COAST to COAST or GHOST to GHOST Part B

If you haven't heard, Rich hosts another radio show on weekends called COAST TO COAST...and this week's episode got SUPER spooOOooky! Here's part TWO!

Episode Transcript

Speaker 1 (00:02):
We are one hundred percent live in the middle of
the night as you head home or maybe you're still
going out to Halloween parties. Have been flipping through Instagram
and all the things, and everybody's all dressed up tonight
out having a good time. So it is a perfect
time to talk about when you get home from your
spooky evening, what kind of movies you should be watching?
What kind of scary movies. I feel like anytime there

(00:25):
is a horror movie, a scary movie that comes out
of the movies, it's always number one at the box office.
We like to be scared, we like to be freaked out,
we like to be pushed to uncomfortable. And that is
while we have our guest Chris Alexander on tonight. So
he's an author, he's a filmmaker, he's a music composer.
He's a performer. He's a journalist, he's a teacher and

(00:46):
a public speaker. He is the former editor in chief
of Fangoria magazine and co founder of Delirium Magazine, and
most recently, the author That's Right of Art, Trash and Terror.
Found Linked here at Coast to Coast, am Adventure in
Strange Cinema a treasure trove of in depth essays and
interviews that celebrates some of the most unforgettable movies in

(01:08):
cult cinema history. Welcome to Coast to Coast. Hey, Chris,
nice to meet you.

Speaker 2 (01:13):
Great to meet you. And it is a privilege and
honor to be returning to my favorite radio show past.

Speaker 3 (01:20):
Yes.

Speaker 1 (01:21):
Well, that's why I asked you to be on because
as a listener, I've heard you on here before and
your your knowledge of the film noir of freakiness goes
all the way back to like the nineteen thirties, and
you bring it all the way up till now.

Speaker 2 (01:38):
Let me ask you this, I go back before the
nineteen thirties, man, I go back to the very the
screaming dawn of Primordial Who's of cinema? I'm right there
from the beginning.

Speaker 1 (01:47):
If you were to recommend a thought provoking scary movie
or series, what's one of your go tos that you
hit first when you talk about movies and and or
TV shows?

Speaker 2 (02:01):
I am listen all the things that you know. I actually,
this is this is a misnomer. I was about to
say all the things that I used to get beat
up for as a kid, I'm now, you know, raising
my children on and that is a complete and utter
savant like knowledge of strange cinema, of horror films. But
I never used to get beat up, actually at all,
totally wrong. I was actually everybody kind of liked me.

(02:22):
I was the weird kid on the back of the
buzz with the briefcase full of comic books and fangorian magazines,
and I was freaking out the girls with severed heads
and things blowing up and guts coming out of orifices,
and all the guys wanted to see what was going on.
So I was always kind of this unusual guy that
knew stuff that other people didn't know. So I know
everything about every movie ever made.

Speaker 1 (02:41):
It's true you created your job early ago. I mean
you were you were first in I did.

Speaker 2 (02:47):
I was in my earliest memory. I was three years
old at the House of Franketspeed and Nagara Falls, and
I saw the Unseeable and it changed my life and
put me on a very strange path and beat But
as far as go to movies, I mean, I have
so many I can't even quantify them. My favorite, my
favorite film of all time. And it's not just my
favorite horror film. But it's my favorite film. It's the
scariest movie I've ever seen. It's the best warr movie

(03:09):
I've ever seen. It's the best existential character drama movie
I've ever seen. It's the best social satire movie. And
it's all just one movie. It's George A. Rammerow's nineteen
seventy eight masterpiece Dawn of the Dead.

Speaker 1 (03:21):
Oh yeah, always at the top of a list.

Speaker 2 (03:24):
Never been bettered, in my opinion. Also a trendsetting gorror film.
If you want to lose your lunch, then then watch
Dawn of the Dead. There's another great movie out haunting
theaters right now with Demi Moore. Believe it or not,
Demi Moore, who actually got her start her career start
in horror movies. She was in a three D horror
film in nineteen eighty to call Parasite when she was
a kid. That was her first picture. But she's in
the new movie right now. It is one of the

(03:46):
most revolting, transgressive motion pictures I've ever seen, and it's
playing at your local multiplex. It's called The Substance. And
I know, anyone, what's the see this film?

Speaker 1 (03:57):
What's the point of this movie? What's the Substance about?

Speaker 2 (04:00):
It's about now, it's shooting fish in a barrel. This
is you know, if you've ever seen the movie Death Becomes,
it's same kind of territory. An aging actress who's been
aged out of her profession, has been edged out of
her profession, is at the end of her tether. Finds
a kind of secret society that offers her this dummy
solution called the Substance, that when she injects it into herself,

(04:21):
her back splits open and out crawls from her a
younger version of herself, a kind of bone. Now, the
faustian deal here is that the young version can rop
around the world and make a mark, but within one
week she has to return back to home base and
switch back to the old body. Now will the young
person be able to maintain that deal? Probably not. If

(04:43):
I want to spoil it for you, things get really disgusting, revolting.
It is an example of the kind of horror that
is often called body horror, and boidy bodies melt and
explode and ooze and well, again, I'm not going to
spoil it for you. You have to have a strong
stomach to see this film. But it's no stupid picture
at all. It's incredibly smart and very sophisticated.

Speaker 1 (05:02):
Excellent. We're talking with Chris Alexander, and we do want
your calls. We want to hear about the movie that
stopped you in your tracks. I think all of us
have one of those, maybe if it's a book that
turned into a movie, but one of the things that
you saw when you're the movies that made you terrified
but you kept going back. I want to hear that
from you when we come back more with Chris Alexander
next on Coast to Coast am.

Speaker 4 (05:33):
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Speaker 1 (07:44):
Welcome back to Coast to Coast Am. I'm your host,
rich Bara. Our guest tonight Chris Alexander, the horror movie expert.
And Chris, where did the genre of horror movie start?

Speaker 2 (07:58):
Well, I mean it's this is the way I tell
the tale. I think a look the beginning of cinema,
which was not consciously a beginning of anything. No one
was trying to invent motion pictures.

Speaker 6 (08:10):
They just happened.

Speaker 2 (08:11):
But it was actually found that on while some unsavorings
and savory goings on, there was a guy named Leland Stanford.
He was the former governor of California, and he didn't
have much to do in his retiring years except sit
around the racetrack and watch his horse jump. He made
a dollar bet with his pals that when his horse jumped,

(08:31):
that all four legs lifted off the track. There was
no way to kind of document this at the time. However,
Stanford heard about this British photographer named Edward Moybridge who
was student in revolutionary photographic tricks, and he decided to
reach out to this guy and hire him to bring
him to California and set up some sort of gimmick
that he could photograph his horse and get his dollar

(08:53):
bet win his dollar bet. Now, at the very same time,
Edward Moybridge found out that his wife was cheating on him,
so he snuck into her bedroom one night and blew
her lover's head clean off, and he was arrested for murder.
And Stanford, who was ready to go and was super
excited that this guy was coming over to California to
prove him right, decided to funnel a whole bunch of

(09:13):
money into this guy's legal defense. It basically paid off
the judges and got this guy acquitted and brought him
over and lo and behold, Weybridge set up a series
of cameras on the racetrack so that every time the
horse ran, he would slip a trip wire and a
camera would take a picture of the horse. And when
you put all these photos together on a board, if

(09:34):
you've started from point A to the end, it would
give the illusion of things moving. Those photographs were on
the cover of Scientific America American and they were put
on translucent too flexible film cells, and then they were
basically found a way to project them. And that was
the beginning of what would become film. And film was
founded on bloodthirsty murder and people getting away with said bloodthirsty.

(10:00):
So although that was not you really can't say that's
the beginning of the horror genre. The film itself was
begun in horror.

Speaker 1 (10:07):
Let's talk about the what you call and I'm inclined
to agree with you the strangest and most controversial maybe
movie of all time, and that was the original nineteen
thirty two Dracula. Tell me a little bit about that.

Speaker 2 (10:21):
Well, you know, you're close. I mean, I would say
it wasn't Dracula, but it was. You're on the right track.
It's directed by the guy who did direct Dracula, Okay,
Todd Brown.

Speaker 1 (10:32):
But the movie was called Freaks, right.

Speaker 2 (10:34):
It was called Freaks. It was directed by the guy
who made Dracula nineteen thirty one, starring of course Bella Lagosi. Now,
this was the beginning of the universal horror boom of
the nineteen thirties that in James Wales Francis Times storyboards,
Carla and Dracula was a super super sensation. It was
a box office hit, changed the game. Not a particularly
fighting picture by today's standards, but a very very important

(10:57):
picture for the time. So they basically Todd Browning, who
was the circus guy and had found fame in the
twenties directing movies with the first horror film star laud Cheney,
was given the keys to the Kingdom and was allowed
to make whatever movie he wanted to make. Well, you
don't give the keys to the Kingdom to a weirdo
like Todd Browning. Todd Browning, again a circus guy, teamed
up with some of his former circus pals and adapted

(11:19):
it booked by Todd Robbins called Spurs, renamed it Freaks,
and basically made a movie about a bunch of circus
freaks who get revenge on one of them being slighted
by a normal person. And he cast in his film
the running the gamut of celebrity freaks. Prince Randian who
had no arms or legs, he was a human Torso

(11:41):
Johnny Eck who had no legs, signed the Hilton sisters
who are signed these twins they were both married to
different guys, and the list goes on and on. Dwarves, penheads,
you name it. And just filled this movie to the
brim with things that people had never seen on screen before.
He delivers the movie to MGM.

Speaker 6 (11:58):
Louis B.

Speaker 2 (11:58):
Mayors shocked the the hell is this? I asked for
a horror film from the guy who made Dracula, and
you give me this freak show. The movie came out,
it was completely controversial. People fainted in the audience, people
ran for the exits.

Speaker 7 (12:12):
Louis B.

Speaker 2 (12:13):
Mayor third into a vault, never to be seen again.

Speaker 1 (12:15):
Oh wow.

Speaker 2 (12:16):
Years years and years later, Anton Levy, the head of
the Satanic Church, who had heard of this film as
everybody else, had made it his mission to basically get
the word out of this movie. In the nineteen sixties,
you know, fly a freak flag high wasn't a dirty
word anymore. Get this movie out there and give the
respect it deserves. Now the movie is considered one of
the greatest motion pictures of all time, but it is

(12:39):
also one of the most bizarre, unclassifiable horror pictures that
you'll ever see.

Speaker 1 (12:45):
In nineteen thirty two.

Speaker 2 (12:46):
This thing came out in nineteen thirty two. Now, this
was before the production code really kicked into effect. In fact,
Freaks was instrumental in kicking that code, which was basically draconian.
You couldn't show anything on screen. And it was movies
like Free that made the production code go into full effects.
So people think movies in the nineteen thirties of the
nineteen twenties were quaint and not at all. They were daring,

(13:09):
they were bizarre, they were bold, they were predacious, and
it was because of Freaks really breaking people out that
Hollywood had to pull up at socks and maybe be
a little bit more respectful.

Speaker 1 (13:21):
There's something too about I feel like there's a couple
of movies late sixties, early seventies, like around Rosemary's Baby
The Exorcists, that you know, I was a little young for.
I wasn't really you know, old enough to watch those
until the eighties, But then when you watch them in
the seventies, that seventies film to me looks almost like

(13:43):
a documentary, which makes them seem real, which makes them
seem extra scary. Do you feel like there's a time
where the grit was was legit?

Speaker 2 (13:53):
Well, it was. And you bring up a good point
because you remember, you're coming out of the nineteen sixties,
which was the dawning of a new era young filmmakers
who were raised on television. So the things that they
were seeing on the six o'clock news were visceral and
violent and gritty. Right, So we're seeing people being shipped
home and body bags from Vietnam. These are things that

(14:13):
their parents would never have you know, most of the
world would never have seen anything like this in their
living rooms before television, of course, so kids raised on
this stuff they had a bit of an edge to them.
So the movies of the primarily the American New Wave
in the late sixties early seventies, were strong, violent and
low budget. You know, this is the old guard was

(14:33):
dying out. So the big spectacle films, the big musicals,
the big biblical epics, they were kind of going by
the wayside, and a raw, angry, rough, visceral kind of
filmmaking was born. And in that wave were a lot
of horror movies like the Exorcists, like The Texas Chainsaw,
Master Light Points, Rosemary's Meeting Line, Sorgia Merrow's Night of
the Living Dead. The list goes on and on, and

(14:56):
you're right when you look back at some of these movies,
there's such a real isn't to them, and an urgency
to them. And a lot of these movies too, these
great horror films like a Racer Head and David Cronenberg's Shippers,
they didn't have big stars in them, so when you're
watching them, you don't even know who you're watching. There's
no Charlton Heston, there's no Tom Cruise, there's no big stars.

Speaker 1 (15:15):
So don't you think that's part of it too if
you don't, if you don't recognize it, it just seems
more real if you don't recognize the actors.

Speaker 2 (15:23):
Absolutely, that's part of the magic trick of I think
make and you know, when you think of the great
horror films of all time, they didn't have big stars
because horror films don't need big stars. You need a
great poster, a great trailer, a great concept, great title,
and you need all the buttons to push to shock
people and freak them out. So you don't need the

(15:43):
big Hollywood budgets and the big star systems to make
a successful horror picture.

Speaker 1 (15:48):
It still seems like to me, every couple of years
we pushed the genre somewhere else. And I'm thinking of
like movies like get Out and what's the Summer one,
what's the what I'm thinking of that all the horror
happens in the broad daylight, the one.

Speaker 2 (16:05):
In a violent Nature or Midsommer. Okay, yeah, another one, Yeah,
I'll be directed by ari Aster. But you know, horror
is like any any genre, like any like music, like
any performing arts. You know, like a neighborhood. It's gentrified
and what is old becomes new again. Things die out
and then they're reborn again. So I'm of the mind
that no matter what we see out there that we

(16:27):
call new, it has been done before. There's always a
precedent before that. In Midsommer is a good example of that.
And I'm directed by ariost epic three hour long what
they call folk horror, very nihilistic, very dark, very but
very beautiful. As you say, it takes place in broad daylight.
And that's part of the horror of it, right, because
everything's in the open, there's nowhere to hide. But it's

(16:50):
it's built on the bones of the nineteen seventy three
British folk horror film starring Christopher Lee called The wicker Man,
which my money is a period most of the picture,
of course, but it's playing by the same rules, even
has the same kind of twist towards the end, dealing
with bizarro pagan cults, et cetera, et cetera. And again,
like that picture primarily takes place in broad daylight.

Speaker 1 (17:13):
Was there an error where the gimmicks were strong in
movies like that, where directors would try stuff with in
the actual theater to scare people more.

Speaker 2 (17:24):
Well, you just set up, you set up. When you
say gimmick, there's one man comes to mind, and that's
the godfather of the gimmicks, the King of the gimmicks.
In the nineteen sixties, well, prior to that, there was
a director, kind of journeyman director was working and making
every kind of picture for filmed costume drama of romance
thing was William Castle. But in the nineteen fifties, when

(17:46):
Alfred Hitchcock was really becoming Alfred Hitchcock, the Master of Suspense,
Castle tried his luck at making a small horror picture
called macabb and that movie wasn't very much and very
low watch of no big stars, nothing much to it,
but the marketing gimmick was ingenius, and that was that
Castle promised that if anyone died of fright well watching

(18:09):
the movie, Lloyd's of London had underwritten that there would
be a free burial to anyone who met the demise
watching this picture. Nobody died, but this gave Castle this
new lease on life, and he ended up blasting out
a succession of gimmick riddled horror films like The Tingler
with Vincent Price, where every third seat in the theater
theater managers wired it with an electric shock. So the

(18:31):
key moment in the movie when the audience has instructed
the screen for their life because a parasited loose that's
going to jump on their spine, it get shot a
house on Haunted Hill when a woman gets her splash,
get smelted off and she turns into a skeleton. Theater
managers had a skeleton nup on a pulley in the
rafters that would fly down into the audience the hell
out of everybody that yeah, he was there was no

(18:53):
one else like William Castle. But this funny thing. Funny
thing is that as the sixties progressed, guess what revolutionary
movie that we just talked about, William Castle ended up producing,
Oh those nineteen sixty seven's Roman Polanski breakthrough film Rosemary's Baby.

Speaker 1 (19:06):
Yeah, that still messes me up. That movie still messes
me up. In fact, I was just talking to Adamar
Boardop who said it was there was a very edited
version on AMC the other night, and he said, it's
still terrifying even though they cleaned it up for broadcast television,
because it's.

Speaker 2 (19:20):
All music and mood and there's nothing terribly explicive in
that film, but it's the slow burning, the feeling with
all Polanski stuff, Roman Polansky, but something is wrong. You
can't quick put your finger on something's wrong.

Speaker 1 (19:34):
When we come back, I kind of want to talk
about the devil in cinema, in the occasional bad luck
that it brings, because to me, it's more than occasional.
I think if you get involved in one of those movies,
bad things happen, it's not good. So I want to
talk about that with you when we come back. And
is there a couple of a couple of movies that

(19:55):
you have in mind that fit that description.

Speaker 2 (19:58):
Well, absolutely, we star start with we started talking about
Rosemary's Baby. Let's put a pin in that, and we'll
continue when we get off, and I'll get back and
I'll tell you a little bit about some of the
bad luck surrounding that particular picture accident.

Speaker 1 (20:11):
I look forward to that. All right, we're talking with
Chris Alexander, the master of the horror movies, and your
calls are welcome, So please do call us and check
in with us, and let's talk about scary movies that
change your world. When we come back on Coast to Coast, am.

Speaker 8 (20:43):
Rest is.

Speaker 1 (20:46):
Talks it buzzes like.

Speaker 9 (20:53):
Slack.

Speaker 10 (21:05):
Come off.

Speaker 1 (21:06):
Court Rest is.

Speaker 9 (21:15):
Speaking it for.

Speaker 11 (21:18):
We have crashed.

Speaker 12 (21:31):
This is what you get.

Speaker 13 (21:37):
This is what you get.

Speaker 1 (21:43):
This is what you get when you miss.

Speaker 12 (21:51):
Explore your universe with Coast to Coast a.

Speaker 4 (21:54):
M Now, you know we've been talking about one hundred
years of paranormal study, but things are still in flux.
When are we ever going to get the answers we
really want.

Speaker 7 (22:03):
I gotta be honest with you, George, I think we
really are close. Here in the United States, the vast
majority of the population is not going to believe in
UFOs until we have something on radar. Well, the fact is,
not only do we have something on radar, but we
have navy cockpit videos among other things that have been
validated by the Department of Defense.

Speaker 4 (22:21):
What do you think is changing the perception?

Speaker 1 (22:24):
Is it obvious?

Speaker 4 (22:24):
That's why they have to come forward with this information now.

Speaker 7 (22:27):
The fact is, no serious person can say UFOs don't exist.
I mean that position does not exist anymore. The answers
may be very elusive, but the existence and the evidence
is as plain as any we've got. And it's an
exciting time to be alive. We know that life is
not exclusive to earth, and that's an extraordinary thing.

Speaker 14 (22:55):
High on time, Bennington, And this is another one of
ties tests. Man tired of looking at You're too small
to hold much boring old mantle? Do you dream of
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portraits of the Lord and lady of the MANA sorry,
I got carried away there. But the thing is, mantles
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(23:18):
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Speaker 15 (23:37):
Look of the room.

Speaker 1 (23:38):
It's just what the Lord and Lady of the mana.

Speaker 14 (23:41):
Deserve that and maybe front row tickets to Motley Cruz.

Speaker 12 (23:50):
At Coast to Coast AM, we keep our friends close
with this.

Speaker 8 (23:56):
I'm George Knapp, an investigator who devoted his life to
identify the real Jack the Ripper says he's found DNA
that answers the question once and for all. Plus who
is targeting regular Americans with the brain melting tech of
Havanason Sunday.

Speaker 12 (24:11):
And we keep our enemies closer. At Coast to Coast AM,
the new version of the Coast to Coast AM app
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(24:32):
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Speaker 5 (25:59):
In the love the email.

Speaker 16 (26:01):
When everything is getting kind of groove, I call you Love,
asking if you like.

Speaker 1 (26:11):
To go with me and see him move in.

Speaker 16 (26:17):
First you say no, you've got some plants for all tonight,
and then you.

Speaker 1 (26:21):
Stop and say, all right, Love.

Speaker 5 (26:26):
Was kind of crazy.

Speaker 16 (26:28):
Well, the spooky little girl like you. You always give
me a kiss something I've never seen.

Speaker 13 (26:38):
You know what you I think, and.

Speaker 17 (26:43):
Every fellow looks a.

Speaker 1 (26:45):
Fute it for sure, your little I will be a
winking and I get confused because I.

Speaker 12 (26:55):
Don't know where I stand, and then you smile.

Speaker 17 (26:59):
And I oh nine, love canzing the spooky little you
like you.

Speaker 9 (27:08):
Spook.

Speaker 15 (27:11):
To talk to Rich, Berra, call the wild Card line
at eight one eight five zero one four one zero nine.
The first time caller line is eight one eight five
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(27:32):
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in country sprint access number, pressing option five and dialing
toll free eight hundred eight nine three zero nine zero three.
Send Rich a text message anytime at eight one eight
two nine eight six five two one from the City

(27:55):
of Angels. This is Coast to Coast AM with Rich Bera.

Speaker 1 (28:00):
I want to thank you for spending your Saturday night,
Sunday morning, early early time. Whether you're you know, driving
on the road. We have lots of people out there
driving coming back from a Halloween party. I thank you
for spending a little bit of time with us. Our
guest tonight is Chris Alexander. We asked him to come on.
I know, he's just the guy for horror movies. His
wealth of knowledge. He probably doesn't know his own pin number,

(28:21):
but he knows more about horror movies than anybody could
ever And I was just kind of messing around on
YouTube here before you came on, and so currently, with
the volume down, I am watching Vincent Price in the Bat.

Speaker 2 (28:35):
You remember that one, of course, Yeah, the Bat that
was an earlier Price is an interesting guy because you know,
he was a Hollywood character actor, not known for horror
at all, known for everything else, but sort of a
romantic leading not leading man, but a romantic, you know,
character actor. Reliable. Now horror finds big actors on the

(28:56):
way down, and it finds young actors on the way up,
and they kind of cross the intersect. And with Price,
as his star was declining and as he was aging,
he happened to end up starring in in nineteen fifty
three movie called The House of Wax, which was the
Hollywood's first three D feature film, also in my estimation,
the best, and the film was a big enough hit

(29:18):
that suddenly Price found a new lease on life's starring
in all these horror films throughout the nineteen fifties and
well into the sixties and well into his death in
the early nineteen nineties. So yes, the Bat was one
of those great films, including the William Castle pictures we
talked about, The Tingler House on Hunted Hill, the Roger
Korman ed Growland Poe films in the nineteen sixties. But

(29:40):
back to the House of Wax real quick. Here's a
bit of trivia, but that best three D movie ever
made Fincent Price Paddleball Man can can girls amazing? Blow
your mind if you see this thing in three D?
It's directed by a guy named Andre to Talk who
in fact only had one eyeball. He had a glass eye,
so you real never ever even appreciate the fact that
he was making the best three D effects ever committed
the Do.

Speaker 1 (30:00):
You know it's interesting My mom passed away when I
was a teenager, but she used to talk about that
movie being the best scary movie she had ever seen.
Is House of Wax. And she talked about seeing it
in the theater and that it sort of kind of
changed her genre. And I wonder if that's why we
watched a lot of the made for TV or the
ones that would come on TV when we're a kid.
Maybe she was looking for something that they had that

(30:22):
kind of that kind of rise to it, that kind
of feel to it.

Speaker 2 (30:25):
Oh, the Maid for TV. You know, that's that's a
little sub sub sub sub genre onto itself. Especially in
the nineteen seventies. Yeah, made for TV horror films, you knows,
as Hollywood was getting gory and they were you know, Texas, Chainsamster, Exorcist,
all these R rated adult features filled with splatter and
blood and sex. TV had to kind of counter that
by creating entertainment that was made more for you know,

(30:49):
shrinking violets, children, families, which, yeah, and yet and yet
in that wave sometimes you find the most nightmarish horror
films ever made. That were on prime time as ABC's
Movies of the Week, stuff like Bad Ronald and The
Trilogy of Terror, and the list is long and terrifying.
You find some real gems in there.

Speaker 1 (31:08):
What about the Twilight Zone that was I guess that
predated that, But were you a fan of those as well?

Speaker 2 (31:14):
Oh listen, I'm not a tattoo guy. Okay, I'm not
that kind of I'm rock and roll kind of. In fact,
that just literally before we got on there, I came
back from seeing Iron Maiden here in Toronto and then
Killer Show. By the way, it's been perfect for Halloween.
But I have a couple of tattoos and one of
them is the Twilight Zone. That's like my heart, my soul.
I mean, I actually teach a course on the history
of the Twilight so I'm a big fan. But yeah,

(31:36):
the Zone changed everything. Nineteen fifties. You know, TV was
suddenly king, and you know, all the good writers went
to television, all the good actors went to television. Hollywood
was mucking around making stuff like House of Wax to
get people back into the theater because everyone want to
stay home in their living rooms. And this created his
first goal of an age of television, and amongst all

(31:58):
those great shows like Ragnant and Perry Mason, and you
find Rod Serlings the Twilight Zone, which was Serling, who
was an Emmy Award winning writer. His answer to censorship,
as all his teleplays were dealing with racism and class
structure were being censored by the sponsors. His idea was, Okay,
I'm going to say all the things I want to

(32:19):
say about the America that I live in, but I'm
going to cloak them in horror, science fiction and dark fantasy,
and then the sponsors will never know what I'm really
trying to say. Oh wow, so what Serling is? Yeah,
what he was doing in those shows, and that show,
which ran from nineteen fifty nineteen sixty four was truly trailblazing,
truly revolutionary, and at its best absolutely terrifying and intelligent.

(32:44):
So yeah, it's my favorite show of all time. And
I know I'm not alone. I know that the show,
even to this day, still commands a huge and rightfully
so huge follow.

Speaker 1 (32:53):
Really good storytelling, and I think horror in comic books
do a really good job of story arcs and types
in good versus evil, and choices and morals and I
think there's a lot to be said for that. Okay,
So we didn't talk about the Exorcist yet and the
devil in the movies. So let's take a quick break
and get into that, and then let's dig in and

(33:14):
let's get some calls on with you too, because a
lot of people have a lot to say. So back
with Chris Alexander. We're talking scary movies on a Halloween
weekend on coast to coast to am.

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Speaker 1 (35:32):
Today, welcome back to Coast to Coast AM. I'm your host,
Rich Barra, our guest Chris Alexander, the expert on horror movies,
and we've got his website linked up to Coast to

(35:53):
Coast to AM and we were talking before we went
to break about the devil in cinema and the occasional
bad luck that it brings, from the House of the
Devil to Polanski's Rosemary's Baby, which we mentioned in the
exor system beyond. So, Chris, what are some of the
best devilish horror movies? How about the worst? And talk
about the curse of the devil when you make a

(36:15):
movie about the devil.

Speaker 2 (36:16):
Yeah, I mean, I guess you know, it's funny because
a lot of this, of course, is this hyper bowl,
because I mean, I'm an agnostic myself, so of course
I don't believe unless I see and I'm not alone.
But through share coincidence, a lot of especially American films
dealing with Satan, dealing with the Devil, seemed to have

(36:37):
a lot of bad juju going around during the making
of these pictures or the ensuing release of them. And
let's talk before we go to the estes. Let's talk
a little bit about again about Rosemary's Baby, which would
keep riffing on, maybe with good reason because it's a masterpiece,
but again produced by William Cassell, who was a staunch Catholic,
so he was apprehensive right from the get go about
adopting I Eleven's book the screen, but he went along

(37:00):
with it because Roman Polanski was this hot Polish director
in Hollywood. This was his big breakthrough movie and everyone
wanted a piece of him. So Castle helped this thing
get into production, and the movie gets made and it
is the great movie that it is, and almost immediately
Castle has a massive heart attack and almost dies and
it's hospitalized. I mean, of course believes it's because he

(37:23):
danced with the devil making this picture. Polansky laughed it off, said, Oh,
that's just that's just Bill Castle being Bill Castle, superstitious
to his core.

Speaker 19 (37:33):
Ha ha ha.

Speaker 2 (37:34):
Well we know what happened to Roman Polanski. Not even
two years later after the release of Rosemary's Baby. His
beautiful wife Sharon Tate was home alone in their Hollywood
Hills home, and of course Charles Manson's followers were dispatched
by Manson to go to the house of what he
thought was somebody that he knew that had flighted him,
having no idea that Polansky and Suarantate were living in

(37:56):
this home. They broke into the home, and one of
the guys in the Assassin's named texts he announced loudly,
I'm the devil, and I'm here to do the devil's work,
and ends up butchering the entire group of friends, including Tate,
And we know that that was the end of the
innocence in the late nineteen sixties. Almost immediately, Lansky was
accused of being in league with the devil because of

(38:16):
Rosemary's Baby, and accused of actually having something to do
with his wife's murder. Of course that was completely deep
blugged very soon after. But Rosemary's Baby always has that
heavy kind of weight to.

Speaker 1 (38:27):
It, because I wonder, that is, if that didn't happen,
if there wasn't the Manson connection, would we still look
at it as a masterpiece? Are with that?

Speaker 2 (38:35):
I think I think so, because I you know, I
have children, I've showed them. I showed my oldest son
Rosemary's baby. He just came out of blown away, having
no idea about any the Landska or any of the links,
and I think it stands alone perfectly, but having that
little extra added mythough surround it just gives it a
little more gravity. Thing same thing with The Exorcist, which again,
as we know, changed a lot when it came to

(38:56):
the genre in the seventies, not just how it was
made rush but the kind of visceral nature of it.
Wills Mare's Baby's very team Exorcists not so much. We
see everything in the Exorcist heads rotating chrismal language, the
language exactly. That was a big, big deal. Then, yeah, language,
that's what got it. It's our rating more than anything.

(39:17):
But it was plagued by by misfortune. Jack McGowan, one
of the actress in the films, died in the middle
of production. Ellen Burston's back was broken when she was
thrown against the wall during one of the satanic scenes.
Little Linda Blair's grandfather died in the middle of it.
The entire set burned down while they were making it,
and they had to install production for another six months

(39:39):
while they rebuilt it, and the carpenter on set it
was building a set chopped off his finger. I mean,
the list is long, a lot of misfortune plagued the Exorcist.
Now there's this. I think if he really did a
tally on any Hollywood movie being made of that scope,
you'd see a lot of misfortune as well. But all
these things when maybe you know, maybe there's something to it.
I mean, you know, again an agnostic, so maybe there

(40:00):
is something I.

Speaker 1 (40:01):
Mean around point Chris, at some point Chris the Agnostic,
and you have to go like, okay, that's not all coincidental.
I want to take a couple of phone calls because
people can't wait to talk to you too, so I
know you don't mind talking to your people on the
Wildcard line. Let's talk to Randy in Ridgeway, Virginia, who
says that the scariest movie of all time Barnunn is

(40:22):
The Exorcist. Welcome to Coast to Coast, Randy, and you're
talking to Chris Alexander.

Speaker 20 (40:27):
Yes, good morning, gentlemen. I was driving a truck back
out of New York, out of Queens, New York. I
was eighteen years old, and I was in New Hampshire
and I had delivered the load that was dark at night,
you know, around this time of the year. And I've
seen The Exorcist was playing in the movie theater, so

(40:50):
I could park there and whatnot, and I went in
and I saw it with the huge screen in the
sound in the movie theater. When I went back out
today a truck and got in it, you know, you
always got coffee and whatnot. And I had some coffee
and I was sipping and going down the road, and
I was so freaked out by it that I had

(41:12):
to go all the way down to the use to
be tollboos on the Connecticut Pike. You had to stop
pay tolls, probably the last one down by Greenwich before
I was game enough. You might as well say, to
get out and relieve myself.

Speaker 6 (41:28):
That's how it was. You know, bring you bring up,
you bring up a good point.

Speaker 2 (41:34):
I just have to just interject that, because you know,
there's a whole way for people that only saw the
exor System were raised on seeing it on television.

Speaker 1 (41:41):
I'm one of them.

Speaker 2 (41:45):
Yeah, well, a lot of people, younger people especially that
it's not that scary. But to Randy's point, if you
have never seen The Exorcist in a theater, you haven't
really seen the Exorcist. I just actually went and saw
it theatrically about to years ago. As a thirty five
millimeter friend, I was introducing it. I had never seen
it theatrically, and it was like seeing it for the

(42:06):
first time. When you're trapped in that dark theater with
Bill's images and that sound design, it's like you're in
a nightmare that you cannot escape from, and it does.
It sinks into your bones and it sticks with you,
and I me too. I left the building, Eric walk
out into the night a grown ass man, and I
was really, really deeply unnerved. It still has that power.

Speaker 1 (42:30):
I wondered about that. I was thinking about most of
these scary classics that I've seen. I saw on my
parents' television in their kitchen, and you know, the lights
are on, But that theater experience of something like that
would completely fry my brain. Now, I know we talked
about the Twilight Zone. I want to kind of bring
it forward a little bit to modern times. Twilight Zone.

(42:53):
Now we move forward to the modern times and we
have Netflix in Black Mirror, which I think is a
nice homage to the Twilight Zone in a certain way.
I'm wondering what you think of that series on Netflix.

Speaker 2 (43:06):
I'm so glad to hear you say that. Man, I honestly,
I really really am, because I'm over the mind because
in the Twilight Zone, Puist and the Twilight Zones come
back many times came that. In the eighties. There was
also Twilight Zone the movie, which was a bit of
a failure. The eighties show had some moments, but it
wasn't the Twilight So it came back in the early
two thousands with Forrest Whitaker, Complete Bomb, and then recently
Jordan Peele, who directed Get Out, which you've mentioned earlier,

(43:28):
tried it again, called it the Twilight Zone, him dressing
up as Rod Sterling. It's like, you can't go back, No,
you can't.

Speaker 1 (43:35):
I watched it. I didn't love it.

Speaker 2 (43:37):
No, I couldn't get through it. But maybe it was
called something else, but I don't know about that. But
to me, the air apparent of Rod Serling, the air
apparent of the Twilight Zone is absolutely Black Mirror. It's
the only show of that kind that I feel is
evolving everything that Sirling was saying in those first you know,
that first wave of the Zone. So I'm a huge
Black Mirror fan, and.

Speaker 1 (43:57):
It's got sort of these themes that kind of run
through some of the shows. But if I would tell
anybody to watch something that is terrifying, it's the one
with John Hamm I think, called Christmas Eve, and it's terrifying.
It's terrifying for a completely different reason than you think.
It's not jump scare. It's just if you imagine yourself
and the hell that they put the people in, like

(44:20):
the the literal hell that they put them in, it is,
it'll mess with your head for months. I really recommend that.
And the scene it completely changes gears right in the
middle too, doesn't it absolutely?

Speaker 2 (44:31):
And it's I mean, that's testament to the entire show though.
There's a level of sophistication going on there that's you know,
it's not it's not just showing you the obvious it's
gonna it's making it's a more immersive It makes you think,
it makes you do a little bit of work. I
think that's why it's so successful.

Speaker 1 (44:46):
There's another series that I wanted to bring up to
that I thought was one of the best scary movie
or series I've ever seen, and actually I was able
to watch it and with a surround sound at my house,
you know, with the te and that's The Haunting of Hillhouse.
Did you watch that?

Speaker 2 (45:03):
Yeah, Mike flanagain to me, you know, he's one of
the great modern masters of horror. Haunting of Hillhouse masterpiece
based on the Shirley Jackson novel, A remake of the
Robert Wise nineteen sixty three movie The Haunting, absolutely nerve Shredding.
I watched that. Here I am a man of now
fifty a couple of years ago, sitting in my living
room by myself watching that show, and I forget what

(45:26):
episode it was.

Speaker 7 (45:27):
It was.

Speaker 2 (45:27):
We're halfway into the show, and it breaked me out
so much I was afraid to walk into my bedroom.
And when you're a horror fan like me, and you're
that jaded, cynical, you're always trying to chase the dragon
and try to find those movies or entertainments that make
you feel like you're a six year old kid again
and seeing weird stuff on the TV late at night
and not understanding what you're seeing. And it's very rare
that you experience that, and I experienced it with the

(45:49):
Haunting of Hillhouse, and Mike find against other movies, TV
shows like Haunting a Black manor has its great moments
and a money mate called Midnight Mass, which is sort
of his riff on Stephen King's Allen's Lot. Hugely recommended
as well and very very scary.

Speaker 1 (46:03):
Ooh, did you watch the new Salem's Lot that's on?

Speaker 21 (46:07):
Yeah?

Speaker 2 (46:07):
Yeah, And actually I liked it more than most people.
It's my favorite Stephen King book first of all, and
the first version of it, which was a made for
TV mini series directed by the Texas Chancel maskers Kobe
Hooper starring James Mason and Reggieinalde, is my one of
my favorite vampire films of all times so far was
high and I didn't hate the new one. I didn't
didn't think it was spectacular, but it was close enough

(46:29):
to the book and had a lot of really interesting
King king esque elements in it that I found it
better than I thought i'd find it. Let's put it
that way.

Speaker 1 (46:40):
I think it started off good for me, but then
it's almost like they raced through the plot to get
to the end scene.

Speaker 2 (46:45):
Well, here's what happened. Because you like the mini series,
which was, you know, a four hour picture of three
and a half hour picture, this director shot a three
hour movie and the studio hacked it down, thinking they
were going to put it theatrically Hour Picture, and so
what we get is the clich Snodes version of the
movie that he shot. So that feels like rush because
it is rushed.

Speaker 1 (47:06):
Yeah, it feels like it. It's because it's not rushed
at the very beginning, because you're seeing all the nice
foliage of Maine and all that, and then all of
a sudden, boom, plot goes into like it's almost like
I hit the one one and a half time speed
on my my exactly.

Speaker 2 (47:20):
Suddenly it's like vampires vampire dead and that end. Yeah,
it goes really racist to the finish line, for sure.

Speaker 1 (47:26):
Do you know that the one they haven't gotten right yet?
And it is my favorite Stephen King book is The
Stand And I've seen them do that twice now on
TV and it's fallen. It's almost seemed kitchy to me.
With such a incredible, incredibly deep story, what.

Speaker 2 (47:40):
A what a daunting book to adapt? I mean, you
need the thing is, you need that space. That's why
I keep sending up on television is that you need
that that room to adapt it. And it's so many
moving parts to the Stand, I don't know how it
could ever be successfully truly successfully adapted. But I am
a fan of the first version of it, even though yes,
it has its kitch, especially with the day special effects

(48:00):
directed by Nick Garris. I think that there's some great
moments in there, and it captures the vibe of the book.
It's not every specific.

Speaker 1 (48:08):
Yeah, I guess that's true. I guess I can agree
with you on that one. What about Oh my gosh,
what Steven King. I'm just going to ask you about
I have to come back to that where I was.
I was going somewhere with the stands. Darn it, that
was so good.

Speaker 2 (48:20):
Well, there's so many Hey, there's so many Stephen King books,
oh my gosh, and so many adaptations good and not
so good that it's hard to you know, your brain
can get the scrambled axttent.

Speaker 1 (48:29):
Well, you were talking about the depth of the stand
and how it's like such it's got so many moving
parts that it would be hard to get that right.
But yet I feel like the made for TV version
of it did kind of get it right, especially with
the kid scenes, the kid scenes that kind of head down.

Speaker 2 (48:46):
I agree, and I'm not a big fan of the
newer theatrical versions of it. I think that they really
dropped the ball. I mean to me, you know, you
want a scary clown, He's got to look like a
real clown. Real clowns are scary. So Jimmy Curry is
penny Wise when he's in this Pennywise normal Vaudvillian circus
clown guys, I think he's ten times scarer than any
monster clown could ever be. And you're right, that mini

(49:07):
series by Tommy Lee Wallace really did nail it to
a point. And then at the end it's a hard
The book ends like as a difficult ending as well,
so it's a harder ending to a depth. It kind
of loses the plot towards the ending. But you're right.
The stuff with the kid dynamite awesome.

Speaker 1 (49:24):
Okay, coming back next on Coast to Coast Day up
maybe John, Jay and Rich Welcome to the Middle of
the Night on Halloween week. I promised you know politics tonight.
See we've been talked about one thing political other than
that right there, mentioning politics. And I hope Chris Alexander
appreciates the song we just punted with for him there
as his tattoo is the Twilight Zone. I bring you

(49:45):
the Golden Earring Twilight Zone. Great song, great TV show.
I hope you got the feels. I hope that powered
you up for the next hour.

Speaker 2 (49:51):
Chris, I'm ready. I love Golden Earing. That's a great choice.

Speaker 1 (49:56):
I think I only know two songs from them, but
that's one of them. It's a good way.

Speaker 2 (49:59):
I think everybody does. But they're good songs, so you
know what, it's a great band, and then they get
a pass just for that song alone, for sure.

Speaker 1 (50:06):
Hey, I see that you're a composer. Have you written
any music for any horror films?

Speaker 19 (50:12):
I have?

Speaker 2 (50:12):
Well, so I've made I wrote directly produced ten feature
horror films so far, though I'm working on an eleventh
right now. That have all been released, and I've played
theatrically and are all available to you your listeners on
any streaming platform you dare seek them, and most of
those movies being kind of bizarre and surrealistic. I usually

(50:34):
start by composing the music first, so all my phone
oh really out of my own music, so they're very
musically driven, and I have done music for other people's work,
but primarily if you want to hear my sounds married
to cinema, then you would look into my own pictures.

Speaker 1 (50:51):
Excellent. I'm going to So I played music, I write
music and playing a band. And I've recently got asked
by a friend of mine who teaches and Scottsdale Community College.
They have a pretty pretty great film school and they
have a horror movie that they would like me to
play an end credit song over and write a little
keys for it. But they wanted to match the composition

(51:14):
of whatever the end scene is. So I told them,
of course I'm going to do that. Why would I
not do that?

Speaker 2 (51:19):
That sounds amazing, that's congratulations, that's all over that.

Speaker 1 (51:23):
I think that's so much fun. What are since we're
talking about it and you've you've gotten this art in you,
what are the perfect ingredients to a scary movie for you?

Speaker 2 (51:35):
I'll tell you one thing I've learned living long enough
is that what scared me when I was three doesn't
scare me when I'm thirty, doesn't scare me when I'm fifty.
It's so subjective, and as you age and you start
to I al would say, the wizard behind the curtain
gets revealed and revealed and revealed, and the more you
know about but we're all the less mysteries. There are

(51:57):
so the less scary things become. I know that when
I came a father, I couldn't watch films with children.
Learn Jeopardy like Nicholas Rogues. Don't Look Now is one
of those devastating.

Speaker 1 (52:06):
Talking about that during the break Adam and really, yeah,
Donald Sutherland.

Speaker 2 (52:11):
Right, well, Donald and the late Donald Sutherland, I'm the
lovely Julie Christie and director by Nicholas Rode who shot
Roger Corman's Mask of the Red Death. And yeah, it
begins with the death of a child, and it's it's
a tough movie to watch. Similarly, director Lars Bontreer's Anti
christ is a movie that I respect very much and
I love very much, but I've only seen it once.

(52:32):
I can never watch that movie again. I don't think
I'm actually afraid to watch it. Why deal with it
does deal with the death of a child right from
the get go in a very graphic way, and that
sets the drama in motion. That's one of the darkest
primal scream horror films I've ever seen. From here, but
masterfully that masterfully.

Speaker 1 (52:49):
That's interesting to me. So, Okay, what you just said
just struck a couple maybe I'm working out my trauma
through the show here. So when I was a kid,
I used to get dropped off at a babysitters house
all the time because my mom works, my dad worked.
And to me, the scariest movie I'd ever seen was
The Omen because of his babysitter.

Speaker 2 (53:09):
Oh yeah, yeah, well that's see, that's it. When you're
a kid, you trust and movies like that where you
trust the adult, You trust the person that's supposed to
be in charge of you, and when they're proven to
be less than trustworthy, then that definitely plays into the
that that paranoia being left with somebody that an adult
that maybe is not as who you thought they might be.

(53:31):
And for sure, she's terrifying in that film, right, It's
terrifying and serious and she's, you know, the emissary of
the devil. The Omens a great film. Actually, let's detail
off that for a minute. I'm always looking for new
horror films and there's so many. We're actually in a
bit of a golden age right now. It's just NonStop
great films on streaming, on theatrical and TV series. As
we've talked about, they're everywhere. But there's a great movie

(53:54):
that's actually a prequel to The Olemen. It's called The
First Omen. It's now available, I believe on some play
it's easy to find. But I was blown away by
just how frightening it was, how beautifully directed it was,
and how perfectly it's married to that masterpiece directed by
Richard Donner in nineteen seventy sixth The Omen.

Speaker 1 (54:13):
Why didn't know that was Richard Donner film? I had
no idea.

Speaker 2 (54:16):
I certainly was who got to start directing episodes of
The Twilight Zones. Yeah, if you haven't seen it yet,
check out The First All that it's got one of
the most gruesome, shocking birth scenes I've ever seen in
a movie. But outside of that, it's just a fantastic
horror film.

Speaker 1 (54:33):
I feel like October. My kids do this too.

Speaker 13 (54:36):
I have.

Speaker 1 (54:37):
I have teenagers, and every October as soon as October
one starts. We started when they were little, you know,
with hocus Pocus, and now they're now that they're you know,
eighteen and nineteen, they're they're into some pretty grizzly stuff
and I think they've watched pretty much everything to the
point where they'll say, like, hey, Dad, I think you
should check out Insidious. I did not want to check

(54:57):
out Insidious, but but I've I've watched it with him,
so it's kind of fun. Like October is always scary,
scary movie, but we don't We don't care about the
comedies anymore. We don't care about the dramas. No courtroom
dramas got to have a little bit of a got
to have a little vampire or something in it. And
that's what I want to ask you about when we
come back. We're going to get to your calls. I

(55:18):
see the Coast audience is ready to go with this,
but I want to talk to you about why since
the beginning of film, we've been so obsessed with the
mythology of the vampire, maybe more than anything else. And
that is when we come back on Coast to Coast, Am.

Speaker 22 (55:43):
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and healing that being.

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Extremely ill and trying to find a solution. I was
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Researched it and.

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How many weeks or months into the supplementation did you
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Probably two months, and that was by observing the blood work.

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Speaker 1 (57:51):
I'm Rich Bera. This is Coast to Coast Welcome back.
We are talking scary movies your calls with Chris Alexander.
You know what a movie was sort of unnerving and
a really slow boil for me? Was that movie The Witch?

Speaker 26 (58:06):
Yeah?

Speaker 2 (58:07):
Yeah, directed by Robert Eggers, all shot here where I
am in Canada, sets out of Toronto. Yeah, absolutely, And
The Witch was instrumental I think in ushering forth this
new wave a little bit more serious, more somber, more
artful horror film. Edgars is a major talent. You have
followed The Witch with a movie called The Lighthouse the Foe,

(58:27):
which is pretty pretty that that crazy, like it's this
wild movie. But now on the horizon. He has had
another film that he's dot to release. And back to
what you were saying about vampires, it is the remake
of one of the most h you know, pioneering vampire
films ever made. The remake of.

Speaker 6 (58:49):
F. W.

Speaker 2 (58:49):
Murnow is Actuly twenty two vampire film. Thus for actual
coming out in a few weeks. As a matter of fact,
Oh really, well, but the Witch is great. Egers is
a fantastic visionary director. I'm really looking forward to Osprat.

Speaker 1 (59:02):
I was wondering when I was watching the movie because
it kind of when you watch it in a movie
theater where with somebody with surround sound, don't you feel
like the sounds that are around you really set that
tone of sucking you into a scene where you feel
like you're somewhere you're not supposed to be.

Speaker 2 (59:20):
Sound is it's a magic trick. I mean, movies are
a magic trick, but when it comes to horror, sound
is literally no pun intended instrumental in creating that sense
of horror. Absolutely, case in point. One of the most
famous horror films of all time, and a lot of
people say it is one of the scariest horror films

(59:41):
of all time. I'm not going to argue that it
never particularly frightened me, but again, your perspective and the
ride depends when you got in the train and I
saw it a bit late, and that's John Carpenter's Halloween. Now,
if you watch Halloween without that tinkling, eerie piano score
that John Carpenter himself composed for that movie, there's not
much to it. It's really just a bunch of babysitters

(01:00:03):
walking around the neighborhood while a guy knowed William Shatt
their mask pokes out from his head from the bushes.
But when you add that the sounds and the silences
and the sound of the wind and the leaves rustling,
and that John Carpenter ominous, relentless music, suddenly it's wall
to wall dread and horror. But without that, it's it's

(01:00:24):
not much just going on in Halloween. So when you're
watching a horror movie, it's not just what you see,
it's absolutely what you hear.

Speaker 1 (01:00:31):
And conversely, I feel like Psycho even though that music
that's those stabbing cellos are intense, it's intense without the music.
You could watch that with the volume down and be
completely unnerved.

Speaker 2 (01:00:43):
Yeah, that's a good point, and I think it goes
back to what you were saying about some movies from
that air, where there's a sense of realism about them.
And Psycho was again in a turning point of revolutionary film,
not just in what it was showing you the darkness
of the violence and of the shadow scenes, but even
something as innocuous as a toilet flushing. No one had

(01:01:03):
ever seen a toilet on screen any Hollywood film, let
alone seen one what it does. No one had ever
seen a toilet flushing on a screen. So there were
many things that Psycho was doing that were revolutionary. But
you're right, there's a feeling of just dread in Psycho
that if you remove that Bernard Herman's score, you're still
going to feel it.

Speaker 6 (01:01:21):
You still got it, panics of it.

Speaker 2 (01:01:23):
Hitchcock was he Remember he got to start in the
silent era when you were cobbling together pictures just based
on the edit and the rhythm of the edit, and
so he was a master of suspense in so many ways,
and one of them is that he really knew how
to construct a suspense scene just by the sheer movement
of it.

Speaker 1 (01:01:40):
Did you know that that soundtrack inspired the string section
of eleanor Rigby by the Beatles.

Speaker 2 (01:01:48):
I didn't, but now as soon as you said that,
as soon as you said eleanor Rigby, that jint and
tinton went in my head and I'm like, oh my god.
I never put two and two together and made that
connection to that evil Bernard Hermann stabbing stream sequence.

Speaker 6 (01:02:01):
But I hear it now.

Speaker 1 (01:02:02):
So Paul McCartney heard it, and he told George Martin,
can we do that on the song?

Speaker 20 (01:02:06):
Amazing?

Speaker 2 (01:02:07):
You've just changed my life. Actually, that's incredible when you
go back.

Speaker 19 (01:02:11):
And listen to it.

Speaker 1 (01:02:12):
That's right up there with Ghostbusters. Eleanor Rigby says, the
new Gustbusters is crazy.

Speaker 7 (01:02:17):
Wow.

Speaker 2 (01:02:18):
Okay, thank you for that.

Speaker 1 (01:02:19):
Let's get to some of your calls. People want to
talk to you. Let's let's do it. Let's go to
the wild card line.

Speaker 4 (01:02:25):
Uh.

Speaker 1 (01:02:25):
And let's say hello to Cornelius and Alexandria Louisiana. Welcome
to Coast to Coast.

Speaker 24 (01:02:32):
Hey, Chris and Rich boy. I gotta tell you they
called me the godguns and gold Man, the Bible bullets
and beans man and down in the land of the
Voodoo hoodoo. And you do down here in Louisiana, mister
Chris and Rich, you want to learn about some horror
stories and some real scary stories. Y'all need to come
to Louisiana. We got a hotel Bentley supposedly is haunted

(01:02:56):
by General Patten and stuff and all these slaves plantations
and all like that. They got a lot of horror
stories with the slaves and the slave masters.

Speaker 6 (01:03:05):
Sore.

Speaker 24 (01:03:06):
Y'all need to come to Louisiana. But this is what
I wanted to ask you about. And I'm so glad
you mentioned the stand. It's almost like COVID nineteen that escape.
I used to be a military police officer and I
used to work at the Kim's School down at Aniston,
Alabama where Fort McClellan. It was our MP base in

(01:03:27):
Kim's School. But anyway, I was telling Donna Walker the
call screener, there's a lot of voodoo here, and I
don't know if you've studied the voodoo genre of any
films with voodoo and black magic and all like that.
So that's my real question for you and Rich Chris,

(01:03:49):
have you ever studied in voodoo or hoodoo or anything
like that?

Speaker 13 (01:03:53):
And read the.

Speaker 24 (01:03:54):
Bible now that's a horror story for Matthew twenty four
and Luke twenty one. That's a great horror story the Bible.
So God Lass, thank.

Speaker 13 (01:04:02):
You so much.

Speaker 2 (01:04:04):
Cornelius. First of all, your name in and of itself
is cool to me because one of my favorite movies
is Planet of the Ape, and I'm a big fan
of Rody Mgdell and Cornelis was his character in Planet
be It. So I don't know who named you, but
maybe there was any connection there than God bless your parents.

Speaker 1 (01:04:18):
That original holds up, doesn't it? The original?

Speaker 2 (01:04:21):
Yeah, I have a say I have I collect sixteen
milimited prints. I have a printed that I screen it
all the time and it still kicks me in the
piece written written by Rod Serling of course made the Twilight.
It's all connected. But yeah, the Bible is actually you
know a lot of horror stories stem from the Bible. Again,
back to that morality that good versus evil, And there's
so many tales in the Bible that have been morphed

(01:04:42):
and transposed into the genre and the whole I via
the vampire with the Cross, I mean, I mean, that's
it's all. It's all God versus the devil. I mean,
that's that's the big cornerstone of the genre. But Cornelius
has common about voodoo. Study voodoo, No, but certainly study
enough films deal with voodoo. And one of my favorite
horror films of all time and not a lot of people,

(01:05:04):
not enough people talk about it came out in nineteen
eighty seven, directed by the late great Alan Parker, starring
Mickey Rourke and Robert de Niro on a very young discipline,
freshot of the Cosby shows. Angel Hearts, Yeah, which really
you know that a private eye who in the nineteen
fifties is hired by a mysterious benefactor named Louise Ceifer

(01:05:24):
the plane of crooner that made a deal with them
before the war and has disappeared. And the private detective
Harry Angel hoping with Mickey Rourke and his investigation is
the serpentine quest to find this guy that leads him
into the bowels of Louisiana and voodoo and it just
gets darker and dark and again I will not reveal
the massive twist of that picture, because.

Speaker 1 (01:05:43):
That's really worth watching. Again, don't you think?

Speaker 2 (01:05:46):
Oh, terrifying film? Attmospheric? Can you talk about sound? One
of the greatest sound designs I've ever heard in my
life and the greatest eeriest scores. In fact, when you
buy the soundtrack album Beautifully, there's moments, sounds from the
film neshed into it. It's all one big, blurry dream,
and when you listen to it, it is exactly like
watching the movie. That's how important music it sound.

Speaker 6 (01:06:07):
Is to that picture.

Speaker 1 (01:06:09):
I U When I first started getting my TV together,
I always I would say like, hey, if I'm listening
to music, I need great speakers because I want to
hear things the way the artists intended. But if I'm
watching a movie and I see a car door slam,
well I can see that. And then somebody convinced me, no, no,
you need to You need to feel the soundtrack, you
need to feel the moment. And so when I put
up the little surround sound speakers in my basement that's

(01:06:32):
where I watch movies in the dark of the basement,
it really does. It really is just being part of
that magic and those movies that can take you through
that sonicness, that that that total immersion, that do it right,
those are the best.

Speaker 2 (01:06:47):
Well, and back to what I was saying with the
first element, if you haven't seen it yet, which I
don't think you have, but you make some time for
it and watch it in your in your setup, because
I was blown away when I saw this theatrically just
how much care was put into the sound design.

Speaker 1 (01:06:59):
Oh, I'm totally I'm totally incredibly effective sound design in Cornelius.
I don't know if you're still there, are you Cornelius
still with us? New Orleans? Well, he's talking about New Orleans.
One of the greatest vampire books of all time. Interview
with the Vampire in New Orleans. I'm a huge Rice fan,
and I love probably one of my favorite horror books
is The Witching Hour from Anne Rice all In uh

(01:07:22):
In in that beautiful New Orleans. I got family down
there now, the Witching Hour TV show that they did
for AMC. Not A huge fan of that. I don't know.

Speaker 6 (01:07:30):
Yeah, a friend of mine.

Speaker 2 (01:07:32):
I can't see anything particularly negative, but because I haven't
seen it, because I'm partial, as a friend of mine
directed a couple of the episodes. Oh, but I did
hear some, maybe not some great things about it. I
was on the fence about the interview with the vampire
television show that was married to that Witching the Mayfair
Witches Show. Yeah, but that, but I certainly loved the

(01:07:52):
Neil Jordans, Tom Cruise Brad Pitt interview with the Vampire Dark,
Very Dark and Dark book.

Speaker 6 (01:07:59):
Yeah.

Speaker 1 (01:07:59):
Yeah, that's got that brut it's got that nasty kind
of ache all the way through.

Speaker 2 (01:08:04):
Indeed, indeed, indeed.

Speaker 1 (01:08:06):
Let's say hello to some people here. Let's go to
the Wildcard line. Luis or Lewis sorry in Hazleton, Pennsylvania.
Welcome to Coast to Coast. You're on with Chris Alexander
Well Richard.

Speaker 6 (01:08:17):
Hello, Chris. Way before I asked Christy question, you can
ask you a quick question. Were you related to the
late Yankee all type of all famie Jogi Bear?

Speaker 1 (01:08:28):
Indeed, I am.

Speaker 6 (01:08:29):
Oh, it's what a great man he was. I'm sure
he's up and having rotten for the Yankees right now.

Speaker 1 (01:08:34):
Yeah, that's a that's amazing to watch the Yankees and
the Dodgers in the series Dodgers Up two games. Yeah,
he is a he is a cousin. You know how
the Italians are. Everybody's your cousin or your uncle. He's
a he was a cousin. I grew up in Saint Louis.
My family is all from the hill uh in Saint Louis,
So yeah, we're we are related.

Speaker 6 (01:08:53):
My question for Chris is, uh, well, you mentioned William Castle,
and when I think a William Castle, I think of
that movie What's the Good? And he mentioned the Twilight Zone, right,
I thought the big best thing that the Twilight Zone
was of Horror, which was on in the mid two thousands,
which was one of the best two thousand and five,
two thousand and six. That was you will never get
those directors together again.

Speaker 2 (01:09:17):
And that was that was back to what we were
talking about. The Stan Mick Garris directed The Stand the
first incarnation of it for television, and he was the
mastermind behind the Masters of Horror. He was the producer
who put that whole project together, who assembled the basically
was the Horror the Horror Avengers. Uh, you know, the
best of the best together to make this show. And
you're right. It was a once in a lifetime thing

(01:09:39):
getting guys like Dario Argenso and Joe Dante and Stuart Gordon,
all these greats together basically in one room to create
this incredible show. I mean, you'll never see the life
of it again. Absolutely because I don't know this answer,
and I might try to stop you, righty, I don't
know the answer. A long time ago I saw this film.
It might have been a four problem those dumped in

(01:10:00):
the English, but it was.

Speaker 6 (01:10:02):
It was about that. It was a devil in the movie,
and he had a captain's hat on, and these people
will wake up on the beach on this island and
then they report to him, and that's what he did.
What he did to people after they died, and he
worked for it, worked for God and stuff. It sounds
pretty obscure, it's not. It's sort of like Kevin can
Away from the forties where Larry Craiger and played the
devil but he had a captain's head on.

Speaker 1 (01:10:24):
The Fantasy Island.

Speaker 2 (01:10:28):
Sound like.

Speaker 6 (01:10:28):
It sounds like.

Speaker 2 (01:10:29):
Someone watching an episode of Fantasy Island and had a
dream some of the darker episodes of Fantasy Island. For sure,
I love it when I'm I'm an arcane, deep cut guy,
and I pride myself and to be able to dig
back into the vaults in my mind and pull out whatever.
It's very hard to stump me. It's put the bad way.
But my friend, I think he's kind of stumped me
because I can't remember a movie about a devil with

(01:10:51):
a captain tache. But whatever that movie is, I got
to make it my mission to find it.

Speaker 1 (01:10:54):
Sounds terrifying that coming up more Coast to Coast AAA.

Speaker 12 (01:11:08):
Explore your universe with Coast to Coast AM.

Speaker 4 (01:11:12):
Now, you know, we've been talking about one hundred years
of paranormal study, but things are.

Speaker 1 (01:11:17):
Still in flux.

Speaker 4 (01:11:18):
When an't we ever going to get the answers we
really want.

Speaker 7 (01:11:21):
I gotta be honest with you, George, I think we
really are close. Here in the United States. The vast
majority of the population is not going to believe in
UFOs until we have something on radar. Well, the fact is,
not only do we have something on radar, but we
have navy cockpit videos, among other things that have been
validated by the Department of Defense.

Speaker 4 (01:11:39):
What do you think is changing the perception?

Speaker 1 (01:11:41):
Is it obvious?

Speaker 4 (01:11:42):
That's why they have to come forward with this information now.

Speaker 7 (01:11:45):
The fact is, no serious person can say UFOs don't exist.
I mean that position does not exist anymore. The answers
may be very elusive, but the existence and the evidence
is as plain as any we've got. And it's an
exciting time to be alive if we know that life
is not exclusive to earth, and that's an extraordinary thing.

Speaker 27 (01:12:07):
Hello everybody, I'm Tony Tanto. You're a fresh grocer, and
today we're going to do a tip on clustered tomatoes. Okay,
backyard tomatoes are all about dne but clustered tomatoes are fantastic.
Now we've talked about these tomatoes before. These are the
tomatoes that are attached to the stem. They're also called
stem tomatoes. Four or five, six tomatoes all attached together.
When mix these so great. Besides growing in hot houses

(01:12:29):
so they control the environment, they're still pulling nutrients from
the stem. So the greener that stem is and the
redulose tomatoes are that better it's going to taste. Don't
buy them green anyway, and don't buy them with the
brown stem forget about it.

Speaker 3 (01:12:42):
Now.

Speaker 27 (01:12:42):
What you want to do when you buy your tomatoes
like that? Oh one more thing, make sure they.

Speaker 28 (01:12:45):
Have that wonderful a roma.

Speaker 27 (01:12:47):
Simply bring them home and store them on the counter.

Speaker 22 (01:12:49):
And that's what you want to do.

Speaker 27 (01:12:51):
Do not want to store any tomatoes and refrigerator at
any time.

Speaker 1 (01:12:54):
Clustered tomatoes.

Speaker 27 (01:12:55):
If you want a gray recipe, a cluster tomatoes sauce
log on that Tony Tantillo dot Com.

Speaker 12 (01:13:07):
At Coast to Coast AM, we keep our friends close
with this quicker question.

Speaker 8 (01:13:14):
I'm George Knapp, an investigator who devoted his life to
identifying the real Jack the Rippers as he's found DNA
that answers the question once and for all. Plus who
is targeting regular Americans with the brain melting tech of
Havanason Sunday, and.

Speaker 12 (01:13:28):
We keep our enemies closer At the Coast to Coast AM.
The new version of the Coast to Coast AM app
is here, now available for Android as well as iPhone
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(01:13:50):
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Speaker 16 (01:15:14):
I'm watching, Watching, yeahs watching, I'm watching.

Speaker 17 (01:15:42):
I'm just an average man with an average last I
went from nine to five.

Speaker 6 (01:15:48):
Hey, hell, I pay the price.

Speaker 12 (01:15:50):
I want us to be left alone in my average room.

Speaker 17 (01:15:53):
But why do I always feel like I'm driving zone
and I can always feel some spot.

Speaker 1 (01:16:02):
And as I calls bad.

Speaker 25 (01:16:10):
To me, is it just a tree?

Speaker 3 (01:16:13):
Coomers I've been to a real time.

Speaker 17 (01:16:20):
People call me on the phone, I'm trying to avoid
the people don't previously me when I'm all paradol, when
the show I'm afraid to wash my house because I'm
an overmas and five some one standing down.

Speaker 15 (01:16:35):
To talk to Rich vera, call the wild Card line
at eight one eight five zero one four one zero nine.
The first time caller line is eight one eight five
zero one four seven two one. To talk to Rich
toll free from East of the Rockies, call eight hundred
eight two five five zero three three. From West of

(01:16:56):
the Rockies call eight hundred six one eight eight two
five five. International callers can reach Rich by calling their
in country sprint access number, pressing option five and dialing
toll free eight hundred eight nine three zero nine zero three.
Send Rich a text message anytime at eight one eight
two nine eight six five two one from the City

(01:17:19):
of Angels This is Coast to Coast AM with Rich Barra.

Speaker 1 (01:17:24):
Our final half hour of Coast to Coast AM. It's
been a fun one tonight talking to Chris Alexander about
the scariest movies of all time. And I think there
are some movies like once every five six seven years
that turn the world on their ear. Even though I'm sure, Chris,
you've seen them all before. But let's go to the
wildcard Marine Whine here. I want to talk to Ross

(01:17:45):
in Michigan. And the one that you bring up, I
think is one of those genre benders that just stuck
with everybody. Welcome to the show, Ross, Hi, Chris, how
you doing?

Speaker 6 (01:17:56):
Yeah? Good, Rich? How are you good?

Speaker 3 (01:18:00):
Do you remember a show it was like the Twilight Zone.
It was called the sixth Scent that was like a
like a serious yeah, well I.

Speaker 6 (01:18:10):
Do, I do.

Speaker 2 (01:18:11):
It was short lived, but yeah, I do remember.

Speaker 3 (01:18:15):
Listen, there was one of them on there. We had
Roddy McDowell. Do you remember that one where he's looking
at the pictures and he like buried somebody out in
the cemetery next to the house. And then when he
comes into the house, he looks at the pictures going
up the stairway and this person that he buried is

(01:18:37):
coming out of the the pictures, and he goes outside
to look and he doesn't see nothing. He comes back
in the house and he looks at the picture and
the guy's coming out of the grave. And each time
he comes goes outside and comes back in, he sees
the gentleman getting closer and closure to him. He is
freaking out is It also.

Speaker 2 (01:18:59):
Sounds very similar to an episode of Rod Serley's The
Night Gallery that has a similar kind of idea about
the Morphing pictures on the wall. But the sixth sense
is interesting because I don't think it's that's pretty deep
deep inside baseball, deep cut.

Speaker 1 (01:19:15):
Stuff, because I thought he was talking about the movie.

Speaker 2 (01:19:19):
It was a short lived series from like I want
to say, the early nineteen seventies when there was kind
of a golden age of again horror on television field
but Dan Curtis after the show Dark Shadows. But that show,
I don't think it has ever come out on DVD
or Blu ray, so it hasn't been revived like all
these other programs have so well done with that. And

(01:19:40):
now I have not seen that Ryder McDowell episode.

Speaker 6 (01:19:43):
I'm a huge run guy.

Speaker 2 (01:19:45):
Yeah, yeah, you're a huge fan.

Speaker 1 (01:19:47):
Let's go East of the Rockies. I gotta give love
to my truck drivers out there tonight. Listen to the
show on the Road, Wesley in Alabama.

Speaker 21 (01:19:56):
You are on coast to coast, Good even Rich, good evening, Chris,
Hey are you there?

Speaker 6 (01:20:05):
Yeah?

Speaker 21 (01:20:05):
Yeah, you point to uh I was gonna bring up
Night Gallery. Uh you know, I'm sixty one years old.
You were just talking about the heyday in the seventies
of the horror television shows and Night Gallery. The fear
of spiders made me a.

Speaker 3 (01:20:25):
Yes.

Speaker 21 (01:20:26):
For like cre there's never never I'm sorry, go ahead.

Speaker 2 (01:20:30):
Sir, No, you go ahead. Never let me say as
your good sorry about that. Go ahead.

Speaker 21 (01:20:34):
I was gonna say, never blush it spider down the sink.

Speaker 1 (01:20:39):
They come back angry like.

Speaker 2 (01:20:41):
That's a really great episode and it's very suggestive because
you're never quite sure if the spiders are actually invading
his house or if it's all in his mind. We
presume it in his mind, but you're right with the
bigger they get, and when we finally get the final revealed,
the end, it's it's terrifying, even though the spider, of course,
special effects being crude what they are, maybe not even
just answered. I'll take that big fake spider over some

(01:21:01):
CGI spider, which was yeah, what about that today?

Speaker 1 (01:21:04):
Do you like uh? Do you like rubber and uh,
you know, glue as opposed to CGI in.

Speaker 2 (01:21:09):
Your in your really, I mean, every good special effects
artists will tell you that the best solution to the
problem is to marry the two, to tweak this the
rubber with a little bit of digital. But you need
this the practical effects. You need the rubber, you need
the thing, And I don't care how convincing it is,
it doesn't have to be. If it's sharing the space
with the actor, it's much more believable than a cartoon.

(01:21:31):
Then it ends up looking like Pete's Dragon or something.
I mean, you need something physical holding that space. So
I'm a I'm an advocate for practical effects all the way.

Speaker 1 (01:21:41):
What is the scariest movie with practically no special effects?

Speaker 2 (01:21:47):
Well, I mean there's so many of them. You mentioned
The Witch. There's not a lot of special effects, but
it's more it's more reliant on brooding atmosphere and what
you hear, what you see, what you don't see, leaving
that mp beauty things to the mind. There is a
horror film out there and it's very very rare. So
those of you are looking for something that nobody ever

(01:22:07):
speaks about, I'm giving you what to look for. It's
called They Came Back. It's a French films name is
also known as Le Revenel. It's turned into a TV
series in France years later, and there was an American
equivalent of it, but not a lot of people have
seen the original film. I guess it's kind of a
zombie film, all but Dead. They're recently dead, rise from
the grave, graves in a little French village and just

(01:22:27):
walk back into town like nothing happened. And that's how
they're trying to assimilate themselves back into the town.

Speaker 1 (01:22:33):
You know, I watched that that I thought that was
an Australian show.

Speaker 2 (01:22:37):
I didn't know it's There is an Australian riff on
it called Glitch that's on Netflix that is very similar,
and it's they're all. They're all stemming from this original
French film. Glitch was interesting, turns into a bit of
a soap opera.

Speaker 1 (01:22:49):
But that doesn't give you any answers either.

Speaker 2 (01:22:53):
Now, well, it tries to by the third season, and
it kind of jumps the shark there because you can't
can't give us an ants. So that's going to prove
satisfying as something so cosmic, right, But the French film
The Revenant or They Came Back in English is so eerie,
so frightening, and you don't it's very quiet there's definitely
not even a drop of blood or any special effects

(01:23:16):
in the film at all. Again, a masterclass in the unknown,
the ambiguity what you don't see as opposed to what
you see.

Speaker 1 (01:23:24):
Well, we're getting carried away here. I forgot. We need
to get to a break before we finish our last round.
But I'm gonna get to all these calls and get
a couple of recommendations for you for Halloween week, some
great ones that maybe we haven't heard of, and we'll
do that scary movies, what we need to see. Maybe
what we'll light you up a little bit when we
come back on coast to coast, AM. What credit card

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Speaker 26 (01:24:53):
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Speaker 1 (01:26:00):
Welcome back to Coast to Coast Sam. I'm your host,
Rich Barah our guests Chris Alexander. We're talking about horror movies. Chris,
what's your take on when they marry a sci fi
with a little bit of scary horror mo like like
Aliens are Prometheus?

Speaker 2 (01:26:16):
Well, Alien is one of the scariest horror movies I
ever made. I always said Alien it's more of a
horror film than a science fiction film, you know, I
mean science fiction kind of became a new horror in
the nineteen fifties. You know, the horror was kind of
dead for a while in the nineteen fouries foth post war,
but then with the atomic age and kartheism and uh,
you know, fear of fallouts and invasion, and we suddenly

(01:26:37):
get the threat coming from the sky or coming from internally.
So science fiction became the new horror. Invasion of the
Bodies and mattress, invasion of the Saucermen, invaders from Mars.
But then it resurfaced in the nineteen seventies post Star Wars.
Suddenly we see films like Donald Cammeal's Demon Seed, which
I'm a huge fan of, and of course Ridley Scott's Alien,

(01:27:01):
which you know is basically a haunted house movie floating
in outer space. It's truly one of the most terrifying,
unnerving films. And again back to what you see versus
what you don't see. Alien an R rated film, terrifying
to its core. Not a lot of blood in the
film outside of that iconic chest. It's mostly just atmosphere

(01:27:22):
and ambiguity with the creature is mostly in the dark
for most of the film. It's all tension and tone
of atmosphere.

Speaker 1 (01:27:28):
That's right there.

Speaker 2 (01:27:29):
Yeah, Well, there's really Scott one of the masters, and
I'm a big kind of Prometheus. You know, the movie
doesn't get a fair shake.

Speaker 1 (01:27:35):
It doesn't. It's really good.

Speaker 2 (01:27:38):
I think it's great. And I'm also a big fan
of the sequel to Prometheus, which was foolishly mislabeled as
Alien Covenant and confused people a little bit. But I
think it's gray too. A lot of great ideas, a
lot of heavy concepts floating around that those two pictures.

Speaker 1 (01:27:53):
Catherine in British Columbia, you on the West of the
Rockies line, and I think you share some thoughts on
scary movies. Here. You're on with Chris Alexander. Welcome to
Coast to.

Speaker 10 (01:28:03):
Coast An Well, I was gonna talk about Alien, but
he just did.

Speaker 2 (01:28:08):
Well, No, you tell us your thoughts about Alien?

Speaker 6 (01:28:11):
Why?

Speaker 7 (01:28:11):
Why? Why?

Speaker 10 (01:28:12):
Scared the heck out of me as a kid, And
I'm like, you know, I saw Jaws and I'm like, Okay,
that's it.

Speaker 8 (01:28:22):
Anymore.

Speaker 10 (01:28:23):
I want to sleep at night. Yeah, but I have
a question about the composition the song with Jaws that
is that alone is the best I think for horror.
And just if you know any backstory on on the
music on the one?

Speaker 7 (01:28:42):
Thank you?

Speaker 2 (01:28:44):
Yeah? Well, I mean you know the John Williams obviously
a car now whas people say the score from Jaws
the automatically only think these two notes. Dun dun dun,
dun dun dunt. Watch, of course is the theme when
they've done the shark is a foot. But there's that
such a rich score, and it's such a beautiful score,
especially Jaws two, which is not a great film, but
it's great, even better score, you know, Jaws three. Hey,

(01:29:09):
I have a soft spot. I saw my late great
father I saw in the theater with n three D
when I was a little boy, and I thought it
was the best movie ever made. Of course I was
dead wrong, but I have a soft spot for it.
But that iconic theme, you know, John Williams came up
with it again. Steven Spielberg wasn't quite sure if that
was what do you tell you? This is what she
came up with, John, And then they married it to
the film and he said, Okay, I get it.

Speaker 7 (01:29:30):
That's the one.

Speaker 2 (01:29:31):
And those two notes, I mean changed everything, didn't they.
I mean, that's one of the most iconic horror themes
of all time, never been beat.

Speaker 1 (01:29:39):
I noticed that Jaws finds its way to the very
top of the scary movie genre lists many times at
number one.

Speaker 21 (01:29:46):
What is your thought on on that well, jazz is.

Speaker 2 (01:29:51):
I mean, a lot of people will challenge you said
Jaws is not a horror film. Similarly, they'll say King
Kong's not a horror film. It's a monster movie. But
Jaws is definitely a horror film. I mean, but it's
also an action film. It's also a drama, family drama.
It's also a seafaring adventure film. It's again one of
those great genre movies that's kind of genreless, you know.

(01:30:12):
And the horror that happens in Jaws works primarily because
Spielberg and the company took such great pains to create
a sense of place, to create a series of characters
that we genuinely cared for, so when they're put in jeopardy,
we're concerned. I mean, the stakes are high. So it's again,

(01:30:33):
it's the greatest horror films of all time are first
and foremost great films, and Jaws is a great film.

Speaker 1 (01:30:39):
Well said now, Ruth. Here in Maryland on the wild
Card line, she brings up something a show or a
movie that a couple of people have brought up. I
think it's really interesting. You're on with Chris Alexander. Welcome
to Coast, Ruth, Nope, she's gone, Oh, well, well she
brought up a little red riding Hood as being like

(01:31:00):
a gateway into the into the scare zone. Issu's not wrong.

Speaker 2 (01:31:03):
Well, that's that's cool. Now it's beeing and Neil Jordan
directed interviewed the Vampire his first big breakthrough film as
a horror film called The Company of Wolves, which is
nineteen eighty four, which is in fact a horror riff
on a Little Red Riding Hood. If you've haven't seen
that movie, it's one of the great werewolf's, unsung werewolf
films of the nineteen eighties, right up there with an
American World, London in the Allen.

Speaker 1 (01:31:25):
Oh, that's another great one. East of the Rockies, Matt
in New York. You are on with Chris Alexander. Welcome
to Coast to Coast.

Speaker 12 (01:31:33):
Yeah, thanks Chris.

Speaker 20 (01:31:34):
Some how you guys going this morning.

Speaker 7 (01:31:36):
You guys are talking about a few minutes ago, Like
when you're like ten minutes ago a horror movie, you
don't have a lot of scenery.

Speaker 20 (01:31:42):
I always thought Falling would. Dendel Washington was a great
horror movie.

Speaker 2 (01:31:48):
Yeah, it's interesting. Denzel Washington, John Goodman, a rich cast.
One of those movies I think it came out I
want to say, like ninety three or something in the nineties.
Horror was a fast asleep at that time. It was
replaced by After Silence of the Lambs won the Oscar
in nineteen ninety by the thriller quote unquote, so movies
that were actual horror films were hiding in the skin

(01:32:09):
of being a so called thriller, and Fallen was one
of those movies. But of course it is absolutely a harrowing,
supernatural thriller, incredibly dark, incredibly well crafted, and you know
Denzel Washington, so you know that the acting is going
to be top tier. It doesn't get enough love, and
I'm a big fan.

Speaker 1 (01:32:29):
What's your take on I was thinking about movies that
I've watched over and over. I don't know if they're
any good or not, but I just love them because
of the homage that they paid to horror movies. The
one I'm thinking of is Bram Stoker's Dracula.

Speaker 2 (01:32:41):
You know, I'm a huge vampire junkie. That's probably my
favorite subgenre of the genre, and I've been trying to
love I like it.

Speaker 20 (01:32:51):
I like it.

Speaker 2 (01:32:52):
Everything about it screams I should love it for some reason,
I've never loved Francis Coppolos brand Stoker's Dracula. It's almost
like there's too much happening in the picture, and I'm
exhausted by the end of it. I remember I was
in college when it came out, and everyone on my
all my peers were gushing about bram Stoker's Dracula, and

(01:33:12):
I was like, no, you got to see Berner Hertzock's
Nosferatu remake to really get a sense of a good
dracular picture. And I took everybody to a revival screening,
my entire group, and they all came out of it said, Okay,
we got it now, we we know where you're coming from.
So I like bram Stoker's Dracula. I mean, you can't
fault the craft. You can't fault Gary Oldman's performance, the

(01:33:34):
special effects, the costumes, the score. It's something about it personally.
I just I've never really loved.

Speaker 1 (01:33:41):
Ruth is back from Maryland now on the Wildcard line.
You were talking about Little Red riding Hood. You're back
on with us on coast.

Speaker 19 (01:33:46):
Hey, Ruth, hi Rich, thank you for taking my call.
I'm sorry, I don't know some some problems with this so,
and I guess somebody didn't want me to talk about
a little Bit Riding Hun, But first I wanted to
tell you I think that's so cool that you related
to Yogi because I love the Yankees. I have a
Yankee tattoo. And anyway, Little Red Riding Hunt. Chris Donna

(01:34:09):
said they did make a couple of movies, a Little
Red Riding Hood. I've watched a documentary on it a
week ago and it was pretty freaky, And I want
to know, can you tell me anything about it? Do
you know, like the real meaning behind the movie, the
real purpose? It seems like the Grandma's almost like a
dog man or something.

Speaker 2 (01:34:29):
Or you're saying a movie, you know, which are you
talking about the story itself? Or they are there's still well,
I mean the story it's you know, we're looking at
fairy tales, which are the original horror stories of kids,
and you know they've been softball through the years. You
look at again Cinderella, you know it's just disnified to

(01:34:51):
the point where it seems innocuous. But if you read
the original fairy tale from Fairytale, you know when they're
trying on the slippers at the end, they're cutting off
their toes and trying to fit their feet into this slipper,
and the blood all over the place, and it's quite ghastly.
I mean, similarly Ansel and Gretel. That's not exactly a
walk in the park. It's a cannibalistic witch who ends
up getting fried in her own oven. At the end.

(01:35:11):
She's eating children. There's a moral to that story, well,
I mean there's a moral. Just the moral was kids,
don't go away from the home, don't watch out stranger danger.
Same thing with Little Red riding there. It's you don't
go to the woods, don't steer from the path, watch
out for the wolf.

Speaker 1 (01:35:28):
Don't you think scared us all from the woods? The
deep woods were We were all scared of the woods
for a good reason.

Speaker 2 (01:35:33):
All those fairy tales were. You know, when you're a kid,
your jaw hits the ground. It's just how how horrific
they were.

Speaker 28 (01:35:39):
We were.

Speaker 2 (01:35:40):
We were you know, hey, us our generation, we made
a strong stuff.

Speaker 6 (01:35:43):
Man.

Speaker 2 (01:35:44):
They didn't that pants, didn't hold back.

Speaker 1 (01:35:46):
That's right. Let's talk to David on the first time
color Line in Jacksonville, Florida. David, Welcome to Coast to
Coast you're on with Chris Alexander.

Speaker 28 (01:35:54):
I've been waiting about all these horror films and everything
like that. I made horror film myself.

Speaker 2 (01:36:02):
Hmm.

Speaker 28 (01:36:03):
Yes, it's called Arcam Patrol. I made it for a
college class. It is pretty good. I'm glad to have made.

Speaker 6 (01:36:09):
Such a film.

Speaker 28 (01:36:09):
You know, everyone making all these films and everything. I figured, hey,
you know, since I'm doing this for a class, why
not make my own little film. It's sole and it's
on YouTube.

Speaker 2 (01:36:21):
Oh I want to watch it.

Speaker 1 (01:36:22):
Yeah, what's it. It's called Arc and Patrol.

Speaker 28 (01:36:24):
Yes, it's it's something I made back in college. However,
the Arc and Patrol video I have now.

Speaker 6 (01:36:31):
Was a re added on it.

Speaker 1 (01:36:33):
Anything to do with Gotham City.

Speaker 28 (01:36:36):
Uh No, it's actually based. It's like a little Cops
parody that I did with me and my brother and
two of our friends.

Speaker 2 (01:36:45):
We'll check it in' well, I'll tell you something about this.
It just isn't aside uh the YouTube, the Internet, the
digital age. I mean, you obviously made the film before
the digital age hit its peak, if we were even
at the peak. But what a remarkable time we live
in that people can go out there and film things
with their phones. And have it looked just as good
as anything that's basically playing theatrically if you cut it right.

(01:37:08):
And YouTube is the new calling card for a lot
of filmmakers, filmmakers making short films dumping them on YouTube,
and studios are paying attention. If those films get enough likes,
get enough shares, get enough great comments and they go viral,
then you know, studios pay attention. And a lot of
great filmmakers have come out of posting their films on YouTube.

(01:37:30):
Case in point, a director who made a movie and
those short film called Bites Out was immediately scouted to
make a feature film version of it, and now he's
established director. So it's a marvelous time we live in.
Everybody can make a movie now, not everybody should make
a movie, of course, but everybody can and everybody can
get that movie seen, which is, you know, unprecedented time
and history.

Speaker 1 (01:37:50):
We're up against the end of the show here, So
real quick, top of mind, what's a horror movie we
should watch before Halloween that will blow our socks off?

Speaker 2 (01:37:59):
Well, depends how what way you want those socks to
be blown off. Well, let me give you a real
freak show movie that really holds up and if you
get a chance, I'm a three D movie junkie. If
you get a chance to see it in three D,
it's still one of the best nineteen seventy threes. Andy
Warhol's Dracula also known as Flush ore Andy Warhols Frankenstein.
There is also an Andy Warha's Dracula that's the companion,

(01:38:20):
but Andy Warhol's Frankenstein, also known it's Flush for Frankenstein's
starting the Great Middle here in a very dark, very
bizarre euro trash where visionists take on the Franknslin story
still get.

Speaker 1 (01:38:31):
Sex all over it, Chris all over it. Thank you
so much for your time, your energy, and your recommendations.
All of Chris's stuff is linked up at coast to coast.
Am Happy Halloween, everybody, enjoy your evening. I'm so glad
you're here. As the person who currently occupies your attention,
I would like to thank you for listening to John Jaye.

Speaker 6 (01:38:51):
Rich