The Texas Chainsaw Massacre Part 2 (1986)

[00:00:04] Speaker A: Welcome, listener, to the return slot of Kokla Red River Rock and roll, a podcast recorded in the basement of our video store. After hours, when the doors are locked, the vhs are rewound, and the chainsaw is glowing red hot. We like to hang out in the basement, build a vhs out of tater tots, crack open a drink, and discuss our beloved genre, horror. Every episode, we invite you to join us for a frosty libation as we discuss a film selected from one of our painstakingly curated subsections of the video store. That's right, for the uninitiated, or anyone unlucky enough to have grown up without an independent video store. Mickey, can you elaborate on this? Of course. [00:00:50] Speaker B: Back in the day, before we had all the streaming services, before even Blockbuster, or if you're in East Texas, Boomtown video, there were these independent video stores. And to appease the appetites of movie nerds like myself, Michelangelo, Chris, Marika, Molly, the whole gang, they would fill their shelves with videos on demand or video nasties. Even these mom and pop shops were responsible for taking the horror genre from limited theater runs and late night drive ins to every small town in America, including Burke, Burnett, and Grapevine, and all those little East Texas towns from the movie we're going to talk about. But what really made these video stores special were the people working in the store, curating personalized sections based on their interests and the interests of their patrons. Recommendations based on conversations, man, not algorithms. So here at the return slot, we keep that spirit alive and strong. We hope you enjoy perusing our sections and joining in our conversations. [00:01:57] Speaker A: This week. We find ourselves in the sassy sequel section of the video store now. Oh yeah, I'm going to warn the listener. This is a hangout. Have a drink and talk about horror movies. Podcast. This is not a film review podcast. This is not a critical analysis podcast. If anything, it is a critical analysis of ourselves. What do these horror films tell us about ourselves, our lives, our relationships? How do we see ourselves reflected in these stories? And how can we better understand ourselves and each other through these films? It's also a way for us basically, to just share the things that we love with the world. So if you're not into that, then I don't think you're really going to be into this podcast. Would you agree with that, Mickey? [00:02:43] Speaker B: Wholeheartedly. Look, we are not critics. We are not historians. Although I like to say we are. [00:02:55] Speaker A: The video store clerk is a type of historian. [00:02:58] Speaker B: Yeah, sure. Archivist, you might say. An archivist of types. [00:03:02] Speaker A: That sounds like a bird? [00:03:04] Speaker B: Yeah. You say this every time I say that. [00:03:06] Speaker A: That's scary. [00:03:08] Speaker B: Every time I call it. [00:03:09] Speaker A: Okay, it's going to be 30 minutes of this bird talk. Okay, don't say archivist. You activate me when you say archivist. [00:03:16] Speaker B: Okay, I know you don't like. [00:03:17] Speaker A: Okay, sounds like a bird from Indiana Jones. [00:03:20] Speaker B: I don't like being called a clerk. I'd rather be called a movie archivist or a cinema archivist. Sorry, I was going to. [00:03:35] Speaker A: You don't have an intro yet, Chris. You sit there and you wait. You wait. Did you said his name. You ruined my intro. I had a whole intro written for this fucking scumbag. Okay, I'm going to cut it out tonight. Tonight we are joined in the basement by sylvanian music expert, the earth sign. Chris, what were you going to say, chris? [00:03:57] Speaker C: Well, I was just going to quickly chime in that I very vaguely recall the people that worked at video stores when I was a kid and a young adult as being some of the most critical people I ever met in my. [00:04:13] Speaker B: Were. [00:04:14] Speaker A: Yeah, fair enough. So now that Chris has been introduced, before we get to our film, I got to ask the boys, what are you drinking tonight, Chris? [00:04:33] Speaker B: Go ahead. [00:04:34] Speaker C: Well, you know me, I like to make a little cocktail. [00:04:38] Speaker A: A little spooky. [00:04:38] Speaker C: I'm calling this little spooky cocktail. I call this the Red River Death trip. [00:04:44] Speaker A: Yes. [00:04:47] Speaker C: We got a little tequila, aperol orange juice, hot sauce, grenadine, lime, and a touch of sparkling water. [00:04:57] Speaker A: Is this an invention of your own creation? [00:05:01] Speaker C: They always are. I mean, it's kind of a play on a few different things. It's a little bit of like a ranch water, a little bit of touch of a margarita, touch of an aperol spritz. A handful of things thrown in together. [00:05:13] Speaker A: I got to have an apparel. I got to try that. Let me try. That sounds delicious. [00:05:18] Speaker B: I do like ranch water and I do like apparel spritz. But I like the idea. [00:05:23] Speaker A: That is kicking. [00:05:26] Speaker C: Funny story. I have a hot sauce that whenever I was in Mexico, I bought that I never cracked open. And I decided that was appropriate to throw it in there. And I totally threw way too much in there. So every time I'm taking a sip, it's just like. [00:05:38] Speaker B: Yeah, it's got feeling the back of. [00:05:39] Speaker C: My throat off a little bit. [00:05:41] Speaker A: Yeah, I'm definitely like, that's going to. [00:05:45] Speaker B: Activate your old Michelangelo. [00:05:47] Speaker A: No, it's thermogenic for me. So if anything, I'm ready to work out and bang. [00:05:56] Speaker B: For me, it's like lowering my blood pressure because I'm a dad, so it's all that capsaicin, really helping me out. [00:06:02] Speaker C: This will help carve off your hemorrhoids. So you have to go to hospital. [00:06:05] Speaker A: Yeah. [00:06:06] Speaker B: Those. [00:06:12] Speaker A: Bloody beans. Mickey, what are you having? [00:06:17] Speaker B: Hey, this is from an East Texas boy I grew up, and everything that takes place in this film looks like it was shot in the woods out behind my house. So this east Texas boy is having Scheinerbach. [00:06:28] Speaker A: Of course he's having. Course. [00:06:33] Speaker B: And for those who don't remember, big red, the extremely racist soda from the. [00:06:38] Speaker A: Oh, I was going to talk about this. [00:06:41] Speaker B: We can hold. [00:06:42] Speaker A: Okay. Yeah, because I had questions. [00:06:46] Speaker B: Shinerbach me. [00:06:49] Speaker A: That's amazing. I think I'm drinking the rival tonight because I didn't. I. In honor of the patron state of this podcast, Joe Bob Briggs, I'm having lone star. I know it's not in the movie, but I prefer never. I haven't spent any time in Texas. Mickey, where's the dividing line between Scheinerbach and, like, what's the deal there? [00:07:14] Speaker C: Good question. [00:07:15] Speaker B: I mean, my understanding of just growing up there around, like Scheinerbach is more of a traditional beer. And lone star, as of late, has kind of gone from, like, a cheap beer to something a little more heralded. I would say it's like paps. I'd say paps. [00:07:35] Speaker C: Like that run of being the cheap ass beard and then getting. Being cool chic. [00:07:39] Speaker B: Yeah, being cool. Yeah, that's kind of what Lone Star is. It's kind of like the cool, chic beer that's like. I think if you talk just pure flavor, I actually think Shinerbach has a little bit more flavor, like a little more multi flavor than a Lone star. Lone Star is more refreshing. [00:07:57] Speaker A: I want Joe Bob to chime in on this. Yeah, he'd have a great eight minute rant about the history of the beers. [00:08:07] Speaker C: You not being able to come within certain amount of feet of. [00:08:10] Speaker A: So, yeah, well, that's neither here nor there. Okay. Sometimes you love too much. And speaking of, what are you drinking? [00:08:19] Speaker B: McLaren? Too much. You said Lone Star. That's right. Boat Joe Bob. [00:08:22] Speaker A: Yeah. So speaking of loving too much, tonight, the movie we're talking about. From cinema Verte to surreal, satirical, sassy sequel, from hippies to yuppies, from mindless monster to a lovelorn teenager, this film tells the journey of a backcountry Texas cannibals just trying to win a chili contest and find true love. Like the Godfather, this movie is about family. Tonight we are talking about Toby Hooper's 1986 romantic horror comedy Texas Chainsaw massacre Part two, or also known as Texas Chainsaw Massacre two, or what we'll probably be calling it tonight, TCM two. [00:09:14] Speaker B: TCM two. [00:09:15] Speaker C: TCM two. That's a mouthful. [00:09:19] Speaker A: Is it? I thought that would be easier than Texas Chainsaw. Are we call it chainsaw? Just chainsaw. That's what Joe Bob calls it. [00:09:27] Speaker C: Yeah, I heard a little thing about how when they're shooting it, they were calling it sawtu, which is funny now in hindsight. [00:09:33] Speaker B: Yeah, Joe Bob was in the original cut of this. [00:09:39] Speaker A: Oh, we're going to get to that. We're going to get to that. But first I would like to talk about our history and relationship with the film and why. So I'm going to go first because I have the why, but also I probably have the shortest story about the history, I'm assuming at least on one end. So why, if you listen to our gremlins two episode, this whole concept of the sassy sequels was created because like a month ago I watched for the first time Texas Chainsaw Massacre two. Now the Texas Chainsaw massacre films are sort of a blind spot for me. I am aware of them. I am aware of the importance of at least the first one. I know Vigo Mortensen is in the third one and Matthew McConaughey and Renell Zellweger are in the fourth. Like, I know facts about it, but I've never really watched them. So I watched this and I think I called both of you that night or the next morning and just like, where has this movie been? [00:10:52] Speaker B: My whole. [00:10:52] Speaker A: I had no idea that it was such a wild swing for the sequel of this. I had no idea it was like this hilarious and absurd and satirical and just like, and also just like truly terrifying at moments. I loved it so much I had to talk about it and I was like, what section of the video store is this in? And it's, of course, it's sassy sequels. So that's sort of the why and my history with it. Chris, what's your history and relationship with Texas Chainsaw, too? [00:11:33] Speaker C: I not hate the film, but I kind of hate the fact that I feel like I say a lot of the same kind of story. You know what I mean? But introduction was monster vision. That was like. It was Joe Bob. Yeah, that type of thing. And then it was one of those things like saw part of it edited, was confused. Like, if I was like the. [00:11:56] Speaker A: How old were you? [00:12:00] Speaker C: I'm going to say 14 probably. [00:12:04] Speaker A: Okay. [00:12:05] Speaker C: Somewhere in that range. [00:12:06] Speaker A: So it's 14, you're in Kansas, you're watching monster vision by yourself. [00:12:11] Speaker C: Oh, yeah. [00:12:12] Speaker A: By yourself late at night. [00:12:14] Speaker C: Yeah, I don't know. 10:00, 11:00. The monster vision wasn't like a super late night show back in the day. But the point was I was confused if it was really supposed to be that comedic or if it was because sometimes some films just come off that way in the editing process when they try to make it for basic cable. So then a handful of months or years, whatever it was, later, watching it all the way through and then being incredibly entertained by it for obviously how comedic and how silly, especially for that age. I took a lot of joy in horror films, but also, too, I really took a joy in the comedic horror films because it's one of those things too, that the fear factor sets into you a little bit more than when you're an adult. So then it helps take that edge off, you know what I mean? Whenever you got something to laugh at and then be a little like the next second. Yeah, it's a joyful film that has been, this has been my first full rewatch, though, in a long time. Like, I'll see scenes of it here and there, but yeah, so a few things definitely were caught on a full rewatch for sure. [00:13:31] Speaker A: I can't wait to dive into Mickey, what is your history? [00:13:40] Speaker B: I know we're not going to talk about TCM one, but I have to. [00:13:44] Speaker A: Just say a small thing about TCM. [00:13:47] Speaker B: One because it kind of plays into TCM two. Well, so when I saw Chainsaw one, I was quite a bit older than when I'd seen like Friday 13th and Nightmare on Elm street and Halloween. So it was like one of the franchises, big franchises that I had kind of not really gone into because leatherface didn't really appeal to me. So when I watched, I think just didn't appeal to me. I'm from Texas. There was lore around it being a real story. There were things that just kind of scared me about it. And the first Texas Chainsaw massacre, when I saw it the first time, actually scared the piss out of me, to be honest. It was like, oh, yeah, I had already even seen 1415 and I had already seen like nightmare on Elm street. It's because those had a certain polish to them that was different than the Texas chancellor massacre and the sweatiness. And it felt like it was like down the road from me in West Texas. I lived in Lubbock for a minute too, which is West Texas. So it felt like it just was a little too close to home. And it was really like the, like, I almost like my killers to be like a Michael Myers or like a Freddie, but these crazy hillbillies really like I'm getting close to home. They sound like my know, like my mom has that accent. [00:15:10] Speaker A: Leatherface sounds like your mom. [00:15:12] Speaker B: Thank you for listening. So that's TCM once. Then I totally shunned off Texas Chainsaw massacre as a series. Then when my hero, Matthew McConaughey had a movie that he had done, I'm not kidding. This is high school, Mickey. I was like, what? So I went and Renee Zellweger, Texas. [00:15:37] Speaker A: Royal TV, what do you know? [00:15:38] Speaker B: So I watched the next generation, and the next generation is batshit crazy. We have to talk about at some point on this podcast. It's batshit crazy. But there was like some cool stuff to it. McConaughey is. I hated his performance at the time. It may be my favorite performance of his now. So then I thought, well, I'm going to go back because it warmed me up to it. So I was like, I'm going to go back and watch two. And I watched two and I just didn't get it. I didn't really hate it. I didn't know if I liked it or not. It just was so tonally different than fast forward. I'm an adult. I've now come to appreciate the original Texas Chainsaw massacre. And realizing at that young age, I didn't realize that the documentary kind of shaky cam moves and all that stuff was something I wasn't used to. And all of it just felt really new to me and scary. So I really appreciate the first film now. And I watched that docuseries on. What's the channel you always talk about? [00:16:50] Speaker C: Shutter. [00:16:52] Speaker B: Yeah, shutter, yeah. I watched the docuseries on shutter where they're talking about all the 80s horror films. They mentioned this one and they talk about how wonderful it is. And so I revisited it, what, two years ago, maybe the beginning of the pandemic, because I knew the new Texas Chainsaw massacre was going to come out soon. So I was like, I'm just going to throw it on and check it out. And I watched it again because all these people had said it was great and I really got a kick out of it. Still didn't love it, but I was like, this is good. It's good. It's smarter than I had any right to know when I was 16 or 17, whenever I watched it. Then when you told me that you had just watched it, we were talking about it. I was like, well, I'm going to go watch it right now. So then I watched it, what, four weeks ago in New York City before coming having dinner with you the next night. And I wanted so bad. No, we were having dinner. I know. [00:17:41] Speaker A: It was like we wanted to talk about it. I was like, save it all. I got to save it. [00:17:49] Speaker B: There. But there are things, this movie that exist outside of the movie itself that are just flashpoints of my childhood. Because I grew up in East Texas, and this particular weekend where this takes place, it is as big as any holiday in Texas. [00:18:07] Speaker C: That was actually one of the things I totally did not remember that this is Red River Shootout weekend. [00:18:13] Speaker B: The Red river shootout part of the. [00:18:14] Speaker C: Plot that totally was missed on me before. [00:18:17] Speaker B: Yeah. [00:18:18] Speaker C: Oh, shit, that's huge. [00:18:20] Speaker B: Yeah. And, well, I grew up a University of Texas in Texas. You're either an aggie or you're a longhorn. And I grew up a hook. [00:18:31] Speaker A: Oh, no. Chris just gave me the. [00:18:33] Speaker B: He gave me the hook of horns and then quickly drove it down where the horns are pointed to the ground. For anybody who loves college football, you know, the horns are either loved or hated. There is no in between. There's no, like, they're okay. No, you either love them or hate them. I used to have a Santa Claus dressed up like a University of Texas longhorns football player, and it was like 17ft tall. And I would put it in my front yard when I live in Arkansas because everybody around there is razorback fans. [00:19:00] Speaker C: Oh, sure. [00:19:00] Speaker B: Yeah. Just so that my santa would be in his University of Texas Longhorns uniform with his stack of goodies for the Arkansas kids. [00:19:08] Speaker C: Oh, man. I'm surprised you didn't get egged or anything. [00:19:10] Speaker B: I got egged all the time. I was constantly getting, like, death threats. This is Arkansas. People threw dead ducks in my yard. [00:19:19] Speaker A: Oh, my God. Oh, I hope they were already dead. Oh, my gosh. [00:19:24] Speaker B: They were good eating. [00:19:27] Speaker A: You ate them like a Sawyer. Like a Sawyer. You ate the flesh. [00:19:33] Speaker B: A lot of the Texas Emmy is going to come out. When we were watching this today, I put it back on a day to watch it for a little bit. Molly said, oh, my God, if people have not met your mom, stretch sounds. Her accent is just like your mom. [00:19:50] Speaker A: Like, stop it. She's got them legs. She got them screen. [00:19:58] Speaker B: No accents. Just accents. [00:20:02] Speaker A: Will your mom reenact the ice bin scene? [00:20:07] Speaker B: The ice bucket with stretch spraying all over my mom? And you're going to be leatherface in that scene? [00:20:15] Speaker A: No, I'm going to be stretched. She's going to be leatherface. [00:20:18] Speaker B: Oh, I'm all for this. [00:20:19] Speaker A: It's a reverse. It's a reverse. [00:20:21] Speaker B: Yeah. [00:20:23] Speaker A: Not chauvinistic. We're going to get to that. I do want to get through. Are you finished with your hit? Okay. Yeah, I do want to just get through a couple of things before we dive into talking about the movie. Just a little context for it. I watched some documentaries. They're fantastic. And the writer, I don't have his name in front of me right now. I'm sorry. But the writer basically wrote the first draft in three months. And then they had a month to put together a crew, find locations and build the sets. The deal was made in February and they wrapped in July. They were editing during shooting, which was very uncommon during that time. And it was released in August. Now, it was rewritten during the entire shoot because Canon cut the budget by $1 million. The Sunday before the Monday that they started shooting, they had like a late night meeting. Fucking nuts. Nuts. All right, the final draft was written. I'm just going to get through this real quick. Like broad strokes. Okay, so final draft was written on June 20 eigth. The film wrapped July 4. Three crews shooting simultaneously. Filmmakers did not compromise on what they wanted to make. They just figured that they would just make it work despite the limitations that were subtly put on them. Canon sees a cut of the film, they do not get it. Where are the monsters? We've opt to see the monsters. They took it and they created their own edit. But apparently the filmmakers and the writer, not bitter about it, they were ultimately happy that it exists, stating that people don't usually get to make movies in reference to its critical response. When it came out, the world was very small still. So the noise of disappointment had no real effect on us because we knew what we had done according to the writer. Okay, so a little context. [00:22:46] Speaker C: Yeah, it was at least profitable. I know it didn't make a lot of money, but I think it made its money back in a little extra. I think. [00:22:53] Speaker A: Not 4 million. It made half of its budget, I think an opening, which is not what the whole deal canon made with Toby Hooper didn't work out. The two films he made prior. Yeah, it was a three picture deal. The two films he made prior, Life Force was one of them. I don't know. I forget what the third one's called, but. Yeah, Life Force. But films that were appreciated past their time. Life force for a different reason than life Force is just super enjoyable because it's bananas. Right. But I think why people love this film is because they didn't get it when it came out. [00:23:35] Speaker B: Basically, I didn't. [00:23:36] Speaker A: Right? [00:23:36] Speaker B: Yeah, I didn't get it when I first saw. [00:23:40] Speaker A: And then just to talk about Joe Bob real quick, because he had a cameo that was cut in the. Says, you know, he grades films by blood, breasts and beasts. And he says that Texas Chainsaw Massacre is the greatest driving movie in history. The first one, it was banned in 28 states and 34 countries. And he said about this film, this movie has the last word on teenagers in America and what ought to be done with them, which I thought was. So, yeah, let's talk. [00:24:26] Speaker C: Because no one's a teenager. [00:24:33] Speaker A: Well, I guess maybe the guys at the beginning, the yuppies, they're college kids. [00:24:40] Speaker B: They're going to college. [00:24:42] Speaker C: Yeah. I think they'd be more like, shut. [00:24:44] Speaker B: The money fuck up. [00:24:45] Speaker A: He said that a long time. He did say this before the film was released. He's shooting it and it was a fucking mess of things. Okay. [00:24:57] Speaker B: Maybe in the movie theater scene that he was in, he was with a bunch of teenagers. [00:25:01] Speaker C: Well, did you see the deleted scenes then? Because there's the Joe Bob one. Did you see the other one in the slaughter scene with the group of yuppie football fans? [00:25:11] Speaker A: No, I did not see that one. It's really funny. It's fantastic. [00:25:15] Speaker C: Special effects are great. Yeah. Because pretty much it's like their night of slaughter, and it's like them rolling up to this parking lot and like a group of guys and then being like, you want to try some croissants? They're in the back of the van, and then comes leatherface and chops them apart with, like, chainsaw fingers fly in and head go. It's really funny. [00:25:36] Speaker A: Yeah, well, that's the teenagers, right? [00:25:39] Speaker C: That's what I'm saying. It's funny, though, because that got taken out. You know what I mean? [00:25:44] Speaker B: Yeah. [00:25:45] Speaker A: And then last piece of Business 95, a bootleg vhs edition of the film circulates among video dealers and collectors at the Fangoria convention in New York City. 98, the film gets an official release on vhs by MGM. 2000, we get a dvd release. 2006, we get a second dvd release from MGM called the Gruesome Edition, which features commentary and documentaries. Then 2012, we get a Blu ray with all those extras. 2016, Scream Factory releases a collector's edition which went out of print in 2020. And then in 2022, the Wonderful Vinegar syndrome releases their three disc, 4k, ultra high definition Blu ray edition of the film with archival and newly commissioned bonus features, which is some of the stuff you guys probably watched. Yeah. [00:26:42] Speaker C: I was wondering if this. If you could read the same thing, that it technically wasn't rated up until all the way, like 98, because before, when it went to rating, it was going to be an x. So they just rolled with unrated on theatrical release, and it didn't actually release an art cut until like 1998 or something like that, which. [00:26:59] Speaker B: That's crazy. [00:27:00] Speaker A: That makes sense. [00:27:00] Speaker C: They waited that long. [00:27:02] Speaker A: Yeah. [00:27:09] Speaker C: We did it. [00:27:12] Speaker B: Everybody. [00:27:13] Speaker A: We're done. The writer right before this, he writes Paris, texas, which wins the gets. He gets told, okay, you're on a serious list of serious Hollywood screenwriters, and I'm quoting him right now. His response to all these accolades was, how do I get myself off the map of serious Hollywood screenwriters? So he takes this job writing. [00:27:58] Speaker B: That's great. [00:27:58] Speaker A: Like John Hughes, Spookon, Texas. Because how do you top the original? Right? That's what Toby Hooper does. It's like, okay, I said what I had to say. I'm not going to do a John Carpenter thing where I'm going to try to continue this story and come up with things that I'm not happy with. He just goes. Twelve years later, he just goes and does something completely different with it. [00:28:23] Speaker B: Right. [00:28:23] Speaker A: Chris, will you want to say something? [00:28:25] Speaker C: I see it on, well, two things, I guess. Where did his career go from? He. I did not follow the writer and his kind of credits I didn't. [00:28:37] Speaker A: Write. He doesn't have a huge credit list, but he continued to write thereafter. And he just seems like one of the guys who's like, I want to enjoy life. I was able to do that through writing. I didn't want any of the fame. I didn't want any of the pompous circumstance. I was able to live within my means. He had a very humble and grounded viewpoint on the making of this film. Like I said, him not being bitter about the cut they made of it and just being happy that they made this. Physically exhausting. The last night of shooting, he's on the street in a director's chair, writing on a portable typewriter. He passes out and wakes up, and then it's like, done, the movie's over. And Tom Savini, who did special effects on the film, the great Tom Savini, great special effects, wonderful special. Oh, my God. They're so. There's. There's a video you can see of him and all of his guys just diving into a pool in the last day of shooting because it was just a nightmare to shoot. It was like 100 plus degrees. And then he was like, we all went to Disneyland after. I don't know what the rest of the crew did, but my guys and me, we all went to Disneyland after. So, yeah, stretch. We were talking about stretch. I love stretch. I'm surprised that she's not on my radar before this and that she's not of greatest scream queens or final girls or. It vacillates between strong female protagonists and not, you know what mean. Like she. There are scenes where she does have a lot of agency and she's a badass and there are other scenes where she's kind of a victim. But I fucking loved her in this. I thought she was amazing. [00:30:44] Speaker C: Her scream was too much for me. [00:30:48] Speaker B: It was a lot. [00:30:50] Speaker C: It's too much of it. And that's not on her. You know what I mean? [00:30:52] Speaker A: It's nothing against her. Yeah, she was doing what they wanted. [00:30:57] Speaker C: It's just too much of her yelling. You know what I mean? [00:31:03] Speaker A: She talks about the language of screams and how they created five or six different languages of screams within the story of the film to express what she's going through. And I picked up on it, but I do see what you're saying and I get it. But that's what they wanted. [00:31:28] Speaker B: I thought that might have been part of the joke, right? It's like, sure, you want scream queens? This is going to be the screamiest queen ever because they have her screaming like, in the last 30 minutes of this film. She is nothing but screams. [00:31:43] Speaker A: Yeah, but I think that's hilarious, though. So do I. [00:31:47] Speaker B: That's why I think it's intentional because they also have that rat noise underneath her screams. Every time when she's at the table, they cut back to her and she's like. But before that whole point when she's just stretch in the radio station doing her djing stuff, she's good. She's effective. She's natural. She's a good actress in the first half of this film. And the second half, she's screaming a lot. So it's hard to I. But even Molly and I had that conversation. We're like, she's good. She's got chops and she's got some. [00:32:23] Speaker A: Good scenes in the second half, like where she's like, I don't think this is going to work. [00:32:28] Speaker B: No, she's great all the way through. I'm saying it's like a lot of the second half is her just screaming and being the final girl. But the first half, it's like she's got more agency. She's fighting back. She's always fighting back. I'm not trying to say it changes, but it's not apples. I'm not trying to make a comparison of the second half, first half. I just want to say that as an actress, she's very believable, very good, and she's worthy of carrying this film. [00:32:54] Speaker C: Did you guys read that thing about how he says that she's played stretch in three different films? [00:33:03] Speaker A: I know that she has a cameo in part three. [00:33:08] Speaker C: Part three, right. And then she's not credited stretch, but she says that she is playing stretch as a tv reporter and then she's in, I guess, Hatchet three, which I've never seen the Hatchet film. [00:33:19] Speaker B: Oh, Hatchet. [00:33:20] Speaker A: Yeah, I saw the first one. It's something, evidently. [00:33:24] Speaker B: But isn't it the same left face guy? Isn't he the same guy? No, the guy who plays Hatchet. Who plays Hatchet. [00:33:35] Speaker C: I thought it was Kane Hodder's in one of them. [00:33:37] Speaker B: It is. I'm sorry. It is Kane Hodder. That's his other franchise. I'm sorry. [00:33:41] Speaker A: Yeah, it is. [00:33:42] Speaker B: No, you're right. [00:33:43] Speaker C: It was just one. Maybe I'm wrong. [00:33:44] Speaker B: No, I was thinking that the tie between Texas. But it's the tie between Friday. Continue. [00:33:50] Speaker C: But anyway, she's in like, hatchet three as like some character. And she's like, in this interview she was like, oh, that was actually stretch. But this character, she had changed her name and remarried like a sheriff in some town or something like that. [00:34:04] Speaker A: I like that I'm a hatchet like narrative. I like the guy. [00:34:11] Speaker B: She's merging universes that the creators never intended. [00:34:15] Speaker C: I've actually been playing the same character for years. [00:34:17] Speaker B: Between Hatchet and Leatherface are in the same world. Yeah. [00:34:23] Speaker A: She's got a crazy audition story where she. [00:34:26] Speaker B: I love. [00:34:29] Speaker A: Like, she sees a bunch of girls and they all look the same. Like when you go into an audition room, you typically see a lot of versions of you in them. And she ran down to the end of the hall and just ran down the entire hall screaming, slammed the door, took all the chairs and tables, barricaded them in the audition room, and then gave the audition directly to Toby Hooper. And I think the writer. Don't do that. That's like a million times out of one. It's not going to work out for you. But it worked in this situation. [00:35:11] Speaker B: He seems to gravitate towards actors that are trying to break the mold with their audition. Like, you know, Bill Mosley. His. [00:35:26] Speaker A: Yeah. My last thing about Joe Bob. [00:35:30] Speaker B: Yeah. [00:35:30] Speaker A: So Joe Bob. I watched a thing. Joe Bob, about the making of Texas Chainsaw two and how it happened. It was recorded from the Alamo draft house. Go check it out. I'm not going to reiterate it, but that's really cool. He says that he had written the definitive article on Texas Chainsaw massacre and that it's hard to find. Not impossible, hard to find. But if you want to read it, email him directly and he'll send it to you. So I emailed him directly and I got sent the article and it's like a 69 page article that I've read half of it, but yeah, Toby Hooper casts in a very od way. And he also directs in a very od way too, at least early in his career. [00:36:14] Speaker C: Very chill person. Whenever you look up interviews, he talks about his career. TCM two in particular. He's just very easy going about it, which is surprising to me. [00:36:29] Speaker A: Yeah, he's just always with a cigar and Dr. Pepper in hand. [00:36:33] Speaker B: Dr. Pepper, the drink, the soda of Texas people. [00:36:38] Speaker A: Speaking of soda. Okay, I didn't know Big Red was racist, although now it's making sense to me. But I do remember Big Red soda when I was a kid. It was around a little bit. So explain to me, I guess, is there native american stuff? Is that why it's racist? Big red? [00:36:56] Speaker B: Well, no, the big red you probably grew up with just said big Red in letters. But the original Big Red was, it was similar to Cherokee Red. It had an indian on there or a native American First nations person. And it was called Big Red. And that was all. It was delicious. They kind of positioned themselves as a strawberry soda, but it was just like red sugar water. It was delicious. Yeah. [00:37:28] Speaker A: It always tastes like strawberries to me as a kid. [00:37:31] Speaker C: Remember that? Yeah. [00:37:32] Speaker B: When I got done playing baseball, you got one cup of soda from the concession stand. When I was growing up in East Texas and they had three know, they had Dr. Pepper, RC and Big Red. You know where I was going each time. Big Red, down the hatch. [00:37:49] Speaker C: You didn't do a suicide. [00:37:51] Speaker A: Oh, that's a good idea, though. I used to do suicide. What are they? Good idea? [00:37:54] Speaker B: I used to go to the local pizza place and do suicides. [00:37:57] Speaker A: Yeah. [00:37:59] Speaker B: So anyway, the Reds always really take over the suicide. If you've ever noticed any kind of red flavoring thing, it really is like the dominant flavor of the sodas. Yeah, I taught my son actually. [00:38:13] Speaker A: Juice soda. [00:38:14] Speaker B: Yeah, that one's the dominating flavor. [00:38:18] Speaker A: You taught your son what? [00:38:21] Speaker B: Well, literally just like two days ago, he had never heard of a hot Dr. Pepper. So I was like, oh, you got to do it before. [00:38:29] Speaker A: I've never had one either. That doesn't seem like a good idea to me. [00:38:32] Speaker C: Seems gross. [00:38:34] Speaker B: Yeah, it's absolutely delicious. It's a treat. It's like you're not going to drink a whole Dr. Pepper. Just take, like a half a Dr. Pepper, put in a coffee cup, heat it up, and just taste it warm, and it's actually really soothing and nice. [00:38:48] Speaker C: There wasn't always a simmering cauldron of Dr. Pepper on the stove. Whenever you're growing up, I'm telling you. [00:38:54] Speaker B: In my house, that and fried bologna. Yeah. [00:38:58] Speaker A: Sounds like not a bad life. Your mom's just like, Mickey, come and get it. Does she sound like stretch? [00:39:06] Speaker B: Apparently. [00:39:07] Speaker A: That's what I'm assuming she sounds like. [00:39:13] Speaker B: Mickey. Get in here and get your fry. Baloney. Come on, man. [00:39:18] Speaker A: That was good. I got to say, more Texas than usual tonight. [00:39:23] Speaker B: I'm feeling it, man. I'm feeling these Texas budy. Stretch's accent is a little more akin to, like, matthew McConaughey because he's from Longview, which is just right outside mean, it's 2 hours outside of Dallas, so they have a similar sound. And I think she even mentions she grew up. I can't remember the town, but Toby Hooper's from, like, he knows the Texas stuff, right? So it's very authentic, that whole part of it, because I told Molly I was know if you didn't grow up in East Texas or you weren't around people from East Texas all the time, you would think that this is like an exaggeration of a southern accent or of Texas people, that this movie, the thing that does exaggerate is not Texas. You know. [00:40:15] Speaker A: What is it exaggerating? [00:40:18] Speaker B: What do you mean? [00:40:20] Speaker A: You said the things. It's exaggerating is not Texas. [00:40:24] Speaker B: Right. Like in the movie, the things that they exaggerate. Like, exaggerating. [00:40:28] Speaker A: Okay, so you mean that making it. [00:40:32] Speaker B: Making the humor more exaggerated. I'm saying the Texas is not something that they're, like, playing up. [00:40:38] Speaker A: This isn't an absurd, surrealist, satirical place? [00:40:43] Speaker B: No. [00:40:44] Speaker C: Well, it's not like a ham fisted version, like someone from Chicago or New York trying to write what Texans are in, which everyone has probably, like, ridiculous ten gallon hats, and it's like a. [00:40:53] Speaker A: White straight guy writing a screenplay about transgendered people. [00:41:00] Speaker C: No comment. [00:41:05] Speaker A: You see these things, and it's like, who wrote this? It's like, oh, someone who has no idea what it's like to be this type of person. Interesting. Yeah. What's with the reaction, Chris, you just. [00:41:20] Speaker C: Took it so serious. [00:41:22] Speaker A: We get it. You're a good person, Nicolangelo. You're a good person. Nobody's questioning. I'm agreeing with what you're saying. [00:41:33] Speaker C: I saw an opportunity to make you feel awkward about a statement, and I. [00:41:37] Speaker B: Went for it, and I feel no. [00:41:38] Speaker C: Shame or guilt about it. [00:41:40] Speaker A: I don't know why I'm friends with. [00:41:45] Speaker B: The whole. So do you guys know what the Red river shootout is? Or. I think they call it the Red river rivalry. I know, Chris. [00:41:54] Speaker C: Showdown. Now you can't say shoot anymore. [00:41:57] Speaker B: You can't say shootout. [00:41:58] Speaker C: Well, yeah. [00:42:00] Speaker B: So for the listener who doesn't know, and for Michelangelo. So the opening of this movie is all building up to the weekend of the Texas state fair. And at the Texas state Fair, they have one game that rules all of college football, and it's ou versus ut, and they play in the cotton bowl in Dallas, and the state fair is on the same weekend. So for one weekend, the city of Dallas Fort Worth. I say they're two separate cities, but they're basically the same. Dallas Fort Worth becomes just bombarded with college football fans, people going to the state fair, and we could never afford tickets to the ou UT game. So when I was a kid, what. [00:42:41] Speaker A: We would do is we'd go to. [00:42:41] Speaker B: The state fair, and we would literally buy tickets for the Ferris wheel, because it's the largest Ferris wheel in the state. And we would ride it up during the game and watch a little bit of the game as we get to the top and then ride back down, and we go, I just saw something. You see that? And we'd ride it back up and look into the game. And that is when you walk. When you walk up to the. Because in Texas. Oh, man, that game and football is life. And when you walk up to the Texas State fair, there's a giant guy named Big Tex that welcomes, you know, howdy. And the whole thing is just so opulent big. And that's the weekend this movie takes place. So that's why the hotels are filled with University of Texas fans with their little horns coming out of their hats. And it's why there's the chili cook off, which is like. It's hard to explain because they make that seem like it's like just some small town chili cook off. No, that is supposed to be, like, the state fair's chili cook off, that this guy just won the best chili entire. I just. I'm throwing that context in there because he doesn't contextualize it. I don't think enough. But it's like a huge weekend in Texas. [00:43:54] Speaker C: Yeah. Complete outsider perspective. Just like a college football fan that knows, know from the football perspective. But, yeah, it's a huge deal. I'll give you a real quick. Also, uh, do yourself a favor and read about the stories that happen between Texas and Oklahoma football fans. Like, generally speaking, there's like a big fight. Like, a couple years ago, like, an Oklahoma fan ripped a testicle out of a Texas fan in a bar. Like, it's insane. [00:44:24] Speaker A: Oh, my God. Yeah, that's crazy. I do want to say, you said he doesn't give enough context. And I just got to say, a lot was. Things were cut, budget was cut. I would say canon didn't give enough context for all those budget limitations. Yeah. Defender. I'm not apologizing for Toby Hooper. I'm defending him. It's a big difference. [00:44:54] Speaker B: No, I get it. But also, if you're going to have to change things for pace or the cutting room floor, I don't blame him for taking out some kind of text he didn't cut. [00:45:06] Speaker A: Logical canon took this canon. He had no control over the edit. [00:45:11] Speaker B: Hey, I'm defending Canon a little bit, saying, like, why are you going to spend a lot of time on just, like, some Texas mythology that affects one people in their state and no one else can be like, hey, we get it. Whatever. It's a big. Know. I could see a. I'm not defending canon. We know. Canon was only about that. We know. [00:45:31] Speaker A: I love canon films. [00:45:33] Speaker B: Their films are hilarious. [00:45:37] Speaker A: Dennis Hopper's triumphant return to the silver screen. [00:45:42] Speaker B: Yeah, the hop. [00:45:45] Speaker A: He was in semi retirement at the time, coming out of rehab, and he decides to do this film for two reasons, mostly. One, he wanted to be in Austin because he thought it was a cool place. And two, he loves golf, and Austin had a lot of great golf courses. And three, his character disappears for a huge chunk of the movie. [00:46:06] Speaker B: A huge. [00:46:09] Speaker A: Go. He was like, I want to go hang out with Willie Nelson and play golf and make some money. So this is like the perfect project. [00:46:16] Speaker B: Yeah. [00:46:19] Speaker A: Apparently, Lefty and stretch were supposed to be. It's his illegitimate child. They were supposed to find out in the story. [00:46:32] Speaker C: There's a couple moments. Yeah, well, and even then, too. Then what does he call her? [00:46:36] Speaker A: He calls her sister. [00:46:37] Speaker C: Sister. Yeah, that's it. [00:46:39] Speaker A: But he, like brother or sister? Like a fellow in arms, you know what I mean? [00:46:46] Speaker C: Yeah, I mean, there's a lot, though, there that's like, definitely relationships. [00:46:55] Speaker B: Or is he calling her sister because that was like, a wink. Because you're down there with your brother. Right. [00:47:02] Speaker A: Because his son's fucking. [00:47:07] Speaker B: What's Franklin? [00:47:08] Speaker A: The guy in the wheelchair Franklin? [00:47:10] Speaker B: Yeah. [00:47:11] Speaker A: Is it his son or his brother? [00:47:16] Speaker C: I thought it was nephew. [00:47:18] Speaker B: It might. [00:47:26] Speaker A: Be so many fucking shit. It's like we all. Yeah, he's a family member. We all got that. [00:47:32] Speaker B: He's a family member. [00:47:34] Speaker C: Family member is what matters most. [00:47:36] Speaker A: Yeah. [00:47:36] Speaker B: He's the uncle of Sally and Franklin Hardesty. [00:47:38] Speaker C: Yeah. [00:47:39] Speaker A: Okay. Sally. [00:47:43] Speaker B: Yeah. So maybe we're Marilyn sister thing too much. I think you're right. [00:47:46] Speaker A: It probably is the sister. [00:47:47] Speaker B: Like, we're in this together kind of shit. [00:47:49] Speaker A: Because it's not like there's deleted scenes that gives context to that. That's stuff that was cut from the script while they were constantly rewriting it during production. But I think they wanted to keep a flavor of that. And I think that's what you're talking about is, like, the empathy he has towards it is funny. He does BLue velvet this year as well, and blue velvet is an over the top performance, but people say this is an over the top performance. And I don't think. I think other than when he's not chainsawing down things, right. He's a Pretty Grounded, realistic. [00:48:27] Speaker B: He's understated. Yeah, understated. [00:48:31] Speaker A: When he goes and he buys that chainsaw. Right. You know the old man who's LikE, my aching banana? [00:48:40] Speaker B: Yeah. That's what he said. [00:48:42] Speaker C: The joy that I get is whenever he's testing out the chainsaws, and the old man be like, that's what I'm talking about. [00:48:50] Speaker A: He says, my aching banana. When he's like. I put on the captions and that's what it says. I was reminded of when Chris, when you came to New York and there was a cookie shop that opened up in my neighborhood, and I didn't have the cookie, but Chris sat down, and I watched Chris eat this cookie, and I felt I was like that old man where I was, like, cheering, like, is he saying, like, oh, my dick's getting so hard from. [00:49:28] Speaker B: I think it's a sense of the virality. Like, the vitality, I should say. Not virality, but it's a sense that he's like, oh, my ache and banana. My ache and banana can't be doing what you're doing. Like, when Chris is eating that cookie, you're like, your manhood's being stripped away, so you feel like you got an ache and banana. [00:49:47] Speaker C: Did you feel like when I was eating that giant, delicious chocolate chip cookie that your manhood was being drink michelangelo? [00:49:53] Speaker A: No, I felt like it was being. [00:49:59] Speaker B: The status cookie eating. [00:50:01] Speaker A: Well, I got the satisfaction of eating this decadent cookie while keeping my six. [00:50:07] Speaker B: Know. [00:50:08] Speaker C: Yeah, I guess one cookie is not going to ruin your. Whatever. [00:50:11] Speaker B: Yeah, it's not GOInG to. [00:50:12] Speaker A: Well, if I have the cookie on leg daY, sure. But that's not EnJOyABlE. I want to have it DEcaDenTLY. [00:50:18] Speaker B: WhaT kind of cookie was this? [00:50:21] Speaker A: Like, it's just a big chocolate chip cookie. [00:50:23] Speaker C: Chocolate chip? Like FREShlY BAked chocolate chip cookie from a LITTLE cookie shop that was around the corner from his place. [00:50:28] Speaker A: Yeah. What was it like? [00:50:29] Speaker B: Great. Sounds delicious. It was really good. [00:50:31] Speaker A: Six inches in diameter or something. It was pretty big. It was bigger than your average cookie. It was like three or four cookies total. It was thick, too. [00:50:39] Speaker B: Mickey, I am not. [00:50:41] Speaker A: Chris will tell you, it's the girth, not the length of the cookie, that really gives you the. [00:50:49] Speaker B: Yeah, yeah. I'm not a cookie guy, but, man, you see the right cookie, and I'm putting that in me immediately. [00:50:55] Speaker C: It's interesting to have eaten something enjoyable in your life and have someone remind you of all the times they got. [00:51:03] Speaker A: Watched you eat it. I bring it up a lot. It's not healthy. I have an unhealthy relationship, I think. [00:51:10] Speaker B: Yeah. And with Chris. [00:51:19] Speaker A: Speaking of healthy, healthy relationships, what were. [00:51:23] Speaker B: You going to say? No. [00:51:26] Speaker A: Or aching bananas? My segue goes with both. Go ahead. How many ways does yours. Your segue go? [00:51:35] Speaker C: Segue off. [00:51:37] Speaker B: I will segue off with you right now. We'll see who gets there first. [00:51:41] Speaker A: Okay, let's segue off. Chris, you watch Mickey and I segue off each. [00:51:46] Speaker B: Part. [00:51:47] Speaker A: Go. [00:51:48] Speaker B: Speaking of aching bananas. Wait, what were you doing? [00:51:53] Speaker C: Shouldn't there be something else after that? It would be a successful segue. [00:51:56] Speaker B: Well, I thought we were going to segue off. [00:52:00] Speaker A: Well, you got to go. We got to hear your segue. [00:52:03] Speaker B: Oh. One after another. We're not doing it the same time. [00:52:06] Speaker A: I don't do it at the same time. [00:52:07] Speaker C: You kind of did a jerk off. [00:52:11] Speaker B: Not doing. [00:52:12] Speaker A: We're not segueing each other right by your mouth. It doesn't have to be so close to your mouth. Jesus Christ, am I aching banana over here? [00:52:21] Speaker B: Jesus. Talking about an aching banana. No, I was just going to say, speaking of aching bananas, what's the weirdest thing you're putting in your mouth was. [00:52:29] Speaker A: It was eyeball pate, by chance. Eyeball pate. [00:52:34] Speaker C: Eyeball pate. That's a great. [00:52:36] Speaker A: Yes. [00:52:37] Speaker B: Eyeball pate. [00:52:38] Speaker A: Work on that eyeball pate. So my segue for that is the leather face stretch scene where he kind of humps her with his chainsaw. Does he jizz his pants? [00:52:59] Speaker C: Yeah, it kind of seems that way. But then at the same time, because then he rides down. [00:53:05] Speaker B: I don't know that he jizzes his pants. I think the reason why he destroys the DJ booth is because I think he got it up, doesn't know what to do with it. Right. And it's now becoming, what do I do with this? What do I do with this? Because, you know, you got the feelings, but no way of releasing it. I think if he had released it, he'd be having a cigarette in that DJ booth, not destroying it with his chainsaw. Yeah. [00:53:39] Speaker C: Her dialogue written there, I think that could have been a lot better. You know what I mean? Like, her just being like, you're good. You know what I mean? [00:53:53] Speaker B: He's just dating, and I think she's saying she's rolling with it. Yeah. She's validating his manhood. Yeah. [00:54:03] Speaker C: I don't know. [00:54:04] Speaker B: Not that I know anything about that, but I have to do this with Michelangelo all the time. [00:54:14] Speaker A: It starts out like, you're good. You're a good person. But then it turns sexual because of him. And she rolls with it because she's a woman in this world and she's following what the man's doing, because right now she has no choice. So her scene with chop top, I'm going to say my part about that scene, too, with leatherface, but her scene with chop top, I feel like women live that almost on a daily basis, you know what I mean? Where it's like, there's this guy, he's making me feel weird. I'm trying to get him out of here and I'm trying to acquiesce as much as possible. Absolutely. I'm not going to give you too much validation. I'm not going to give you too much, but I'm also not going to shoot you down so that you don't become violent with me. Right? [00:55:04] Speaker B: And he's like, here's lamp. Here's. [00:55:09] Speaker A: Rubber, man. Here's shark. Here's armadillo. There's the door. [00:55:14] Speaker B: There's the door. Come on, man, get out. [00:55:16] Speaker A: What a great jump scare. Oh, it's great. [00:55:20] Speaker B: But also, I wanted to for a moment, when Bill Mosley first shows up in that sequence, chop top, and he's on the know. Molly said, who is that psychotic, beetlejuice ass motherfucker? [00:55:41] Speaker A: I was like, yeah, right. [00:55:50] Speaker B: I don't like records. He's got like that. I'm so. I'm putting it out there into the universe. Please, somebody write back Michael Keaton. Please email me. Did you bite a little bit of Bill Mosley's chop top for beetlejuice? Was there a little bit. Did you. I'm saying, was it a character study? I don't. [00:56:09] Speaker A: Hang her a little bit. [00:56:10] Speaker B: I'm not saying. Did you. [00:56:14] Speaker A: What's he. My life. [00:56:19] Speaker B: I always say about his plate. You dog dick. [00:56:23] Speaker A: Get off. My dog. Will hunt. Dog will hug. [00:56:28] Speaker B: Will hunt. Yeah, that's great. [00:56:31] Speaker A: God damn it, Leatherface. You dented my middle plate. I'm going to have to go to the VA. God damn it. [00:56:41] Speaker C: Yelling dog will hunt. Sampled in, Jerry was a race car driver by Primus. [00:56:46] Speaker A: Oh, yeah. I didn't know. So back to leatherface. Possibly leatherface. I like what you're saying, Mickey. He gets the boner. He doesn't know what to do with it. I think him destroying the radio station is a kind of love letter. It's his love language. If you read the five love languages, the 6th love language, which is acts of destruction. [00:57:22] Speaker B: Got you. Okay. [00:57:24] Speaker C: You're joking, right? That's not a thing that they've got a six. That's acts of destruction, right? [00:57:28] Speaker A: No, it's five love languages. And the 6th one for this film is acts of destruction. That's Leatherface's. [00:57:40] Speaker B: Very believable. Very believable. Yeah. [00:57:42] Speaker C: Well, it's like two best boys who throw rocks at girls because you like her. [00:57:48] Speaker B: She's cute. [00:57:49] Speaker A: Yeah. That's what I'm getting for. I think it's a great metaphor. [00:57:52] Speaker B: Shove her downstairs because you think she's pretty. [00:57:54] Speaker A: Yes, I think it's a great metaphor. [00:57:58] Speaker B: Mickey, you're about to admit to crime. Stop. [00:58:04] Speaker A: Something out. And I'm trying to say it. You guys won't. You're good. [00:58:07] Speaker B: Sorry, go ahead. [00:58:11] Speaker A: I think it's a great metaphor for how men behave in courtship of women. Basically, what you guys are saying. Yes. When he's destroying everything and he's, like, humping the air with the chainsaw. And he's like, that's good, right? And she's like, yeah. And it's like, despite my evolution and maturity as a gentleman, despite me trying to grow and learn and learn poetry and literature and wanting to be a more sensitive and caring lover, there's still the lizard brain of me that totally understands what he's doing and. Yeah. Hump and destroy. Yes. Mind you, I am not saying that I am connecting with the chainsaw humping, but I get that. Typical Chris. I'm trying to make myself vulnerable, and. [00:59:11] Speaker B: Chris makes it awkward. [00:59:13] Speaker A: Chris does. Not my words. But you know what saying, mickey, chris, you're. Go upstairs. Chris. Mickey, you know what? Like, that. It's like the dumb man caveman lizard brain. Part of your brain is like, yeah, smash. Yeah. You impressed? Yeah. So Leatherface's connection with stretch a, you got the point of view of. He listens to her radio show all the time. Right. With chop top. They listen to it. [01:00:07] Speaker B: Favorite. [01:00:08] Speaker A: Yeah. And it's like he has this built in fake fantasy relationship with her already. [01:00:15] Speaker B: Right. [01:00:15] Speaker A: Then if you go, this is my theory based off of if he jizzed in his pants. Right? [01:00:27] Speaker B: Yeah. Continue. Yeah. [01:00:34] Speaker A: So leatherface, in this is kind of like a dog, right? He's like a dangerous dog. He's kind of, like, in the right hands, he could be docile. Like, she's able to make him. So it just reminded me, because I agree with you, Mickey. I think you're more spot on with your theory. But when I was watching this and I was thinking about, like, did he jizz in his pants? And then thinking about her ability to sort of sway him. My friend was from high school. I have this friend from high school, and he was on a vacation with a friend of his. I wasn't on this vacation. So this is a second hand story. [01:01:16] Speaker B: I want names. [01:01:18] Speaker A: I'll give you names and addresses right here. Okay, so this friend is with my buddy, and it's like a van vacation. [01:01:31] Speaker B: You know what I mean? [01:01:32] Speaker A: It's like a poor family. You're driving to your vacation. So, anyways, the family dog is in the car, and the dog gets, like, an erection. And his friend, who's this fucking. He was a crazy guy. He was fucking nuts. Awesome, but nuts. Apparently, he takes a t shirt. According to my friend, he takes a t shirt, and he jacks the dog off, like, to get rid of the boner, because he's like, I got to get rid of this boner, jack the dog off real quick, and then it's done. Right? Apparently, according to my budy line of reasoning. Yeah. Right? [01:02:13] Speaker B: I got to get rid of his donor. [01:02:15] Speaker A: I got to do this. You do what you got to do. I think that's what stretch is doing. It's like, okay, I got to metaphorically jerk off his dick. [01:02:30] Speaker B: Yeah, but the chain doesn't have a chainsaw pointed at his crotch. [01:02:33] Speaker A: He's just seen. But hold on, hold on. Let me finish my thought. So he does this, and apparently, probably no surprise to you two. Apparently, this dog loves my buddy's friend from this board, it's like his best friend. This dog did not know before this, apparently, according to him, did not know any tricks. But this dog, when his friend would tell him to sit, it would sit. He learned tricks as a result of this method. So I'm just saying, if you want to teach your dog how to, do you want the shortcut? It might be jacking off the dog with an old t shirt. [01:03:19] Speaker C: You buy yourself 40 pack of t shirts and you just start drinking. [01:03:24] Speaker A: No, you just do it once. [01:03:26] Speaker B: But this is no different than I. This is no different than when I was younger, in my first marriage. My first marriage. [01:03:40] Speaker A: What are you about to say about your wife? [01:03:42] Speaker B: Just get ready. Just get. My first marriage. My first wife, she was told by some of her girlfriends that in order. And she was very transparent. We talked pretty openly about things. I just didn't get along. But she was told by a bunch of girlfriends. She was like, if you really want to control your guy, just make sure he's happily pleased in that way, and he'll do whatever you tell him to. So I don't think it's, like, unique to that dog. It's part of experience. Yeah. [01:04:19] Speaker A: Can I tell you one last male experience thing? That's gross. [01:04:25] Speaker B: Is it about jacking somebody off? [01:04:28] Speaker A: Kind. So I was living in Chicago. Some things failed for me, and I'm living back home in, out, and I'm not drinking at this time in my life, but I'm out with some of my brother's friends. I'm not going to say which brother. It was one of my crazy brothers. And I'm talking to one of his friends, and he's like, you know what you do when you want to control your woman, to make her know she fucked up? And I was like, please tell me yes. What should I do? This is definitely going to be. Yeah. He's like, first of all, you wait for her to get a pedicure. [01:05:24] Speaker B: Okay? [01:05:27] Speaker A: Then when she falls asleep, you jack off on her feet and you don't say nothing. And apparently this tells your wife that you're upset with something that she did and that she needs to get in line. And it works according to this person. [01:05:45] Speaker C: So this guy was your spiritual leader for a while, right? [01:05:47] Speaker A: This guy. [01:05:54] Speaker B: And how many times has Ali's feet been cut? [01:05:58] Speaker A: Oh, God. Come on, man. Why? You got to know too far. I didn't say anything about Molly. When you're telling your story. Jesus Christ. Jesus Christ. [01:06:14] Speaker C: Can I impart something that I don't think is necessarily intentional, but that I can't help but wonder if maybe there's something there to it. So the scene, obviously, that we're hitting hard with leatherface and stretch and him acting out his chainsaw as a phallus and kind of like rubbing it up against her leg and then her crotch. Do you guys know about the invention of the chainsaw and the original purpose of it? [01:06:41] Speaker B: No. [01:06:43] Speaker C: So the chainsaw was originally invented by a couple of scottish doctors as a gynecological tool. [01:06:49] Speaker B: What? [01:06:50] Speaker C: Yeah. So the original chainsaw was a small hand crank, not mechanized. But the whole ideology was to pretty much before c sections were regularly done. It was a process called a cysteonomy. I know it's cringey, right? So the whole ideology is to cut through bone for women that were unable to give clean childbirth in the. [01:07:23] Speaker A: Throw up. [01:07:24] Speaker B: Sorry, buddy. [01:07:26] Speaker A: Yeah, it's fucked up. [01:07:27] Speaker C: But it's fascinating, though, that that's like the origins of what a chainsaw is. So it's just interesting. Did Tobe Hooper distinctly write that in for that reason? [01:07:38] Speaker B: I just think it's disgusting that was even a thing ever in. [01:07:47] Speaker C: You know. [01:07:48] Speaker A: Did you know this when you watched it or did you look it up or something? [01:07:53] Speaker B: Where does the information come from? Do you look up tools that do these things? This is a hobby of yours? [01:08:00] Speaker C: Yes. No, actually I did find. Because one thing I already knew that because I learned that a couple of years ago and I think had the same reaction that you did make you like, oh, my God. But then it's kind of curious and I want to know more about it. So anyway, though, it's fascinating, right? That then this tool that was used for that purpose then became then. It's funny that that's the process of gynecological tool to then 100 years later, it's used for cutting down trees. You know what I mean? [01:08:28] Speaker A: I don't think that would surprise any woman. You know what I mean? Oh, yeah, that makes sense to me. [01:08:35] Speaker B: Yeah. But also the fact that it was also used as a medical device in the latter part of this on Drayton. Yeah, that's true. Helped fix some ailments, fix my hip. [01:08:54] Speaker C: I like the fact that he's just like, firing off one liners to no one under a table. [01:08:58] Speaker A: I love it. It's wonderful. Would you guess that that guy is a New York City actor veteran? You look into his history, he's got a super interesting history. The only reason why he was in the original Texas Chainsaw massacre is because for some reason, Toby Hooper had to hire a screen actors guild actor one for the film. So he reached out to this theater director in the community and asked him to be in it. Isn't that nuts? Because I would not guess that he's like some sort of, like, serious theater actor, director, artist guy. [01:09:43] Speaker C: Incredibly cammy. [01:09:44] Speaker A: Yeah, right. But I think that's how good of an actor he's given. [01:09:49] Speaker B: Exactly. [01:09:50] Speaker A: In the first one, he's terrifying, and in the second one, he's fucking hilarious. What's that? [01:09:56] Speaker B: What's the line? [01:09:56] Speaker A: Like when Dennis Hopper comes in? [01:09:59] Speaker B: Some kind of health food thing? [01:10:02] Speaker A: I love that line. He's really hilarious. [01:10:09] Speaker C: Do you think? [01:10:10] Speaker B: He says, I'm the harvester of soul? Like, this harbor comes up. Yeah, I am the harvester of souls, or something like that. He goes, what is that? Like some kind of. [01:10:20] Speaker A: What's that? [01:10:20] Speaker B: Health food. [01:10:21] Speaker A: Says, what's that? [01:10:23] Speaker C: I also love their little caves falling in. He's like ranting and raving, like about working man's got to pay all the taxes. The Hollywood celebrities dove. [01:10:37] Speaker B: And the working man always takes it up the ass. [01:10:42] Speaker A: And then he gets it up the ass. [01:10:45] Speaker B: Yeah, he grabs nubbins. [01:10:50] Speaker A: Yeah. [01:10:50] Speaker B: You remember nubbins from the first one. [01:10:53] Speaker C: Question for you. Whenever Leatherface is wearing the hitchhiker's corpse on him when he's killing the yuppies in the beginning of the film, isn't that a bit of a hat on? [01:11:03] Speaker A: A hat? [01:11:05] Speaker C: I mean, he's got a mask made out of dead people, and then he's wearing another dead person on. [01:11:10] Speaker A: I thought it was very creepy and effective. Also, the stuntman, that wasn't Bill Johnson in that part. Yeah. [01:11:27] Speaker C: He couldn't hold a chainsaw, like above his head or something like that. And so they had to. The stunt guy do all that. [01:11:32] Speaker A: Yeah, that was Tom Morga, who also plays. He's played Michael Myers and Jason. So he's like, hit the. [01:11:42] Speaker B: Wow, wow. [01:11:43] Speaker A: Yeah. The bridge scene that you're talking about. Yeah. I thought it was like that film really gets the tone of what this film is so well, and it's so weird and terrifying, but hilarious at the same time. And you have Tom Savini special effects. That's it for me, for this movie of, like, you show that scene and this is what the movie is going to be. [01:12:25] Speaker C: Yeah. And how badly you're happy to see the yuppies die. Like yuppie jerk off Guy. [01:12:34] Speaker B: Buzz and what's the other guy's name? Is it buz. [01:12:40] Speaker A: Bright lights and big titties. [01:12:44] Speaker B: That's all? Bright lights and big every. Like the Alamo. The San Jacinto. It's like all the famous. [01:12:52] Speaker A: I bet as a texan you were like, fuck these guys. [01:12:55] Speaker B: Yeah, don't shoot the battle of. And then, you know, remember the Alamo. And then there was one other one. I can't remember what the other one was, but yeah, all along. [01:13:04] Speaker A: But they're all. [01:13:07] Speaker B: Go ahead, go ahead. [01:13:09] Speaker A: No, what you're saying is more interesting. [01:13:11] Speaker B: I was just saying that they're all painted the same. And I don't know if that's an actual lineage of signs that actually are on a particular road going into Dallas, or if that's just something Toby Hooper did just to be like, remember they did. But I just mean, like, I don't know if Toby Hooper's like, duplicating what. [01:13:30] Speaker A: Actually exists, trying to was. [01:13:34] Speaker C: Or if he was just being like. [01:13:35] Speaker B: This is how Texas. I'm going to make this thing. Because nobody knows the battle of San Jacinto unless you grew up in where. [01:13:43] Speaker A: I can tell you where they shot those scenes. Those signs weren't there. I don't know if those signs exist somewhere else, but where they shot. [01:13:51] Speaker B: Thinking that maybe it's a thing. [01:13:53] Speaker C: You're talking about the order. Like, if you're traveling down the highway, that's the order of signs that you would see. [01:14:02] Speaker B: Because he's very specific about, he says, burke Burnett, which is like, people don't know this, but Burke Burnett is like, right outside of Dallas. And it's where she keeps talking about. I'm like, that is such a specific detail to the Oklahoma Texas border that it just felt like. Very like. Man, he really is just like. He's making this thing very inside baseball. [01:14:26] Speaker C: Donald Fault. The Texas know how. [01:14:28] Speaker B: Yeah. Like Easter eggs for Texas people. It feels like. [01:14:37] Speaker C: Love the songs that they're using in the beginning, too. The cramps. [01:14:45] Speaker B: Great soundtrack. That's a cool station. That's a station I would be into. [01:14:50] Speaker A: Yeah, right. [01:14:51] Speaker C: That looks to be working out of a gun shop. [01:14:55] Speaker A: Yeah, looks awful. It's in the heart of that area, though. Yeah, doesn't seem like deep in the heart. [01:15:08] Speaker B: Yeah, deep in the heart. [01:15:10] Speaker A: If you get that area, you go to it now. The location now is not recognizable at all. It just looks like. It looks like any downtown area condominiums, I'm sure, like office building. You're so wrong, Chris. You're so wrong. It's office and parking. Mixed use. I bet the first piece of shit. God, I can't believe how stupid you are. Go fucking eat a cookie. I'm going to watch. We talk about Lou Lou Perryman was LG. [01:15:47] Speaker B: LG was one of my favorite. [01:15:49] Speaker A: I loved it. All right, Darlin. [01:15:51] Speaker B: All right, darlin. [01:15:53] Speaker A: He doesn't know how to disconnect the phone line, though. [01:15:58] Speaker C: Yeah. [01:15:58] Speaker A: That was kind of like. Was that a thing or is that just a thing they invented for the film? I feel like it's a thing they invented for the phone. But the actor. Is it Lou Perryman? Is that his name? Yeah, Lou Perry. Say Luke Perry. [01:16:19] Speaker B: Yes. [01:16:19] Speaker A: Luke Perry. That's who. [01:16:23] Speaker B: Played LG. [01:16:25] Speaker A: Character actor. Lou Perry was a camera operator on Texas Chainsaw and then plays LG in the sequel. And he was like, I'm gonna play this like Paul Newman. And he. The way he carries it, he's like, I'm going to carry myself and give, like, silhouettes as if I am Paul Newman and Hud. But also. But also, it's funny because you think about Paul. Okay, so Paul Newman's this gorgeous, charming actor. Right? And he plays gorgeous. [01:17:09] Speaker B: Yeah. [01:17:09] Speaker A: And people. I think it's a common misconception that people are like, hud is cool. It's like, no, Hud is a fucking loser. Yeah, Hud's the scumbag. Hud is not the hero of the movie at all. Anyways, I thought it was really funny. They was like, I'm going to play this like I'm Hud. [01:17:26] Speaker B: Yeah, but I hawk luggies. No, I get it. No, this is the misconception of a lot of films that I watched growing up. It's like these guys that you end up being like, he's know. [01:17:39] Speaker A: That makes sense for LG, that LG would think HuD is cool. I want to be like, oh, absolutely. [01:17:47] Speaker B: Yeah. [01:17:49] Speaker C: I guess kind of along those lines. I have a bit of a controversial take. Leatherface is a pretty shitty butcher. Agreed. Butcher. I mean, LG is still alive. He's cutting them off. You got to cut that guy. [01:18:04] Speaker A: Kill it. [01:18:05] Speaker C: You got to drain it. And he's doing a terrible job. Just awful. [01:18:08] Speaker B: Agreed, agreed. You take the stomach and all that stuff out because the bile can get into the meat. He's actually going for the stomach. I think at some point I'm like, right. [01:18:22] Speaker A: And he's using an electric knife. No, Butcher uses an electric knife. But a very funny sight gag. When he's like. He picks up that little electric. [01:18:35] Speaker C: Goes down with it. It comes up and it's covered in blood, too. Yeah, that's good. [01:18:40] Speaker A: And he somehow carves off the face kind of perfectly with it, which is impossible. Which kind of goes against what you were saying, like, that's some pretty good skills to cut off a face like that. [01:18:52] Speaker C: He has one intrinsic ability to cut off face I like. [01:19:00] Speaker A: Did you notice he's got multiethnic face? Yeah, he's got face. I think it's the left hand corner, but it's also all fucking cockeyed and wrong. It looks like on the bottom left, it's the upper right part of a face that's down there. Fucking crazy. It's fucking Tom Savini. When I watched this for the first time not too long ago, it's like, I see Tom Savini, and whenever I see Tom Savini's name, it's just like, I know some really fantastic things are about to happen. This could be a good hit, but I'm going to enjoy the gags in this. He's fucking great. He's great. And this was during his wonderful creative time where he was doing a lot of really cool stuff. [01:20:06] Speaker C: Yeah, 100% agree. Love him. [01:20:13] Speaker A: Love him. Love Tom Savini. [01:20:19] Speaker B: You want to have Tom Savini over an ice bucket of soda? And you just saw in that bucket spraying him with soda juice as he. That's where you want to be. [01:20:29] Speaker C: He's eating the biggest, freshest cookie you've ever seen in your life. [01:20:34] Speaker A: Just a tube. He's eating a tube of toll house raw cookies. Just like really deep throat boy. Mickey, you know Tom Savini, right? You're like a neighbor. [01:20:47] Speaker B: I've met him. I've met him. Yeah. [01:20:51] Speaker A: Do you think he'd do that for us on the podcast at this point in his life? [01:20:56] Speaker B: Cookie. [01:20:57] Speaker A: Eat a cookie. A tub of toll house raw cookie dough. [01:21:02] Speaker B: Yeah, I could probably convince him of that. [01:21:05] Speaker A: Yeah, we'll have him on. We'll record it. [01:21:07] Speaker B: Because that one time we met at a horror con, and I told him how big a fan I was, he was going to be like, sure. Yeah, I'll do that for you. [01:21:15] Speaker A: Tell him I love Martin. Yeah, Martin's great. [01:21:19] Speaker B: He'll get it. He's great in Martin. [01:21:27] Speaker A: Yeah. Guys. [01:21:34] Speaker B: I got a couple small things. I thought that one of my favorite, favorite gags in the whole movie is when stretch is screaming and Drayton tells Leatherface, bring her down, bring her down. And leatherface is all like, do you hear? She's like, okay, I'll do. Know that whole physical. I laughed out loud. It's almost chaplain esque with his physical humor because he's like, okay, I wish the audience should be seeing this. I'll put this on somewhere on instagram. Me recreating. [01:22:19] Speaker A: He's like, what's his face? From Breakfast club. [01:22:25] Speaker B: Goonies? Breakfast club. [01:22:27] Speaker A: Breakfast club. Breakfast club. [01:22:29] Speaker B: Okay. [01:22:30] Speaker A: Yeah. What's his face? Is it Michael? [01:22:36] Speaker C: Michael. [01:22:37] Speaker B: Yeah. Michael C. Hall. But why Michael C. Hall. [01:22:41] Speaker A: Is it Michael C. Hall? [01:22:43] Speaker C: Is it Michael? [01:22:43] Speaker A: Is that right? [01:22:44] Speaker B: The nerdy one? [01:22:45] Speaker A: Michael Dexter. [01:22:47] Speaker B: No. [01:22:48] Speaker A: Fuck. I'm fucking this up right now. Anyways. Breakfast club. Leather. Yeah. Leatherface is modeled after, like, a John Q's. Nerdy teenager. Guy who can't get the candles. Breakfast club. It's Michael C. Hall. [01:23:04] Speaker B: Anthony. [01:23:05] Speaker A: Thank you. [01:23:05] Speaker C: Anthony Michael Hall. [01:23:06] Speaker A: Anthony Michael hall. Not Mike. Michael C. Hall is Dexter. Anthony Michael hall. [01:23:10] Speaker B: There you go. There you go. [01:23:12] Speaker A: Evil dies tonight. Michael C. Hall or no Anthony Michael hall, evil dies tonight. [01:23:19] Speaker B: Oh, my God. [01:23:20] Speaker A: For all you Halloween fans, John Hughes. [01:23:25] Speaker B: John Hughes of it all. [01:23:26] Speaker A: Leatherface. The writer based leatherface off of, like, a Anthony Michael hall type character from a Hughes film. So, like, the scenes you're describing where he's know, you got to kill her. Are you in love with her? Are you doing this? And it's got those looks. [01:23:52] Speaker B: Yeah. [01:23:53] Speaker A: Sexual. Nobody knows what that's about. [01:23:55] Speaker B: But the. Saul's family. [01:23:58] Speaker A: No, sex is. No, he knows what it's about. It's salacious or something. He says something like that. [01:24:05] Speaker B: It's bullshit. [01:24:06] Speaker A: He's saying, don't do. I'll tell you about sex. There's nothing good to become of it. [01:24:12] Speaker B: Well, obviously, because he's been inbreeding his kids. [01:24:19] Speaker C: It's interesting. The role of the saw, right? The saw is life. And then, like, the final scene with Chop Top whenever stretch tears the saw from Grandma's skeleton. And Chop Top's like, you killed her just because she didn't have the saw anymore. Yeah. The role of the saw, which, by the way, did you guys notice how many skeletons and wheelchairs there was in the cave? I think there was three, which is hilarious. It's like they brought the wheelchair and the skeleton. [01:24:50] Speaker A: Yeah, this is pretty cool. Yeah, this is cool. [01:24:56] Speaker B: We should bring this down, man. [01:24:59] Speaker A: Yeah. [01:25:00] Speaker B: Napalm, man. [01:25:01] Speaker A: Napalm. Far out. Do you think will chills are my life. [01:25:07] Speaker B: Who says bitch better chop top or Freddy Krueger? [01:25:14] Speaker C: Those are done. [01:25:16] Speaker A: Listen, I'm kidding about apples and oranges here. [01:25:21] Speaker B: This is the whole existential cris for you. I should even run it up. I'm sorry. [01:25:27] Speaker A: Chris, will you eat this bag of cookies for me, please? [01:25:30] Speaker B: Right now? [01:25:31] Speaker C: Yeah. You need to calm down. [01:25:34] Speaker A: Thank you. [01:25:35] Speaker B: While we're talking about stretch grabbing the chainsaw from the grandmother I will say that the cherry on top, the thing that makes this film really settle well after multiple watches. Is that closing shot with the Texas flag on top of that mountainous cave. It was a thing of such beauty. When I watched it finish, I was like, this is so good. [01:26:02] Speaker A: A woman losing her mind, throwing a chainsaw all around. But the check is above her and a highway behind. [01:26:11] Speaker B: Well, she's kind of got that barbarian Amazon cave woman look to her. She's got chainsaw swinging it above her head. She's looking hot. Then you got the flag just flying on top of that very phallic symbol. The mountain just steeped up real hard up top like that. Oh, I was turned on, man. I was like, yeah, this movie's great. [01:26:35] Speaker A: It's a very Frank Franzetta type of image who was famous for all the illustrations of Conan the barbarian. [01:26:43] Speaker B: Conan the barbarian. Yeah, I agreed it was hot. [01:26:53] Speaker C: It goes without saying, but you got to call it out. I think. You know what beats a family of crazed inbreds with a whole bunch of chainsaws? A gun. Any gun. Just a gun. [01:27:10] Speaker A: Unless you're a yuppie. Unless you're a yuppie, then that gun. [01:27:17] Speaker B: Why does Dennis Hopper not have a gun? [01:27:20] Speaker C: Yeah, well, because it's not as cool as bandolero chainsaws. [01:27:23] Speaker A: Obviously. He's got to kill the enemy with the enemy's tool. You know what I mean? He can't. Like, it'd be too easy. It's the same reason why he, for no reason, puts this innocent woman in harm's way constantly throughout the movie. He's really an inept, self righteous. He's not our hero. Stretch is our hero for sure. [01:27:53] Speaker B: Absolutely. [01:27:54] Speaker A: She's the one making altruistic choices in service of something outside of herself. That seems to be good. [01:28:09] Speaker C: To that point, I don't know if you came across it in anything, but the scene whenever stretch goes to his hotel room, Denis Hopper's hotel room, after the newspaper thing, Denis Hopper looks like shit. [01:28:21] Speaker A: Like he's drinking in that room. [01:28:23] Speaker C: Yeah, well, there's a scene, evidently, that I think they shot or that they did part of, at least, in which he's supposed to had some sort of drinking craze and a fantasy about chainsaws coming into the room and stuff. Like, through the. I I found a commentary track, and Tobe Hooper was talking about it. So I was like, that kind of makes sense why he looks like such shit there and kind of explains that a little bit better. So to that point, I think he's a man at the end of his rope that gets cut out of the film. But there's some scenes that are at least that are out there that explain his choice. Making more. [01:28:57] Speaker B: Yeah. [01:28:59] Speaker A: Without that scene being there. I get that he's going through something. You know what I mean? [01:29:06] Speaker B: End of the road. Kind of like, this is the point where he's been living in this for too long. [01:29:12] Speaker A: He's been eaten away by it. [01:29:14] Speaker B: We've gone from vindication to now you are obsessive. This is who, this is your personality. I also told Molly when we were watching, I said, next year for Halloween, I'm going as lefty and you're going as ash and we're going to chainsaw this bitch up, man. [01:29:30] Speaker C: It's going to be, ooh, I like it. [01:29:32] Speaker B: Chainsaws everywhere. [01:29:34] Speaker C: Chainsaw off. [01:29:36] Speaker B: What's that? [01:29:37] Speaker A: Next year for Halloween, Allie's going as stretch. I'm going as stretch. Chris, you're going a stretch. We're going to have a weird. [01:29:44] Speaker C: Everyone's stretch. [01:29:48] Speaker B: But which stretch are you going as? There's three films you can choose from. [01:29:58] Speaker A: I thought you were going to say like three acts of the film. [01:30:04] Speaker B: Yeah, that's great. [01:30:06] Speaker A: I'll watch the hatchet movie and I'll let you know. I think I want TCM too for. [01:30:14] Speaker B: Yeah, yeah, stretch. [01:30:16] Speaker A: I want them short. [01:30:19] Speaker B: Stretch in the radio, in the DJ booth is like almost like close to the most perfect woman in the world. [01:30:27] Speaker A: Whoa, Molly, hope you're listening to this episode. [01:30:30] Speaker B: I sit close just a hair shy of Molly. Don't give me. Started on Friday 13th part seven, though. Ongoing joke listeners go back, listen to a couple of episodes where I go on and on about part seven. [01:30:47] Speaker A: We got Friday 13th episode. Check those out. Do we have anything else to say about Texas Chainsaw, too? [01:30:57] Speaker B: Just that if you ever want to know what my uncle El and my cousin Wayne and Jimbo act like, just watch LG. He's like a dead ringer for my uncle and cousins. [01:31:09] Speaker C: That's awesome. [01:31:10] Speaker A: They're hud wannabes that hawk luggies, french fry cabins. [01:31:16] Speaker B: Yeah, that's it for me, man. I'm good. I'm ready to like. I know who I'm recommending this to. [01:31:24] Speaker A: Great. Chris, anything else to say? I know you wanted to say that thing. [01:31:32] Speaker B: Oh, yeah, go ahead. [01:31:34] Speaker C: What? [01:31:35] Speaker A: The thing that you were telling me about before we started, you were talking. [01:31:38] Speaker B: About, don't deny, like, embarrassed about it a little bit. [01:31:41] Speaker A: You were like, it's. [01:31:42] Speaker B: You don't talk about it normally, but. [01:31:43] Speaker A: It'S just the three of us in a basement by. Go ahead and say this. It's just between us. [01:31:52] Speaker C: Since when does an audio clip of someone dying mean anything? [01:31:57] Speaker B: I know, right? [01:31:58] Speaker A: The greatest evidence in the world. [01:32:00] Speaker B: It's gold. Yeah. [01:32:04] Speaker C: To anyone. [01:32:05] Speaker A: Like, no one makes sense. Nothing makes sense in this. You know what I mean? It's all absurd. It's like crazy. Yeah, but. Okay, Mickey, who do you recommend this to? Who comes into the video, knocked us out. He did an arm thing and almost fucking knocked us both out because he did both arms at the same time. Jesus, there are people, like, sitting right next to. Please. [01:32:38] Speaker B: I know, I know. Hey, lay off my plate. [01:32:42] Speaker A: You know, that's worse. Jesus Christ. [01:32:47] Speaker B: So I'm going to say that my recommendation number one is for anybody from East Texas. Watch it. You'll get a kick out of it. You'll love it. [01:32:55] Speaker A: Your mom's going to love this. [01:32:57] Speaker B: Yeah, my mom's going to love this movie. I shit you not. When she starts watching the movie, she'll be like, I don't know why I love it. There's no reason for me to love this film, but something about it just feels like one of the greatest films of all time. [01:33:09] Speaker A: I really connect with the woman. [01:33:11] Speaker B: But I will also say that this is a film for somebody who likes comedy horror. And I would definitely approach it that way with them because nobody contextualized this film for me when I first saw it, so I ended up not giving it the shake it deserved because nobody contextualized. So I would definitely say to somebody, oh, you're a fan of comedy horror, then? Yes, this is a great film to put in your lexicon of comedy horror, because it really is funny and fun. But if you're going in not expecting it, you may not warm up fast enough to it to really enjoy it. And that's where I stand. That's what I'm going with. Put it on the fucking board. Nice mike drop. [01:33:53] Speaker A: Chris. [01:33:57] Speaker C: I would echo what Mickey said. I would also recommend it to fathers of pubescent boys. [01:34:06] Speaker A: They're starting to reach that special time in their life. [01:34:10] Speaker C: They really need to start fighting some stuff out. The perfect segue. [01:34:19] Speaker A: Yeah, great. [01:34:22] Speaker C: See, right now, you're like a leather face. You see how leatherface. [01:34:28] Speaker A: It'S not cool. Just so you know, this is not destroy the room. [01:34:33] Speaker B: You don't just go throwing everything. [01:34:35] Speaker A: Don't hump the ladies with the chainsaw. You don't scratch your head with the hanger and make them uncomfortable. Yeah, act like Dennis Hopper. You drink too much in the hotel room, you disappear. Long stretch. Use them as bait. [01:35:03] Speaker B: Okay, Michelangelo, who are you recommending man. [01:35:06] Speaker C: Michelangelo, come on. Why are you not holding back? [01:35:09] Speaker A: What's the deal? Are you afraid to say? [01:35:11] Speaker B: I swear, if you say what I think you're going to say, I'm going to. [01:35:14] Speaker C: You son of a bitch. What are you. [01:35:16] Speaker B: Son of a bitch. What are you going to say? [01:35:20] Speaker A: Okay, well, if you're coming in here, video store coming, and you're renting army of darkness for like, the 60th time, and I go, hey, have you seen Texas Chainsaw massacre two? And you say, no, you need to watch this. I think if your humor is aligned with evil Dead two or army of darkness, I think this is probably a movie you're going to enjoy. You're going to get it. You're going to get it. I would also echo what both of you guys said as well. [01:36:10] Speaker B: There you go. [01:36:13] Speaker A: Also, this kind of goes in, like, I say this a lot, but it's like, if you don't like this movie, then I don't know why you're coming to our video store. [01:36:25] Speaker B: That's what I thought you. [01:36:26] Speaker A: I don't always say it. [01:36:33] Speaker B: I don't mind the sentiment. But the thing is, we are going to get down to the ten people that are allowed in the store, and we can't survive on that. [01:36:43] Speaker A: We can't survive on it, but it makes the job a whole lot easier. There's ten people I like who I can have conversations with. Yeah, I just want a friend circle. We just talk about movie. I just want the podcast. I don't want the fucking video story. I want the physical video store. I don't want it as business, basically. Yeah, but for tax purposes, I have it. Chris, what were you going to say? [01:37:08] Speaker C: Did you know Bill Mosley's in army of darkness? I didn't know that. [01:37:12] Speaker A: I knew this. [01:37:13] Speaker B: Yeah, I knew that. [01:37:15] Speaker C: I don't remember him at all. And I've seen that film several times. I don't know. I didn't know that until today. [01:37:23] Speaker A: Well, that was very interesting. Thank you, Chris. [01:37:28] Speaker C: You're welcome. [01:37:29] Speaker A: Chris is going to eat some cookies now. I'm going to watch. And, Mickey, where can people follow us on social media? [01:37:37] Speaker B: You can follow us on [email protected]. Pod at underscore at return slot underscore horror pod. You can find us on Letterbox at return slot of horror pod. You can rate, review, like, share, interact with us on any platform that you listen to. [01:38:00] Speaker A: Podcasts come into the video store anytime. [01:38:04] Speaker B: Yeah. You can tune into Kolka to catch us on the rock and roll request hour deep in the heart of Texas. [01:38:15] Speaker A: We appreciate you. [01:38:17] Speaker B: We're only playing chainsaw. Sounds better murders. Yeah. So we appreciate you. Another happy new year. Fun movie. Let's keep these sassy sequels going. [01:38:31] Speaker A: Join us next week for our next sassy sequel. And thank you for listening. And thank you to Mickey for editing this podcast. And thank you to Chris for eating them cookies. [01:38:45] Speaker B: Eating those cookies. [01:38:48] Speaker A: I thank you to everyone who listen. We love you. Dog will hunt. Dog will hunt.