The podcast is about to begin, sir. Welcome, boy. Welcome, boy. Welcome, boy.
I welcome to Costco, Wien, our month long October series on the films of Dan Caskarelli, specifically on the main feed anyway. The Phantasm Quadrilogy. Yes. There is a fifth one.
Yeah, it's not there, which we will be talking about. He doesn't direct it, but he cowrites it and produces it. Yes. It has more, Ravager.
Ravager. Ravager. Of course, I am your host, Dangus Scrim. I'm just fun.
You're Robbie Bannister. I'm Robbie Bannister. Must be. And we're starting off right with the cult classic.
Yes, 100%. I would say. cult classic film, Funtasm. Funtasm.
A film that somehow made its way to me when I was like the perfect age, say 12. Truly the perfect age to watch this movie. Yeah. I'm not concerned with the sort of logic leaps or any of that shit.
It's just cool spooky imagery. Yes. Looks pretty good. There's some real nice shots in this, I gotta say.
I love that shot of Jodie in the phone booth and it's just the car and the mic and just total darkness around them. So many of the shots. I mean, one of the things about this movie is that it's so light on extras and other people, which gives it, I mean, probably that's probably a budgetary thing, but also gives it this very spooky vibe of like, where the fuck is everybody else? Yeah.
It reminds me of a couple things, of course, reminds me of like the end of Twin Peaks, the return when they're in like the other dimension, when there just isn't anybody. But I don't know what year it is. Yeah, what year is it? And also was reminding me of, oh, God, am I gonna forget what it's called?
That like, I was real hot on it for a minute too, but that like Lovecraft-y sort of horror movie that the Howard the Duck couple directed. Oh, yeah. Messiah of Evil. Messiah of Evil.
Same sort of thing where it's just like mostly just like a lady wandering around in an empty town. You're like, oh, I got to tell you, I mean, Messiah Evil, I didn't even connect that, but these feel like kind of linked. Yeah. In that they're like of the same sort of ilk where it's like, because I feel like this, this has like, this is cosmic horror, you know, even though it doesn't, we don't get, there aren't any like, tentacle monsters or whatever, but this also feels love crafty in the way that it's like, I don't know, the cosmic elements of it.
And like, the way that we don't know what the fuck is kind of going on. I mean, like, I, I, we'll get into it, but I watched all of these movies, like Back to Back, all of the Fattasim movies, like the first time I watched any of them, I watched all of them. Yeah. And it was only a couple years ago.
And I was like, what the fuck? Like, they're so hard to, like, I watched this one. And I was like, that's kind of hard to follow. And then by the second one, I was like, oh, I'm watching this wrong.
Like, it was not trying to follow. Yeah, you just got to ride the way. Yeah. So like, 10 on this bitch.
Yeah, I'm hanging, me and Angus from her hanging tent. It, um, I mean, it really feels so much like, like, Sisperia or something. Yeah. Like, it's partly because of the score.
It's, which by the way, that theme, so good. It's great. It's like, it's like on par with a, a carpenter, sort of melody, you know, it's so, I don't know, it's near a worm. I guess it's what I'm really trying to say.
Okay. Bad podcasting. Yeah. You scoop the cat as I scoop some yogurt into my mouth.
We should have time that better. Yeah, it's all right. Dan's eating yogurt into the mic. I hope everybody loves that.
I'm not doing it in so much. Could you hear it? No. Okay.
That's what I see. That's what the, I have a pop filter on and a yogurt screen. We're good. We're good.
Um, yeah, this movie, uh, you know what? Also like Messiah Bill kind of just like hang out vibes movies horror vibes all around spooky stuff. Don't get too lost in the weeds about like plot or like motivations. Don't waste your viewing experience going.
Wait. Who I just watch it and fucking enjoy the ride, man. Like, Messiah people, it's so creepy all the time. People are like dying.
Uh, they're like, there's a one albino dude. He's an odd duck. There's that scene. It's a bit of an odd duck.
Where they're in the fucking supermarket and everybody's eating raw meat and you're like, what the fuck is going on here? We don't know. We don't know. And that's okay.
No, no. It's crazy. This is like, this really is like, please just more so than Messiah people even at least because we, in that it's like we get those diary entries where guys like he at least tells you he's like, oh man, this is so crazy. I don't know what's going on.
Yeah. Right. So thank you for saying so. This one does kind of take the opposite tactic at a certain point where, you know, when they get to that back room and Mike sticks his head through like the gateway or whatever and he's like, they're taking the little guys.
They're using the mislaves and Reggie's like, yeah, of course. Reggie is he's the best. He's just he's just a guy. He's like the way he wants to be Don Coscarelli's Bruce Campbell is so funny.
Yeah. I think that's so I mean horror. I mean, he is right. I think that's an interesting comparison too because like this is like a film series.
There's five of these fantastic movies, right? I feel like they're kind of in the same realm as the Evil Dead movies where they're like, this is low budget filmmaking. We are like, you know, it's not like whatever in the late 70s and the 80s and whatever you had like Freddy Krueger and Jason Voorhees and like Michael Myers and shit and he's like, they're so those those characters, those movies are like very ubiquitous. Like everybody fucking sure they're everywhere.
Very known, very popular, whatever. Fantasm much more of a cult hit. Evil Dead much more of a cult hit. You know, it's just like these these guys that are like, no, I'm making I want to make a fucking movie here and I'm going to cast my friend Reggie Bannister and Bruce Campbell and it's not going to make sense.
Like Bruce Campbell makes more sense. Like Bruce Campbell, yeah, we've said before, it looks like a parody of like an old Hollywood leading man. Yes. Use the great effect in Hudson, Proxico.
Yes. So that's why I'm here on the other hand, looks like a bald guy with a pony tail, but it's very, you know, um, I don't know. Yeah, he's just Coscarelli's friend. He's clearly like the funny friend where Coscarelli's like, Oh, you got to be the comic relief in my, my horror picture.
Yeah, you got to be you got to play some guitar on him. You're so good. Sitting into mid. Ah, um, ah, the repris at the end.
Yeah. Right. So this is directed, written and directed by Don Don Coscarelli. Yes, based on a nightmare by Don Konsker, I like this.
Isn't that fun? It is fun. I mean, you still have nightmares about the orbs. I mean, the orbs are so weird.
The orbs are very cool. Yeah. I think that's the thing that keeps people coming back after you watch it the first time. You're like, that's a good idea.
That's like a cool design. The blades are almost like too big to fit inside of it. You're like, what the fuck is going on here? I think the orbs are what gets people through the door of a phantasm.
Yeah. But like all of the weird mythology is what keeps them there, you know? It's really crazy. I forgot how much they just sort of like out and out say.
Like again, that scene where it might go through. And they treat it like, of course, that's the revelation. They're turning people into little guys. And then they're using them as slaves on their desert planet.
What? Yeah. And it's really hot there too. What?
Yep. I think it's brilliant. I think it's kind of brilliant. I mean, like that, again, it feels like such a dream in.
It's like committed to being dream like in a way that other movies that claim to be shy away from. Because that is something that would happen in a dream. You'd just be like, oh, duh. All of this stuff that doesn't make any sense makes perfect sense.
Right. Yeah. Yeah. It is all sort of, it's all a dream.
Like literally. Yeah. I mean, it could also all be a dream. Right.
That's not, you know, there is that. They're reading. I don't think that's wrong. I think all of these movies too.
I am interested to see because I think there is a theory that like all of these movies, all five of them, and then ending with Ravager where it's like, I forget the ending exactly, but even that ends with like, potentially the whole series, all five movies, or just like one dream within a dream. Yeah. Like all dream, dreamy stuff. And maybe could be like just somebody's mind dying.
And this is our interpretation, whatever. But. And you know, you got like looking at this at least as like a self-contained thing. You know what you can say about this movie and in a non-derogatory way?
So trauma is the monster. Well, yeah. Trauma is the monster. Yeah.
But I ain't mad. I ain't mad about it. Literally, ain't mad. You know why?
So because it's pretty well. Trauma is the monster here. But like I think in a lot of movies, you could say trauma is the monster. But also, we're doing some like weird fun shit here.
And not mostly weird fun shit. The whole movie isn't just like, or we all bummed out what trauma is the monster. No. And it's not like one for one.
Like again, all the weird shit here, you're like, I guess if you squint trauma is the monster. You know, if I needed to like pull a theme out of this, it would be that. But yeah, it's so sort of like again, like fragmented in how it's looking at it, that it doesn't feel pedantic or like, OK, we get it. Yeah, we get it.
Trauma is the monster. And it's like not pretentious at all, which I think is. Yeah. It's just vibes.
It's all vibes, baby. Ice cream man and his friend playing guitars on the porch. What could be less pretentious? Oh, yeah.
He's always wearing that fucking white ice cream. I know. I know. It's so like, I love this shit where it's just like, you're making your movie for like $300,000 and you're like, that's gonna be like the thing, like his thing.
Like, that's like the, the recognizable character that people are gonna. Yeah. Right. That's Bruce Campbell with the chainsaw hands.
Exactly. Let's compelling. Yeah. But like, even, I don't know when Reggie gets the triple barrel shotgun in the series, but that becomes his version of the chainsaw hand.
Like that's his, you know, it's not as good, but it's also like, I don't know. I think that's iconic too. It's not a chainsaw hand, but it's a three barrel. It's a third barrel.
That's cool. It's dreamlike. The gun is three barrels. And the way that like, you know, the handle of it and everything, the way that you hold it and shit and you're like, what is this bald man?
What is he up to? That's tall man versus bald man. Yeah. I like that.
So we said stars, I mean, one of co-stars, I guess, but it stars Reggie Bannister, King alum, Reggie, Reggie Bannister. On like a technicality, but yeah. I mean, it's slightly removed, but yeah, he's a, he's a King me babies alum. Oh, well, yeah, he's a King me, but he's also a man.
Oh, what else is he in? He's in a man who reborn man with three. That's right. For how could I forget?
He's a King, one proper. What, which baby was he in? He was in one for the road, I think. One of the one for the roads we watched.
Okay. In the Salem's lot universe. That's a good story. Yeah.
I think that's the one he was in. Yeah, right? Because that's the one where they go out in the snow. Yeah.
Don't go down that road. Don't go down that road. All right. Let's all go down that.
That's snowing vampire is down that road. Anyway, anyway, so the register. Yeah, not. I mean, it looks like he was in a couple other gym, the world's greatest, which I think is another Coscarelli.
That's a Coscarelli's first movie. A drama. Don Coscarelli has an act for seeing the world through the eyes of a heart of a young boy. He offers a Peter Pan-esque adventure from it, et cetera, et cetera.
And anal phantasm. I'll say that. I believe he's also in. Yeah.
He's in Kenyon's company also, which is another early childhood focused film by Don C. Yeah, but a bunch of kids skateboarding from the poster. Yeah. Oh, you know who else is in that?
The star of this film, A Michael Baldwin, not the Michael Baldwin. No, A Michael Baldwin. Just a Michael Baldwin. I'm Michael Baldwin who will leave us next week when we talk about phantasm too.
But it will return. Yeah, he'll be back all right. He's an interesting character because as like in the first movie in this, he's like, he's like a young boy, but in his face, he has a face of like a child from the 70s. He feels like such a 70s looking kid.
Yeah. And mop of hair. Mop of hair. I don't know, just a shape of his face and whatever.
And then he grows up and he just sort of like, just, his face doesn't really change. He just sort of gets older, which is that's it's an odd choice for a set of jeans. Yeah, for his jeans to do that. Kind of has the world's oldest boy look, I think.
That's an old boy. That's an old. That's how old boy you are. You're wide yourself.
Who else? He's older brother played by his older brother, Jody, who was played by Bill Thornbury. He's another guy. He disappears for the next movie and then he comes back.
I feel like it felt so stupid. Yeah, doubt it, Don. Don't doubt the cost. Yeah, don't bet against Don.
The cost of doing business. Is that anything? I bet they said that. I bet that I bet that something.
I bet. We were like, oh my God, we got a cast of Reggie Bannister in this movie. And Casio really is just like, well, that's the cost of doing business. There you go.
There you go. I'll do your picture on one condition. One can dish, man. I can dish.
And then Reggie Bannister sitting out by his pool, sipping, you know, my ties gets the phone on. No, no, no. Reggie Bannister in the parking lot of the place where the meeting's being held on a bike on a bicycle. Don just flashes him a thumbs up out the window.
Drinking out of a paper bag. Don hits him with the thumbs up. Ready starts doing wheelies. He's so excited.
Starts doing wheelies. So Bill Thornbury, I like this guy. I always assume, I always think of this movie as like an 80s movie, but it does feel so 70s. Yeah.
Everybody with the hair styles and like the denim jackets and shit like that. The car. Totally. You know.
Yeah, comes out in 79, right? Yeah. So, you know, there's a few years behind. There's not.
I mean, it's the 70s until like 1982. Yeah, I guess. Right. Yeah, pretty much.
Until what? Later on? Yeah. Splater on her.
I think so. I think so. It's just like we're done with that. We're on to new things.
Heard of the stuff. Neon, baby. Whoa. Don Casca rally.
Yes. Guess where he was born. Uh, Libya. Yeah.
Right. That's crazy. He's born in Libya. No problem.
Yeah, no problem. That's wild. I looked it up right beforehand. And do you know who his daughter is?
Is it Chloe Casca? What's he doing? The vegan chef? Yes.
Isn't that also crazy? That was such a moment. I don't know who that is. Okay.
Okay. She opened a there was like a like a very trendy vegan place in New York City called by Chloe. Mm-hmm. And it was like the hot ticket for vegan food.
It was like one of kind of like on the bleeding edge of vegan food not being disgusting. Okay. In the 2010s. Okay.
I've eaten there. I've eaten a Don Casca rallies daughter's restaurant. I guess is what I'm trying to say. How was it?
That's fine. Tell you what? It's a bunch of fucking beans around. I don't know.
Wow. Um, wow. I got tears in my eyes. The world's so small.
So anyway, else in this, of course, Angus scrim is the tall man, but the big bad. Yeah. Very big. Very tall.
Very thin tall man. Do we know how tall he actually is or did they just put their like we're going to crop the sleeves seven feet tall? Actually, no, we can't be. Oh, his head is so big too.
As a man with a large dome. He's only six for a lot of people are six for that many people are sick for shit. I could be six for that. Yeah.
Give me a year. Then I that press like a B six for I wanted to. Yeah, I just don't. I just don't.
I stay small for the afterlife. Um, scrim and his scrim is that it? That can't be as really. It's not.
It's not. It's not Lawrence Rory Guy. And he has the same birthday as your boy Larry Guy. Larry Guy Larry Rory Guy.
Oh, look at you and scrim. Yep. You birthday buddies. Birthday buddies.
Oh, that's cool. Uh huh. The birthday is about to begin. Um, the, uh, the guy, uh, when you, uh, when you brought your mom to dinner and the guy who played the guitar, right?
Yeah. His, his, well, no, that's just such a so little information. Yeah, it's just enough. I think, um, go on.
Who's serenading your mother with a good talk? When you brought them to dinner. Okay. Doesn't matter where.
Um, that's like one of his bits. Is that like, uh, you know, whenever somebody has a birthday or he's at the table or whatever, he will look up who their celebrity, uh, person is, but he's also, uh, you know, he doesn't, he doesn't care who it is. He has no, uh, filter. So there will be days when he's just like, Oh, you're, you share a birthday with this, uh, uh, old Nazi general, you know, and they're like, Oh, Oscar Dirlofon.
Yeah. The pedophile Nazi. Yes. He was a pedophile Nazi.
You also share a birthday with Steven Spielberg or whatever. You know, it'll be one, you know, one, one, you know, uh, monster from human history and then one Oscar Dirlofon did just kidding. Yeah. Yeah.
A monster who won an Oscar and a month and a monster filmmaking or wait, no, I messed it, you know, I messed it up. I'm a monster that won an Oscar that is a monster or something. Yeah. Something like that.
Yeah. Yeah. Well, Angus Scrimm, birthday buddy to me, not a monster, plays a monster. Yeah.
You watch, I mean, in this movie, he's very, he's scary, right? He's like, and like his whole look too, like tall suit, like just sort of like, uh, mean face. Like most of the time he's just making mean face. Yeah, he's just mean, and that's enough to.
It's actually better. I think when he talks is when he loses me. Yeah. I mean, like, I don't know.
I think he's a fact. It's not like he has like some like weird, like, Hey boy, like, we have to like, boy, boy. Oh boy. Um, maybe when he's in disguise as old two, two tits.
All right. I heard of the tall man with the two tits. I say that because, uh, oh wait, never mind. Different character.
There's a character. There's the lady in Lavender, but there's also a character named double lavender. Who is that? That must just be her double.
Oh, it must. Yeah. Yeah. It must be the tits for the double.
I'm sorry. I'm here for it. All right. I'll be reading for the role of double lavender.
Well, I guess not reading. Anyway, here they are. Oh, I love lavender. I love by the way, when Jodi and Mike both see her bare breasts and they both go, Wow.
They, uh, what were you talking about? Oh, scrim. So, but like when you see Angus scrim in like interviews, he's like this very sort of soft spoken, like very seemingly sweet man, you know? Yeah.
He, um, he's got a bit of like an air of pretension around him. Yeah, a little bit, which I, which I like. Yeah, but he's not like, uh, I don't know. He almost seems like, like, uh, like a, especially later interviews and stuff.
He seems like just like a, like an old grandma or something. It's just. There's a, there's a great intro from the DVD, I guess, where it's like the classic sort of like him, the camera, you know, we fade in on him pretending to read a book. Yeah.
Oh, hello. Yeah. Hi, man. Just scream.
But he uses that. What I, the only thing I really remember about it is that he uses it as an opportunity to showcase that he's multilingual. Like he clearly, I think there's a little hang up, like a, like a 1% of Kelsey Grammar hang up about having to play like kind of like a, like his claim to fame being that he's in a stupid thing. He's like, I'm a man of letters.
Damn it. I believe it. Um, yeah. I guess.
Do you know what he was doing before he got into acting before acting? Ooh, I don't know what he was a journalist, but never really at like anything super reputable. Yeah. TV guide, for example.
Okay. Um, and you wrote liner notes, a capital records, including some Beatles records. Isn't that fun? Angus, Angus, writing Beatles, lighter notes.
Yeah. Grammy award winner Angus scrim. That's weird. Yeah.
You want to, you want to Grammy for his liner notes. I didn't realize you could win a Grammy for liner notes. Of course, man. Hmm.
And the best liner notes goes to Angus scrim. It goes to hold on. Let me get my cheaters. They printed it small to honor the liner notes of it all.
They printed this small. Hold on. The tall man. Okay.
Small man. Um, who else? I mean, Kathy, Kathy Lester plays the lady in Lavender. Not, not the tits, but the woman.
The face. The face. For it, I suppose, until, I mean, this is the latest movie starts with like some guy getting fucked in the cemetery. We don't know anybody.
We don't know what's happening here. It's just like a guy, the most 70s looking guy also, like kind of like long, curly-ish hair. Yeah. And then like, like the session player.
Yeah. On the Asia session. Yeah. He plays bass on fucking ton of albums, but he's got the handlebar mustache, you know, the Hulk Hogan style mustache.
And he's like, Oh, yeah. This sex feels amazing. I love the shot too. We got like just legs.
The leg shot is, yeah, that's pretty wild too. And everyone's just kind of laying there. Everybody's laying there not moving so much. I think he's like, it looks like, like still wearing his jeans, his bellbox.
So maybe he's just poking his little pig through the, through the zipper. I think he is, which is funny too, because later when the lady in Lavender is seducing Jody, she pulls out his whole bare butt. Yeah. You do see cheek.
You do see cheek. Yeah. Chubby little ass. Yeah.
Is he all that Jody cake? What? Jody's caked up. What do you want?
He is. He's a little caked up. Hey, you know, yeah. It's a Reggie brings the ice cream.
Jody brings the cake. So the lady in Lavender fucks this guy who's got a name, I'm sure. It's Tommy. Toby.
Tommy. It's Reggie, Jody and Tommy. Tommy. The three of the three guys.
The three guys that are all friends. They're fucking in the cemetery. And then we see there's like a close up. Yeah, of tits and a knife.
Again, this is like the most Italian, yellow shit imaginable. Yeah. You're right. I mean, the only thing that's missing is like blood spurting across the tits, I think.
That would be the only difference. But yes. And then yeah, fucking stabs him. And wait, why did she stab him?
And then zoom in on her face. And then her face turns into Angus scrim space? Yes. They turn into.
It's like the match cut. It's great though. That's how it should be. That is how it should be.
There should not be any like morphing with schlurbing sounds. Just cut. No. So I'm going to send you a clip right now, Dan.
I'm going to send it through the stream yard chat. This was something that was like brought to my attention like yesterday. I was listening to a podcast and they were talking about this. Hold on.
Sorry. What the fuck? It's this movie called Shush the Octopus. It's from 1938.
And it's, all right, I just sent it to you. It's like a 30 second clip. It has one of the most crazy on screen face transitions ever. Ever committed to cinema history.
This woman, I have no idea what context it is, but she basically just changes from what is an old woman to then like an old hag. She takes off this wig and then her face transitions and turns into like almost like a witch's face or something. Whoa. Right?
38. That's unbelievable. It is unbelievable. And so I mean, this is like total tangential sidebar here, but we're talking about face transitions and in a fantastic way, which is super effective and like you don't need anything else.
But I was just listening to this thing yesterday and then watching it. I was like, holy shit. So the way they did it, Dan, was that I think all of the, all of the like the finished product makeup, like all of the old, like which sort of makeup was done. You can only do this in black and white, but it was all done in like red.
So it was all like heavy, heavy reds and they put a like a red filter over the camera. So you couldn't see it. That's unbelievable. And then they basically just like, there's something to do with like a blue filter also, but like essentially like putting the red filter over the camera masks the makeup and then they remove it.
And that's what's left is that like now you can see the makeup come through and it's just like, it's so fucking cool. It's so fucking cool. God damn. In like this movie that's like, you know, completely forgotten.
But like that scene, that moment is is very impressive. Yeah. Also just like, I mean, the makeup, it looks great. The finished product looks so cool.
It looks really cool. Someone should run this back, in my opinion, just shooting black and white and do this. Although I guess it probably only works with like film, right? Like digital black and white.
Yeah, probably. I don't know how it works. I don't know either. No, anyway, so spooky as hell.
Spooky as hell. If I was screamed, if I was 1938. Yeah. Oh man.
You're like, you're the one guy who's like, he went to see like the train pulling into the station, you freak out, you run out of the theater. Like, I'll never do it again. Yeah. They finally got me.
Yeah. Like years later, you're like, no, no, what's good now? They have like stories and like characters or whatever. And then you go see this and then you see that transition.
You're like, what? And you just have a heart attack and die in theater. I mean, she's got a sort of Winky's diner creature going. I don't know.
Winky's diner. Yeah. Yeah, yeah. Man, that's crazy.
It's crazy. Thanks for showing me that anytime. I love shit like that where it's just like, we had to figure out a way to do this and we were just smart. We were just not to be an old foggy about it, but it looks better than CGI by a lot because it's actually happening.
It's actually hot. Yeah. I mean, that's the thing too, is that like, I don't know, even my stupid brain, but like I'm like so poisoned, I guess by like CGI movies that I watch this and I'm like, it almost feels like CGI. The way that like book because everything is just like that now.
Yeah. And then like, well, no, this is like real people. People had to think about this and make it work and they had to test it and like, it's really cool. It's really cool.
Really, really cool. So anyway, the guy gets knifed getting his. After fucking Angus scrim, right? He does fuck the tall man.
He kind of fucks a tall man. I mean, they're like, we don't have to get into the whole mechanics of it, but he does Angus scrim does pretend to be a sexy lady with tits and then I'll get you with my gorilla grip. Yeah, he's got the gorilla grip. But again, this also feels very European in the way where it's like, ah, sex, petite mort there, like the little death.
The little death. Ah, yes. So it is. Ah, yes.
We mean, every time I come, I die a little bit. Yes. I don't know. I don't know.
Just vaguely European. So then we cut to, ah, Tani's funeral. Yep. We get all those exteriors of that beautiful building that is the funeral home.
Yeah, funeral home. Not the mausoleum though, right? I think it's all in there. Yeah, maybe.
Um, I like this. I like it feels like such an indie movie and almost like, I don't know, like all of the, like these weird little cinematic things where you're like, all right, here's the shot of this big like funeral home building, mausoleum, whatever. And then that's in the background. And then Jodi and Reggie likes, like walk from either side of the frame, like towards each other into the foreground.
And they're like, wow, man, I can't believe Tommy's dead. You know? Hello, Jodi. Hello, Reggie.
I can't believe our third best friend here is dead. Wow. You know, all of that kind of shit. Um, and Reggie Bannister, he's like 35.
I think when he makes this, uh, Jodi is characters like 24 or five. Um, how'd you guys, how'd you guys become friends? Well, I used to sell him ice cream. Yeah, he was my ice cream man.
Yeah, and I liked the ice cream. I was like, we started hanging out. Yeah. I'm just sort of starting to hang it out a lot.
And you know, uh, you know, playing guitar. Taught me a few chords, you know, and we just started jamming out on that and uh, it's kind of it. Man, I love that song. I love that song.
Um, and then we, you know, Jodi's walking around the mausoleum. Mausoleum's great. Um, it's big like marble walls and shit. All light just like looks, uh, it's got this, I mean, it's a mausoleum.
It's creepy, you know? And then Jodi walks up to his parents. Uh, it's not a grave in mausoleum. What is it?
It's just like a filing cabinet. Yeah. It's kind of a filing cabinet. It's like sealed up.
Yeah. Um, put them in there. Yeah. So we're indoor, indoor above ground grave.
Yeah. What are you doing? What are you doing? What are you doing?
What are you doing? What are you doing? What if we're people stuff, man? What if we not only, uh, had a very expensive burial, but what if we didn't go underground?
What if we made a whole building where we just filed them away? Mm hmm. And you know how they all stink. So you got it.
You got it. It's perfect idea. Oh ventilation. No windows, no vents.
We seal them up and that's it. And, uh, there are a bunch of other ones around too. Like they're stacked 10 high. Yeah.
It's, isn't that more dignified? I guess. Yeah. I don't know.
So much. Very, very loose wherever. Jodi's looking around and then a big scary hand on his shoulder. Ah.
Well, and it's that classic line from our friend, Naga, scream. The one that gets everything going. Yeah, it does. In this picture.
The funeral is about to begin. Sir. And then he says something like, thank you, sir. Basically being like, this guy's weird.
So weird. I forgot how like hostile the tall man is from the jump, right? You'd think he'd be trying to like keep a little profile or something. But again, this sort of like, I don't know.
I think this movie really traffics in like childhood fears. Yeah. So you got to have him be just like, the whole time. Yeah.
I mean, like he definitely is hostile, but it doesn't feel like he, I mean, it just feels like, you know, we talked about what the tall man is. He's like, he's just like a weird alien guy, right? He's just like, I think he people cosmic alien thing. He's a bit of a cosmic surfer.