Episode: 373 • Duration: 01:06:10
We’re covering arguably one of Clive Barker’s most popular projects Nightbreed, a tour de force of monster designs and special effects work that actually serves the Halloween season very well. Again, because this is a Clive Barker series, we’re covering the Director’s Cut version of this film that restores Barker’s original vision and matches his novella Cabal a bit better than the theatrical. We talk about the effects, Danny Elfman’s overbearing score, the themes buried underneath, and a whole lot more.
Haunted Hefeweizen - Boggy Creek Brews - Untappd
Haunted Hefeweizen by Boggy Creek Brews is a Wheat Beer - Hefeweizen style beer, which has 1 ratings and reviews on Untappd.
As a special treat, we’re drinking Ryne’s very own homebrewed beer – it’s Hank’s Hefeweizen, a recipe from Northern Brewer. He’s calling it Boggy Creek Brews’ Haunted Hefeweizen.
Stay tuned all Halloween season for more Bobbing for Barker!
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Transcript – Bobbing for Barker (3) NIGHTBREED (auto-generated)
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0:00
This September here the rattling of chains see the master of illusions experience the cabal of monsters, the purveyor of pain comes to blood and black rum podcast this Halloween season with Clive Barker’s filmography in thobbing for Barker.
0:22
Hello, welcome back to the blood and black rum podcast.
Ryan from coltsplitation.com and I’m joined on my Co host Martin.
How’s it going?
Pretty good.
Pretty good.
I was trying to be the character, one of the characters in this movie, but you know, I don’t have a deep enough voice for it.
That’s I certainly don’t match the the tambour of his voice.
0:42
Yeah.
So we are back with our Bobbing for Barker series for Halloween.
Hope you’re enjoying your Halloween season so far, even though we’re really only early on into it.
We’re only in the middle of September.
But it does feel like fall’s going fast or well, well, I should say the end of summer is going fast, which I do I, I find funny because, you know, we tend to think of fall starting in September.
1:05
It really doesn’t, you know, traditionally it starts in late September.
So we’re still in death throes of summer.
But, you know, everybody likes to get out there and do their, their fall things because you really don’t get that much time to do it.
It’s going by pretty fast.
1:21
And the leaves are already changing, at least here in upstate New York.
I’ve been seeing quite a few leaves actually falling and, you know, scattering the ground, something that you wouldn’t see in Haddonfield.
Unfortunately.
It’s true.
Yeah.
There’s a no natural fall foliage in Haddonfield.
1:38
And actually I went up to Massachusetts this past weekend to a lake house in the in the woods, and it wasn’t really that changed at this point.
And it was pretty, pretty green up there still.
And they’re just that much more S for us.
So that could be one of the reasons why.
1:55
But just taking in the sights and the sounds of the fall season and some of the fall season sounds are going to be featured on our show today because we’re talking about another Clive Barker movie.
And we’ve been kind of going back and forth here in our past couple episodes between newer and older Clyde Barker films, ones that Clive’s directed, ones that he’s only been tangentially related to, as we did last week.
2:21
The Midnight Meat Train.
He wrote it, but, you know, not really involved in the movie production at all besides a tenuous producer credit.
And before that we did Lord of Illusions, which he wrote and directed.
So we’re actually returning to a written and directed film by him.
2:42
And as we discussed in that previous Lord of Illusions episode, this movie has a lot in common with that.
It actually released prior to Lord of Illusions, but post Hellraiser and it suffered from many of the same issues that Lord of Allusions had, maybe even more so that it had a lot of production involvement that cut out a number of parts of the movie that were sort of intentionally created by Clive Barker to meet the same as his novella that this is based on to, to try to capture those same themes.
3:17
And producers were like, whoa, wait a second, we want to slasher movie.
Like slashers are all the race 1990 guys, slashers all the rage right now.
So we want a slasher movie.
And actually, you know, to, to, to be truthful, slashers were actually on their way out by this time.
3:36
So the production was a little bit late on that one too.
They were, they were at the, the tail end of those times that they were actually more so probably banking off the fact that most of the sequels at this point to other films were kind of petering out in the slasher genre.
3:52
You know, we’re, we, we’re still getting the Nightmare on Elm Street here and there.
But you know, for the most part, this was a very this is the tail end of the slasher craze of the the 80s.
You know, if Dawkins not doing the soundtrack for you, is it really a slasher film?
4:08
That’s true.
And yeah, that’s a good comment because this film certainly doesn’t have a slasher soundtrack.
It has a Danny Elfman soundtrack, who this time would have been fresh off of a number of Tim Burton films, and you could definitely tell.
4:28
You know, I didn’t know they let him off the lease for, you know, they, you know, they.
Tim Burton, can I Can I borrow like?
Had him contractually like on lockdown.
Yeah, right.
Yeah.
They were like, can, can can we borrow you for a second?
4:44
I don’t know.
He’s, he’s kind of busy.
He’s got a lot of stuff going on over here for, for Tim.
Yeah, we’re talking about 1990s Night Breed.
And specifically as we discussed on the Lord of Illusions episode, the director’s cut version.
5:00
Because if we’re going to do Clive Barker month or, or Halloween season, I should say, then we’re we’re going to do it right.
And we’re going to do his original or intended vision as much as the director’s cut can claim to be.
So, yeah, Night Breed.
5:15
What do you know about it?
Before this?
Before he watched it, I should say.
Nothing.
Can you can.
Can you say that again?
I said, what do you know about it before you watched it night.
Breed or Clyde Barker’s night breed.
Yeah, I guess it does have that moniker again, doesn’t it?
5:33
On certain posters it does not.
Not always, yeah.
But but yeah, in the in the film film opening, it does show it, you know.
Oh yeah, so Clyde Barker’s night breed.
Nothing had no way including this thing even existed.
5:51
Right.
And we’ve talked about how you kind of have a lack of knowledge about anything Clyde Barker.
Really.
That’s right.
Yeah.
So that makes sense.
And this isn’t like, well, so.
So this movie is actually quite popular around people who who do like Clyde Barker films and Clyde Barker Entertainment, and for good reason.
6:11
I mean, it definitely has a lot of the same themes and and and visuals that you would expect from Clyde Barker on the artist and the writer.
And I think also one of the main things is that there was always like this, this compelling, I guess, a revolution around getting Clive Barker’s original vision out there, you know, with the theatrical cut versus the director’s cut.
6:40
Now, I don’t quite know how well the theatrical cut did when it released or if that this was something that proliferated after, you know, hit home video where people were like, whoa, wait a second.
This doesn’t really seem like it was Clive Barker’s original intention.
I don’t I, I probably have known that at some point, but I, I can’t quite remember it off the top of my head now.
7:01
It’s been a long time since I’ve, you know, watched any information about the making of the film, But I do know that it it had, you know, languished at the theatrical cut, but then when the director’s cut was released, people liked that one quite a bit.
And the IT almost reminds me of something like Todd McFarlane, right?
7:21
Todd McFarlane as a writer, as a artist with his Spawn elements.
The idea behind Night Breed reminds me a lot of stuff like that, where you just kind of get a smattering of Clive Barker throughout that just sort of seems like his ouvre.
7:40
It’s just, you know, very feels like his signature, basically.
So I’ve seen this movie a couple times.
I’ve seen the theatrical crowd, I’ve seen the director’s cut, and I think from what I remember, I like the director’s cut more.
7:58
And we can, we’ll talk about some of the differences that we know about the two.
But yeah, I, I, I think that this film is a really fun movie that to watch, you know, just especially around this time period, you know, around the Halloween season, I think it has sort of a very specific feel to it that reminds me something like the monster Squad.
8:20
You know, movies like that, that, that have a very particular like aesthetic to them that makes it stand out during the Halloween season that not all types of movies have like slasher movies.
They don’t necessarily say to me during the Halloween season like, wow, that’s really, you know, Halloween esque.
8:38
They they kind of just start like in anytime horror movie.
But yeah, that I think that, you know, this movie reminds me a lot of his novella, Clyde Parker’s novella Cabal, which I’ve also read a while ago, probably 15 years ago, 10 and, you know, 1215 years ago I did read that book and and this one is really close, at least for me.
9:02
And the director’s cut is really close to Cabal.
I think it it, you know, manages to evoke the same feelings and senses that the the novella gives off, but just in a more truncated version, even though the film is actually two hours long.
9:18
So, yeah, we’ll talk about all that as we get into the show more so.
But anything else you wanted to add in the introduction here?
Yeah, they just spelled cabal row.
CABAO.
Yeah, it’s K Oh, you wanted you wanted AK.
9:37
Cabal.
I mean, that’s the name of a character won’t combat Cabal.
That’s true.
Yeah, that’s right.
Yeah, that’s how it’s spelled.
With AK that’s that’s the only cabal you recognize is that’s true is a mortal Mortal Kombat cabal very good, very good.
All right well let’s take a break real quick before we get into the film and let’s talk about the beer that we have on the show today.
10:00
We actually have a special beer this time.
This is this is not something that you’re going to find in stores because I actually brewed it.
I’m going to pat myself on the back here.
You know, I didn’t write the recipe.
This is a recipe from Northern Brewer.
10:18
Got to work it down to so 13 years of the podcast, Nyan 400 episodes.
Yep.
Ryan brewed a beer.
That’s right, that’s right.
This isn’t my first brewing experience actually.
I did try to brew a beer a little while ago.
10:34
It was with one of those Mr. Beer kits.
And that kit was like extremely expired.
It was probably like 10 years old.
But I tried it anyways and it didn’t, it came out like garbage.
It it was, it was not very good.
And so I don’t know if that was just because the quality of the ingredients had gone down over time or if I didn’t do something right or whatever.
10:56
But Needless to say, that one didn’t come out very well.
And I was very discouraged.
I was like, I’m never going to be a Brewer.
You know, here I am, almost 40 years old.
I’ll never be a Brewer.
Thinking about what are you going to do?
Do you go get your graduate, your master’s degree, or you open up the craft Brewer?
11:14
That’s right.
That’s right.
Yeah.
Which one?
Which one?
I’ve only got a couple of different directions I can go here.
So, so, but anyways, later on I was like, you know what, I’m going to try it again and I’m going to get like a, a, a better quality kit, right?
Something that will maybe last me longer, something that I can use for multiple different brewing types.
11:32
And so for Christmas last year, I asked for a Northern Brewer kit, which is a little bit of a nicer kit.
It comes with, you know, a 22 fermentor buckets.
They’re food grade buckets.
It comes with airlock and you know, some of the ingredients to make your first beer and also a recipe.
11:53
And that recipe is what I ended up making for this first batch that I brewed it.
So it’s Northern Brewers Hanks half of Eisen recipe.
So that’s, that’s what we’re drinking.
But I brewed it.
Yeah.
And I’ve never had this one before, but I can’t say that this is a really tasty, very authentic half of Eisen recipe.
12:15
And my beer, I would say, came out very well.
I’m not, I don’t have, you know, too much to compare it to because I’ve really never brewed anything else before.
But from my extensive beer drinking, you know, history, I could say that as a HEF of Eisen, I think that this is pretty close to being like a, a fairly perfect representation of a HEF of Eisen, like your standard HEF of Eisen.
12:40
And I’ll let you, you know, give your review because I don’t want to be biased and and give mine first.
Think it’s shite?
No, you did a good job.
Congratulations on, you know, being able to follow directions.
12:57
It is a damn good Heifervisin.
Got a nice clove spice.
It’s nice, you know, coriander orange.
It’s refreshing, does have like, a little a junky taste at the end, but it’s not, you know, too bad.
13:17
It could just be like the yeast at the bottom of the bottle, Like it a lot.
It’s a hell of a lot better than the Sam Adams Coastal Wheat that I remember having.
Yeah.
I don’t know how hard it is to make these things, but if they’re not that hard, I’ll have to do it myself because I love a fucking half of Iceland.
13:38
So yeah, this is great.
And you got it.
You got it done right in the nick of time because we’re about a week and a half away from the weather to go from humid to frigid, so.
That’s right.
Kudos.
13:55
Like I said, you did a great job.
I was upset when you said on Sunday you sent me a message at when you’re at your friend’s lake house that you are enjoying the beer.
I didn’t get to be the first one to try it so that hurt.
My feelings, yeah, sorry about that.
14:11
No, you could have just brought them Bush, it’s true.
Or, you know, for some 40s, but that’s OK.
Yeah, we ended up, we ended up sharing it and, you know, had a nice time at like I said, we didn’t have all that many.
But like, you know, I, I cracked them open and I gave them to each person there and just to give it a taste.
14:29
And one, my one friend really loved it.
She she requested it the next time she comes up.
So I have to try to try to make it again.
That’s right.
Yeah.
I, I would say that, you know, brewing it is not that difficult.
The hardest part is probably making sure that you maintain a sterile environment, right?
14:48
Like a, you know, you’re not contaminating anything that you’re brewing in.
Is, is the hardest part when you’re working in like a, you know, standard house, you know, in your kitchen or something.
Because, you know, I’m not saying our kitchen isn’t clean, but you know, sterile and clean are two different things.
15:04
And you just need to make sure that you’re being very careful.
And then when you got kids running around and pets and everything else, it’s, it’s hard to maintain a sterile environment.
However, as long as you follow the directions of the recipe, I don’t think, you know, it’s too, too awful difficult.
15:20
And I wouldn’t it’s time consuming.
I will say that, you know, it takes a couple hours on brew day to really get everything prepared and ready.
And then it takes another couple of hours when you’re bottling to make sure.
And it takes someone to drink a lot of bottles so that you can actually have bottles ready for your for your bottling because I didn’t have any.
15:39
The the kit itself is it makes a 5 gallon bucket of beer, which ends up being about 48 bottles all together.
But it doesn’t come with bottles.
So you either have to buy them separately or you can drink your way through 48 bottles of beer, you know, brown beer bottles and, you know, make sure that you wash them out and give them a nice cleaning and then sterilize them on the bottling day.
16:03
And you can use those.
So that’s what I ended up doing.
Help from Martin included, he was able to get me a number of brown bottles as well as the ones that I had at home.
And yeah, we were able to bottle it in those brown bottles.
But and then with the other thing that comes with is caps, you know, if you get a bottle, you need caps to put on bottles to make sure that they carbonate.
16:24
So it did come with a probably about 48 to 50 bottle caps and then it comes with a capper, which is pretty cool actually.
Let it comes like, you know, this little handheld capper that you stick the cap on and then you press it on down and then you know, it seals itself around the bottle.
16:40
It’s pretty cool.
Can’t use the bottle caps again.
So you got to get new caps every time you want a bottle.
But other than that, I would definitely do it again.
I’m going to experiment a little bit more.
I’m going to try, you know, this one came with a kit, but I’m going to try to experiment a little bit more with recipes on that I find online.
16:57
Probably mostly ales at this point because they don’t really have the ability to have a more conditioned environment and and make sure that the temperature is at where it needs to be.
So ales are are a lot easier in that regard.
So probably going to do that.
17:13
And, you know, I also plan on doing a hard cider again this year.
I think this year I’m going to use a different yeast so it’s not as dry as it was last time.
And we’ll see how that goes.
So, yeah, it’s very cool to be, you know, to be involved in brewing and I hope to experiment more in the future.
17:32
And Martin Will, you know, obviously share in the wealth of my labour.
So yeah, God bless.
Yeah.
But but yeah, it was fun.
I’ll definitely do it again.
But yeah, this half of Eisen really solid.
I I definitely, you know, the recipe is, is, you know, Brewer approved for me because I do think it, it pretty much is a classic half of Eisen style and does, does really well.
18:00
So.
Yeah.
Fun to have this one on the show.
All right, let’s talk night breed.
So night breed is honestly a very I I think a very crazy movie.
It is a, you know, and I think you really nailed it when you said off the podcast that it is Tim Burtonesque because it really is Tim Burtonesque.
18:22
And, and part of that is just because of the, the Danny Elfman soundtrack that sounds very whimsical in a, you know, a Tim Burtonesque way.
But also the direction and the the way that the monsters are sort of paraded around does remind a lot of some of Tim Burton’s like Beetle.
18:41
It reminded me a lot of like Beetlejuice.
It’s like in a more horror, queer, slight reaction tinted version of like Beetle.
Yeah, and I’ll tell you what else it reminds me of is, you know, you said Tim Burton, The Nightmare Before Christmas would have been released after this, I think it was in 1994.
19:01
But it is also very similar to the Nightmare Before Christmas in the, in the way that the the monsters are paraded around.
And I’ll, I’ll go one step further.
Our good friend Howie Mandel.
Does that ring any bells to you?
Does it remind you of any childhood movies?
19:20
You don’t have this childhood nostalgia because you and my wife are always the one sharing in the the childhood nostalgia.
We used to live this zone these.
Movies when we were children, and I don’t ever get to share in that.
Well, well, now it’s the opposite foot.
All right.
You don’t.
19:36
You can’t think of a Howie Mandel movie that this reminds you?
No.
What movie was Howie Mandel?
And little monsters, baby little monsters.
The you never watched little monsters with the savages.
Fred Savage.
No, no, no.
19:52
OK, well, that movie released one year prior to Night Breed in 1989, and it has a very similar aesthetic to it where the the Fred Savage plays a character who believes in monsters and he goes under.
20:08
He’s like, he’s like sick.
And he’s in bed and he goes under the bed and Howie Mandel plays one of the monsters and he they go into this like underground world where the monsters live.
It’s very reminiscent of Night Breed.
20:26
And it’s like this like a kids version of Night Breed basically, which released a year prior to Night Breed.
So it definitely reminds me of that a lot.
Surprised you’ve never seen them.
I’m I’m disappointed now I’m disappointed.
We’re going to need to do that at some point.
20:41
We’re going to.
Need did did.
Did your wife see it?
Oh, yeah, yeah, she she was a big fan of little monsters.
Yeah.
OK.
And I guess I’m out on.
Yeah, you’re you’re you’re left out here.
I’m I’m surprised.
I’m surprised you hadn’t seen it.
But yeah, it’s, it’s night Breed is a really interesting movie.
20:57
I think like in the way that it presents these monsters, they call them the night breed basically.
But in the, you know, in the scheme of things, they are monsters that live in the underground, sort of very reminiscent of, you know, like we talked about before with Chud’s or the Midnight Me train of race that lives underground.
21:15
Clay Breaker really likes that theme of things that live underground.
And, you know, it’s this movie about monsters who live under the ground and A and a serial killer, which are, you know, seem like they would be at odds with each other.
But the movie kind of makes it work.
And who is our serial killer?
21:31
No one else but David Cronenberg showing up here.
That’s not David Cronenberg.
That’s Patrick Bateman.
Yeah, like it’s like a very early version of the American Psycho.
Yeah, in Canada.
Yeah, yeah, and and I want to I.
21:48
Want to know who like that’s what cocaine and like day drinking does see you, you sit there and think thin rimmed octagonal glasses and my hair long but slicked back like a douche bag makes me I am the I’m.
22:08
God, a doctor with the, you know, dark sunglasses, leather jacket, you know.
And what kind of like you can tell again, like this is like a film of the 80s, you know, technically came out 90, like the late 80s.
22:23
And like, you know, like from 88 to 9192, the fucking therapist is like in this high rise building with these like thin white shutters in this thin, like black sit down chair.
22:40
And yeah, he’s like, and they’re like, are you crazy?
He’s like, yeah, you crazy.
You wouldn’t feel welcomed in a sanitized setting like that.
Yeah, like, sit down.
Listen, my job is to be the middleman.
A lot of people who don’t want to get thrown into the sanatorium just run away.
23:00
When I get you in here to have them throw you into the SAN.
I don’t figure out the problem.
That’s my job is just to be like, Oh yeah, this guy’s fucking nuts.
Right.
And I mean, the film doesn’t really try to hide the fact that David Cronenberg’s character is like this smarmy little douchebag guy that, you know, can’t be trusted because that while there is a reveal that it’s like, oh, Decker is the killer.
23:25
You know, the guy’s name is Decker.
They nobody calls him anything besides Decker.
I mean the the name Doctor.
PP Decker.
Yeah, the name itself is like an already indicative.
It’s a it’s a Clive Barker staple of to have people with like these very unnatural names that kind of harken to them being sort of weird or off putting, right.
23:49
And like Decker is 1.
This is it’s just it’s just a name that stands out.
But anyway, like David Cronenberg, you know, he looks like it, you know, in this movie.
No, no offense, David Cronenberg in his in his looks, but he definitely does look the type of of a serial killer.
So it’s no surprise when once they show him sitting in front of a table full of knives, like a really weird looking like red bubbly pipes in the background behind him, like, Oh yeah, yeah, my guys.
24:19
What?
Is this Jeremy Irons vagina movie that he did that we did for him?
The dead ringers, is that what you’re talking about?
Yeah.
Where they.
Yeah, where they’re the the gynecologists with the with the instruments, Yeah.
24:37
Yeah, that’s what that he he reminded me of than this.
Yeah, you made this.
Hold on.
You made that sound like why?
I said Jeremy Irons and the vagina guy.
You’re like, hold on, let me.
Think well, I did have him.
I think I had to.
Think how many Jeremy that’s true gynecologist films have.
24:57
I was more searching for the name, not not the the idea of the movie, but yeah, yes, yeah, you’re right.
There’s a there’s a limited amount of those, but maybe more than one.
I don’t know, maybe Clyde.
Barker, he saw that.
And he’s like, too.
He’s like, I got like, you know, we got a.
25:14
We’re going to get this guy.
Maybe that’s why he got Cronenberg to do it, because like how many like acting?
I mean look but like how many like acting bits has Kroenberg now?
Not very many.
Yeah, you’re, you’re right.
I like, you know, thinking about thinking about him as an actor.
25:30
He doesn’t show up much in in.
When I first saw this movie, I was actually very surprised to see him in the movie because I, you know, I knew it was David Cronenberg when I was like, wait a second, He’s not a, you know, he’s not an actor.
25:45
But yeah, he really only has been.
He kind of, he’s shown up in his own films.
You.
Know that makes sense.
Yeah, that’s the.
Little cameo appearance that’s like David Lynch you.
Know yeah, but but, but as a as a actor, not often.
So, yeah, it is interesting that he shows up here, but I think he does a pretty good job as this, you know, very untrustworthy serial killer who’s standing in as like sort of a Dexter type, you know, as A and, and and I think the film doesn’t necessarily do a great job and it doesn’t maybe doesn’t have enough time to really cement the idea behind him as a serial killer.
26:28
I feel like if I remember from the novella, there’s more emphasis on like the mask itself as being like sort of talking to him.
I may be misremembering this, but sort of like calling out.
And the movie kind of gives a little bit of a hint to that when he like stares at the mask and he’s got it in his hand and he’s kind of looking at it and like how he zips it up and down like the map for the mouth as though he wants to shut it up.
26:53
At times.
I feel like that was in the the novella more, but it doesn’t really carry through to the film.
So the movie kind of relies on him giving an exposition or narration about why he’s a serial killer, which is basically just boils down to like filth.
There’s filth everywhere is everybody.
27:10
It’s filth.
And and it doesn’t really, I don’t think that really translates well into the movie because there’s no real impetus.
And it actually sometimes this feels a little bit silly when he’s like, you know, there’s explosions going off at the film’s 45 minute conclusion of, you know, them traipsing in a Midian and, and murdering all the monsters there.
27:31
And he’s running around with his mask on, just chasing Boone’s girlfriend.
Like, you know, like just having a ball in there.
To be fair, I do think the look is great.
Yeah, Oh yeah.
The the mask itself, Yeah, yeah, yeah.
Is awesome.
27:46
Well, yeah, Crodenburg looks great to begin with, you know, and he looks, you know, just smarmy and like I said, like like a prototype Patrick Bateman and with the mask and stuff, like he’s even great.
Like you a cod you guys said you know for Halloween 4 didn’t you know?
28:07
Take notes on like this is how your mask should look.
This is a cool mask.
Yeah, I agree.
I like, I think that the visual flair of the mask itself is a really stand out and and I do believe that that’s probably why producers really mistook the initial meaning of night breed, right?
28:26
They were like, don’t get me wrong, it doesn’t even make sense because when you call the movie night breed and you’re like, wait a second, let’s not focus so much on those monsters that live in Midian that are called night breed, right?
I.
Don’t know, I I think more it’s not the mistook.
I think it’s more trying to, you know, fit a, you know, round pagitude, square hole, like with Clive’s first film that we did on here.
28:51
Lord of Illusions.
Lord of Illusions, because they want it to be something that’s not.
And I always find that’s funny.
Like if you’re only Tom Dick or Harry, like, you know, of a producer or studio, like, yeah, you should definitely have, like you’re the ones funding goddamn project, you know, finals.
29:10
Like you got to have say on it, right?
But when that’s a God damn story written by the guy who you have, you know, contracted to direct it and you put his fucking name on it, like that’s where it’s just like, you know, it’s silly.
Imagine like now, like Wes Anderson, he’s making a movie.
29:29
Fox Searchlight Like Wes, can you tone those pastels down?
Can you tone?
Can you tone yourself down, basically?
You know we listen.
We can’t afford the rights to that Canned Heat song that you want in there.
29:46
So can we use like some AI?
You know, it’s, it’s just silly and I find it funny.
And I understand like Asterix, we’ve done 2 out of history films so far that he’s personally, you know, wrote and direct.
So after watching this one and Lord of Illusions, I can totally understand why he’s like, you know what?
30:04
I’ll just write fucking short stories like, like, you know, just like, like you don’t want to get out.
I’m sick of this shit.
Because if you were to watch this cut that they, you know, even isn’t technically a director’s cut because it is a passion project to like patch the work, you know, together of the original of the original, you know, vision great.
30:31
Like it’s a great job.
And it’s like a testament again to like just like like if you wanted something different, like, and I am curious to how the theatrical cut is.
But if it is like supposed to be like a slasher and all this like, then you should just you should have spent that money Vegas slasher make you know.
30:55
Yeah, I mean, I feel like at at the end of the day, someone was like, you know, we spent all this money to make this cool mask.
We feel like we’re not getting the most out of it, right?
Like, let’s just turn the movie into the the guy with the mask instead.
And like, again, yes, I understand, but but I do think in night breed, the serial killer element, while it does seem initially like that would be way overkill in a movie about monsters that live under a graveyard, right, Like, because it seems like those are completely opposite ideas.
31:27
The element does end up working because ultimately it’s, you know, coming back to this idea that like, well, the humans are really the monsters here.
Like we have a serial killer who’s running around Willy nilly, like even during a monster massacre and he’s murdering, he’s trying to murder people on site.
31:45
You have the humans that initially killed all of the night breed at the beginning of time or whatever that past history is supposed to represent, whenever that’s supposed to be.
And you have, you know, the the idea that the humanity itself is you’ve got these police that come in and they’re again massacring the night breed in horrendous ways just because they’re different.
32:07
So you have this idea that humanity is really not worth saving and that it’s, it’s, it’s not the, it’s, it’s the humanity is more the evil than the, the monsters are in this movie.
And so the serial killer element does work into that because it effectively draws that parallel very nicely.
32:26
They’re like, look, the monsters aren’t really trying to murder these people.
They’re just trying to live in peace under this, underneath this graveyard.
And then here’s David Cronenberg running around like Chucky with a knife in his hand, like chasing people down.
You know, it’s, it’s, it’s the, the, the position between the two actually works very well in the movie.
32:42
And I think trying to, to cut that or trying to focus on the slasher element is really, you know, missing the the forest for just the trees that are there, you know?
Scream Factory, we had a short interview that the copy that you gave me to watch for this, like I said off podcast, it did have like an interview between like the guy who was like, I think Scream Factory who So normally if he edited it or if he was the one that was like really pushing to get it done and him and Clyde Barker talking about it.
33:15
And that was like another thing we were talking about was like Clive’s like, yeah, they didn’t under, they didn’t understand the monsters not being bad.
Right.
And again, it’s like, how stupid do you have to?
Be like, yeah, what do you, what do you mean like?
I don’t get it.
33:31
I give you why it’s pretty.
It’s not like it’s a like you’re sitting there like, what’s TS Eliot trying to tell me in this?
Yeah, yeah.
It’s like it’s not couched in a lot of space or anything, you know, it’s pretty, pretty out in the open.
Yeah, yeah, it’s pretty.
33:46
It’s pretty bare like, you know?
Yeah, it’s, it’s an interesting element because, you know, it’s it’s pretty obvious the film kind of comes down on the side of the monsters.
I mean, quite literally every human being that’s actually kind of good in the movie chooses to become part of the Night Breed.
34:04
You know, at the end of the film we have, you know, his Boone’s girlfriend becoming Night Breed on purpose.
She literally stabs herself like Romeo and Juliet style to become Night Breed.
You have the the priest at the end who sees, you know, Baphomet, who is like the demon version of God in this scenario.
34:23
And he’s like, you know what, I’ve seen their God and I don’t really believe in our God anymore.
So like, you know, fuck that, I’m out.
And so it’s really hard to think about from a producer standpoint being like those monsters.
People don’t like monsters.
34:39
You know, it’s like, it’s the exact idea of what’s being represented on screen as they murder every single one of the innocent monsters who are just like, oh.
We don’t want to hurt you, we just.
Want to live underground, you know, in our in our convoluted layer it it’s it’s really silly to to think that they didn’t understand the themes.
34:58
But you know, I guess to each other.
And this is this is not something new either.
You know, it’s not like Clyde Barker’s coming up with some unique idea of like, you know, the monsters aren’t really the bad people.
You know, it’s, it’s humanity that’s bad.
This has been around for for hundreds and hundreds of years of of archetypes.
35:18
No, I would.
It’s, it’s, you know, not humanity bad.
It’s humanity’s ignorance bad, you know, and their and their ignorance leading to the fear that causes the violence.
Yeah, of the other, fear of the other.
35:34
Because you get that nice BDSM, you know?
Yeah, you know, 9 inch snails like inquisition, like sequence, like, you know, like the the night breed being tortured and stuff and it’s like it’s like yeah, fuck you lacking.
35:57
Yeah, yeah.
I mean, I think that, you know, the idea is, is nice.
You know, it’s this idea of freaks, right, That for the freaks or the other, as you said, there is, you know, there are interpretations and there’s, you know, parts of the film that do include themes about being of gayness, you know, of homosexuality.
36:17
Even some of the characters themselves, you know, are not not like, you know, viscerally portrayed like as as gay, but like, you know, they’re not like, well, man, you know, Shonda’s got a great purse over there, you know, something like that.
But like.
36:33
They it’s not the bird cage.
Yeah, exactly.
It’s they’re flamboyant, but they’re not like, you know, yeah.
Yeah, they’re not over the top or like it’s never it never comes out and, you know, essentially says it.
But there are characters that do seem like they’re gay and and and, you know, coming back to the idea towards the end where the the one, you know, absolute asshole cop that, you know, is really effectively played in this movie.
37:02
His name escapes me at the moment, but the the actor who plays him but really great.
Charles.
Haid Charles Haid.
Yeah.
Is Captain Eigerman.
He’s really great to be like this really prickish guy that, you know, is easy to hate in this movie.
But towards the end, you know, when the priest is, you know, trying to stop him from massacring everybody, he calls him a faggot.
37:23
And, you know, that’s, I think that’s probably the most pointed way that the film kind of points out like, hey, listen, you know.
That’s not a priest, by the way, Reverend.
Reverend, you’re right.
You’re right, alcoholic Reverend.
That’s great.
He’s sweating bullets.
37:39
Yeah, that’s right.
I do.
I you know, I like this whole idea though of what essentially is just a monster mash of monsters.
Like as night breed is very chaotic in the fact that none of the night breed really has a as a species.
37:58
They are not similar in any way.
Like, no, no monster is the same.
It’s actually like made it a point to be like, every monster needs to look different in this movie.
Like, no night breed is the same.
Everyone’s unique.
Yeah.
And in what do you think about that?
Well, how do you like the designs?
38:15
Good.
I think I want the makeup and effects for this film is very effective and very good.
These obviously spent a lot of time, you know, getting the looks to be pretty damn good.
So like the latex and all that looks great and like you even in for I can, you know, this is what I forget, you know, sometimes watching stuff and like, you know, 4K and stuff like it’s amazing to see like it like that sharpness and like, you know, sometimes you, you know, see the flaws and you know, stuff.
38:49
But like look, no, they all look very interesting and very cool.
Like one of them looks like they belong.
Like they’re a hellscape BDSM version of like somebody from cats, you know?
You know.
Yeah, I mean.
39:06
Yeah, I think it’s, you know, well done.
It is almost, Yeah, you’re right.
In parts.
It is almost like a dark theatrical sort of thing, like, you know, almost of Yeah.
Or a cabaret, dark cabaret sort of thing.
Especially, you know, even at the beginning of the film where it’s almost like a literal, like, theatrical performance that they’re giving for Boone as he’s having this dream about them.
39:28
It is, yeah.
Boone.
Boone.
What’s his name?
Aaron Boone, yeah.
Oh my God, the manager.
The New York Yankees.
I know, and it is funny.
Is it that it just happens to be the same name?
Yankees baseball manager Aaron Boone here having bad dreams about monsters.
39:49
You know, no wonder the Yankees aren’t winning.
He can’t focus.
He’s.
Judges hurt again.
Fuck.
Yeah, I do.
Yeah.
It’s it’s that’s great that it.
Is crank me up every time too.
There’s Aaron Boone.
I do love too that.
Annie, Bobby, the entire time is calling him like Boone, you know, that’s just fucking you.
40:11
And I love you, but yeah.
Boone.
Where’s Boone?
Where’s Boone?
Yeah, no, that that’s a, that’s AI think that’s a Clyde Barker thing.
Again, it’s like, no, you can’t just call somebody by their normal first name, their, you know, it’s always got to be their, their weird nickname or or last name.
40:28
So to be fair, I understand you can’t call me my, my full name unless it’s in the throes of passion.
That’s right.
Like, or, or, you know, family like, because it’s just weird.
Yeah.
Yeah, I, I love the effects here.
40:43
I think that like you said, you know, in the 4K you can see some flaws at times, especially when you know, the the one guy pulls out his thumb blades, which are cool by the way.
I need to get me a pair of those thumb blades, just like, you know, you know, getting in a bar fight.
41:01
Let me slip on my thumb blades.
You know, no one’s going to be bothering me with these.
But yeah, I like like, you know, when he skins, when he skins his head a little bit, you know, you can see the the the the seams there and there.
But for the most part, again, I think this is very Barker ask in the aesthetic.
41:17
You know, you haven’t seen Hellraiser, but it’s very Hellraiser ask in a lot of ways.
You know that a lot of the visuals are very similar to a lot of Barker’s art and you know the film does a pretty good job of maintaining that and managing that.
I don’t know if you saw but a couple times there’s like some nice like art matte back backdrops in the film that it used as well.
41:40
It makes it look even more dreamlike.
Cabaret.
Yeah.
So this is cool.
Those, those matte paintings are really well done.
Yeah.
Like, great.
Yeah.
And, and it kind of gives the film this very sort of romantic, theatrical feel to it that I think is intent, you know, intended.
41:59
It’s not like something that’s supposed to be it.
Feels like a story.
Yeah.
Yeah, well, it also, you know, it’s also good too, because you know, the story with the way like, you know, Boone’s having his Neo nightmares and such.
42:14
Like it does give you that, you know, dreamlike quality.
Like is this like what’s happening?
Is it a dream?
Is it you know?
Right.
And, you know, we have Boone as an unreliable narrator who, you know, at the beginning of the film when he starts to have those hallucinations and they’re like, what do you take?
42:31
He’s like, well, I take lithium because I’m a fucking schizo.
You know, basically the idea is like, I’m schizophrenic, but like, I just take lithium and it sets me straight.
Like, no, you didn’t take lithium here.
You’re on a very strong hallucinogenic.
You’re on what we call as a medical professionals a bad trip.
42:47
You’re in LSD, by the way.
What Doctor’s not like, hold on.
I before we talk about that, I need to get a hold of your doctor that gave you that.
Right, this is in like I’ve.
Only been taken by lithium man like what the hell.
It’s true, yeah.
43:05
No, no one is.
No one is suspecting David Cronenberg of, of anything here.
They’re just like, yeah, I don’t know why he just, this is me, a drug addict.
He just put all of his LSD in his normal lithium pills, you know?
Yeah.
43:21
I think, you know, again, I, I really like the idea here that Boone is sort of like this, you know, saviour figure.
He’s he’s been prophesied and the film has like like Lord of allusions, as we talked about in a number of Clyde Barker’s themes are always come back to this.
43:43
It has sort of like an anti religious element to it, not as as specific as Lord of allusions did, but in a similar fashion in that effectively, you know, the night breed have their own version of a religion.
It is sort of an anti religion and it is sort of at odds with Christianity.
44:03
And it eventually, you know, Boone becomes a sort of savior Jesus like figure at the end.
And the idea here being especially that with the novellas title cabal, meaning like a, you know, a group of people, a group of ostracized people.
44:19
It’s sort of a a reversal of the idea of like the demonic legion being, you know, the effectively an opposite to both the Christianity of, you know, good and evil in that sense.
So it’s really an interesting idea.
44:37
Again, I think that that only really plays out in the director’s cut so much.
It’s it’s it’s more probably was missed in the theatrical cut in that people didn’t really feel like that was a necessary inclusion as this gets too complicated.
OK, let’s just serial killer slasher.
We like that.
44:52
We like that, you know, cutting people’s faces off, you know?
But yeah, I think it’s another strong theme from the director’s cut that we get.
What did you think about Danny Alfman’s score?
It’s Danny Alfman.
Yeah.
45:08
Joke of it, Like, you know, from, like, South Park, like which Danny Alfman’s score is.
This is it’s true.
It’s not bad, but it’s a daddy elephant score.
It’s overly whimsical at times and places where it shouldn’t be.
45:27
The film is, you know, positive enough to where it’s not overbearing.
I think the entire, but the entire time I’m sitting there just thinking of like the Batman score or, you know, Beetlejuice or you know, it’s.
45:43
I think the tunes are good.
Not bad, but again, like I said, if you heard one, yeah, sure.
Yeah, you’re, I think the, the the statement is true that like if you were to replace any of the themes in this movie with a different Danny Hoffman theme, you probably wouldn’t notice that much, right?
46:01
Like you, the the differences between them would be so slight that you probably wouldn’t really see much of a difference.
And with that said too, I did want to point out that I do think that Danny Alfman’s score is almost a little bit too bombastic here in that it takes attention away from the visuals a little bit in that like a lot of times his score is really front and centre and sort of almost overbearing at times in that the film, it doesn’t really let the film just be there’s always got to be an Elfman, you know, theme going on in the background.
46:34
And I think that may be a little bit of a, you know, a weak point for the movies.
It should have just let a little bit, you know, go without a soundtrack.
It doesn’t, you know you don’t.
I know you’re paying by the minute with Alfman, but you don’t need you don’t need to use every single minute of his his composing to to.
46:51
Well, that’s.
Fine, where a lot of the budget went too, because they were like, man, this motherfucker after, after Batman, he’s got to yeah, pay a lot of money for it, you know, Yeah.
I also wondered what you thought about the and I joked about this prior, but I’m, I’m really not kidding.
47:13
It’s like 45 minutes of climax.
Like it’s like Mad Maxi.
And in the sense that like the the action don’t stop once the police and the townspeople sort of get up a posse and go hunt down all the Night Breed and Midian’s graveyard.
47:29
You know, you know, that’s a.
That’s a good point.
I was also thinking of like Roadhouse, sure, where the film is just normal.
And then the last, like, you know, the third act just goes totally off the fucking rails and you’re like, what the hell?
47:46
It’s funny because like this is how, you know, like an artour, like Clyde Barker wrote this thing out and directed it.
You have this like thriller start with I’m Aaron Boone.
48:05
I’m having these nightmares.
My girlfriend’s work for me.
She sings as Smokey bar.
We live in Calgary for some fucking reason, you know, and then I find out it’s not a dream, it’s real.
48:22
I but I I supposed to be a night breathe and you find out they’re workings of it during second act and then the third act.
Oh, wait.
David Cronenberg tells the police he didn’t die, he’s actually alive.
We got to go and get them and there’s something going on on the ground too, so they.
48:42
Arm.
The whole fucking town like it’s a George Romero dead film.
They all drive off the head and fun with fucking and they’re giving you an ammo check and gun check.
Like here’s the HK3O6, here’s a grenade launcher that Claymore’s got.
49:00
There’s like setting all this shit up and it turns into fucking Stalingrad in this like over the top.
Like, you know, it’s so weird, so disjointed.
It’s not bad, but like totally and flow wise, like it does one does go on for too long. 2 like it’s just weird.
49:27
Like I think if you just had a couple of town cops trying to like, you know, do it, that would have been much more cogent and in the spirit of the story and what the film does, you read the the novella.
So I don’t know if that’s what happens in the novella or if it’s, you know, but like, it just seems like, hey, we got to add a little die hard here.
49:52
Too, I do think they needed to cram a lot in, you know, they needed to cram and they needed and and to be honest with you, I guess the budget was like fireworks, you know, the rest of it, like whatever we’ve got left, get up the fireworks through, you know, go to go to the South of the border and fucking, you know, buy whatever you can find because the film has like explosions galore and 3rd act it like just goes haywire.
50:20
And it’s pretty cool because it does allow a lot of the monsters that you don’t really get to see throughout the movie to shine and get their own little vignettes of doing stuff like the Quill woman who’s like, look at me, I’m so sexy, you know, You like that.
You like this nice Quill, you know?
50:35
And then she shoots them all out.
She’s the one that belongs in cats.
That’s right.
Yeah.
You know, you’ve got, you know, you get a lot of the view of the additional monsters, which I think is pretty cool.
You know, I understand wanting to explore the the costumery and the, you know, the unique ideas that you had.
50:58
It does go on a bit long.
You know, it is sort of to the, IT gets to the point where you’re like, when are they just going to like either win or lose, you know, like, I don’t know what’s going on here well.
It’s funny too, because it’s like, well, there’s Night Breed, they’re not immortal, they can die.
51:15
And then it’s like the whole town shows up with fucking.
They’re carrying grenade launchers and.
Shit, yeah.
This is Canadian cops, not fucking, you know, America.
That’s also The funny thing too.
51:30
The way Boone dies to cut, you know, coaching her walks up to he’s got gun just fucking a blown out of and it’s like, whoa, this is Canada 1990s.
Where are all the the the Canadian mounties?
51:46
You know, like on horseback.
Just yeah.
And like, whipping them with like, a Maple Leaf branch.
Like, what the hell?
Like is this like, Like did you get cops from America like?
Up there in.
Calgary, What the hell?
Yeah, I mean, it is.
It’s just, and it’s over the top.
52:04
It’s funny.
Like, it’s campy.
Yeah.
It makes you feel more sympathetic for, you know, the night breeds, you know, cry, but like at the same time too like it.
It does like time.
52:20
Feel interminable.
It is funny because you mentioned Campy and the film for the most part is not really that, you know, like for the most part, it takes itself pretty seriously.
But that that final third act is like over the top campy with the way that it has like, you know, country bumpkins grabbing, you know, shooting up, literally shooting into the air.
52:40
Like why do I get to do this?
You know, wait for this for years.
It is, you know, over the top campy.
I think it’s fun enough though.
Like it has a nice little, you know, even though it does feel a little bit at odds with the the rest of the tone of the movie, it’s pretty fun.
53:00
And I like that it gets to explore some of the other monsters.
And like you said, it is the sort of the sympathetic element to the monsters that you you, you end up feeling at the end of the movie.
Now, the other thing that I think is really sort of rushed is I, I don’t know that the film comes to a good conclusion at the end where it tries to really rush the idea that, hey, this was a prophecy.
53:24
Here’s Boone.
Boone, you know, I did it.
I thought I messed it up, but actually, no, that’s what the God wanted.
You know, the God of Midian, Baphomet wanted us to to do this so that everybody in Midian died and, and, and Boone was able to start us elsewhere.
That’s really, you know, quite.
53:42
And that artwork?
Very, very much.
The the night scene, You mean like the?
Well, I mean like the artwork on.
The oh, oh, the yeah, the prophecy, yeah.
You know, very candy man, and you know.
Yeah, yeah, yeah.
53:58
And the Lord of the Lord.
Yeah.
Similar, similar art styles.
Yeah.
I just felt like that that that whole idea of like, well, actually Beth and May wanted this.
And, you know, even though Midian is crumbling, you know, he’s going to take it elsewhere and he’s going to start us again.
It doesn’t really necessarily come to a great resolution.
54:18
I would say it sort of feels rushed into the point where it’s, it doesn’t necessarily make a lot of sense why that would be wanted.
But at the end of the day, I’ll allow it.
Like I, I, I, you know, I, I, I think you don’t come away away thinking too hard about the fact that like, oh, Boone is a savior and he’s got to start this, you know, this family of freaks and geeks elsewhere.
54:47
I think it’s just the idea that like, you know, proliferate and spread sort of like anti religion again, right?
Like the idea like this is the opposite of, of the, of a religion that’s trying to spread the gospel and procreate sort of the, the, the night breed doing the same.
55:05
So I’ll allow it.
What else?
Anything that I didn’t cover that you want to talk about?
Yeah, Aaron Boone fucking Liu King flying.
Kick it.
Down.
Oh yeah, that’s great when he just comes out of nowhere and like, fuck.
Yeah, he yells.
55:24
Yeah, I was.
I had to pause it because I had to get up and like what?
The guy is just.
Like it is, yeah.
Like.
Like that is a great moment when he does that.
That’s, you know, that was good.
I love that and I love that kick.
55:39
I do.
Yeah, I like that.
Like, again, that’s where the film kind of gets goofy and just kind of leans in on the comedy aspect.
I also think that at the end, you know, that we have, I mentioned it before, but you know, the, the romance is itself a basically a Romeo and Juliet retelling of like you’ve got, you know, Boone’s girlfriend, who’s part of the naturals or the normals.
56:01
And then you’ve got Boone, who’s, you know, part of the the night breed and he’s they’re not supposed to intertwine and yet they do, you know.
Is this a film about a hetero and a bi getting together?
Oh yeah, maybe.
Yeah, or, or hetero and a, you know, pan.
56:22
Have you seen her rate?
You know, red tinted hair?
She’s definitely a bi.
She’s totally a bi in this sultry way.
She performs in the in the club, that Smokey club.
Oh yeah, it’s definitely a bi.
Yeah, I think you’re right on that.
56:39
I do love like she looks great in this and and Bobby does like she looks like, you know, she the hair, the makeup, like everything, like she looks great, like, you know.
Yeah, she’s she’s certainly she could probably have shown up in a John Hughes movie for for all you know.
So it’s too bad that she you.
56:56
Know watch me be sexy Molly ring.
That’s right.
She came a little late for for John Hughes, I think.
But yes, she she would have done well as a, you know, a mom who a child needs to run back to.
She’s got that look about her.
Yeah, like.
57:17
Good morning.
Sure.
So, yeah, let’s let’s get the rating.
So on a scale of zero to 10 polka dot ascots that you wear for absolutely no fucking reason, just because it looks nice, you know, like, like it’s uncomfy and looks very annoying, but you still wear them because, you know, we’ve got to work.
57:36
To a fold, Wouldn’t you wear an Ascot?
Yeah, I just love it because even towards the end, like, you know, when it’s about the middle portion where they go back to that hotel and they’re all dead in there and she goes in and she’s whips off the Ascot and, you know, changes her shirt into a matching blouse that looks like the Ascot.
57:54
Like it is kind of funny, but but I just like how she whips it off.
Like I’m thinking of like the same as like when I come home, I don’t wear ties very often, but like if I have to go to a wedding and I’m forced to wear a tie, I come home immediately and whip off that tie.
Like it’s the same idea.
58:11
I see.
I felt the same way.
I don’t know if you had to when you soon talk.
Ryan and I both have, you know, went for education.
I had to wear a tie.
And I, as a poor redneck guy, my family, we never had ties.
58:28
Yeah.
Nobody wore a tie or anything.
And the only time I did it was a clip on.
I show up for like my student teaching and this isn’t even day where it is.
It’s like a weekday.
Yeah, during like a study week or whatever that I’ll break, you know, and meet the And I got chewed out for not wearing a tie and my broke ass had to go to and buy more like, you know, ties and stuff to look professional.
58:57
No, I definitely didn’t.
And then tie and and you did or.
Didn’t.
I?
Did not.
Well, I guess Massachusetts is the place to teach that.
And I had to, like, sit there and, like, figure out how to tie a knot pretty good.
And I had to have a buddy of mine showing me how to do it.
You know, like, and my buddy and I in college, we called it.
59:18
I called it the noose of oppression.
Yeah.
And I still feel, I still feel that way.
That’s.
Right, we’re we’re talking about the the, the Ascot of oppression here.
It’s a little same thing whether it be bolo, Ascot, scarf.
59:36
All of the above.
Yes, they’re just like, I don’t want my neck obstructed so.
What?
Are you asking?
What?
What’s your rating?
7 out of 10 ascots that are strangling me to death.
59:51
So it’s a good film.
Like, I’m curious to what the theatrical cut is, what they cut out and how it impacts the film.
But I think this film is fun.
It’s gotten gumption and style and flair.
1:00:10
It can be can’t be in fun at times.
I think it does.
Even still, restoring does go on a little too long.
Like there could be a couple, you know, scenes kind of trimmed down to make it, you know, more fluid.
1:00:26
I think it’s.
It’s like like this is a really good, fun film.
The idea, excuse me, as I’m having a, you know, it’s a great idea.
It’s unique.
It’s the kind of stuff that again, like you’re only getting this Hollywood to green light this in like the early 90s, like during that like new line, you know, time to make something this fucking weird.
1:00:52
And Clyde Barker does a great job with it.
It’s fun, and I enjoyed it more than I thought it would.
I mean, I didn’t really have much thoughts going into it, but I thought it was a pretty engrossing film.
And I think, you know, you know, fun enough.
1:01:10
And like, David Cronenberg is great in this.
Like, he’s, you know, just so stoic and cold and, you know, yeah, Bob, he does a great job.
And even Craig Shaffer, he’s like a poor man’s, I’m trying to think of like somebody who’s like a mulleted actor.
1:01:29
Well, I’ll tell, I’ll tell you who Craig Scheffer reminds me of.
He reminds me of David Borianas from Angel.
I get, I get that feel quite a bit from him.
You know, this would have been pre, pre Buffy the Vampire Slayer days.
But the idea remains.
1:01:44
He he definitely reminds me a lot of David Borianas.
But yeah, I have 7.
I have something I, you know, it’s I’m kind of in middling between 7/7 and 1/2.
It’ll all depend on, like, the day you catch me right now.
But oh, yeah, I’m pleasantly surprised by this.
1:02:01
I’m glad to, you know, have put it into my filmography.
Yeah.
You would give it a 7 1/2 out of 10.
I like Night Breed a lot.
I think it’s a really fun film.
It’s got whimsy.
It’s got a specific, you know, a tourism to it that really screams Clive Barker in it.
1:02:23
It also reminds me a lot of just, you know, classic monster type movies that that just feel very lived in and have like this very nice world about them.
I think a lot of ways, as we mentioned, it’s very dreamlike.
And so that your enjoyment of that really depends on whether you just can disassociate from reality and just sort of accept the dream of the movie.
1:02:49
If you can, then I think you’ll have a really good time.
You know, the monster parades, the the 45 minute climax, all of those things are just very fun.
And you know, they don’t really need you to think too hard about them.
Obviously, you got to think a little bit, I guess with producers that didn’t, you know, you’re going to think about how the monsters are really not the bad guys in this movie.
1:03:07
But other than that, you know, you don’t really need to think too hard about the movie.
And it also has a nice, like, serial killer aesthetic to it that runs through it with a really cool mask that I think is surprising that it has not caught on more.
You know, it seems like a really cool Halloween costume to bring back of just like making that mask with the zipper on would be pretty, pretty easy to do in a nice unique costume.
1:03:30
But yeah, I think I think it’s a really fun movie like Lord of Illusions.
I think the director’s cut, you know, and and this is not so much a critique of Clyde Barker specifically because he didn’t really put the director’s cut together, but I do think that it could have been pared down just a little bit.
1:03:47
There are a few scenes in here that make it run a little too long.
Climax is a little too long.
We didn’t need the entire song that and Bobby sings in the night, you know, the nightclub.
Some of those things could have just been pared down to make like a nice, you know, brisk hour and 45 minute movie that showed all it needed to without having to rush some of the, you know, the resolution and and the ideas about the prophecy in in the meantime.
1:04:14
So I think, you know, that that kind of takes away from it a little bit.
But other than that, it’s a really cool movie.
It’s got a lot of great costumes, lot of great special effects and makeup.
And, you know, as part of Clive Barker’s filmography, it’s a really solid movie that stands out as being something a little bit different than what you would expect from him from, you know, like a Hellraiser or something like that.
1:04:34
So it’s, it’s pretty fun.
I would give it a 7 1/2 out of 10.
All right, well, thanks for listening to our episode on Night Breed as part of Bobbing for Barker.
And we’re going to be back with another week of Barker next week.
1:04:50
We’re going to be tackling more of his films pretty much all Halloween season long.
So it’s it’s it’s a fun time.
We’re going to be doing some of his films that he was only tangentially really, you know, involved in within others that he actually directed and wrote like Night breed.
1:05:07
So stick around with us if you like what you’re hearing and hope you’ll subscribe.
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1:05:23
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1:05:41
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1:05:58
Again, thanks for listening to Robert sign on Night Breed.
Hope you enjoyed.
Hope you’ll stick with us for all season long during Halloween as we cover more Barker movies.
And until next time, take.
Care.
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