls of Jonathan Drake melodrama and mark them so that I would know when they were on and be able to stay up and and like Joe said you're at two in the morning with toothpicks holding your eyes open but damn it you saw it and you could notch it on your belt.

as a kid was I knew there was an episode of Route 66. Owlet's Wing and Lizard's Tale, I think it was called. And I knew it had Boris Karloff, Lon Chaney Jr. and Peter Laurie. And I would check the reruns of Route 66 every day to see if they, and the one day I didn't check that's the day they showed it. Damn. Damn.

And you had to wait another year as Joe was saying. Yeah. Oh, I waited many years. It wasn't a good episode, but still. But they were in it. Or Boris Karloff. They were in it. And the girl from Uncle, I remember that.

Yes. But the whole deal was he put on the monster makeup again for the first time in, you know, since forever. Yeah. And it was, it's a cute episode. I mean, it's very insubstantial. It was shot in Chicago at some, because the thing about UR66 is they used to go out and actually shoot it on Route 66 and in different locations.

That was one of the things that was fun about it. And they got ahold of this hotel or something and it had a ballroom in it. And I guess they said there was gonna be a convention of some sort and the boys got together to prove that they could still scare girls or something like that. Yeah, yeah. I mean, it's pretty silly,

but they seem to be having a good time and that's all it really needed to have. Gilbert, when you watch it today, does it live up to your childhood expectations? Possibly. No, the Route 66, I mean, I'm sure I would have loved it back then. Right.

To see the three of them together, but now it's kinda, yeah, I don't know, it just doesn't work. You know, we never go to questions this early in the show But since we're talking about Universal Horror films Perry Shields a fan says in mix and Joe's opinion What are there two? What are the two most underrated? Universal horror pictures Go ahead Joe rated. I know you like the old dark house underrated because they're not good

I know you like the old Ark House. Some of them are underrated because they're not good. I mean, you know, there's not a lot of people lining up to see She-Wolf of London. I would say Night Monster is one of them. It's got Bella in a red herring roll that was all too common for him. But it's got a lot of creepy moments and a lot of scary cricket stop tripping kind of things going through the misty moors. And so that's one that I always thought was a little better than usual. The other, if you get to the, they changed so much in the 40s because they became B pictures

and then they, and so the whole assembly line kicked in and they kept, you know, obviously they were, but they're very slickly made. I mean, they're studio pictures, even the ones that are very cheap. They don't look cheap. I mean, they look like, you know, regular movies. They're just using other people's sets. And they had good, good DPs done and the music is usually good. It's usually the same music,

but it's always good. I don't know, maybe I've always had a guilty pleasure feeling about captive wild woman. Captain Wild Woman, which is built around footage from a Clyde Beatty movie called The Big Cage, which Universal made like 10 years earlier. And they hired Milburn Stone because he sort of looked a little like Clyde Beatty, kind of, not really, but from the back he did. And so they could use all these lion-taming scenes

that were kind of extraneous to the plot. It just had happened to be taking place in a circus and John Carradine turns this ape into this ape girl. And she was popular enough to merit two sequels, which is kind of remarkable. The second sequel is almost entirely stock footage from both of the first two movies. And like a bunch of scenes with Evelyn Anchors and some other people sitting around in an office talking about what happened in the previous movie. It's really not very good.

But the third one is the captive wild woman with Otto Kruger, and that one is a little bit better. What about you, Mick? Well, mine aren't as obscure, but I love The Raven. You know, once again, it was Karloff and Lugosi together. And then what was the radio dramas that they turned into movies? Oh, Inner Sanctum. Inner Sanctum. Yeah and Night Key was an Inner Sanctum mystery that I really enjoyed as a kid. No, no, no. Sadly, Night Key was the one where

Karloff plays an inventor and invents a burglar alarm. That's right, that's right. It wasn't an Inner Sanctum but I liked it. It was not your typical Karloff performance but it was something I really enjoyed even as a kid. And I haven't seen it since I was a kid, but I always loved it and nobody else heard of it except Joe. So I would never, none of my peers- That's true of a lot of things.

That's for sure. But none of my peers were into the genre and any of that stuff. So I was very much an onanistic child when it comes to that stuff. So I was very much an onanistic child when it comes to that genre. But so I just thought it was a great Karloff performance that was kind of unheralded. When he was in kindly inventor mode, which he Yes, yeah, yeah, he invented a burglar. He did that and boogie, the boogie man will get you also.

And Boogie Man will get you also. There was a weird movie with Bela Lugosi called Invisible Ghost. And the plot of it is that Bela Lugosi and his wife were in a car, they got into a crash, and the wife actually lived, but the caretakers of the house to out of sympathy for Legosi, keep his wife in the basement and take care of her, but they don't tell him that she's alive. And so when she pops up occasionally, he thinks she's a ghost. Driving him out of his mind. And they're doing it in a nice, considerate way, which makes no fucking sense. It's a monogram picture.

You can't expect it to make sense. So both you guys started out doing a little deep research into your lives and your childhoods. And Gilbert shares this with you guys. You were all aspiring cartoonists. That's true. Yeah that is true. Yeah my father had studied art in art school here in Los Angeles and never was able to make his living at it but he was a very talented artist and had all the training and everything and did some really great comic strips that never were published

and he had a deal to do a book for King Features, a graphic novel it would be called today. But he had a nervous breakdown, raising four kids, working two jobs, and doing this cartooning at night, and never was able to do that. And I inherited some of his artistic ability without the training, but I thought I would make cartoons for my living. Joe is better at it than me, but it was something I put... I've lost whatever facility I had with it,

but I thought I would make cartooning my vocation until I started looking at all these comic scripts and seeing that every day there was a new joke, that there was a new gag, I would have a gag a day. I thought, I can't do a gag a day, I'm like, I would have a gag a day. And I thought, I can't do a gag a day. I'm like, I can do a gag a week. So I would do my own comic books with my own cast. I had my own revolving cast of characters

and stuff like that. And then I just sort of devolved into trying to get to art school and they said cartooning wasn't an art, so I had to take something that was similar and it turned out to be film because the storyboards are like comic books. What was shoebox theater, Joe? Because I was also a film buff I would draw these things out on these long strips of paper like in cinemascope frames and then I took a shoebox and I would cut the back out of it so that made a little frame. I would wind these things up into rolls

and put them on sticks and then put them through the edges of the box. And then I did the same thing. You could turn the box. As the pictures appeared, it was like they were a movie. It was like each scene was a different, was a movie. And of course I stole the plots of all the movies I was watching.

I did the same thing using toilet paper rolls that would line the the strips the long strips I'd tape together to tell a story in that way rather than in story. The tape didn't last for a long year. Gil what did you draw? I just remember like the first I don't know if you two remember the first horror film you have is the first one for me was the indestructible man Oh Launch any jr. And and Joe Flynn and Oh and the hails Navy and what's the inspector's name? Oh Robert Shane

Henderson, that's right. You're good Joe. Bernie, is it Bernie? Bernie Kopel. No, no, no. Max Showalter was one of his names. Oh, Casey Adams. Yeah. Right. He comes up a lot. Yeah. Only on this show. Yes. So, Joe, you wound up spending the money that you were supposed to use on art supplies to go to grind houses. Pretty much. And just watch this stuff double features. It's amazing I got through school at all.

Yeah, I spent some due diligence having to do the assignments, but I was in Philadelphia and there were these great wartime grindhouses that had been used in the war to run newsreels for people who were working in munitions and stuff. And they would go home in the middle of the night, and they want to know what happened, because there was no TV and the radio was off.

And so they would go to these grindhouses, and they would see newsreels. And one of them, the news, had a square screen. It was at the end of the long quarter. And by the 60s, of course, they were running cinemascope movies. So any movie they ran that was a cinemascope movie was an Inomiscope because the sides would be cut off. It would be a square picture. But still they ran a bunch of good pictures. And then there was another theater called The Family, which was ill named. They used to run Triple Build.

It was right in the shadow of City Hall. And they ran pictures going back to the 30s. I mean, they ran Freaks and a whole lot of pictures you would never imagine seeing anywhere. But they specialized in movies that you couldn't go to the bathroom during because there were so many bad things happening in this theater that the scuttlebutt got around pretty much even to college students. Don't go to the bathroom, meaning don't buy anything to drink, and don't eat me popcorn because you can't go down into the bathroom, you can't do it. And then when I saw the day the earth caught fire there

they turned up the heat so that everybody would be sweating and they would all have to go to the concession stand and get liquid. It was a great theater. It smelled awful. But I spent my happy hour in those theaters. Mick, you said you weren't movies too. He did.

For the trades. Yeah. We will return to Gilbert Gottfried's amazing colossal podcast after this. It's hockey season and you can get anything you need delivered with Uber Eats. Well, almost, almost anything. So no, you can't get an ice rink on Uber Eats. But iced tea, ice cream, or just plain old ice? Yes, we deliver those.

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Not going to lie. Micky, you said you weren't a social kid, but you grew up in the Valley. Right. Yeah, and you had up in the valley. Right. Yeah, and you had your own theater. What was the one, what was the, what was the Burt Gordon movie? I heard you say your parents dropped you off at, instead of, instead of babysitting. Oh, that was, that must have been Food of the Gods.

No, it was before that. It was a ghost movie. Tormented. Yeah. Oh, tormented by a ghost woman. That was in Recita, I remember. But my family used to go to the Recita drive-in because, you know, we had four kids and it wasn't easy. We couldn't afford to go to the

the movie theaters inside. So we would go mostly to the Recita drive-in, which is where Peter Bogdanovich shot Targets with Boris Karlo. Oh, yeah. But I remember seeing Psycho there with my two brothers and my little sister and it was Mrs. Bates, Mrs. Bates and the hand on the shoulder and turn around the body. We would do it to her relentlessly after that. Dee Dee, Dee Dee, Mrs. Bates, Mrs. Arrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr Ah! So, yeah, but there was another little theater in the valley

that we saw tormented by a ghost woman. And I remember it as being terrifying until I saw it again several years ago. And boy is it dull. Boy. I saw you review it on Trailers from Hell. Oh, that's right, yes. The funny thing with Zyko is like,

if it was made a few years later When they grab on to anthony perkins and the week comes off that would have been the ending And instead it ends. It's horrifying. It's exciting and then it goes to simon oakland going, okay Uh what his problem was was he? Yeah, but you gotta remember that was a very outre ending for 1960. I mean, they didn't talk about stuff like that. And that whole spiel is aimed at saying, well, he's not really a transvestite. He's real. And it's all psychological and stuff.

And besides, it still leads to that great payoff of him sitting there and saying he wouldn't hurt a fly. Yeah, I mean, when I saw that, it blew my mind. And I never imagined that 30 years later, I would be directing the sequel prequel to that, which was written by the same screenwriter, Joe Stefano. That's right. Well, yeah, Psycho 4 just turned 30.

Just turned 30, and Psycho, the original, just turned 30. Just turned 30 and Psycho the original just turned 60. Turned 60. Oh, jeez. Gilbert, that's your favorite Hitchcock picture, Psycho still? Yeah, yeah. The one that doesn't hold up at all, my short again recently is The Birds. It has certain parts I like, but I don't know. Psycho holds up.

Psycho does hold up. That's a movie I love. I still love the birds, though, and, you know, it's, you know, the whole Hitchcock thing. He so created this genre himself, and the movies he made were so, had such a cinematic personality unlike anyone else's that I can't help but love

them. I gotta ask you to talk a little bit about working with Perkins on Psycho 4. Do you? Yeah. Well, also, I want you to mention Olivia Hussey, because Gilbert loves her. Well, he's right. Anyone who meets her loves Olivia Hussey. She's wonderful.

Working with Tony was challenging because obviously he knew more about Norman Bates than anybody and he had directed Psycho 3 and critically and financially it was such a disaster that he wanted to direct Psycho 4 but the studio wouldn't let him and who do they want to hire but the director of Critters 2, the only feature film to my credit at that time.

When you haven't seen Clos Bucket. That's right. That would have clinched the deal. Yeah, we don't want him. But he and John Landis were close friends. John was very much on my side. And Ned Knoll, who was the studio executive then, when we were making it. So I had a meeting with Tony, we had lunch and were there for hours and everything went great and

and I was hired but he wanted to test me. I was a young director, I don't blame him, he wanted to make sure I wasn't just shooting pretty shots or cool shots or doing a tribute to something historical but making something new now. So I was constantly being tested by him. And by the time Psycho 3 was in production, it went sort of campy. And so I would have these discussions with Tony and very carefully say things, you know, very supportive, but saying, you know, I want to kind of avoid any kind of camp in this scene. It stopped him in his tracks and it was camp.

What do you mean by camp? And literally a 45 minute conversation about the definition of camp. And yeah, there was one scene that is kind of indicative of it. And the fact is he was right. He did know this character better than anybody else, but I was the only one who could see it from the outside in rather than the inside out and how it related to the scenes he wasn't in and how things had happened before and after those scenes.

But we're setting up a scene and we'd gone over every page of the script together, every single page of it before we started. And we're setting up a scene where he's calling into a talk show to CCH Pounder and he gets furious with her and he's in a kitchen and he takes a butcher knife and slams it into the butcher board there in a moment of peak. And so we're setting it up and we're rehearsing it and then it's time for him to do that and he says, so Mick, this butcher knife, don't you think it's really hackneyed and hoary and been done to death and this and that? And of course we'd gone over it numerous times. And just on and on for about five minutes

about what a terrible idea it was and I said You know, why don't we step off the set because by then we'd taken about 40 minutes of talking about it Well, the the crew is standing around waiting to do their work Waiting and Finally we walked off the set and talked about came up with something together I had a suggestion that work where he gets furious and kind of snaps an apple in half and he really liked that and that Replaced the butcher in the butcher board, but it was a long process and I was constantly being tested But validation came when we showed it to him at the Hitchcock Theatre at Universal when it was done

when we showed it to him at the Hitchcock Theatre at Universal when it was done, he went on and on about how it was his favorite sequel and including Better Than His and all of that. And so that's a nice outcome. It was a great outcome. It was embarrassing, but it was nice that at least that happened. So, you know, it was it was worth it. And he was great to work with because I learned a lot. I'd never worked with a movie star, especially not a legend like he was, and I learned a lot about how you work with different actors and how you learn to accommodate and encourage and and develop trust together and he was the first real test that I'd had in that regard and I learned a lot from test that I'd had in that regard. And I learned a lot from it

and I really appreciated working with him. He was an amazing guy and had stories you wouldn't believe and was happy to share them. I'll bet. Now, can we talk about the return of Dr. X? Why do you wanna talk about the return of Dr. X? Because of the shock of hair. I'm furry Bogard.

I'm zombie. I want a shot of Joe Dante's face when you brought that up. What is he going to do, go on suspension? They were mad at him and they said, here, you got to do this. And you know, because, you know, Betty Davis was already walking off and Olivia de Havilland was going to walk off and, you know, it was like, we can't let these actors tell us what to do. Well, we tell them what to do. And so they gave him this assignment. He was a pro and he did it. But it was supposed to be a Karloff-Legosi picture. Wow.

Yeah. And Bogart looks so out of place. But he doesn't walk through it. He really, he gives his best, you know. And his hair really deserves an award on its own. The white thing in that. Yeah, the skunk do. I sent Gilbert to Trailers from Hell yesterday, and and Gilbert you got lost down that hole. Yes Yeah, as I told as I told you you would Yeah, I was watching one after the other. I couldn't stop

And it just makes you want to see the movies again. Yes and uh Oh, there was a movie non-horror That one of you brought up. I remember seeing it in the theater and that's The Patsy with Jerry Lewis. Oh, I always liked The Patsy. Me too. It's it's perindelian. It's it's got like a lot. Well, I wonder if it's got my favorite setup for a joke.

And that's when he's meeting with, uh, oh, watch his what the fuck? I, uh, the German guy, Hans Conrad, he's meeting with Hans Conrad to and, and they introduce it as saying, well, not only is he the greatest music teacher in the world, but he also has the largest collection of priceless antiques. And it's like, ah, here's the joke, folks. I can't remember if it was Joe or Mick who was reviewing the Padsie trailer. Yeah, that was Joe. Did you ever hear the blooper reel of the commercials Jerry Lewis did for that? No.

Amazing. Oh, is that the Martin Lewis thing? No, that's different. Oh, that's the Patsy. Yeah, the Patsy. Go see the Patsy with a big cock on it. It's the same jokes he did with Dean except he just did it himself. The catty and the patsy go see the patsy with a big cock on it Some really great choices there though, I wrote some of them down Joe's talking about ghost of Frankenstein Which is near dear to our heart

I told Joe we had Janet and Gallo here a couple of years ago Gilbert son of Dracula and Gilbert tell Joe and Mick what the middle name that you almost gave your son. I wanted, uh, our son was gonna have a middle name that my wife said should, has to be an A. And I wanted to name him Alucard, the middle name. It might be Max Alucard Gottfried. For some reason she didn't go for that. My favorite band used Alucard as the name of their music publishing company, Alucard Music. What was the band? Gentle Giant.

Oh, that's cool. Here's some other ones. Mick, you talked about Karloff and Black Sabbath, which we love. A couple of Castle pictures. Mick, you talked about Carl Lough and Black Sabbath, which we love. A couple of castle pictures. Mick, you talked about House on Haunted Hill. Oh, sure, yeah. How do you guys feel about The Tingler? Oh, come on, how can you not love The Tingler?

It's one of the most ridiculous movies ever made. And it was made to be a gimmick movie. It was made for the gimmick of people thinking that The Tingler's loose in the theater, and they shut off the lights and they buzz every fifth seat or whatever it is and people start to scream and people who didn't get the buzz are going what's wrong with them? It's like this pandemonium and also the lights are out in the theater which you could never do today. They

would never let you put off the lights. Did you see it with the with the buzzers Joe? Because I was I was too young to see it in the theater. It was if you've ever seen the guidebook that they sent to the exhibit, yeah, install the buzzers, you know, I mean, it's like a phone book. I mean, you just have no status. I'm not going to do this. This is what's in Bob Burns, one of the guys putting those. He told us that, didn't he?

Gilbert, I think so. Bob Burns was one of the guys installing anybody anybody would put him in there would be Bob And of course Vincent Price screaming scream scream your life Loose in the theater And and then it ends after he said they're all screaming and he's saying scream for your lives and they're going hysterical He goes we now return to the movie. I got to meet him once when I was in college. And you met Vincent Price?

Yeah, he had put together this movie that was basically him telling four post stories, reading four post stories. And it was a pilot for a series that obviously was just too cheap to ever make it to the air. But he came to the local TV station and I was in college and I heard he was going to be there. And my grandmother knew him

when he was buying art for Sears. He was a major connoisseur of art. And I don't know how that goes hand in hand with Sears, but we figured that out. I remember that. But he was so gracious and so kind and so polite and sweet. He's so tall. And very tall, very tall.

He towered over me and I was six feet. So I must say. Joe, you met him too, didn't you? He towered over me and I was six feet. So I met him too, didn't you? I met him. I met him at what? Twice a friend of mine named Mark Goldblatt did a picture called Dead

Heat, which is one of Price's last pictures. So I met him on that. And he was, again, just so much fun. And and also they were Fangoria did some tribute to him at some convention or other whatever. And I was the host.

And so I brought him up on stage and asked him a bunch of questions and stuff, mostly the tongue we were giving. And it was great. I mean, he was... One of the reasons I like the tingler is that he is the character in the tingler. I mean, he didn't even bother playing anybody. It's like that's who he really was. That was, that was just his persona. And it was, and it was, it was just so much fun to be around.

And I met him twice. The first time was on Alan Thicke show, Thicke of the Night. And I had just done some bits, where I was doing imitations. And when I sat sat down I felt a hand on my shoulder and I turned around and it's Vincent Price and he goes, I loved your Peter Laurie. And then a couple of years later I ran into him at some horror award show, and I said, look, you probably don't remember this, but we met on Thick of the Night. And he goes, oh, yes, that was a terrible show. I want to talk about Matinee and Joe's wonderful Matinee tribute to Castle. But why do you love House on Haunted Hill so much in a merger?

Well, you see it in a merger, by the way. I did not. Again, I was a little too young to catch it in the theater when it came out. But I just love haunted house movies. Me too. You know, this one, it doesn't really hold up. It's really slow and not a whole lot happens, but when somebody gets thrown into a vat of acid and arises as a skeleton, what kid could not love that? Even though the skeleton is on with no cuts on and on and on, So it's obviously a full-size marionette and it just looks fake as can be. But it just was so much fun and the screaming hag in the in the

in the attic and you know it just and it was Vincent Price and you know one of my pet peeves is movies that are supposed to be supernatural and turn out not to be and they were all planned to scare supposed to be supernatural and turn out not to be and they were all planned to scare somebody to death and said and it's one of those but it's the one that hit me when I was a kid and it just had an impact because it had all those elements watching it now is is kind of a tedious experience and Bill Malone's remake of it is really good, especially the opening sequence. It doesn't have much to do with the original movie at all, but it's really good. Anyway, it's just one of the formative films of my youth. And with Trailers from Hell, I always like to talk about a movie that affected me personally

in some way. Sure. Yeah. I think, Joe, you did talk about The Tingler on Trailers from Hell. I wouldn't be surprised. Yeah. Yeah. You know, Gilbert, you remember the old film Forum when it used to be down on Watt Street? Oh, yes. They did a castle festival and they tried. Bless their hearts. They tried so hard to recreate a merjo with a clothesline.

They were going to wire the seats, though. No, no percepto. You know what? I've never seen but heard is good. I saw the non-3D version was they were two or three three Stooges movies that were done in 3D. Well they were shorts. Yeah. Pardon My Backfire is one and Spooks I think is another one. They used to run them at the Tiffany Theater when the Tiffany was running old movies. They had a whole big 3D festival.

Oh, Tiffany on Sunset. Even before the one they did at the Egyptian. They ran it, came from outer space and Creature on the Block, Laguna and all that, but they always ran the Stooges shorts because they were so popular. And it's such basic 3D. I mean, they just throw things at you. You want to get your eyes poked? Here's... Yes, yes. Boink.

Here's Moe's fingers right at you. Isn't that weird 3D revival in the 80s, Gilbert, with what was it, Coming At Ya? Coming At Ya was the first. And Stuartus's 3D. Yeah, yeah. There was a softcore porn. That were. Giant mammaries coming at you in 3D. The Stuartus is one of the crummiest 3D movies ever.

One thing about 3D is if you have no money and all you can do is stand people against a background, don't put them against a wall, put them against a window, put them against you can see through. But it's just it's just a tragedy of what 3D proportions. What I found with the early 3D, like House of Wax strikes me that way, it looked like they would depth in the scene, but the characters and furniture and actors all looked like a pop-up card.

Yeah, like View Masters. Yeah, yes, yes. They look like one of those cards that pops up. So the actors looked flat. But you gotta love the paddle ball man. Yeah that was the only really effective part of House of Wax. Yeah Joe I gotta I gotta bring up Matinee and I wish movies were in a Tomo vision by the way. I wish there were movies in theaters at all but it's a it's just got, it's a passion project, obviously. I mean, you won't find a movie that's more of a Valentine than that. I understand loosely based on Castle. But was the Castle family fond of the picture?

Terry Castle? I met his daughter. She seemed to be very happy with it. They must have been. It's such a love letter. You know it's a rosy picture. It's not unlike, I mean the character that John Gooden plays is not unlike the spirit of Castle and the things he wants to do and the way that he wants to bring his art to the masses. But it's you know it's not just Castle, it's also those Ray Dennis Steckler who did those live action, you know, monsters jump out of the screen things, and you know, there's a little bit of Corman in there. And we cheat because, you know, he's making a giant bug movie, and by 1962 they really hadn't,

we'd stop making giant bug movies, but we we just buy it I sense. Yeah, it's got a lot going for it. It's got a Jerry Goldsmith score. It's got Dick Miller It's got William Shaller. It's got Jesse white for Christ's sake It was a nice movie and we almost didn't get to make it because the money ran out when we were shooting in Florida and Universal came in and saved the day and out when we were shooting in Florida and Universal came in and saved the day and picked up the movie but of course then they sold it like it was a Universal picture which meant that it had to open in a zillion theaters all in one day and it wasn't that kind of movie it was one of those movies where you're supposed to open it slowly like Miramax used to do so people could find it

and then they'd talk about it and you know but instead it was like here on one weekend and gone the next but like so many movies from that period, home video. It's a movie a lot of people love. And now more people have seen it on video than ever saw it in theater. Roger Ebert's website, rogerebert.com, they had a lovely write-up about it if you haven't seen it, for the 25th anniversary.

Really a sweet picture. Dove, you mentioned the big insect movies and like the first of those, I guess would be them. Yeah. And then there was a direct ripoff, Tarantula, which I think is a better movie than them. No, I love Tarantula, but it's not a better movie. Yeah. Imperatively, yeah. To me, it's so much fun, Tarantula, but it's not a better movie. Yeah. I empirically, yeah.

To me, it's so much fun, Tarantula. And Clint Eastwood in it too. Yeah, you see. But he's covered up, you can't see him. You can see him better in Avenger the Creature. Yes. With the mouse out of his pocket. Speaking of giant bugs and giant things,

I can't believe Amazing Colossal Man is not covered on trailers from hell. This is clearly an oversight. Well, it's something that has to be rectified. You have to find people who like these pictures. Well, you talked about Cyclops and Mick talked about the Tormented. Yeah. So so so so you have two things. You got to like the picture and you got to find a trailer. A trailer with decent enough quality to be able to use.

And some of these trailers have just gone MIA. I mean, there are movies I would love to do. I'm Joseph Miller with the black cat. I'd love to do. There's no trailer for the black cat. There's not even a reissue trailer for the black cat. I mean, most of these things just, you know, by the wayside. So we're a little stymied in, you know, in what we can do and what we can't do. I've got a really good commentary on The Incredible Shrinking Man by Ileana Douglas,

and I don't want to run it until I can find a better trailer because the trailer for that picture is just all fuzzy and crappy looking and I hate to foist that kind of stuff on people. So we've had this thing in the can for over a year and I'm still looking for a better trailer. That's such a great movie too. Yeah. Yeah. For Colossal Man and then followed by Colossal Beast, it's so funny because the effects were so cheap you could see through a monster. He was like transparent. Well that was true the 50th of November as well. Yeah. Yeah. Bert's still with us in his night. What is he, 98? Bert is still with us and he always, we tried to, we wanted to get him to do trailers from Helen. He said, I don't look back.

I only look back. We got the same response when we looked into having him. But somebody we did have here is a friend of both of you guys and that's the late great Larry Cohen. Oh, Larry. What a, what a, what a great Larry Cohen. Larry, what a rack and tur. What a character. Oh, complete. Can I tell you my favorite and the ultimate Larry Cohen story?

Please do. The director Bill Malone and I were very good friends with Larry. I'd known him for decades, and we knew it was close. The end was near, and we both wanted to see him at his home. I talked to him on the phone. He invited us over. His daughter had us come up to his room.

We went into his room. He's up on one elbow, waves to us, says, goodbye, goodbye, and then collapses and then starts to giggle. He was fucking with us And he died the next day oh So that was the kind of guy Larry was anything for a laugh Larry was Larry was a great guy he used to do a bunch of trailers from hell for us and One day he came in and he did whatever he was supposed to do and he said you got anything else

You want me to do and I happen to have a trailer for the Ten Commandments, which which is it? Cecil B DeMille and introduced the movies ten minute long trailer Larry I said do you want to see it before you do it? No, just run it. He extemporani eyes for ten minutes do it now just run it he extemporaneized for 10 minutes on the 10 commandments did not get a single thing wrong filled with facts a great a wonderful dissertation on the 10 commandments and it's one of the few trailers that we've lost in our when we upgraded into our new site and so now it doesn't exist anymore but it was't exist anymore, but it was just such a thrill to watch him do it. When we had him on the podcast,

when we were wrapping up, you could tell he wanted a stay, he would have stayed for a few more months. Yeah, we did almost two hours with him and he didn't want it to end. He said, that's it. He was on the worst belt stand up he didn't want it to end. He said that's it. He was a worst-felt stand-up. I know.

He was amazing. He has missed. Wonderful. And Boy God Told Me To is such a good movie. Oh, what a wild film. Yeah. And when you'd listen to him, you'd go, I wonder if this story's total bullshit. It might have been.

Well, some of them are embellished as he went on. Remember we had Tony LoBiaco on the podcast Gilbert? We asked him about God Told Me To. He said he grabbed Larry Cohen at the premiere and he said, My mother's here! Ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha Yeah, that one. Yeah, the guy we've had him on the podcast the king of Of the cheap Roger Corman. No, no the the actor. Oh, we had Dick Miller here Dick Miller. Oh, yeah, that one where he's buried killing people. Oh bucket of blood Bucket of blood a lot of fun that movie. That's great

Torturous as it was to a rhyme about it. Yeah, but I'll take the segue. What do you guys tell a Dick Miller story? Joe, you were close to him. Joe knows him best. Dick, I don't know. You were close. And let's plug that Dick Miller book, too, by the way.

Yes, and the documentary. Great documentary. Which is a very good documentary. We loved having him here. He's, you know, we're only talking about people that we miss now, this is depressing. He was, you know, I'd always enjoyed watching him in movies, and when I got a chance to make a movie,

I wanted to put him in my first movie, and then we got along, and I decided I wanted to have him in every movie. And so, for the most part, I was able to, every script I would read, I would read for two reasons one is am I gonna do it and two is There a part for him and sometimes it'd be a big part sometimes be a little part, but he was that kind of actor You know he could just it didn't matter and he always made an impression I mean, he's in the Terminator for like I think two minutes if that and it's and it's it's one of the best scenes in

the movie He never let you down, and that. And it's one of the best scenes in the movie. He never let you down. And that's why it was, I guess, doubly unfortunate that when he went to see Pulp Fiction, to the premiere of Pulp Fiction, which he was in, Quentin turned to him and said, hey, what are you doing here? Because nobody had told him that he wasn't in the movie anymore.

Oh, yeah. That's what happens when you're a character actor. Is in the movie anymore. Oh, yeah. That's why it's interesting when you're a character actor. Is there a story? Go ahead, Gil. No, I was saying, I saw the scene, they showed it on something, and it was a scene with him and Harvey Keitel, which was great to see the two of them together.

When you're doing research- I think it's an extra on DVD. When you're doing research for a show like this, as you guys both know because you have your own podcasts, you know, some shows are more fun to research than others and doing the Dick Miller research, you know, even finding stuff like the ventriloquist bit that was cut from Amazon Women on the Moon, Joe, that you shot, where he gets stuck with the French dummy. He's great in that.

Or his scenes in the howling, where he just, he's a terrific actor. Yeah, that's why he's in my movies. I just enjoyed watching him, and he wasn't enough of other people's movies. And then when I started using him, he was in other people's movies. So...

And then he told us a story. He was doing a picture that was so low budget, it was a Western. So he actually shoots himself because he's a cowboy firing a gun. Oh, it's Apache woman. Then as an Indian, he falls over dead. That's meta.

That's called meta. We will return to Gilbert Gottfried's amazing colossal podcast, but first a word from our sponsor. Bet mode activated. The scorebed app here with trusted stats and real-time sports news. Yeah, hey, who should I take in the Boston game? Well, statistically speaking. Nah, no more statistically speaking. I want hot takes.

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19 Plus. Ontario only. If you have questions or concerns about your gambling or the gambling of someone close to you, please go to connexontario.ca. Mick, tell us something about working with one of Gilbert's favorite character actors in mind, Charles Durning. Oh God, Charlie was the best. He would come on to the set. I've worked with him twice in desperation on a miniseries called The Judge and he played the judge. And he would come on the set singing and dancing and happy and you know we would sing together in a duet. I would be the tenor to his

also tenor. And he brought up everybody. He made everybody and he was there. He had studied. He knew everybody else's parts as well as his own. And just one of the happiest men I've ever known in my life and could turn on a dime and if there was something some kind of change you felt was necessary for the for the scene you're gonna do he was there for you he I never saw him complain in my life he was just the kindest and really good you know yeah could do desperation, it got very emotional, his part. And he was attacked by a cougar in that. And I don't mean an eager middle-aged woman, but.

But we actually had a mountain lion on the set. And of course he didn't battle with the mountain lion, but he did with the fake mountain lion head and arms and everything, but he's rolling around the floor and struggling with this stuffed beast. And he just was so game for everything. And it was going to be a happy day if Charlie was gonna be on the set.

One of our favorites. He had such an interesting life, too, because... Oh, yeah, Batan, yeah. Yeah, World War II hero, and then he was a dance instructor and a prize fighter. And a great dancer, but do you know the Bataan story? No.

He was in the Battle of Bataan on the shore, and he was stabbed in the neck. He had a big scar on his neck from that happened. And he had to lie still, motion was under piles of dead bodies to keep from being slaughtered. That was how he got out of it. He maintained a death-like stillness under piles of corpses at that time, and that's how he survived Bataan. Well, we understood he didn't like talking about it very much, he didn't like talking about it very much.

He didn't like talking about his war experiences. No, he did talk about that with me when we were shooting, and it was astonishing and horrifying, and you could tell he still felt it very, very deeply. But he was a really wonderful guy and greatly missed. We're talking about all these people we really miss. How old are we? Wait a minute. It's a Halloween episode. It's gotta be a lot of dead people. We're in nostalgia show. We'll bring them back. Here's a question from

from a fan Marty Richardson for both of you. What are each of your favorite Hammer films and why? And James Roman wants to add to that would you please talk Gilbert out of his dislike for hammer films? Well, Gilbert is not alone. My friend Tom Weaver who is a big horror movie buff, he does not like the hammer films either. He's a universal guy but I think that's kind of short-sighted personally. I mean that one of the reasons that we still have a genre is because it was revitalized by these guys in the 50s. The success of those pictures led directly to the Poe pictures, and to a lot of stuff

that happened in the 60s. They were just a little small company that managed to have a couple of hits, and they realized, well, maybe we should capitalize on this, and let's find some people who know how to do it and like this kind of stuff. And I saw Curse of Frankenstein when it came out and it gave me nightmares. I saw Horror of Dracula when it came out and it gave me nightmares.

And I'm old enough to have seen them when they were new. And believe me, the impact was amazing. I mean, these pictures were not like anything else you had seen. And this was pre all the old universals going to television. So this was the first Frankenstein and Dracula pictures I had seen. And they made an indelible impression. And my favorite horror hammer films, oddly enough, are not are not those pictures.

I like the the equator mass pictures. The two equator mass pictures, I think, are great. And a picture that Joseph Lozey made called These Are the Damned, which is a science fiction picture, which I think is a great underrated movie. But they made a lot of movies, and a surprising number of them were really good. And obviously they benefit from the fact

that they had this really good acting pool of really good people who could do Shakespeare and then could also do Bram Stoker if they wanted. The technical quality in the movies is really good, even though they're cheap. And I just I think it's that they didn't give them the Queen's Award for Industry for nothing. Yeah. There you go, Gilbert. You've been you've been schooled. Yes. The Nanny is a hammer film, but it's also.

Yeah, the Nanny is one of my favorites. It is never thought of or talked about as a hammer film, but it's also great. The Nanny is one of my favorites. It is never thought of or talked about as a hammer film because it doesn't have Peter Cushing or Christopher Lee in it. But, yeah, I saw them on TV first because I wasn't old enough to see them in the theater in 1957 and 1958. But when I did see them in color, it was a revelation, because they were the first people to do horror movies in color. And it was striking, the richness of the production design

and all these things that normally are very expensive in movies. But these were films made very cheaply all at the Bray Studios and everything. But the most underrated, maybe Horror of Dracula is my favorite, but I think The Nanny is a masterpiece. It is tense, every moment of it, and this is not true of everything of the period, but it's captivating. There's not a dull moment in it. The acting is wonderful, and Bette Davis is so reserved in her performance at a time in her career when a lot of it was grotesque overstatement. And in this, it's very subtly played and it gets deep. And she's really committed to it and really good at it.

And that's something, Gilbert, if you have not seen that, I cannot recommend it enough. I saw that on TV, but it was a thousand years ago. I saw that. You can look up my trailer from Hell Commentary and you'll learn lots of interesting things about it. Oh, and another movie, because we were talking about those monster mesh movies of House of, you know, House of Frankenstein, House of the mashups. And and the one that is the biggest better than House of Frankenstein and House of Dracula

I think is Abbot and Costello made for it. Even though it killed their the the Universal Horror movies Because nobody could take them seriously anymore. I think it's fantastic and it's the movie other than a hard day's night It's the movie I've seen most. Wow. Yeah. And oh another film that had all the actors there so it was fun to see them even though they were all at their worst was The Black Sleep. I knew you were gonna say that. Joe I warned you about the black sleep. Said that there was you know, there's a trailer from

hell about the black sleep. Bounce around isn't at his worst. He's actually really good in that movie considering the material. But but it is it's it's a it's pretty ridiculous movie. And and it is a kind of a throwback because at that time they weren't

really making those kind of movies anymore. And I guess all these guys were happy to get the job. I do remember there was a lot of photos of them all going to lunch at the Tail of the Cock restaurant, which used to be on La Cienega as part of some publicity thing. And they were all in makeup. And they had dumped off in front of the place, people must have been screaming and running up the street. You name another podcast that's going to ask you about the black sleep, Joe.

I can't think of a single one. This is the one. I want to talk about horror anthologies too, because the last time you were here, Mick, you're sort of, as I was telling you through email, you're sort of the keeper of the flame with horror anthologies. And Joe was talking about the the amicus ones, the great British ones that we that we grow up on. House that dripped blood and and torture garden. Yeah, I guess. I guess. We really miss the crypt.

What's the one? Berkshire. This madness. And in the theater, in the theater, I remember seeing Dr. Terror's House of Horrors. That was the first one. Yeah. I really miss them, but Mick, you brought it back with Masters of Horror. Well, it was a little different. I had directed a couple of anthologies on a couple of anthology series,

first Amazing Stories and Tales from the Crypt and Freddy's Nightmares. But I loved anthologies because it was a different story every week. It wasn't serial. It didn't continue. You wouldn't have to have seen every episode. But in this case, it was hour-long movies, but it was also giving great filmmakers the freedom to do what they wanted the way they wanted to without interference. And so even more than it being an anthology, it was, I was an enabler to these filmmakers who often did not get an opportunity to make films that were really personal to themselves said here's two million dollars in ten days Do it on time and on schedule. You can do whatever you want and

it it really seemed to bring out the best in in people like Joe and and you know Toby Hooper and John Carpenter and Takashi Miki and all that and And I have another couple of them planned and Nightmare Cinema, the movie which Joe also is a part of. Another anthology. Had the same philosophy, only get people from around the world who express their vision with a personality unlike everybody else's.

Something, everybody who has a unique cinematic personality. And I'm, we're working on maybe turning my book into an anthology series as well. But it's just a format that I think is exciting because it offers different points of view. And you know, when it was Tales from the Crypt, great show, but it was the boobs and blood show. And they had a style and a look that was fairly consistent throughout. And it was self-mocking and, you know, tongue-in-cheek often. But the idea of just going to people and having standalone

stories that they want to tell, whether they were their ideas or we brought stories to them that they responded to. Joe brought in both of the ones he did for Masters of Horror. And they were their ideas or we brought stories to them that they responded to. Joe brought in both of the ones he did for Masters of Horror and they were two of the most popular. And Homecoming at the Turino Film Festival in Turino, Italy, which is not a genre festival, it got a 10-minute standing ovation. I can imagine. It was amazing. And time-lier than ever, I might say. Homecoming. Yeah, I agree with you. Right? Don't you think, Joe? That kind of stuff never goes out of style. Seen it first in the crowd lately? Yeah, I know what you're talking about, but a great Ann Coulter parody.

And a movie that's just a nightmare in itself and that's bailo Legosi meets a Brooklyn girl It's a Dante. It's on trailers from hell. Yes, of course Duke Mitchell and Sammy Sammy Petrillo. Yeah covers it Gary Gary how much he was a clone of Jerry Lewis. Well, he was hired by Jerry to play baby Jerry on the Colgate comedy hour. And then when he went off and started to do Jerry as a shtick

and then hired this other guy who is sort of like Dean Martin, they were not amused. And when I was a kid, I saw that picture on television under the title Boys from Brooklyn, and I thought it was a Martin Lewis picture He looks and sounds Exactly like the young Jerry Lewis so strange my dad knew Duke Mitchell very well. I'm almost embarrassed Wow Yeah, just throw just throwing it in from same part of Brooklyn. I'm impressed

I'm gonna tell our listeners to to check out Masters of Horror. I watched your first season segment Mick Chocolate which is totally disturbing and I don't know how your mind works and how you come up with things like that. I will use the word on settling and Joe's homecoming is with the great Robert Picardo who was an American treasure like Dick Miller. Yes. It's true. You should have him on the show, he's very funny. We gotta have him.

He's got his own website. You gotta go to his website, he does these characters. I mean, he's on there. I see the piano, the lounge lizard that he plays on Twitter. Right, but he does an attack and count that he does. We gotta have him on. And in COVID, he plays a whole bunch of characters and interacts with himself. And remember i i met him and i went up to him and said uh you know me but

i don't know you why is that right i got it i want to talk quickly too about the howling which is turning 40 next year. One of our favorites, Gilbert and mine. And Joe, you say werewolves, werewolf movies never go out of style. Why? Well, you know, they really weren't in style until like the early thirties. And yet the lore has been with us for, you know, like 100 years before that. I guess it's it's an atavistic thing. The idea of people turning into animals was which was

the producer of of the Howling was a guy named Dan Blatt. And he thought that this was the greatest thing ever. The idea he thought that nobody had ever made a movie where he turned into an animal. He was so excited by this idea. Groundbreaker. I had to sit him down and try to explain that this is actually part of a whole thing. And in fact, when I was working at Avco Embassy doing publicity on this, they avoided showing that it was a werewolf movie because they thought it would be too old-fashioned They thought it was old. Yeah, they were afraid it was gonna look like some while lately you guys met on the howling

We met before then Universal actually, okay used to have used to have a little cubbyhole office down at the bottom of the Hitchcock building Yeah under the commissary and I I knew what was for lunch every day by stink. Gilbert, why don't you share your theory since Joe is talking and Joe talks about connecting a werewolf to adolescence and puberty. Why don't you share your fascinating theory with the horror masters? Well, it's like Frankenstein is a baby.

He's like comes into the world and he's scared and he just wants love. The wolf man is someone not in control like their body and voice and everything changing. So that's adolescence and Dracula is just what every man wants to be. You know, he's got control over women, he's got control over everything. And the mummy is old age? The old? Yeah, yes.

Yes. This was a theory he came up with one day. I like it. Sort of insightful. He's got all the life marks. Yeah, it's insightful. Oh, there's another movie that Are on one of your things and I remember I saw it. It's a strange one

Bride of the gorilla La I did that one here. Yeah, Lon Cheney, Jr. Raymond Burr and Barbara Peyton and You know, it's funny because the wolf man was originally written to be like a psychological horror that you didn't know if he was actually turning into a werewolf. Universal said, no, we want an actual monster. And that's what he he wound up doing prior to the gorilla and made it like psychological or tried to. It's still got a gorilla. Oh, yeah. Janos Prohaska, right? Yeah.

Right. Yeah. Guy in a cheap gorilla suit. And and a whole episode about those gorilla films. Remember Gilbert? Yes. Yes. Yeah. You got it. And um and a whole episode about those gorilla films remember Gilbert yes, yes Yeah, you got it. You got it If you do an episode of a good girl as you got to invite John Landis and a Rick Baker is what we had Rick Yeah, yeah, we'll get you on in at some point. We did what was it was murders in the room board had an ape didn't it? Yes, yeah, we had two waves that had a guy in a suit. That's right a real ape But the guy in the suit is creepier than the real life

had two apes that had a guy in a suit that's right a real ape but the guy in the suit is creepier than the real life. That's the way the three stooges had a bunch of ones the mox brothers and at the circus every guerrillas were very popular and that gorilla suit you know saw a lot of where I mean there were three guys who special crash Corrigan one of those guys? Yeah, Crash Corrigan is one of them. And Janos Gamora is another one. That's right. They all had their own suits.

That's right, Bob Byrd's had a suit. And they had their specific ways of, and Bob Byrd used to play gorilla. And Don McCloud. Yeah. Correct. Yeah. On the subject of the howling,

and we don't just wanna talk about deceased people, but we can't let you go, Joe, without telling us something about the great John Carradine. Well, you know, at this time, he was taking anything that came down the pike, you know, because he often didn't even see the movies he was in. He prided himself on his memory because he could come in and have learned the wrong part of you sent him over into a corner he come back in 20 minutes and he learned a new part. And so he was he's a pro, you know, and in this picture I tried to get him in piranha but to play the part that Kenan when and playing but he didn't have a high enough TV queue, which is at that time you had. You can hire people for movies that didn't have a network. Okay, because most of the movies, if they didn't make it theatrical, they had to make it when they sold it to a network, and that's when they would go into profit.

So you had a specific set of people that you could hire and he didn't make the cut on that one. But on this one, everybody in the cast was exactly who I wanted. And he was just a total pro, except he came to work all the time and he would bring his own food because he was so used to being shortchanged on the sets of some of these crappy movies that he was doing. And the heat was off on his trailer for like three days and he didn't tell anybody because he figured nobody would fix it anyway. Oh, wow.

But he was, he was a lovely guy. And, uh, I w I ended up doing the slates on that movie so that I could hear stories from him, uh, and he would go on while they were doing the lighting and stuff and I'd sit there and wait. And then, and then we'd be just about to do a take and I'd go, uh, action through the slate and then I'd realize I have to do take or else I wouldn't hear the end of the story. My mother used to see him walk down Hollywood Boulevard rehearsing Shakespeare out to the public. Out there to nobody on Hollywood Boulevard while this was in the 1940s. Shakespearean actor. I don't think anybody has a longer IMDB page than John

Carradine. No. I mean it's it's you know watching The Howling last night Joe to prep for this and I see these people. I see Forrest Ackerman. I see your friend. I see Slim Pickens up there. I see Dick Miller. I you know I see. You saw me. Yes you're the guy on the couch at the end with the TV guide. I saw you. I screamed when I saw you. I mean, these are treasures. They're irreplaceable people. But here's your reward, Joe, for telling that story.

Gilbert is going to do his Maria Uspenskaya for you. Oh. The way you walk is thorny, through no fault of your own. But as the rain enters the soil, the river enters the stream. So tears go on to a predestined end. Find peace for a moment my son. What a memory. Are you disturbed by that?

Let's talk about you. Go ahead Gil. Oh, Chico's daughter went to... Maxine Marx. Yeah, Maxine Marx, Chico's daughter, went to Maria Spinskaya for acting lessons and talk about wanting a moment in history that I wish someone had filmed. uh she uh maria's kaya went out to dinner with chicko marks to me that's like why wasn't that on camera it should have been the cover of photo play yes as we wind down i'm gonna have you guys plug your podcast but congrats are in order mick you were rewarded the uh master of Horror award from the overlook film festival

Congratulations and the rim of festin I see usually brings it with him, but he's He's getting up to get it he's getting the axe we're not a visual podcast Look at that is that a real axe? It is indeed a chrome axe. Holy Christ. Joe has one too. Mm-hmm. Geez. Wow. I had to try to get mine home in the airport, no, that was... Ha ha ha ha.

Mick, you also won the GrimFest, you were awarded the GrimFest Life Achievement Award. Yeah. Congratulations. Thank you, it was an amazing weekend and it was very humbling, particularly the Nightstream Axe Award because Joe and a bunch of other filmmakers I admire tremendously were there to to give their best wishes at that and it was you know

kind of humbling and and exciting and forgive me the sin of pride for those awards. But it was pretty amazing. And Joe, you were recently given the Lifetime Achievement Award by the Luca Film Festival in Italy and Chat Film Festival. Yes, I was. It makes you start thinking about how many years you've got left. What? Lifetime Achievement means you're done.

Yeah. And you were honored by the Salem Horror Fest and the Chat Film Fest Lifetime Achievement Award. They just love me as long as I'm alive. Let's plug these wonderful podcasts. Mick, Postmortem. Postmortem is in its fourth season. We've been down since the demise of Fangoria, which is rising again from the flames

with a different owner. But this is an exclusive for you. We will be back Halloween week for the first time in several months. Wonderful. And we have some killer people coming on and I probably shouldn't say, but Patton Oswalt is among them.

Whoa, we love Patton. He's the greatest and knows this genre so well and loves it so deeply. And it was a great coup to get somebody unexpected for our show. Yeah, I heard Joe Dante on that podcast. He was pretty good. Yeah, we've had him on a couple of times once with John Landis. I'll do anybody's podcast. Obviously. Yeah, we've had him on a couple of times once. Yeah, obviously I'll do anybody's He did one on on horror and politics with John Landis that was our second show ever

hate mail only to the only two bad reviews for that one because all three of us kind of Got political. Yeah, I know and I I know where you guys stand. Bless your hearts. You're on the right side of things. Joe, talk about the movies that made me. A wonderful show with you and Josh Olson. Josh Olson came to me and said he wanted, he thought we should do a podcast for Trailers From Hell. And I said, that sounds like a lot of work.

And he said, no, no, no, it's not. I'll do the work. I'll book it. And I won't even tell you what it's about. You just show up every week and meet the guests and it will surprise you with what the topics are. And that was, I think we just did our 100th podcast. It's a terrific show.

And we also got our millionth view, I think. Wow. So it turned out to be much more popular than I imagined. And the quality ironically has gone up since we stopped recording in person because now we have access to more people than there are that want to go to Burbank. That's the double-edged sword, but you get the audio challenges of doing it at home. It's true. It is an audio challenge, but as you guys have learned, there's some merit to being

able to have access to people who don't live in the same town. You do. And now this is the horror movie year, 2020, the year that wasn't. We've all got a lot more people under our belt than we would if we had to drag them kicking and screaming into our presence. Sure. Yeah, that's how we got Alan Arkin. We wouldn't have gotten Stephen King if we didn't do it remotely. We wouldn't have gotten Guillermo del Toro for post-mortem. And it really is, it's a mixed blessing, but it's mostly good in that we have access to people like Joe said that we never would have otherwise had. Because people are home, because they're not working. That's right, they're not working. And that gives them more time to listen to podcasts. Ironically

though, most of the time they listen to podcasts used to be in the car and now most of them aren't going anywhere in the car. They have to just sort of sit down and you know listen to the podcast while they're vacuuming or something. I hike five miles a day so that's when I do it. You know two other guests I just thought of that we've had on the podcast well one Dee Wallace. Dee was great. Howling. She was terrific. And the other one we interviewed Donnie Donoghain. Oh right. And yeah well that'd be the last living cast member of Sonder Frankenstein. Yeah safe to say and he was terrific, too Well, hello

That is so idiotic How how what resemblance Donnie Donoghain and basal rathbun Donnie Donnigan and Basil Rathbone That's a Rothman is playing a part. They asked Peter Laurie to play. Yes Is there anybody who doesn't look like Colin Clive more than Peter Laurie? Kill you got to do a little Peter Laurie for Joe and Mick. Yeah No, it's you Indeed you it your stupid attempt to buy it.

Kevin found out how valuable it was. No wonder he had such an easy time getting it. You idiot! You blundering fathead! Now, actually, you think that was him, but it was actually a real recording. Of him up here in was actually a real recording. A peer in Malthy, Scotland. Gilbert's been doing this for years.

There's a lot of call for this, by the way. Gilbert gets tons of requests for his John MacGyver. Before we let you guys go ahead Gil. Everything in this company must be done according to schedule. We will not have any slackers working here. I am the captain of this ship. You were saying? Do you guys know Andrew Bergman, the director? Never met him, but certainly know who he is.

Writer of the in-laws. He cannot get enough of Gilbert's John MacGyver impression. Who can? Before we get you guys out of here, a couple of plugs. Amazon Women on the Moon coming to Blu-ray. Yes. In November. Yeah. And Gilbert actually did roast a dead person, Joe. Amazon women on the moon coming to Blu-ray in November. Yeah. And Gilbert actually did roast a dead person, Joe.

Oh, Abe Bogota? Yeah. The scene in the movie where Harvey Pitnick, played by the great Archie Hunt, gets roasted. Gilbert actually did this, so it is life imitating art. Yeah, I roasted. I was was at a pagoda's funeral And I was standing over the coffin insulting He must have earned it What's the HBO?

Magway project. Oh, it's called secrets of the magwai. It's an animated prequel Magwai project. Oh, it's called Secrets of the Magwai. It's an animated prequel about Mr. Wing, the Key Luke character, when he was a little boy in Shanghai and how he got involved with the Magwai gizmo. And I've seen the first three episodes and it's pretty cool. It's, I think, a little unexpected. I don't think it's quite what people think it's going to be, but it's really charming and I think it's going to be good. it's really charming, and I think it's going to be good. It's probably not going to be on until next year. Okay, so stuff going on. And what is the status, if there is status, on the man with kaleidoscope eyes?

It's where it was in February, and then it just stopped, like everything else. And we're hoping that once we get out from we get out from under this cloud this toxic cloud And I don't just mean that disease That we will be able to get back to what we were doing all well There's a there's a Herman Mankiewicz movie coming out so there there should be a Roger Corman. No I agree. Yeah Yeah, Mick tell us about the book ah These evil things we do it's Tell us about the book. Ah, These Evil Things We Do.

It's my second novel and four novellas put together for the first time, one of which is new. They are all rather intense in different ways and we've had very kind responses and quotes from people like Stephen King and Clive Barker and Joe Dante and other esteemed members of the Horigencia. And it is available at Amazon as a paperback or an ebook, a Kindle book. And I'm pretty excited about it.

It's being really well received. And let's plug that Dick Miller book, Joe, which is called, You Don't Know Me, But You Love Me. Right. Which we've done a pretty good job of moving books here on this show. So I'd like to get the word out books and books need to be moved yes yeah and and Mick what what is the the status of Jimmy Miracle well that Jimmy Miracle was something an idea that I'd had decades

ago and it helped get me work at the beginning of my career. And I've just recently reworked it. It is about to go out to producers right now and my managers are kind of, it's mainstream, you know? It's not a horror story. It has slightly supernatural elements, but it's something very character driven and it's a period movie set in 1936 and it will be going out in the next week or two but it's a brand new take on an older idea that I you guys are busy in a pandemic

yeah somebody's got to be impressive I want to tell her what's the choice yeah I tell our listeners to find nightmare cinema which was great and also masters of horror. And if you haven't seen Matinee, please see Matinee. And Mick, I loved writing The Bullet too. Oh, thank you. Which is obviously a... My lesser known Halloween movie after Hocus Pocus. A personal film. And yeah, Hocus Pocus is back. Boy, number one at the box office. Yeah.

27 years after the fact. Gilbert, want to let these men get on with their lives? Oh, not really, because I'm going to go ahead. Let's OK. But before you go, Joe, dealer's choice or not dealer's choice, but one story quick about either Christopher Lee or Brother Theodore. Well, I'll do Brother Theodore because he's less known, but he was so deaf that we had to we had to be very careful when we mixed the movie because the other actors would have to speak up really loudly for him to hear his cues.

So sometimes we would have to go back and do looping to hide the fact that they were giving him extra loud cues. There's a feathered Theodore story. Oh, jeez. The Burbs is a big following, by the way. It does. It's huge. And rightly so. Yes. It's huge.

We want to thank you guys for doing this and being part of this Halloween show. And I will tell our listeners too to find your podcast. They're great. The movies that made me with Joe and Josh Olson and Mick's wonderful post-mortem, which continues for you, Mick, a career of interviewing people. Yeah, started early, including Christopher Lee

back in 1979, yeah. Malcolm McDowell was on the podcast with us last week and told us some wonderful Christopher Lee stories that we'll send you guys. Great. I actually did a scene with him, acted in a scene in John Landis's The Stupids, but the scene got cut. Oh, no. I played one of his henchmen. And the stand is on Blu-ray too now, Mick. And now it's a documentary. Yes, exactly. It looks better than ever. They actually went back to the negative and went and did a high-def transfer. Which is great because you don't often get that with things that were cut on video.

Yeah, it was standard def video shot on 16 millimeter film which was very uncommon at the time. But it looks better than ever and the new version of the stand is coming out in December so I can't wait to see that and I actually have a cameo in it. Fantastic you guys are everywhere thank you for doing this. Gilbert's going to do a sign off. And as a Monster Kid I thank you both for coming on. Thanks for having us. Yeah, because nothing I like talking about more than old monsters. And so this has been Gilbert Gottfried's

amazing colossal podcast with my cohost Frank Santopadre. And we have been talking to Joe Dante and Mick Garris. A couple of Monster Kids, happy Halloween gentlemen. Thank you for doing this. You too. All the best, take care and stay safe. Okay. The The The Thank you.