FMC 078: The Thing 1982 Directed by John Carpenter

Full Episode Transcript
This episode of Filmmaker Commentary John Carpenter's 1982 sci-fi horror classic, *The Thing*, exploring its themes, filmmaking techniques, and enduring legacy, alongside discussions on recent media news and viewing experiences.

Opening and Film Overview
Reginald Titus Jr.: Filmmaker Commentary, episode 78. Welcome to Filmmaker Commentary, where we give you insights from our favorite filmmaking commentaries. These commentaries can be heard on your DVD and Blu-rays of your favorite movies. We'll show you how you can use these commentaries and apply them to improve your video production and filmmaking techniques. All of this here on Filmmaker Commentary. I'm your host, Reginald Titus Jr.
Welcome to Filmmaker Commentary. I'm Reginald Titus Jr. I'm joined with Casey G. Smith. Welcome back, sir.
Casey G. Smith: So good to be back, sir.
Reginald Titus Jr.: And today we're talking about *The Thing*, released in June 25th, 1982, directed by John Carpenter, screenplay by Bill Lancaster, story by John W. Campbell Jr. based on his short story, right?
Casey G. Smith: Yes.
Reginald Titus Jr.: Music composed and conducted by Ennio Morricone. Hopefully I'm saying that right. Or Morricone. We had a budget of $10 million and a box office of 19.6 million domestically, which we didn't have any international numbers, so it's a worldwide of 19.6 million. They made their money back, right?
Casey G. Smith: Yeah, just uh, yeah, yeah, they did make their money back. It's always fascinating with with horror, kind of where things are going to, uh, where things are going to fall.
Reginald Titus Jr.: Right.
Casey G. Smith: Then we got to keep in mind, it was 1982. Um, but this, according to what they were saying, is that this film had its cult audience home entertainment, basically.
Reginald Titus Jr.: Yeah, it really kind of caught, uh, caught fire then once it came to the, to that, to that home market. And again, I I heard about this for years and years and years. I kept hearing about it until finally I hunkered down and saw it.
Casey G. Smith: Yeah.

Media News & What We're Watching
Reginald Titus Jr.: Before we dive further into *The Thing*, let's talk about news and movies watched.
Casey G. Smith: All right, so according to Variety, Viacom and CBS are set to merge earlier than expected, possibly as soon as December. According to the article, CBS and Viacom are are planning that merge earlier, and it says the two media companies uh, said actually on Monday, October the 28th, uh, that they're setting things in motion. The last steps are, um, almost done as far as their consolidation between these two traditional media sectors. Um, the company will be known as ViacomCBS once the deal is complete, and that the, uh, that Sherry Redstone, the daughter of the media entrepreneur Sumner Redstone will oversee the businesses, uh, for the National Amusements. But the day-to-day leadership will be put into the hands of Bob Bakish or Bakish, uh, the Viacom CEO, and Joe Ianiello, uh, the CBS CEO is set to manage the majority of the CBS assets. The company had previously indicated that the merger would be completed before the end of 2019, and it looks like they're holding true to that.
Reginald Titus Jr.: What does this mean?
Casey G. Smith: Just more, more big media.
Reginald Titus Jr.: Mo money, mo money, mo money.
Casey G. Smith: Yeah, the competition is, uh, is a dwindling.
Reginald Titus Jr.: True, true.
Casey G. Smith: So it's fascinating to see. Also, uh, Joker this, over the weekend, actually even maybe like before the weekend, uh, officially became the highest-grossing R-rated film of all time, surpassing Deadpool, which is quite a feat. Did not, did not see that coming. Uh, and again, especially considering the, the budget that, uh, Joker was made for, uh, it is really making a killing.
Reginald Titus Jr.: How much was the budget for that one?
Casey G. Smith: Uh, looks like the budget was 55 million.
Reginald Titus Jr.: Okay.
Casey G. Smith: And, um, yeah, right now, so at a worldwide gross of 852 million.
Reginald Titus Jr.: Not bad, not a bad return on investment. That director can get anything he wants.
Casey G. Smith: Pretty much, yeah. That's quite, uh, quite an impressive feat.
Reginald Titus Jr.: Also in news, Felicity. She served her time, was recently released. Uh, what's Felicity's last name?
Casey G. Smith: Huffman.
Reginald Titus Jr.: Huffman, who was famous, well, was already famous, but now infamous, from the college scandal, AKA Varsity Blues. So she served her 14 days and now she is free.
Casey G. Smith: Free as a bird. Did she have to pay a fine?
Reginald Titus Jr.: Uh, I believe so. I think there was a, you know what? I don't know. I know that she's on probation. I know it's like, but, it's like,
Casey G. Smith: What does that, what does that mean? She can't leave the country, or?
Reginald Titus Jr.: This is, I don't know. That means no parking tickets, traffic tickets. Yeah, I don't know.
Casey G. Smith: For listeners, I, uh, I am rolling my eyes.
Reginald Titus Jr.: Yes.
Casey G. Smith: Rolling my eyes right now.
Reginald Titus Jr.: I don't know what that means.
Casey G. Smith: Shrugging shoulders, I roll.
Reginald Titus Jr.: I think she's in trouble. I don't know.
Casey G. Smith: But we're, yeah, we're, it's uncertain. Uh, I'm sorry, officer, I didn't know I couldn't do that.
Reginald Titus Jr.: You just make sure you don't do it again. That was amazing.
On the flip side, Lori Loughlin is just, they say in the article that she's like basically tone deaf. Like more charges have been, have been put onto her because they, she's been had like ample opportunities to take some of these deals, but she's like, nope, nope, she's still fighting it. But with the federal, 'cause it's a federal case, I think the statistic is 80% of the people that go against, uh, fights the government, they, 80% of the time, lose.
Casey G. Smith: Hmm.
Reginald Titus Jr.: It's not looking good for her. And the more that she does this, like the more charges are going to be put on top of her. And keep, and keep in mind, uh, Rick Singer, right?
Casey G. Smith: Mm-hmm.
Reginald Titus Jr.: He's the guy that basically snitched on everybody. He's the one that's been recording people and all that. So all that stuff's going to come out in court.
Casey G. Smith: Oh, yeah.
Reginald Titus Jr.: All the, after you had mentioned, you mentioned, uh, Gangster Capital a couple of episodes back.
Casey G. Smith: Yeah.
Reginald Titus Jr.: And I went and checked it out and, man, I got hooked. I listened to all seven episodes of their first season dealing with this college scandal. Super insightful. They, they tackle so many angles of it and they dramatize, uh, a lot of the conversations that, that Singer had with people. And he's got, he's got plenty on Lori and on, uh, Massimo?
Casey G. Smith: Her husband?
Reginald Titus Jr.: Yeah, Mossimo. I think, now that I think about it, I think I had like some of his shirts back in the day, yeah.
Casey G. Smith: Some of his shirts back in the day, yeah.
Reginald Titus Jr.: So he's, man, they had him dead to rights. And the way that he would do it is that he would literally, you know, front like he was being audited and say, hey, look, don't worry, I won't tell them about our deal to put your kids into college and lie about, blah, blah, blah. He was literally laying it out to have them literally confess that, oh, yeah, they'd be like, oh, yeah, great. You know, I'm glad you're not going to say anything about that. That, yeah, makes total sense. He's like, I just want to make sure I'm on the same page. Totally on the same page, you know. And just entrapping them, uh, so easily.
Casey G. Smith: Yeah, that's bad.
Reginald Titus Jr.: So, um, if I'm going to insert, uh, a clip from Gangster. It, actually I had the name wrong, it's Gangster Capitalism.
Casey G. Smith: Capitalism, that's right. It is Gangster Capitalism.
Reginald Titus Jr.: Uh, so we'll play a quick clip of Rick Singer snitching on people.
[Audio clip of Rick Singer's recorded conversation]
Singer: Okay, so here's the deal. Okay. So, Nikki is willing to do it. We are trying to get ourselves like 34 on the ACT.
Parent: Yeah, yeah.
Narrator: It should be noted that a 36 is a perfect score.
Singer: So, Mark Rydell will do that. It's really, it can be a 33, it could be a 34, it could be a 35.
Parent: Right.
Singer: But, so anyways, so the, she said she would do it. She would send us a copy of the test that we're going to take.
Parent: Okay.
Singer: And then, even though we're already going to send in his test, there at least your son will have taken the same test.
Parent: Thank you. Thank you.
Singer: Okay, so your donation is going to be 50. It'll, it'll end up being through our foundation.
Parent: Okay.
Singer: And I'm already sending a check to the proctor today and to Nikki today, 'cause she said, I gotta have the money first.
Parent: Okay.
[End of audio clip]
Reginald Titus Jr.: You got people caught up.
Casey G. Smith: Um, but yeah, uh, that, that was horrible to witness. And like, I wanted to like know that, like, see their faces while he's doing this on the phone. Like, is this dude like doing this on the phone? Like, what, okay, if he's so, I don't know, man, but it, it was, it was bad. It was very interesting though to see that, kinda get a, kinda of a crack, a peek into that world a little bit.
Reginald Titus Jr.: At that, at that level, you know?
Casey G. Smith: Yeah. Um, wow, I again, I work in education. I work in college admissions. Yeah. And what, the pressure that these people are putting their kids under, that they put themselves under. Yeah, where I work ain't, ain't that, ain't that that level. It's nowhere near that. It's, ah, it's, it is crazy when you hear what people are doing, the pressure they're putting on their kids with the ACT and SAT.
Reginald Titus Jr.: Yeah. Yeah.
Casey G. Smith: Anyway. That's a whole other tangent, but.
Reginald Titus Jr.: Yeah, if you dug that podcast, there's another podcast, um, that has kind of like the same kind of reporting style, but even a little bit more entertaining. Um, it's called Reply All by Gimlet Media, Gimlet Media. Reply All.
Casey G. Smith: Reply All. Okay.
Reginald Titus Jr.: Yeah, it's pretty interesting stories and they put the extra production into it to do a little narration and then recording the people and then narrating the story for you as well with a little bit of journalism. So yeah, that's it for the Varsity Blues. Um, any movies, TV shows, or media watched recently?
Casey G. Smith: Yes, yes, yes. So, um, I watched *Zombieland: Double Tap*.
Reginald Titus Jr.: Whoa, how was that?
Casey G. Smith: Hilarious.
Reginald Titus Jr.: Really? I didn't see the first one.
Casey G. Smith: The first one was pretty funny. Uh, it's been a while, I've only watched it once, but I remember I'd put it off for a while. When I finally saw it, I was like, ah, that actually was pretty funny. The sequel had me rolling. It was, it was, it was a riot. There's this one character, she's in the trailers, and she just steals the show, man. Every scene she is in, man, yeah, just had me dying laughing. So really enjoyed it. Yeah, *Zombieland: Double Tap*, you're looking for a laugh, having a bad day, you having a good day, check it out. It's it's worth it's worth seeing.
Reginald Titus Jr.: Send the check, Zombieland, thank you.
Casey G. Smith: Bam! Also, on Netflix.
Reginald Titus Jr.: Okay.
Casey G. Smith: The return of Eddie Murphy.
Reginald Titus Jr.: Yes.
Casey G. Smith: In *Dolemite Is My Name*.
Reginald Titus Jr.: Yeah.
Casey G. Smith: Wow.
Reginald Titus Jr.: Really?
Casey G. Smith: Yes.
Reginald Titus Jr.: Okay.
Casey G. Smith: Quality, just solid film all the way through.
Reginald Titus Jr.: Okay.
Casey G. Smith: Um,
Reginald Titus Jr.: Craig Brewer directed it. Craig Brewer, uh, did, uh, *Hustle & Flow*.
Casey G. Smith: He did his thing. And he's a, uh, white guy. Still did his thing. He's, you know, Memphis, Tennessee. He got some flavor in his, in his background. He has a very interesting background. But he's going to be doing, uh, *Coming to America 2*.
Reginald Titus Jr.: That's what I've heard, yeah. Well, somebody, I was listening to a review of it today and they, they mentioned him. Uh, they talked about that, they made them even more excited the fact that he is, uh, because of performance he gets out of Eddie Murphy. Eddie Murphy, man, this is some of his best acting. Like since like *Dreamgirls*. Wow. Uh, yeah, solid performance, man. Solid performance all the way around. It's, it's, it's, it's funny and it's heartfelt. It's just, yeah, man. It's a solid film, man. It's good.
Casey G. Smith: I'm a fan of Craig Brewer. He, he can tap into like your humanities. I don't know how he does that with, like, some of the the silliest, kind of like, worst characters. He figures out how to, you know, make them human. *Black Snake Moan*, he did that one, too.
Reginald Titus Jr.: Man, he is solid, man.
Casey G. Smith: Yeah. He's good. Like the way you treating the brothers, you know, you know. Man, I'll tell you what, this, it reminds me, after watching it, it reminds me of Mario Van Peebles. Ah, yeah, yeah. I says, what? I was like, yo, this is reminding me of, of, of, of something else. I couldn't think of at the time, but then it came to me, uh, today. And I was like, man. Once you see it, you'll know exactly what I'm talking about. But even just the whole pushing to try and make this film and, yeah. Uh, but it's, it's solid and just and just, but just executed better. You know, just better production value.
Reginald Titus Jr.: A little bit better budget, not a Showtime budget.
Casey G. Smith: Yeah, yeah, yeah, it's, it's, it's definitely worth checking out, man. I'm thinking about, even talking about now, I'm like, man, I wouldn't mind, I wouldn't mind watching it again.
Reginald Titus Jr.: When I started seeing like on YouTube, 'cause I play YouTube in the background, I'm like doing my editing and stuff like that, waiting for things to render. Um, when I started seeing it pop up more, like people doing more press, I'm like, okay, it must be getting real hot. 'Cause they were loading up on a lot of press leading up to the release. And then now it's even, I guess it's getting some good reactions from people. So like showing up everywhere. That's good. I'm glad he came back and, 'cause he was gone for a minute.
Casey G. Smith: He was making stuff still, but it's nothing that was like, it was hidden.
Reginald Titus Jr.: No, yeah, you're right. He did make some stuff here and there.
Casey G. Smith: Yeah. He was making like things, but it's just like, he had that one movie that came out a couple years ago, Mr. Mr. Something, Mr. Shepherd, Mr. Deeds, Mr. No. Yeah, the the the trailers look, it looked like a, like a, like a, you know, powerful, Mr. Church, was it Mr. Church?
Reginald Titus Jr.: Yeah, I think so.
Casey G. Smith: It looked like a powerful performance and grounded and rooted. Traumatic.
Reginald Titus Jr.: But I, I never went and saw it. I was like, yeah, okay. Good for you, Eddie.
Casey G. Smith: Yeah, he'd done a lot of family-friendly stuff, basically. He went that route, I mean, almost everything was like super family-friendly. And, uh, *Dolemite* is not. *My Name is Dolemite* is not family friendly. Uh, yeah, it's, it's not too, too crazy, but there, you know, there's nudity here and there and there's, there's definitely plenty of of of language, if that's. You gotta have nudity with Dolemite. Yeah. I'm still trying to again, similarly, you know, like like just like it was tough to watch *Sweet Sweetback's Baadasssss Song*. Yeah. You know, I started watching *Dolemite* on, uh, Amazon Prime. Oh, God. And I haven't, uh, haven't finished it yet. So, I'm like, do I have to? Do I have to watch this? I want to watch this.
Reginald Titus Jr.: With the bad karate kicks, like the, like some of the kung fu was horrible back in that, some of the blaxploitation films.
Casey G. Smith: They sped it up, you know, they, they, they actually sped up his movements to, yeah. Oh, man, you look at some of the old stuff, like, they don't know a lick of martial arts. And I was very, you know, critical of that back in the day.
Reginald Titus Jr.: Sure did. Yeah. It's like, I'm not watching this. Um, so those are a couple of things. I got a few more, what else have you seen?
Casey G. Smith: Um, I haven't seen, I haven't seen anything new. Um, I've been busy. But what I did, so as far as just media, um, as of, you know, the time of this recording, uh, Kanye West has been making the news. Uh, he just recently released a gospel album last Friday. Went on, I have a subscription to Tidal, so I was like, let me check this out.
Reginald Titus Jr.: Sure.
Casey G. Smith: It's jamming. It's pretty good. It feels good to listen to like good gospel and a little bit of hip hop in there.
Reginald Titus Jr.: Okay.
Casey G. Smith: And not being cussed out, you know what I mean? It's like, oh, it feels good. I can actually, there's like good messaging in it. It's like a surprise. I can play it at, I can play it around the house and not worry about nothing. This is great.
Reginald Titus Jr.: You never know what you're going to get with Kanye.
Casey G. Smith: Yeah. You're going to get different. That's what you're going to get.
Reginald Titus Jr.: And creative. He's, he's literally a creative genius.
Casey G. Smith: I, I would never question that. I would never question his creative genius. He, he, he is someone who knows how to reinvent himself. Yeah. Um, so yeah. And so it's funny because you bring up his, so yeah. So yeah. It's funny that you bring up his, his album because I literally heard about it today, but it was because I was on YouTube and, uh, SNL over the weekend. You know, I, I like to watch the highlights of the Weekend Update on YouTube. And literally they, they talked about that and Michael, Michael Che kind of like, I don't know, he just started, he was just joking about it. He was like, he was like, he goes, he goes, I was, you know, concerned about Kanye. He goes, he goes, he goes, I think I was, I was, I was worried that he's, first I, I, I was, I was worried about him as a, you know, as a, you know, a, a black man. You know, I was like, he's like, oh, he was like the coolest, the coolest, you know, brother and everything. He was hot. He goes, he goes, now I, I think he's, he's like, just like, turning into a, an old, old white woman. He was like, you know, he's, you know, he's like, listening to gospel and trying to convince people to support, but he's always had gospel influences in his tracks.
Reginald Titus Jr.: That's not right.
Casey G. Smith: No doubt.
Reginald Titus Jr.: Yeah. Always.
Casey G. Smith: Yeah. And of course, you know, *Jesus Walks* and,
Reginald Titus Jr.: Yeah, I mean, 'cause they tried to, when *Jesus Walks* came out, they tried to claim him then like, he is a gospel artist. Like, wait, have y'all heard that album? He is not.
Casey G. Smith: Yeah. Yeah.
Reginald Titus Jr.: Yeah, so he's always had his toe in there.
Casey G. Smith: But, but it's the things that he says, man. He just throws, he just throws me off. I've heard like things at his concerts that are,
Reginald Titus Jr.: Oh, polar dude.
Casey G. Smith: But even mental health is a real thing.
Reginald Titus Jr.: I have no, no doubt. Like, there, there is a, is a, is a mix where almost like, you know, Gemini.
Casey G. Smith: Yeah, where he refers to, refers to himself as, as, as Jesus and, yeah. Like, ah, okay. I keep my eye on him. Don't you worry. Yeah. Like, I'm not going to trick me, Kanye. I got my eye on you. Yeah. It's just fascinating with, with different artists, especially when they, you know, they'll kind of, you know, vacillate back and forth. And some are, I guess with, you know, some are more extreme than others. You know what I mean? Like, you know, R. Kelly would kind of, you know, vacillate back and forth.
Reginald Titus Jr.: Did he?
Casey G. Smith: R. Kelly had multiple songs. One of my favorite songs. Well, number one, *I Believe I Can Fly*. That's straight gospel influence and tone, all the way through.
Reginald Titus Jr.: That's what you mean. But, you know, I used to sing that *I Can Not Go On*, you know, *Life's an Empty Song*, but now I know the meaning of true love. I'm leaning on the everlasting arms. You know. But, he has one song called *Looking for Love in All the Wrong Places*. It's on the R&B CD track.
Reginald Titus Jr.: Hot album. Just saying.
Casey G. Smith: Yeah, man. But, uh,
Reginald Titus Jr.: He's been canceled in my world.
Casey G. Smith: He has. I canceled this dude back in 2004, three, 203, whenever. This album was like high school for me. So it was like, like mid, mid-90s, late-90s, late-90s.
Reginald Titus Jr.: I didn't have to see the documentary to cancel him.
Casey G. Smith: Yeah. But that song, man, it's straight gospel songs about, you know, him, you know, meeting Jesus, you know.
Reginald Titus Jr.: Really? The whole album was?
Casey G. Smith: No, just that, just that track. But, 'cause from what I remember, I thought that was, that, that album was jamming.
Reginald Titus Jr.: It was. Because right after that, he has that song with with Crucial Conflicts. So he goes from this song, you know, you know, in the, the very couple, last couple lines, you know, that it was your grace that set me free. Thank you, Jesus. And then next, you got, you know, this, this song, you know, howling and all this kind of stuff and it's, and he's, I think it opens up, crucial conflict. Oh, yeah. And, you know, it's a song called *Ghetto Queen*, you know, and, uh, you know, there're sounds of, of things being smacked, you know, saying, who's is this? Who's is this? Oh, yeah, I remember. So, there's a, there's a lot of, you know. Yeah, you're jogging my debaucherous memory. Yes, there's a lot of back and forth in the world of R. Kelly. Take that as you may. So, uh, but then he had, he had a song. Man, is a party, y'all. Keep Murray. Uh, oh, man. But, yeah, they, there always would be some gospel influence. R. Kelly is, uh, creative genius who is in jail.
Reginald Titus Jr.: Oh, yeah.
Casey G. Smith: People say sometimes like those who are in that kind of like upper, like they, they have that, that, that, that special gifting to be genius in certain areas or just like amazing in certain areas that they, at times, at times, may lack other areas that can lead to big downfalls potentially.
Reginald Titus Jr.: Yeah.
Casey G. Smith: It's, his background is pretty bad. Yeah. He's, it was going to lead to somewhere crazy.
Reginald Titus Jr.: All right, so you've you've listened to Kanye's new gospel album. Kanye. Two people from the Chi. Hey.
Casey G. Smith: Well, okay, good point, good point. Both great.
Reginald Titus Jr.: Go ahead.
Casey G. Smith: So I, I also, uh, speaking of crazy, uh, last night I watched on HBO a movie called *Greta*. Which I remember seeing the trailers for back in the, I guess maybe, heck, maybe back during the summer. But it's a movie with, uh, Chloe Grace Moretz. Um, who I hadn't seen for a while, who had a couple years ago said she was kind of stepping away, um, from acting and she actually came back into the mix. But, uh, the trailers basically show that, you know, she befriends an older woman and finds out that this woman is, uh, not who she says she is and, and the woman begins to stalk her. Yeah, it was, it was, you know, they pretty much gave away the movie in the trailer.
Reginald Titus Jr.: Thanks.
Casey G. Smith: Yeah, it was one of those things. And it, and it played out as, as, as such, but, um, Chloe Moretz, I mean, she's really grown as a, I mean, as a woman, but also as a, as an actress. I always think she gives good performances.
Reginald Titus Jr.: Okay.
Casey G. Smith: Um, so, uh, yeah, it was, it was, it was a serviceable film. And you got those moments of tension where you're like, no, don't do that, you know. And, you know, this, this, the woman who plays Greta, uh, she does a pretty stellar job because like she seems just hapless, you know. But, man, she's, she's ruthless. She's ruthless. And she's cunning and, and, yeah, so that, that, that was, uh, entertaining. Um,
Reginald Titus Jr.: What genre is this?
Casey G. Smith: It's a thriller.
Reginald Titus Jr.: Okay.
Casey G. Smith: Yeah, borderline horror, but it's more so a thriller. Suspense thriller. And lastly, I watched the first episode of the *Watchmen* series on HBO.
Reginald Titus Jr.: Didn't he good? I, like, when I was looking at the trailers, I was like, this might be good, but I'm gonna have to wait to hear what people say.
Casey G. Smith: So, the trailers didn't do it for me and it wasn't until I heard somebody give a review of the first episode. And they cover a major event in American history that happened in Oklahoma many years ago.
Reginald Titus Jr.: Did it happen to start with the?
Casey G. Smith: Yeah.
Reginald Titus Jr.: Oh, okay.
Casey G. Smith: They actually cover that in the first episode. And it's like, what? It, it was, I was, I was like, flabbergasted that they, um, covered that. And so, that first episode, I was like, okay, yeah, I am, I am in. Uh, and it's not, it's not set in that time period, but it jumps ahead. But, yeah, they, but they opened with that. And and how they're transitioning and again it's, it's, uh, the director is, uh, Damon Lindelof, I think his name is. He all, he did the, uh, the HBO hit, uh, show, the, uh, the *Leftovers*.
Reginald Titus Jr.: Okay.
Casey G. Smith: And I finally got around to watching that last year sometime and, wow. Okay. That dude, man, the way his brain works. And this, this, this show is very faithful to Allan Moore and David Gibbon, Gibbon's *Watchmen* graphic novel. Uh, the original graphic novel, the 12-part series that kind of revolutionized comics. And there are all kinds of just hints and clues. So if you've seen the movie, that, that's, that's helpful. 'Cause, yeah, actually, that is helpful. It's, I'm, I'm very surprised with what they're, how they're walking this balance of being different, but it takes place after the movie clearly. But it's clearly set in that world. Which is, which is amazing.
Reginald Titus Jr.: It's after. That's good. I, actually, I like the tone of *Watchmen*. It just seemed a little long and, uh, yeah.
Casey G. Smith: It's a, it's a, it's a long, I mean, it was a, it was a, in comic books if you do like a mini-series, you might do a three or four-part mini-series, maybe a six-part. This was a 12-part, it was a maxi-series. Nothing like it had ever been done before. So it's, it's, it's a lot of content and it's a stand-alone world. Yeah. Um, like,
Reginald Titus Jr.: I like it.
Casey G. Smith: stand-alone.
Reginald Titus Jr.: I probably should have seen *Watchmen*, I probably should have read the graphic novel before watching *Watchmen* the movie.
Casey G. Smith: Yeah, that's what, that's what I did. I eventually.
Reginald Titus Jr.: Yeah, I probably, I should have did that and then, um, yeah, when I watched the film, I was like, I like the tone.
Casey G. Smith: Mm-hmm.
Reginald Titus Jr.: But it's not, yeah, I won't, I wouldn't, I wouldn't come back to it like that. Uh, but I definitely like the tone and how they executed it. But somebody revisiting that world and shooting in it, I would, I would be interested in that. I would be. So that's why I was like, I'm intrigued by this. I'm going to wait to hear what people have to say.
Casey G. Smith: Yeah, man. And the, the first review got me into going to see it. Now, actually, I'm excited to watch the second episode. 'Cause it airs on Sundays, so the second episode just dropped yesterday, so.
Reginald Titus Jr.: So, it's after the events of the graphic novel, right?
Casey G. Smith: Actually, yeah, or, or even say of the movie.
Reginald Titus Jr. No, like, no, of the graphic novel because the, the, the movie ends slightly differently than the graphic novel. So they're going to change what these people do in this world. Okay. Yes. 'Cause there's, there's something that they do in the graphic novel, the way it ends, cinematically, would have been very difficult to justify in a movie. So they made a slight change. But it, but it's, but it's, it's, the movie, the movie was so, for the most part, faithful to the graphic novel. There are even some stylistic things that you see that, uh, Snyder used that aren't in this. It's, ah, yeah, man. I was, I was very impressed 'cause *Watchmen* is one of my favorite movies of all time. Like, I, I love. Wow. I love *Watchmen*. I've got. Wow. Yeah. I, I have a, uh, collector's edition set, um, yeah, with the, with the, with the Blu-ray. I have, they have the extended cut that has the eight-hour cut. Yeah, man. Which I watched, I was like, oh, God, that was too much. Like, watch that all together with the, with the *Dawn Treder* like, cut in between just like the graphic novel. Holy smokes. That was, that was a little too much. I'll admit. Yeah. Like, hmm, okay, I may have crossed, there's a line, and I, I may have stepped over it. I mean, yeah, I may have stepped over it. But, um, but yeah, there's multiple ways to consume it, man. I've, I've read the graphic novel. I've watched the, there's like an animated comic version of it. Yeah. Where there's one guy kind of narrating everything. That that's actually the first way I consumed it, was through that. And then actually bought the graphic novel and read it. I was like, oh, man, this was, and I got to the end, I was like, holy crap, this was, yeah, and just reading through it. Dave Gibbons, the artist behind it, the way he sets those panels up, man, you gotta constantly watch because there's stuff just being set up in the background while you. The co-skewing, the graphic novel as well. Oh, yeah, they used crazy mutated. I only, I only read like the first 30 pages from the pages or something like that. I gotta get back to it. Yeah, it's pretty thick, pretty, pretty big. But, uh, any rate, anything else? No, that's good. Okay. That's been plenty. That's, that's plenty. Y'all let us know what y'all think. And, you know, hit us up on Facebook and say, hey, watch this. Give us some suggestions or let us know what you've been watching. Please do, please do. Now, let's get back to the show. Thank you for tuning in. You are listening to Filmmaker Commentary and we're talking about *The Thing*.
Casey G. Smith: With attitude.

The Thing (1982) - Synopsis, Initial Reactions, and Themes
Reginald Titus Jr.: Released in 1982, directed by John Carpenter. Now let's get into the synopsis. In remote Antarctica, a group of American research scientists are disturbed at their base camp by a helicopter shooting at a sled dog. When they take in the dog, it brutally attacks both human beings and canines in the camp and they discover that the beast can assume the shapes of its victims. A resourceful helicopter pilot and the camp doctor lead the camp crew in a desperate, gory battle against the vicious creature before it picks them all off one by one. *The Thing*. And if this is your first time listening to Filmmaker Commentary, please know that there will be spoilers. You've been forewarned. How did you watch this movie and did you like it?
Casey G. Smith: I first watched this, I believe, on on HBO, uh, maybe like two years ago or so. It was, it was a, it was a long time 'til I finally got around to it. It kept popping up, people talking about it, saying how good it was. I was like, oh, okay, let me, let me find, check it out. I was waiting for it to pop up somewhere streaming and finally when it did, I was like, yeah. Boom, hit play, watched it and I was like, whoa, I was, I was shocked, um, by the practical effects. Uh, I was like, dang. It's, it's, it's gory in its, in its own right, but, uh, but I enjoyed, there was this level of of tension that was there. Uh, not knowing who you could trust. And, uh, yeah, I, I, I enjoyed it.
Reginald Titus Jr.: Uh, this is my first time watching it. I'm been knowing about the film, but you know, this came out in the '80s, early '80s. Early. I was a baby. But I never was moved to watch the film. You know, I never really had a reason. I'm just like, boring title.
Casey G. Smith: Not the most imaginative.
Reginald Titus Jr.: Cold, bunch of dudes. Nah. Nothing at all tells me to watch this movie.
Casey G. Smith: Agreed. Even the key art, the key art is not.
Reginald Titus Jr.: Yeah, it's like a shadow, yeah, it's like a shadow guy, boring. Meh. That's why people probably didn't come out to the theater. They had to watch it first, then they were like, uh, okay. Finally watching this film, I'm like, man, this is pretty good. It's disgusting. But yeah, it's, uh, I, I enjoyed it watching this. Yeah, really, really good.
Casey G. Smith: I'm glad, I'm glad.
Reginald Titus Jr.: Yeah. It was good, well done, uh, the transfer from the film to, to the Blu-ray, it it looks good, definitely. Definitely holds up. Well, I don't know if it holds up, but it looks good.
Casey G. Smith: Yes. Fair enough.
Reginald Titus Jr.: He was playing chess on the, on the first computer. Throws, throws his drink into it.
Casey G. Smith: I'm like, man, you're a sore loser. There was a commentary with, uh, Kurt Russell and John Carpenter. And then there was a, there was a couple of commentaries.
Reginald Titus Jr.: There were two more commentaries.
Casey G. Smith: Ah, man, I, yeah, so I, I would be interested in listening to them, but I didn't listen to any of the other commentaries.
Reginald Titus Jr.: I believe the other one was with, uh, Dean, uh, Kudney? Kudney. Yeah, Kudney, yeah, the DP.
Casey G. Smith: The DP, DP.
Reginald Titus Jr.: So, so the commentary, all in all, I think it was a, it was a pretty good commentary. Yeah, pretty good commentary. Um, a lot of special features on the Blu-ray.
Casey G. Smith: Yeah, this was a collector's edition. So, um, I had to kind of scour for it to find, to find the one with the commentary on it.
Reginald Titus Jr.: Where'd you find it at?
Casey G. Smith: Uh, I got, I got it at Movie Trading Co. But that's after again, after I'd done some research and I happened to call, I'm like, hey, do you guys have this? They said, yes. I said, please hold. The name is Casey. And, uh, yeah, I went there and scooped that bad boy up and I was like, whoa.
Reginald Titus Jr.: How much was it?
Casey G. Smith: The, maybe 20?
Reginald Titus Jr.: Oh, okay.
Casey G. Smith: Yeah, it was, it was, it's a, it's a tremendous value. It's, it's, this is one of those, this is a Blu-ray with two discs. Yeah. You know that's a lot of features when you get two Blu-rays. Uh, there's documentaries and just, documentaries, excuse me, multiple makings of the film, multiple commentary tracks. There's even a, I think a, I think they, one a, a TV edited version of the film on the second disc. Yeah, it's just, it's, it's pretty, pretty insane.
Reginald Titus Jr.: Pretty sure you'd get that back to you.
Reginald Titus Jr.: What did you think about the, the tone?
Casey G. Smith: It's a slow, kind of somber tone where you're constantly left. I mean, it, it feels like the setting, right? There's this isolation that is there. Um, and though you're in this vast tundra of the Antarctic, you, you still feel confined in this little camp. And so once things go awry, you're like, what chances are there for escape? You know. Uh, there's, there's a, there's an air of like almost like of hopelessness, uh, to a degree.
Reginald Titus Jr.: Yeah, I agree. When it, when the movie opens up, like we're, I think we're seeing the perspective of the helicopter in Antarctica. Well, actually, it opens up with, um, a spaceship kinda floating towards Earth. And then I guess it's crash landing to Earth and then *The Thing* title, *The Thing*. And then we see Antarctica, you know, cut to Antarctic. Did they put the year on the, I'm not sure if they put the year there, but we know that we're in Antarctica. And then us being knowledgeable of Antarctica, that's far away and it's extremely cold. That's all you need to know. That's all you need to know. And then we see the helicopter kinda floating in. I, I think those guys were Norwegian, right? Um, there, they're in this helicopter following this dog. This dog is like, uh, just shaking this helicopter. Shooting at the dog and the dog's just like, nah, nah, you ain't got me. Um, but they're in the middle, like, about from the perspective of the helicopter, you see how vast this is and then there's just this little camp. So, you're in Antarctica, you're not going to survive if anything goes wrong here. If your generator goes down, whatever, you're pretty much done for.
Casey G. Smith: Yeah. By time anybody could get to you to help, help you. I mean, you'd assume that there may be some other bases around, but it's far. And Antarctica is pretty big.
Reginald Titus Jr.: Yeah. And yeah, no one's just going to stop by. Hey, how's it going? Um, but these Norwegian, uh, the helicopter's Norwegian, drops out of the helicopter, shoots at this dog. Uh, I think his co-pilot like pulls out like grenades and trying to blow up the dog. And accidentally blows up the helicopter and himself.
Casey G. Smith: That part makes me laugh. I, I don't know. It just kills me every time, man. That's actually one of my favorite scenes. I'm just like, it's just the way it's, I don't know, it's what they've shot to that.
Reginald Titus Jr.: And so when this place, accidents can happen. So that sets the tone, it's like, it's comedic, but at the same time I'm like, whoa, you have no flight, you have no helicopter anymore. And it's, and it's just through like, I don't know. I said it's folly. It's like, oh, man, like.
Casey G. Smith: Oh, man.
Reginald Titus Jr.: And he's still trying to shoot this dog and he, in the midst of him trying to shoot this dog, he's hitting people, like, he hit one of the guys by accident, like, bam! But he doesn't care. He's still trying to kill this dog. Then he himself gets shot in the face, dies. And so that's like, it's letting you know like, whoa, life can just, you can die quickly here or, you know, what's going on? Are people losing their mind?
Casey G. Smith: The stakes, the stakes are high. It's, it's, it's survival. Like, from the jump, it's survival. Like, survival and desperation. Like, what would make these guys just burst into this place and pursue a dog with such fervor that they would just throw caution to the wind. That they're going to try to blow the dog up and maybe the people around it with a grenade. Like, you just give zero anything. Like, this dog has to die. You're like, he's all the F I give. They would have been flamed with the helicopter.
Reginald Titus Jr.: He's all the F I give.
Casey G. Smith: Yes.
Reginald Titus Jr.: Yeah, it, it's just, man, it's high stakes kind of from the jump. But also mysterious, like, what? What is going on? What did this dog do?
Casey G. Smith: And without much dialogue, if any at all, they tell you the whole story right then and there with just that special effect and this dude shooting at a dog and getting himself blown up and killed.
Reginald Titus Jr.: I, I just, I just see the image of the thing slipping out of his hand, and he goes diving for it. Like, oh, you dummy. What would you?
Casey G. Smith: He's like, uh, uh, uh.
Reginald Titus Jr.: Are you really going to, I mean, what are you going to do when you grab it? Are you going to put the pin back in? You had no chance.
Casey G. Smith: That's true.
Reginald Titus Jr.: You had zero chance.
Casey G. Smith: He wanted to save the helicopter.
Reginald Titus Jr.: He's, I'm sorry, buddy.
Casey G. Smith: Sometimes there's no turning back.
Reginald Titus Jr.: It was so cold. Unbelievable. Themes. I'm literally going to just quote what they said in the movie.
Casey G. Smith: Mm-hmm.
Reginald Titus Jr.: Trust is a hard thing to come by.
Casey G. Smith: That's good.
Reginald Titus Jr.: And, uh, that's said by Blair. Uh, Blair, he was a doctor trying to figure out, he was doing the autopsy on these animals that they discover in Antarctica, or these creature, the thing creature that they find.
Casey G. Smith: Back at the base.
Reginald Titus Jr.: That stuff was gross. When he's like doing, when he's cutting into that stuff, I'm like, See, that part is not even too bad, because we've seen this scene quite a bit. The thing that grosses me out is like the little tentacles coming out of the animal, like, I'm like, Don't eat any food when you watch this film.
Casey G. Smith: Yeah, it is pretty, uh, it's pretty juicy. It's very juicy.
Reginald Titus Jr.: Trust is a hard thing to come by. And, uh, I think John Carpenter says that in the commentary. And literally, your character, sometimes your characters will tell you what the theme is. Sometimes early on, this is like midway. You know, when they lock up Blair and Kurt Russell's character, you know, says, you know, it's hard to come by around here. Trust is a hard thing to come by.
Casey G. Smith: Right, right. 'Cause he said, oh, you know, you can always just trust in the Lord, you know, kind of a joke. He's like, oh, trust is a hard thing to come by.
Reginald Titus Jr.: Yeah.
Casey G. Smith: I had, uh, themes. They also mentioned these in the commentary. Uh, isolation. Imitation. Infiltration.
Reginald Titus Jr.: Oh. How about that? The three Is.
Casey G. Smith: Isolation, obviously, again, base, we kind of covered that already. Imitation because this particular creature can imitate anybody. And it, and in so much so that when it hides within a host's body, they don't know. That's the scary part and that, that definitely leads to the, the sense of infiltration, that this thing has infiltrated the base. Nobody knows if they're infected. We still don't know, even to the very end of the movie, we don't know 100% whether or not, uh, Kurt Russell's character as, as McCready and, uh, Keith David's character as Childs. We don't know if, if they eventually were infected somehow. Um, you know, how easily it could happen. Uh, even though they do the, you know, the whole blood test thing and they, they were clear then, but who knows, man? Who knows?
Reginald Titus Jr.: Another theme is just, it's like a metaphor. Uh, it's like a metaphor for at the time, this is in the '80s, so they talk about how AIDS was very prevalent. Still is, but, um, it was like one of those things, it was like a frenzy, like, what is this AIDS thing? So it's a metaphor, you know, for the disease AIDS, that anybody can be a carrier and you don't know if they have it or not.
Casey G. Smith: Yeah. And not sure, and not sure how it's contracted.
Reginald Titus Jr.: Exactly. Yeah, that's right. 'Cause, yeah. It was new, it was new to them in the '80s.
Casey G. Smith: Here's another fascinating thought, is that also within this film, it was, it was also all men, you know, who were there. And, and at the time, you know, AIDS was seen either as, at least early on, as, as something that would just, was just within the homosexual community. Obviously, eventually you find out obviously that's, that's not the case, you know, midst, amongst all communities and, you know, through drugs as well. But, um, but yeah, that was I just kind of just crossed my, crossed my mind.
Reginald Titus Jr.: Wow.
Reginald Titus Jr.: That's what John Carpenter, very smart. Very smart, John Carpenter.
Casey G. Smith: Yes, yes, yes.

The Thing (1982) - Filmmaking, Quotes, Trivia, and Final Thoughts
Reginald Titus Jr.: I saw a correlation between this film and *Little Shop of Horrors*. Little alien come from out of space, come in, infiltrate, try to take over. And what made me think about it was the, uh, the scene when the, the dogs are like ripping apart and all that. And the big monster comes out of there and it looks like a, like that plant from *Little Shop of Horrors* for a second, then it opens up.
Casey G. Smith: Oh, man. I hadn't even, I hadn't drawn that correlation. Huh. There, that was an alien. You know, that freaking plant, *Little Shop of Horrors*, alien, alien.
Reginald Titus Jr.: That's a good point.
Reginald Titus Jr.: That was based on a short story as well, wasn't it? The *Little Shop of Horrors*.
Casey G. Smith: Yeah, initially, yeah, it became a movie. And so, what's funny about *The Thing*, this is a remake. 'Cause John Carpenter talks about watching the original version of this, uh, that was based off the short story, but it didn't have the, uh, what's the element that it didn't have?
Reginald Titus Jr.: I think the first one, uh, they said the guy was like made out of a cabbage or something like that.
Casey G. Smith: There was some major element that they had that that, that original film didn't have that they wanted to make sure they brought back in. It may have been the fact that it was just all men. But, but yeah, they definitely made some, uh, some key things, some key differences. And may have been even the, I can't think, I can't think of what it was, but they made changes. They made changes.
Reginald Titus Jr.: Significant. Style. What do you think about the style of the film?
Casey G. Smith: It seems like there was a lot of, it's like fairly desaturated in terms of like colors. Like there weren't like any like bright colors. It was desaturated, muted. So I think Carpenter says at one point it's like a, it's this is supposed to seem like a black and white movie but that was like in color.
Reginald Titus Jr.: Hmm. Whenever there was a color on the screen that was emitted by the lighting, you could see it right away. Like the blues, you would see blue, you would see green every now and then a little accent. I like the, um, it was anamorphic lenses, of course, had the anamorphic. You could tell when Kurt Russell, when his character is shining the, his, uh, light bulb, his, uh, flashlight. You got the streaks, the anamorphic streaks, you got the wide screen, you got the top black and white panels at the top and bottom of the screen. And also like the music, like the music sets like this ominous vibe soon as it kind of starts, the music score is like, oh, man, this is, it's appropriate, you don't really think about it, but it's like playing in the background of your brain. Oh, yeah.
Casey G. Smith: Oh, yeah.
Reginald Titus Jr.: It's well done.
Casey G. Smith: What I, I also appreciated about the film that you don't, I, I have not seen it in a lot of films. Maybe older films like in the '40s or '50s, the kind of the, the you have the dissolve where time kind of lapses. Yeah. This film wasn't afraid to do that. And to, and to, and to leave you to wonder, like, when, when the dog is coming down the hallway. Yeah. And he stops, he looks in one room. And the dog, the dog's performance in this like, impresses the heck out of me. I'm like, oh my. The dog is, the dog is a great actor. He's good. Come. Yeah, man. Just his, his this timing. I'm like, good job, dog. 'Cause the dog, 'cause it opens up with the dog just, like, just leaping over all the snow. I'm like, man, he's not tired, not going to stop or anything. He just keeps going.
Reginald Titus Jr.: Oh, yeah.
Casey G. Smith: Just going, man. But when he walks down that hallway and he's and he's, and there's a, there's a room to his right, and he stops and he kind of looks inside. And there's all like, you know, there's just one take and he and he comes out, he doesn't even go all the way in the room. He just stops, looks and then he goes to the next room with the, with the light on. And you can just see the silhouette of, um, one of the other, uh, characters. It is, uh, Clark. You see his silhouette and you see the dog stop at the door and then go inside. And then it, and it just fades. So, and that right there is the beginning of a of a setup of a, of a potential fake out. Like, you don't know what, okay, what, what happens? And initially, you don't think it's like that big of a deal because you see that Clark is a, is a, is an animal lover, um, and at times he, he tries to defend the animals and, um, yeah, it's just, it does that multiple times in the film where it kind of just fades. You know, sometime it's passed, but it's not afraid to do that. And I, I applaud the movie for that.
Reginald Titus Jr.: Yeah. And part of like the style, uh, going back to that shot is that like, uh, Carpenter did a lot of dolly back shots. So the character is coming towards us. And we, the dog walking, and in, and John Carpenter says like the dog isn't looking at the camera lens, he's not looking at the director. I'm like, that is a good actor. He's walking towards us, avoiding eye contact with the lens, ducks his head down for a second, and then goes into the room, like, what? Yeah. That's intelligent.
Casey G. Smith: Yeah, I'm like, what, who is this dog? His, uh, I think his name is to be, uh, Jed. Apparently, he's the, is the, the dog's name.
Reginald Titus Jr.: That dog is on point. He was blocking down. He was taking care of business. Just taking, just doing the shot, they have the shot, uh, when they're discovering the alien for the first time, or the, the alien base, you know, the character is walking towards us. And we're just kind of dollying back with him, like, basically discovering things and reading the actor's face to kind of see how we should feel.
Casey G. Smith: He was taking care of business.
Casey G. Smith: They talked, oh, I think they talked about at one point also, I don't think, I don't remember if it was dollying or not, but they were they, where they, where they panned one way and then panned right back the next one. So when somebody was like coming out of part of the base into the snow, had a conversation and they, I don't know, say tracking per se, but then they went right back the other, other way.
Reginald Titus Jr.: I like that.
Casey G. Smith: So you could kind of just follow him right back, right back to that same, same path.
Reginald Titus Jr.: Yeah. Well, some of these older movies, every shot is like thought out a little bit more, you know, and, and you're very intentional. These days, since we're shooting on digital, sometimes you can see people just like over-shoot, over-shoot, over-shoot. Because they know they're going to get several angles of the same shot over and over again, whereas, you know, you probably did with one camera, these long lenses, and, uh, they did a lot of storyboards. Um, and in the, in the special features, you can actually see a slideshow of all these storyboards. And like, shot for shot, you know, you can see like the helicopter shot with both of the pilots in there. They, they drew that out and then you can actually see that shot. So, yeah, you can, you they spent a little bit more time on their shots. It might, it might last 15 seconds longer than you would expect. So the time is a little, makes you hang out a little bit longer with these people.
Casey G. Smith: Yeah.
Reginald Titus Jr.: Do you have any quotes?
Casey G. Smith: Got just a few quotes. Um, so towards the, about three-fourths of the way, when, um, when Hallahan, when Hallahan is on the table and it's right after McCready has hit him with the with the flamethrower. After his stomach is opened up and bitten off the other doctor's hands. It's after his head separates on the ground and it sprouts legs and is like, even though McCready is burning up the body, they don't realize that the head has come off and is crawling away. One of the guys turns around, he turns around and he looks and he sees his head with spider legs coming out. He's like, you gotta be effing kidding me. Just his delivery of that line is just so spot on.
Reginald Titus Jr.: Oh, man. Oh, one of my quotes, uh, well, you already had said one was with the trust in the Lord when Kurt Russell's character is talking to Blair. But, uh, another, uh, quote is, um, Childs, played by Keith David, you know, he's, they're all tied up because they're, uh, Kurt Russell's character's doing a test on their blood to see if who's infected with this parasite. And then when it comes down, there's two people left, it's, uh, Childs and the general. Is he a general or he's something military, I think.
Casey G. Smith: Yeah. Malone, Malone.
Reginald Titus Jr.: And they're tied up and then once he, once, uh, Childs, No, Moffett. I'm sorry. Moffett. Once Childs realizes that he's not, no longer, you know, in danger or he's not infected, "Let cut me loose, dammit. Come on." Like, people are like, losing it. These guys are losing it.
Casey G. Smith: Oh, yeah. And so, and then, so my, my other quote, literally right after that, after they, they test, uh, Moffett's blood. Yeah. And he's like, I, I know you men are busy, but if it's not too much trouble, I'd rather not spend the winter tied to this effing couch. He just, he just slowly ramps up his frustration and just explodes on them.
Reginald Titus Jr.: Trivia.
Casey G. Smith: Yeah. One of my favorite scenes is, is when McCready is talking to Blair and Blair is trying to convince him that he's ready to come back inside. Yeah. I'm like, oh, man. Nope. Not today. You're an alien.
Reginald Titus Jr.: The opening scene was shot in Alaska.
Casey G. Smith: Yes. Um, and again, as we mentioned before, this is, um, previously based on a short story and adapted film. Uh, and Kurt Russell took a year to grow his beard.
Reginald Titus Jr.: Oh, 'cause he was coming out of *Escape from New York*.
Casey G. Smith: Yeah. And this was his second collaboration with John Carpenter. Good stuff. Um, they would have several including, uh, *Big Trouble in Little China*.
Reginald Titus Jr.: Yeah. There you go. Caribpol, Caribpol is a mixture that holds Twinkies together, according to John Carpenter. And that was the liquid that they sprayed on the dog when, um, that K9 when to erupts and it it's the it, *The Thing*, I mean, it's *The Thing Thing*. And it's like, you can't even name what this is, like *The Thing* alien. Alien. Squirt this liquid at the dog and the dog like, I don't know what's happening to the dog. It's like eating up its fur and skin or whatever. It's pretty bad. It's pretty gross. Those dogs reaction in that scene, it's like, uh, it's kind of. Yeah, it's messed up. Yeah. But it's called Caribpol.
Casey G. Smith: That's the Twinkie filling. Yeah. It's a mix, it's like a, it's a clear liquid, but it holds the Twinkies together, like the little cream stuff. Yeah. After you say that, I'm like, not going to eat that again. That's going to really, yeah, I don't know how I'll ever see Twinkies the same way again now. I'm like, oh, man. Caribpol, C-A-R-B-O-P-O-L. Hopefully I'm saying that right. You're going to have a lot of. Yeah. It's so gross. Like, when you eat a Twinkie, it kind of already tastes kind of chemically. Yeah. It's already got that chemical, chemistry set taste. Yeah. But now, no. But a Twinkie in the right time is, is. When is the right time? Twinkies were delicious. Now, they're devilishly alien. Yeah, man. No, no, no.
Reginald Titus Jr.: Not eating that again.
Casey G. Smith: Uh, there was an active choice made to not have any women in the movie. It was somewhat controversial. They actually caught some flak in some of their reviews. But they made a conscious choice to, to just, uh, have these men isolated. Well, I wonder what the reason was. I believe it it just been a while, uh, since they'd had a film where it was just men. Um, these guys isolated and and having to to deal with those, deal with those dynamics just being men. Okay. Not not having any, any women present. So there's no, in this, in regards, there's no romantic relationships going on. It's just, hey, we're here, we've got a job to do. We, you know, we, we, for the most part, get along. But, yeah, what happens when, when trust is hard to come by? Anymore trivia?
Reginald Titus Jr.: Yeah.
Casey G. Smith: Keith David actually broke his hand during the film and he, he had to actually wear a, a big black. It was a glove that they painted black. Glove, yeah. It was a, it was a glove that they, they painted, you know, to black hand. That black face, just black hand. Yeah, yeah. So whenever they, they show images of people like, uh, drawing blood, that's actually a cameraman's arm that they're using. A guy who frequently volunteered and he's apparently really okay with it. They, the way they, it was funny when they said jokes was that. Yeah, the way Carpenter and, uh, Kurt Russell joked about it. Like, this guy, yeah, apparently liked anything that involved needles. So, take that as you will. Um, I like old commentaries 'cause they just let it all hang out. They just like, the jokes are out there. We had a good time. We can't talk about. Oh, man, for real. Yeah, they, they, they said they actually had a really, really good time. Uh, and they they, they said they actually enjoyed bonding. Uh, just in that time of isolation. The cast and crew, like everybody really, really bonded. Oh, the scene where, where Kurt throws the dynamite, he was almost too close because when it explodes, it like, you can get, his hair kind of, yeah, it, it, it almost got him. He almost didn't throw it far enough. And, uh, yeah, it rattled him a little bit. Kurt is, uh, he's a good sport because he grew up a movie, a movie kid. You know, he could do a lot of the stunts. We, we find this out in the movie, uh, *Death Proof*, 'cause, you know, with Quentin Tarantino, him playing stuntman Mike. He just grew up, you know, jumping on horses, falling off and doing all these falls and things like that. So, that's still the dynamite. It just seems like that's something he's going to do.
Reginald Titus Jr.: Is he in rehab now?
Casey G. Smith: Boom goes the dynamite.
Reginald Titus Jr.: He said, I got lucky. That's an interesting way of looking at it.
Casey G. Smith: Yeah. I got lucky.
Reginald Titus Jr.: Somebody else could be like, hey, John, you almost got me killed.
Casey G. Smith: Yeah, Kurt was just like, yeah, it's day in the life. I got lucky. That's what he said.
Reginald Titus Jr.: Day in the life. I got lucky.
Casey G. Smith: Day in the life. Um, they also used, of course, uh, being this is the '80s, uh, it was an art form back then to, uh, use painted backdrops. And there are definitely some pretty big, there's a pretty big painted backdrop. There's a whole process. Actually, in one of the documentaries, the guy who did those, he kind of really kind of breaks down the process of how, how that was done. It's, it's pretty fascinating to see. And, and the miniatures they made. Yeah. They made some elaborate miniatures, especially at the, the end when that creature is burrowing through the ground. Yeah. Like, that was like a miniature set and they had like a ball tied to a, a rope that they pulling. That was good. That was good. That was very effective. I couldn't tell. Yeah. It's, the, the lady who made the miniatures, she is like insanely detailed. She said, we don't, she goes, some people would just kind of give you the gist. She said, I believe that the miniature set needs to be like 100% like the real set. Yeah. And, uh, I mean, even from like the barrels that were there, it, it was just perfect. Like, man. And they actually used some some claymation, not claymation, some stop effect animation. Ah, stop motion. Yeah, stop motion for the very end. But Carpenter didn't like how it, uh, how it turned out. So they only used, they used very, very little of it towards the end. But there was a whole scene that had been worked out for when, uh, when Brimley transforms and you see the, and you see the, the monster. And his, his head on there was really like more defined. You really, you could really tell it was him partially transformed.
Reginald Titus Jr.: Yeah. Yeah.
Casey G. Smith: Versus, with what they used, it was really, it was really tough to tell.
Reginald Titus Jr.: Gross. Yeah, I'm not really a fan of the stop motion, unless like the whole film is a stop motion film. Because your, your eyes can see it right away.
Casey G. Smith: Oh, yeah. It does not, it doesn't hold up well, uh, really doesn't.
Reginald Titus Jr.: It has its own unique way of moving and,
Casey G. Smith: It's own look. Yeah. You know, the lighting around it all changes pretty substantially and, and, um, yeah.
Reginald Titus Jr.: But if you want to watch, uh, what is that, a stop motion film, you can watch Wes Anderson. *Fantastic Mr. Fox*.
Casey G. Smith: *Fantastic Mr. Fox*. Yeah, that was, that's, that was an enjoyable film.
Reginald Titus Jr.: It's a movie around the fall. Favorite scenes?
Casey G. Smith: Again, drop of the grenade at the beginning and falling onto it. That just, I shouldn't laugh, but it, it just makes me laugh every time I see it. Every time I think about it.
Reginald Titus Jr.: Not necessarily favorite scene, but just favorite shot is the, uh, there's a camera that's mounted to the helicopter and it's by, he used a car mount to to mount it to the helicopter. Just a unique perspective. And with with, uh, John Carpenter, the thing I like about him, he he tries to push his, you know, artistic abilities and try to do things differently. So, I like, he could have just stayed in the helicopter. But, you know what, let's keep it on the outside right on, on the edge. One of my other favorite scenes, just the chest cavity bursting open and then gripping the guy's arms and ripping them off.
Casey G. Smith: Man, that's crazy.
Reginald Titus Jr.: That made me jump.
Casey G. Smith: Dude, yep, same here. I remember I was watching, I hadn't seen it before. I watched it, I was like, oh, man.
Reginald Titus Jr.: The timing, the timing really makes you jump because the timing is right. Like, right when he's he's pumping, he's, um, what is it called, reviving the guy 'cause he had a heart attack. So he thinks. So he's so he's pumping them like, boom, one, two, boom. He's doing the whole rhythm thing. So when he goes, boom, and then he goes back in, as soon as he goes in, he grabs, it's like interception. It's like intercepted his arms.
Casey G. Smith: Oh, man.
Reginald Titus Jr.: Man. He's like, blood squirting everywhere. It's perfect.
Casey G. Smith: It's just so in that scene, they actually hired a guy who literally had lost his arms. And they actually, they did a, a, a prosthetic mask of the other actor, put it on the guy. Um, to have him do that, do that scene. So that he would, so he would pull away. When they cut back to him, he was pulling away. It was a guy with no, yeah, a guy with no arms.
Reginald Titus Jr.: Oh. That's smart.
Casey G. Smith: Yeah, a guy with no arms.
Reginald Titus Jr.: Yes. Yeah, man. Perfect.
Casey G. Smith: They, they, in the, then the, in the first, in the documentary that I watched, they, they, that whole scene, man, like, it was, it was dangerous. Like, the whole, like, that whole setup, it was dangerous. Like, stuff. Really? Yeah, stuff caught fire multiple times and, and they were using a real flamethrower. Yeah. They had to work really hard. At one point, something exploded. Like, I think, I think that body exploded at one point because they didn't, whatever they used to, um, open it up. Well, whatever they used to, to make the, to make the goo for the head to, like, separate from the body. Yeah. That stuff, they, it was just some, something kind of hodge-podged together and they, they found it, it was extremely flammable.
Reginald Titus Jr.: Gross.
Casey G. Smith: Wow.
Reginald Titus Jr.: Wow. And they really did, like, blow up the place. All practical. I, that's what I really appreciate. It's all practical. They're really blowing up and people could die for real. Yeah. And, uh, you can see it. You, the CGI stuff now, like, you kind of know. Uh, but when, when things are really blowing up, you feel like inherent danger, kind of like, oh, this, yeah, man. This is a movie. This is a magical movie. You blew that place up.
Casey G. Smith: Yeah.
Reginald Titus Jr.: Tropes. What do you got for tropes?
Casey G. Smith: Monster in the house.
Reginald Titus Jr.: Oh, yeah. Yeah. Yeah. Uh, I wish I guess Tenet could have been a theme, I guess also, but Monster in the House and, uh,
Casey G. Smith: The, the, the, the loner forced to, to take lead.
Reginald Titus Jr.: Who?
Casey G. Smith: The loner, like, the lone person, 'cause, I mean, Kurt Russell's character, McCready, he's a loner. You know, I mean, he's there playing chess by himself. He's like a borderline alcoholic. Yeah. And then he's forced to step up and kind of just take, take lead of it all. So, tropes, people. They exist.
Reginald Titus Jr.: Yeah. Now, it's time for filmmaking tips. I do not have that many. There weren't really that many filmmaking tips, but I would say check out the special features 'cause there is a lot of information there that you may not get in the commentary, but, man, definitely in the behind the scenes stuff. Oh, man.
Casey G. Smith: Yeah, that first documentary alone, man, it's, it dives so deep. Even how they make the, the, the title credits. Like, what the guy uses like, like a garbage bag or something like that. Really? And he cut out the letters and used the garbage bag and then set, set it on fire. So it kind of burns away and then there's lighting set up behind it.
Reginald Titus Jr.: I like it.
Casey G. Smith: Yeah, so, creativity. And with all the, like, with everything we have now, you can just replicate all this stuff easily. Mm-hmm. The hardest thing about shooting anything at those times was just film was so expensive. Sure. The physical effects though, the practical effects.
Reginald Titus Jr.: You can do a garbage, you can set a garbage bag on fire. Yes. I'll give you that. I'll give you that. But like the molds of people faces. I guess you could 3D print though now. And 3D printing is, is, is that yeah, that costs money. Even the mixture that you put the mold on some some, uh, someone's face, that could be done at home. Yeah. There's books on practical effects on how to do that, pill the mold and all that. But you you do need some craftsmanship to paint, to paint it. Some skills. What she, I mean, you know, you can probably hire get a free freelancer. You can probably do like some easy special effects. Like, for example, when they're, um, cutting the blood, you know, drawing blood, it's just a plastic bag on the other side. That's all it is.
Casey G. Smith: Even cost of drugs has dropped significantly.
Reginald Titus Jr.: You can do it.
Casey G. Smith: That still makes like, it's still, it makes me cringe though, man. Like, just like, just like, just for a second. It's done well, like you can see like, 'cause he's like, that guy is gouging, he's getting like, I'm going to get in that thing. Give me that blood.
Reginald Titus Jr.: Special effects.
Casey G. Smith: Oh, give me that blood. Man. Yeah. You need stitches after that one.
Reginald Titus Jr.: For real. I'm like, hey, bro.
Casey G. Smith: I'm just gonna squirt a little in there.
Reginald Titus Jr.: Oh, okay. Um, tips. So there was something called, um, a lens called a split diopter. It's a shot where there's a character in the foreground, and I can't think of the character's name, but he's working on like, how they're going to get out of this mess. Doing research and stuff like that. He's in the foreground, and he's in focus, facing us, like, from like, waist up. And then in the background, about maybe 25, 30 meters away, we see, uh, Kurt Russell's character kinda walk by in the in the doorway. He's in focus too. So the split diopter allows you to shoot both of these people at the same time and they're one in the way in the background, one in the foreground. They're both in focus, but there's like a cut in the in the lens. So, because there's a cut in the lens, you have to cover that up some kind of way. So, in that scene, you see that that, where the lens will be cut, it's like all dark there. So there's nothing there, it's just completely black. Fascinating. Yeah, but. Lens Diopter. Split Diopter.
Casey G. Smith: Lens Diopter?
Reginald Titus Jr.: Split Diopter.
Casey G. Smith: Um, you can break out of the norm. What Chris, excuse me, what John Carpenter, uh, wanted to do with the monster in this film, is that he didn't want it to be just a, a man in the suit. Which out there's so many movies going up in his time where the monster was some dude in the suit. What you talk about King Kong or Godzilla. Even the first Alien. He said even he has great that movie is, when it balls down to it, once you see the Alien, it's a guy in the suit. He didn't want that for this film. And so, yeah, it's, this is anything but a guy in the suit. The way this thing manifests so many different ways. And they made, they made mention of something either in the commentary or in the documentary that some of the crazy forms you see this thing take is actually supposedly based on some of the forms that it has absorbed from other planets it's gone to. I'm like, oh, that's, that's extra creepy, man. That's gross. Yeah. So I mean you almost could have a connected universe when you think about that *Little Shop of Horrors* aspect of things. Um, but yeah.
Reginald Titus Jr.: Preditor.
Casey G. Smith: Yeah.
Reginald Titus Jr.: Be prepared. Filmmaker directors. Um, in the blood scene when everybody, when he's doing like, what happened to the blood? And nobody knows. Uh, John Carpenter said he didn't know what he was going to shoot, uh, how he was going to shoot that scene. And he when he got there to shoot that scene, everybody's already there waiting on him and ready to shoot. Yeah. And that's like the worst thing as a director because, you know, you got to have a blocking ready, you got to know, you know, who you're going to shoot first. You got to have your whole thing kind of planned out and he wasn't necessarily ready for this thing. Yeah. You know, he he admitted it. He's like, I was prepared, you know. I've had my own experience on a very, very small level from like, I shot a music video, uh, with Lauren Steele and before shooting the music video, did the storyboards, but used, uh, pictures instead of actually drawing, just had a model take pictures. I knew what location I was going to be at. We did everything story-boarded it, wrote it out. So when the day of, when it came time to shoot, it was just a breeze. It was, I knew what I was going to do. But on, um, shooting the Lamar Street video, the Tonight video, half of the stuff I already knew what I was going to shoot, but the other half I didn't because we were going to have to steal some shots in in downtown Dallas. And when you don't know, your crew is kind of looking like, hmm. So, yeah, you just, they're looking to see, but you got to play it off and be like, all right, we're just going to shoot a couple of these scenes and while these scenes are being shot, your brain is thinking about, okay, um, yeah, yeah, yeah, yeah. Over there. Yeah. Look. Over there. I was thinking about this the whole time. Okay. Yeah. Over there. I was thinking about this the whole time. Over there. I was thinking about this the whole time. Over there. I was thinking about this the whole time. 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I'm thinking about, even talking about now, I'm like, man, I wouldn't mind, I wouldn't mind watching it again. When I started seeing like on YouTube, 'cause I play YouTube in the background, I'm like doing my editing and stuff like that, waiting for things to render. Um, when I started seeing it pop up more, like people doing more press, I'm like, okay, it must be getting real hot. 'Cause they were loading up on a lot of press leading up to the release. And then now it's even, I guess it's getting some good reactions from people. So like showing up everywhere. That's good. I'm glad he came back and, 'cause he was gone for a minute. He was making stuff still, but it's nothing that was like, it was hidden. No, yeah, you're right. He did make some stuff here and there. Yeah. He was making like things, but it's just like, he had that one movie that came out a couple years ago, Mr. Mr. Something, Mr. Shepherd, Mr. Deeds, Mr. No. Yeah, the the the trailers look, it looked like a, like a, like a, you know, powerful, Mr. Church, was it Mr. Church? Yeah, I think so. It looked like a powerful performance and grounded and rooted. Traumatic. But I, I never went and saw it. I was like, yeah, okay. Good for you, Eddie. Yeah, he'd done a lot of family-friendly stuff, basically. He went that route, I mean, almost everything was like super family-friendly. And, uh, *Dolemite* is not. *My Name is Dolemite* is not family friendly. Uh, yeah, it's, it's not too, too crazy, but there, you know, there's nudity here and there and there's, there's definitely plenty of of of language, if that's. You gotta have nudity with Dolemite. Yeah. I'm still trying to again, similarly, you know, like like just like it was tough to watch *Sweet Sweetback's Baadasssss Song*. Yeah. You know, I started watching *Dolemite* on, uh, Amazon Prime. Oh, God. And I haven't, uh, haven't finished it yet. So, I'm like, do I have to? Do I have to watch this? I want to watch this.
Reginald Titus Jr.: With the bad karate kicks, like the, like some of the kung fu was horrible back in that, some of the blaxploitation films.
Casey G. Smith: They sped it up, you know, they, they, they actually sped up his movements to, yeah. Oh, man, you look at some of the old stuff, like, they don't know a lick of martial arts. And I was very, you know, critical of that back in the day.
Reginald Titus Jr.: Sure did. Yeah. It's like, I'm not watching this. Um, so those are a couple of things. I got a few more, what else have you seen?
Casey G. Smith: Um, I haven't seen, I haven't seen anything new. Um, I've been busy. But what I did, so as far as just media, um, as of, you know, the time of this recording, uh, Kanye West has been making the news. Uh, he just recently released a gospel album last Friday. Went on, I have a subscription to Tidal, so I was like, let me check this out.
Reginald Titus Jr.: Sure.
Casey G. Smith: It's jamming. It's pretty good. It feels good to listen to like good gospel and a little bit of hip hop in there.
Reginald Titus Jr.: Okay.
Casey G. Smith: And not being cussed out, you know what I mean? It's like, oh, it feels good. I can actually, there's like good messaging in it. It's like a surprise. I can play it at, I can play it around the house and not worry about nothing. This is great.
Reginald Titus Jr.: You never know what you're going to get with Kanye.
Casey G. Smith: Yeah. You're going to get different. That's what you're going to get.
Reginald Titus Jr.: And creative. He's, he's literally a creative genius.
Casey G. Smith: I, I would never question that. I would never question his creative genius. He, he, he is someone who knows how to reinvent himself. Yeah. Um, so yeah. And so it's funny because you bring up his, so yeah. So yeah. It's funny that you bring up his, his album because I literally heard about it today, but it was because I was on YouTube and, uh, SNL over the weekend. You know, I, I like to watch the highlights of the Weekend Update on YouTube. And literally they, they talked about that and Michael, Michael Che kind of like, I don't know, he just started, he was just joking about it. He was like, he was like, he goes, he goes, I was, you know, concerned about Kanye. He goes, he goes, he goes, I think I was, I was, I was worried that he's, first I, I, I was, I was worried about him as a, you know, as a, you know, a, a black man. You know, I was like, he's like, oh, he was like the coolest, the coolest, you know, brother and everything. He was hot. He goes, he goes, now I, I think he's, he's like, just like, turning into a, an old, old white woman. He was like, you know, he's, you know, he's like, listening to gospel and trying to convince people to support, but he's always had gospel influences in his tracks.
Reginald Titus Jr.: That's not right.
Casey G. Smith: No doubt.
Reginald Titus Jr.: Yeah. Always.
Casey G. Smith: Yeah. And of course, you know, *Jesus Walks* and,
Reginald Titus Jr.: Yeah, I mean, 'cause they tried to, when *Jesus Walks* came out, they tried to claim him then like, he is a gospel artist. Like, wait, have y'all heard that album? He is not.
Casey G. Smith: Yeah. Yeah.
Reginald Titus Jr.: Yeah, so he's always had his toe in there.
Casey G. Smith: But, but it's the things that he says, man. He just throws, he just throws me off. I've heard like things at his concerts that are,
Reginald Titus Jr.: Oh, polar dude.
Casey G. Smith: But even mental health is a real thing.
Reginald Titus Jr.: I have no, no doubt. Like, there, there is a, is a, is a mix where almost like, you know, Gemini.
Casey G. Smith: Yeah, where he refers to, refers to himself as, as, as Jesus and, yeah. Like, ah, okay. I keep my eye on him. Don't you worry. Yeah. Like, I'm not going to trick me, Kanye. I got my eye on you. Yeah. It's just fascinating with, with different artists, especially when they, you know, they'll kind of, you know, vacillate back and forth. And some are, I guess with, you know, some are more extreme than others. You know what I mean? Like, you know, R. Kelly would kind of, you know, vacillate back and forth.
Reginald Titus Jr.: Did he?
Casey G. Smith: R. Kelly had multiple songs. One of my favorite songs. Well, number one, *I Believe I Can Fly*. That's straight gospel influence and tone, all the way through.
Reginald Titus Jr.: That's what you mean. But, you know, I used to sing that *I Can Not Go On*, you know, *Life's an Empty Song*, but now I know the meaning of true love. I'm leaning on the everlasting arms. You know. But, he has one song called *Looking for Love in All the Wrong Places*. It's on the R&B CD track.
Reginald Titus Jr.: Hot album. Just saying.
Casey G. Smith: Yeah, man. But, uh,
Reginald Titus Jr.: He's been canceled in my world.
Casey G. Smith: He has. I canceled this dude back in 2004, three, 203, whenever. This album was like high school for me. So it was like, like mid, mid-90s, late-90s, late-90s.
Reginald Titus Jr.: I didn't have to see the documentary to cancel him.
Casey G. Smith: Yeah. But that song, man, it's straight gospel songs about, you know, him, you know, meeting Jesus, you know.
Reginald Titus Jr.: Really? The whole album was?
Casey G. Smith: No, just that, just that track. But, 'cause from what I remember, I thought that was, that, that album was jamming.
Reginald Titus Jr.: It was. Because right after that, he has that song with with Crucial Conflicts. So he goes from this song, you know, you know, in the, the very couple, last couple lines, you know, that it was your grace that set me free. Thank you, Jesus. And then next, you got, you know, this, this song, you know, howling and all this kind of stuff and it's, and he's, I think it opens up, crucial conflict. Oh, yeah. And, you know, it's a song called *Ghetto Queen*, you know, and, uh, you know, there're sounds of, of things being smacked, you know, saying, who's is this? Who's is this? Oh, yeah, I remember. So, there's a, there's a lot of, you know. Yeah, you're jogging my debaucherous memory. Yes, there's a lot of back and forth in the world of R. Kelly. Take that as you may. So, uh, but then he had, he had a song. Man, is a party, y'all. Keep Murray. Uh, oh, man. But, yeah, they, there always would be some gospel influence. R. Kelly is, uh, creative genius who is in jail.
Reginald Titus Jr.: Oh, yeah.
Casey G. Smith: People say sometimes like those who are in that kind of like upper, like they, they have that, that, that, that special gifting to be genius in certain areas or just like amazing in certain areas that they, at times, at times, may lack other areas that can lead to big downfalls potentially.
Reginald Titus Jr.: Yeah.
Casey G. Smith: It's, his background is pretty bad. Yeah. He's, it was going to lead to somewhere crazy.
Reginald Titus Jr.: All right, so you've you've listened to Kanye's new gospel album. Kanye. Two people from the Chi. Hey.
Casey G. Smith: Well, okay, good point, good point. Both great.
Reginald Titus Jr.: Go ahead.
Casey G. Smith: So I, I also, uh, speaking of crazy, uh, last night I watched on HBO a movie called *Greta*. Which I remember seeing the trailers for back in the, I guess maybe, heck, maybe back during the summer. But it's a movie with, uh, Chloe Grace Moretz. Um, who I hadn't seen for a while, who had a couple years ago said she was kind of stepping away, um, from acting and she actually came back into the mix. But, uh, the trailers basically show that, you know, she befriends an older woman and finds out that this woman is, uh, not who she says she is and, and the woman begins to stalk her. Yeah, it was, it was, you know, they pretty much gave away the movie in the trailer.
Reginald Titus Jr.: Thanks.
Casey G. Smith: Yeah, it was one of those things. And it, and it played out as, as, as such, but, um, Chloe Moretz, I mean, she's really grown as a, I mean, as a woman, but also as a, as an actress. I always think she gives good performances.
Reginald Titus Jr.: Okay.
Casey G. Smith: Um, so, uh, yeah, it was, it was, it was a serviceable film. And you got those moments of tension where you're like, no, don't do that, you know. And, you know, this, this, the woman who plays Greta, uh, she does a pretty stellar job because like she seems just hapless, you know. But, man, she's, she's ruthless. She's ruthless. And she's cunning and, and, yeah, so that, that, that was, uh, entertaining. Um,
Reginald Titus Jr.: What genre is this?
Casey G. Smith: It's a thriller.
Reginald Titus Jr.: Okay.
Casey G. Smith: Yeah, borderline horror, but it's more so a thriller. Suspense thriller. And lastly, I watched the first episode of the *Watchmen* series on HBO.
Reginald Titus Jr.: Didn't he good? I, like, when I was looking at the trailers, I was like, this might be good, but I'm gonna have to wait to hear what people say.
Casey G. Smith: So, the trailers didn't do it for me and it wasn't until I heard somebody give a review of the first episode. And they cover a major event in American history that happened in Oklahoma many years ago.
Reginald Titus Jr.: Did it happen to start with the?
Casey G. Smith: Yeah.
Reginald Titus Jr.: Oh, okay.
Casey G. Smith: They actually cover that in the first episode. And it's like, what? It, it was, I was, I was like, flabbergasted that they, um, covered that. And so, that first episode, I was like, okay, yeah, I am, I am in. Uh, and it's not, it's not set in that time period, but it jumps ahead. But, yeah, they, but they opened with that. And and how they're transitioning and again it's, it's, uh, the director is, uh, Damon Lindelof, I think his name is. He all, he did the, uh, the HBO hit, uh, show, the, uh, the *Leftovers*.
Reginald Titus Jr.: Okay.
Casey G. Smith: And I finally got around to watching that last year sometime and, wow. Okay. That dude, man, the way his brain works. And this, this, this show is very faithful to Allan Moore and David Gibbon, Gibbon's *Watchmen* graphic novel. Uh, the original graphic novel, the 12-part series that kind of revolutionized comics. And there are all kinds of just hints and clues. So if you've seen the movie, that, that's, that's helpful. 'Cause, yeah, actually, that is helpful. It's, I'm, I'm very surprised with what they're, how they're walking this balance of being different, but it takes place after the movie clearly. But it's clearly set in that world. Which is, which is amazing.
Reginald Titus Jr.: It's after. That's good. I, actually, I like the tone of *Watchmen*. It just seemed a little long and, uh, yeah.
Casey G. Smith: It's a, it's a, it's a long, I mean, it was a, it was a, in comic books if you do like a mini-series, you might do a three or four-part mini-series, maybe a six-part. This was a 12-part, it was a maxi-series. Nothing like it had ever been done before. So it's, it's, it's a lot of content and it's a stand-alone world. Yeah. Um, like,
Reginald Titus Jr.: I like it.
Casey G. Smith: stand-alone.
Reginald Titus Jr.: I probably should have seen *Watchmen*, I probably should have read the graphic novel before watching *Watchmen* the movie.
Casey G. Smith: Yeah, that's what, that's what I did. I eventually.
Reginald Titus Jr.: Yeah, I probably, I should have did that and then, um, yeah, when I watched the film, I was like, I like the tone.
Casey G. Smith: Mm-hmm.
Reginald Titus Jr.: But it's not, yeah, I won't, I wouldn't, I wouldn't come back to it like that. Uh, but I definitely like the tone and how they executed it. But somebody revisiting that world and shooting in it, I would, I would be interested in that. I would be. So that's why I was like, I'm intrigued by this. I'm going to wait to hear what people have to say.
Casey G. Smith: Yeah, man. And the, the first review got me into going to see it. Now, actually, I'm excited to watch the second episode. 'Cause it airs on Sundays, so the second episode just dropped yesterday, so.
Reginald Titus Jr.: So, it's after the events of the graphic novel, right?
Casey G. Smith: Actually, yeah, or, or even say of the movie.
Reginald Titus Jr.: Okay.
Casey G. Smith: No, like, no, of the graphic novel because the, the, the movie ends slightly differently than the graphic novel. So they're going to change what these people do in this world.
Reginald Titus Jr.: Yes.
Casey G. Smith: 'Cause there's, there's something that they do in the graphic novel, the way it ends, cinematically, would have been very difficult to justify in a movie. So they made a slight change. But it, but it's, but it's, the movie, the movie was so, for the most part, faithful to the graphic novel. There are even some stylistic things that you see that, uh, Snyder used that aren't in this. It's, ah, yeah, man. I was, I was very impressed 'cause *Watchmen* is one of my favorite movies of all time. Like, I, I love. Wow. I love *Watchmen*. I've got. Wow. Yeah. I, I have a, uh, collector's edition set, um, yeah, with the, with the, with the Blu-ray. I have, they have the extended cut that has the eight-hour cut. Yeah, man. Which I watched, I was like, oh, God, that was too much. Like, watch that all together with the, with the *Dawn Treder* like, cut in between just like the graphic novel. Holy smokes. That was, that was a little too much. I'll admit. Yeah. Like, hmm, okay, I may have crossed, there's a line, and I, I may have stepped over it. I mean, yeah, I may have stepped over it. But, um, but yeah, there's multiple ways to consume it, man. I've, I've read the graphic novel. I've watched the, there's like an animated comic version of it. Yeah. Where there's one guy kind of narrating everything. That that's actually the first way I consumed it, was through that. And then actually bought the graphic novel and read it. I was like, oh, man, this was, and I got to the end, I was like, holy crap, this was, yeah, and just reading through it. Dave Gibbons, the artist behind it, the way he sets those panels up, man, you gotta constantly watch because there's stuff just being set up in the background while you. The co-skewing, the graphic novel as well. Oh, yeah, they used crazy mutated. I only, I only read like the first 30 pages from the pages or something like that. I gotta get back to it. Yeah, it's pretty thick, pretty, pretty big. But, uh, any rate, anything else?
Reginald Titus Jr.: No, that's good.
Casey G. Smith: Okay.
Reginald Titus Jr.: That's been plenty. That's, that's plenty.
Casey G. Smith: Y'all let us know what y'all think. And, you know, hit us up on Facebook and say, hey, watch this. Give us some suggestions or let us know what you've been watching.
Reginald Titus Jr.: Please do, please do. Now, let's get back to the show. Thank you for tuning in. You are listening to Filmmaker Commentary and we're talking about *The Thing*.
Casey G. Smith: With attitude.
Reginald Titus Jr.: Released in 1982, directed by John Carpenter. Now let's get into the synopsis. In remote Antarctica, a group of American research scientists are disturbed at their base camp by a helicopter shooting at a sled dog. When they take in the dog, it brutally attacks both human beings and canines in the camp and they discover that the beast can assume the shapes of its victims. A resourceful helicopter pilot and the camp doctor lead the camp crew in a desperate, gory battle against the vicious creature before it picks them all off one by one. *The Thing*. And if this is your first time listening to Filmmaker Commentary, please know that there will be spoilers. You've been forewarned. How did you watch this movie and did you like it?
Casey G. Smith: I first watched this, I believe, on on HBO, uh, maybe like two years ago or so. It was, it was a, it was a long time 'til I finally got around to it. It kept popping up, people talking about it, saying how good it was. I was like, oh, okay, let me, let me find, check it out. I was waiting for it to pop up somewhere streaming and finally when it did, I was like, yeah. Boom, hit play, watched it and I was like, whoa, I was, I was shocked, um, by the practical effects. Uh, I was like, dang. It's, it's, it's gory in its, in its own right, but, uh, but I enjoyed, there was this level of of tension that was there. Uh, not knowing who you could trust. And, uh, yeah, I, I, I enjoyed it.
Reginald Titus Jr.: Uh, this is my first time watching it. I'm been knowing about the film, but you know, this came out in the '80s, early '80s. Early. I was a baby. But I never was moved to watch the film. You know, I never really had a reason. I'm just like, boring title.
Casey G. Smith: Not the most imaginative.
Reginald Titus Jr.: Cold, bunch of dudes. Nah. Nothing at all tells me to watch this movie.
Casey G. Smith: Agreed. Even the key art, the key art is not.
Reginald Titus Jr.: Yeah, it's like a shadow, yeah, it's like a shadow guy, boring. Meh. That's why people probably didn't come out to the theater. They had to watch it first, then they were like, uh, okay. Finally watching this film, I'm like, man, this is pretty good. It's disgusting. But yeah, it's, uh, I, I enjoyed it watching this. Yeah, really, really good.
Casey G. Smith: I'm glad, I'm glad.
Reginald Titus Jr.: Yeah. It was good, well done, uh, the transfer from the film to, to the Blu-ray, it it looks good, definitely. Definitely holds up. Well, I don't know if it holds up, but it looks good.
Casey G. Smith: Yes. Fair enough.
Reginald Titus Jr.: He was playing chess on the, on the first computer. Throws, throws his drink into it.
Casey G. Smith: I'm like, man, you're a sore loser. There was a commentary with, uh, Kurt Russell and John Carpenter. And then there was a, there was a couple of commentaries.
Reginald Titus Jr.: There were two more commentaries.
Casey G. Smith: Ah, man, I, yeah, so I, I would be interested in listening to them, but I didn't listen to any of the other commentaries.
Reginald Titus Jr.: I believe the other one was with, uh, Dean, uh, Kudney? Kudney. Yeah, Kudney, yeah, the DP.
Casey G. Smith: The DP, DP.
Reginald Titus Jr.: So, so the commentary, all in all, I think it was a, it was a pretty good commentary. Yeah, pretty good commentary. Um, a lot of special features on the Blu-ray.
Casey G. Smith: Yeah, this was a collector's edition. So, um, I had to kind of scour for it to find, to find the one with the commentary on it.
Reginald Titus Jr.: Where'd you find it at?
Casey G. Smith: Uh, I got, I got it at Movie Trading Co. But that's after again, after I'd done some research and I happened to call, I'm like, hey, do you guys have this? They said, yes. I said, please hold. The name is Casey. And, uh, yeah, I went there and scooped that bad boy up and I was like, whoa.
Reginald Titus Jr.: How much was it?
Casey G. Smith: The, maybe 20?
Reginald Titus Jr.: Oh, okay.
Casey G. Smith: Yeah, it was, it was, it's a, it's a tremendous value. It's, it's, this is one of those, this is a Blu-ray with two discs. Yeah. You know that's a lot of features when you get two Blu-rays. Uh, there's documentaries and just, documentaries, excuse me, multiple makings of the film, multiple commentary tracks. There's even a, I think a, I think they, one a, a TV edited version of the film on the second disc. Yeah, it's just, it's, it's pretty, pretty insane.
Reginald Titus Jr.: Pretty sure you'd get that back to you.
Reginald Titus Jr.: What did you think about the, the tone?
Casey G. Smith: It's a slow, kind of somber tone where you're constantly left. I mean, it, it feels like the setting, right? There's this isolation that is there. Um, and though you're in this vast tundra of the Antarctic, you, you still feel confined in this little camp. And so once things go awry, you're like, what chances are there for escape? You know. Uh, there's, there's a, there's an air of like almost like of hopelessness, uh, to a degree.
Reginald Titus Jr.: Yeah, I agree. When it, when the movie opens up, like we're, I think we're seeing the perspective of the helicopter in Antarctica. Well, actually, it opens up with, um, a spaceship kinda floating towards Earth. And then I guess it's crash landing to Earth and then *The Thing* title, *The Thing*. And then we see Antarctica, you know, cut to Antarctic. Did they put the year on the, I'm not sure if they put the year there, but we know that we're in Antarctica. And then us being knowledgeable of Antarctica, that's far away and it's extremely cold. That's all you need to know. That's all you need to know. And then we see the helicopter kinda floating in. I, I think those guys were Norwegian, right? Um, there, they're in this helicopter following this dog. This dog is like, uh, just shaking this helicopter. Shooting at the dog and the dog's just like, nah, nah, you ain't got me. Um, but they're in the middle, like, about from the perspective of the helicopter, you see how vast this is and then there's just this little camp. So, you're in Antarctica, you're not going to survive if anything goes wrong here. If your generator goes down, whatever, you're pretty much done for.
Casey G. Smith: Yeah. By time anybody could get to you to help, help you. I mean, you'd assume that there may be some other bases around, but it's far. And Antarctica is pretty big.
Reginald Titus Jr.: Yeah. And yeah, no one's just going to stop by. Hey, how's it going? Um, but these Norwegian, uh, the helicopter's Norwegian, drops out of the helicopter, shoots at this dog. Uh, I think his co-pilot like pulls out like grenades and trying to blow up the dog. And accidentally blows up the helicopter and himself.
Casey G. Smith: That part makes me laugh. I, I don't know. It just kills me every time, man. That's actually one of my favorite scenes. I'm just like, it's just the way it's, I don't know, it's what they've shot to that.
Reginald Titus Jr.: And so when this place, accidents can happen. So that sets the tone, it's like, it's comedic, but at the same time I'm like, whoa, you have no flight, you have no helicopter anymore. And it's, and it's just through like, I don't know. I said it's folly. It's like, oh, man, like.
Casey G. Smith: Oh, man.
Reginald Titus Jr.: And he's still trying to shoot this dog and he, in the midst of him trying to shoot this dog, he's hitting people, like, he hit one of the guys by accident, like, bam! But he doesn't care. He's still trying to kill this dog. Then he himself gets shot in the face, dies. And so that's like, it's letting you know like, whoa, life can just, you can die quickly here or, you know, what's going on? Are people losing their mind?
Casey G. Smith: The stakes, the stakes are high. It's, it's, it's survival. Like, from the jump, it's survival. Like, survival and desperation. Like, what would make these guys just burst into this place and pursue a dog with such fervor that they would just throw caution to the wind. That they're going to try to blow the dog up and maybe the people around it with a grenade. Like, you just give zero anything. Like, this dog has to die. You're like, he's all the F I give. They would have been flamed with the helicopter.
Reginald Titus Jr.: He's all the F I give.
Casey G. Smith: Yes.
Reginald Titus Jr.: Yeah, it, it's just, man, it's high stakes kind of from the jump. But also mysterious, like, what? What is going on? What did this dog do?
Casey G. Smith: And without much dialogue, if any at all, they tell you the whole story right then and there with just that special effect and this dude shooting at a dog and getting himself blown up and killed.
Reginald Titus Jr.: I, I just, I just see the image of the thing slipping out of his hand, and he goes diving for it. Like, oh, you dummy. What would you?
Casey G. Smith: He's like, uh, uh, uh.
Reginald Titus Jr.: Are you really going to, I mean, what are you going to do when you grab it? Are you going to put the pin back in? You had no chance.
Casey G. Smith: That's true.
Reginald Titus Jr.: You had zero chance.
Casey G. Smith: He wanted to save the helicopter.
Reginald Titus Jr.: He's, I'm sorry, buddy.
Casey G. Smith: Sometimes there's no turning back.
Reginald Titus Jr.: It was so cold. Unbelievable. Themes. I'm literally going to just quote what they said in the movie.
Casey G. Smith: Mm-hmm.
Reginald Titus Jr.: Trust is a hard thing to come by.
Casey G. Smith: That's good.
Reginald Titus Jr.: And, uh, that's said by Blair. Uh, Blair, he was a doctor trying to figure out, he was doing the autopsy on these animals that they discover in Antarctica, or these creature, the thing creature that they find.
Casey G. Smith: Back at the base.
Reginald Titus Jr.: That stuff was gross. When he's like doing, when he's cutting into that stuff, I'm like, See, that part is not even too bad, because we've seen this scene quite a bit. The thing that grosses me out is like the little tentacles coming out of the animal, like, I'm like, Don't eat any food when you watch this film.
Casey G. Smith: Yeah, it is pretty, uh, it's pretty juicy. It's very juicy.
Reginald Titus Jr.: Trust is a hard thing to come by. And, uh, I think John Carpenter says that in the commentary. And literally, your character, sometimes your characters will tell you what the theme is. Sometimes early on, this is like midway. You know, when they lock up Blair and Kurt Russell's character, you know, says, you know, it's hard to come by around here. Trust is a hard thing to come by.
Casey G. Smith: Right, right. 'Cause he said, oh, you know, you can always just trust in the Lord, you know, kind of a joke. He's like, oh, trust is a hard thing to come by.
Reginald Titus Jr.: Yeah.
Casey G. Smith: I had, uh, themes. They also mentioned these in the commentary. Uh, isolation. Imitation. Infiltration.
Reginald Titus Jr.: Oh. How about that? The three Is.
Casey G. Smith: Isolation, obviously, again, base, we kind of covered that already. Imitation because this particular creature can imitate anybody. And it, and in so much so that when it hides within a host's body, they don't know. That's the scary part and that, that definitely leads to the, the sense of infiltration, that this thing has infiltrated the base. Nobody knows if they're infected. We still don't know, even to the very end of the movie, we don't know 100% whether or not, uh, Kurt Russell's character as, as McCready and, uh, Keith David's character as Childs. We don't know if, if they eventually were infected somehow. Um, you know, how easily it could happen. Uh, even though they do the, you know, the whole blood test thing and they, they were clear then, but who knows, man? Who knows?
Reginald Titus Jr.: Another theme is just, it's like a metaphor. Uh, it's like a metaphor for at the time, this is in the '80s, so they talk about how AIDS was very prevalent. Still is, but, um, it was like one of those things, it was like a frenzy, like, what is this AIDS thing? So it's a metaphor, you know, for the disease AIDS, that anybody can be a carrier and you don't know if they have it or not.
Casey G. Smith: Yeah. And not sure, and not sure how it's contracted.
Reginald Titus Jr.: Exactly. Yeah, that's right. 'Cause, yeah. It was new, it was new to them in the '80s.
Casey G. Smith: Here's another fascinating thought, is that also within this film, it was, it was also all men, you know, who were there. And, and at the time, you know, AIDS was seen either as, at least early on, as, as something that would just, was just within the homosexual community. Obviously, eventually you find out obviously that's, that's not the case, you know, midst, amongst all communities and, you know, through drugs as well. But, um, but yeah, that was I just kind of just crossed my, crossed my mind.
Reginald Titus Jr.: Wow.
Reginald Titus Jr.: That's what John Carpenter, very smart. Very smart, John Carpenter.
Casey G. Smith: Yes, yes, yes.
Reginald Titus Jr.: I saw a correlation between this film and *Little Shop of Horrors*. Little alien come from out of space, come in, infiltrate, try to take over. And what made me think about it was the, uh, the scene when the, the dogs are like ripping apart and all that. And the big monster comes out of there and it looks like a, like that plant from *Little Shop of Horrors* for a second, then it opens up.
Casey G. Smith: Oh, man. I hadn't even, I hadn't drawn that correlation. Huh. There, that was an alien. You know, that freaking plant, *Little Shop of Horrors*, alien, alien.
Reginald Titus Jr.: That's a good point.
Reginald Titus Jr.: That was based on a short story as well, wasn't it? The *Little Shop of Horrors*.
Casey G. Smith: Yeah, initially, yeah, it became a movie. And so, what's funny about *The Thing*, this is a remake. 'Cause John Carpenter talks about watching the original version of this, uh, that was based off the short story, but it didn't have the, uh, what's the element that it didn't have?
Reginald Titus Jr.: I think the first one, uh, they said the guy was like made out of a cabbage or something like that.
Casey G. Smith: There was some major element that they had that that, that original film didn't have that they wanted to make sure they brought back in. It may have been the fact that it was just all men. But, but yeah, they definitely made some, uh, some key things, some key differences. And may have been even the, I can't think, I can't think of what it was, but they made changes. They made changes.
Reginald Titus Jr.: Significant. Style. What do you think about the style of the film?
Casey G. Smith: It seems like there was a lot of, it's like fairly desaturated in terms of like colors. Like there weren't like any like bright colors. It was desaturated, muted. So I think Carpenter says at one point it's like a, it's this is supposed to seem like a black and white movie but that was like in color.
Reginald Titus Jr.: Hmm. Whenever there was a color on the screen that was emitted by the lighting, you could see it right away. Like the blues, you would see blue, you would see green every now and then a little accent. I like the, um, it was anamorphic lenses, of course, had the anamorphic. You could tell when Kurt Russell, when his character is shining the, his, uh, light bulb, his, uh, flashlight. You got the streaks, the anamorphic streaks, you got the wide screen, you got the top black and white panels at the top and bottom of the screen. And also like the music, like the music sets like this ominous vibe soon as it kind of starts, the music score is like, oh, man, this is, it's appropriate, you don't really think about it, but it's like playing in the background of your brain. Oh, yeah.
Casey G. Smith: Oh, yeah.
Reginald Titus Jr.: It's well done.
Casey G. Smith: What I, I also appreciated about the film that you don't, I, I have not seen it in a lot of films. Maybe older films like in the '40s or '50s, the kind of the, the you have the dissolve where time kind of lapses. Yeah. This film wasn't afraid to do that. And to, and to, and to leave you to wonder, like, when, when the dog is coming down the hallway. Yeah. And he stops, he looks in one room. And the dog, the dog's performance in this like, impresses the heck out of me. I'm like, oh my. The dog is, the dog is a great actor. He's good. Come. Yeah, man. Just his, his this timing. I'm like, good job, dog. 'Cause the dog, 'cause it opens up with the dog just, like, just leaping over all the snow. I'm like, man, he's not tired, not going to stop or anything. He just keeps going.
Reginald Titus Jr.: Oh, yeah.
Casey G. Smith: Just going, man. But when he walks down that hallway and he's and he's, and there's a, there's a room to his right, and he stops and he kind of looks inside. And there's all like, you know, there's just one take and he and he comes out, he doesn't even go all the way in the room. He just stops, looks and then he goes to the next room with the, with the light on. And you can just see the silhouette of, um, one of the other, uh, characters. It is, uh, Clark. You see his silhouette and you see the dog stop at the door and then go inside. And then it, and it just fades. So, and that right there is the beginning of a of a setup of a, of a potential fake out. Like, you don't know what, okay, what, what happens? And initially, you don't think it's like that big of a deal because you see that Clark is a, is a, is an animal lover, um, and at times he, he tries to defend the animals and, um, yeah, it's just, it does that multiple times in the film where it kind of just fades. You know, sometime it's passed, but it's not afraid to do that. And I, I applaud the movie for that.
Reginald Titus Jr.: Yeah. And part of like the style, uh, going back to that shot is that like, uh, Carpenter did a lot of dolly back shots. So the character is coming towards us. And we, the dog walking, and in, and John Carpenter says like the dog isn't looking at the camera lens, he's not looking at the director. I'm like, that is a good actor. He's walking towards us, avoiding eye contact with the lens, ducks his head down for a second, and then goes into the room, like, what? Yeah. That's intelligent.
Casey G. Smith: Yeah, I'm like, what, who is this dog?
Reginald Titus Jr.: His, uh, I think his name is to be, uh, Jed. Apparently, he's the, is the, the dog's name.
Casey G. Smith: That dog is on point.
Reginald Titus Jr.: He was blocking down. He was taking care of business. Just taking, just doing the shot, they have the shot, uh, when they're discovering the alien for the first time, or the, the alien base, you know, the character is walking towards us. And we're just kind of dollying back with him, like, basically discovering things and reading the actor's face to kind of see how we should feel.
Casey G. Smith: He was taking care of business.
Casey G. Smith: They talked, oh, I think they talked about at one point also, I don't think, I don't remember if it was dollying or not, but they were they, where they, where they panned one way and then panned right back the next one. So when somebody was like coming out of part of the base into the snow, had a conversation and they, I don't know, say tracking per se, but then they went right back the other, other way.
Reginald Titus Jr.: I like that.
Casey G. Smith: So you could kind of just follow him right back, right back to that same, same path.
Reginald Titus Jr.: Yeah. Well, some of these older movies, every shot is like thought out a little bit more, you know, and, and you're very intentional. These days, since we're shooting on digital, sometimes you can see people just like over-shoot, over-shoot, over-shoot. Because they know they're going to get several angles of the same shot over and over again, whereas, you know, you probably did with one camera, these long lenses, and, uh, they did a lot of storyboards. Um, and in the, in the special features, you can actually see a slideshow of all these storyboards. And like, shot for shot, you know, you can see like the helicopter shot with both of the pilots in there. They, they drew that out and then you can actually see that shot. So, yeah, you can, you they spent a little bit more time on their shots. It might, it might last 15 seconds longer than you would expect. So the time is a little, makes you hang out a little bit longer with these people.
Casey G. Smith: Yeah.
Reginald Titus Jr.: Do you have any quotes?
Casey G. Smith: Got just a few quotes. Um, so towards the, about three-fourths of the way, when, um, when Hallahan, when Hallahan is on the table and it's right after McCready has hit him with the with the flamethrower. After his stomach is opened up and bitten off the other doctor's hands. It's after his head separates on the ground and it sprouts legs and is like, even though McCready is burning up the body, they don't realize that the head is come off and is crawling away. One of the guys turns around, he turns around and he looks and he sees his head with spider legs coming out. He's like, you gotta be effing kidding me. Just his delivery of that line is just so spot on.
Reginald Titus Jr.: Oh, man. Oh, one of my quotes, uh, well, you already had said one was with the trust in the Lord when Kurt Russell's character is talking to Blair. But, uh, another, uh, quote is, um, Childs, played by Keith David, you know, he's, they're all tied up because they're, uh, Kurt Russell's character's doing a test on their blood to see if who's infected with this parasite. And then when it comes down, there's two people left, it's, uh, Childs and the general. Is he a general or he's something military, I think.
Casey G. Smith: Yeah. Malone, Malone.
Reginald Titus Jr.: And they're tied up and then once he, once, uh, Childs, No, Moffett. I'm sorry. Moffett. Once Childs realizes that he's not, no longer, you know, in danger or he's not infected, "Let cut me loose, dammit. Come on." Like, people are like, losing it. These guys are losing it.
Casey G. Smith: Oh, yeah. And so, and then, so my, my other quote, literally right after that, after they, they test, uh, Moffett's blood. Yeah. And he's like, I, I know you men are busy, but if it's not too much trouble, I'd rather not spend the winter tied to this effing couch. He just, he just slowly ramps up his frustration and just explodes on them.
Reginald Titus Jr.: Trivia.
Casey G. Smith: Yeah. One of my favorite scenes is, is when McCready is talking to Blair and Blair is trying to convince him that he's ready to come back inside. Yeah. I'm like, oh, man. Nope. Not today. You're an alien.
Reginald Titus Jr.: The opening scene was shot in Alaska.
Casey G. Smith: Yes. Um, and again, as we mentioned before, this is, um, previously based on a short story and adapted film. Uh, and Kurt Russell took a year to grow his beard.
Reginald Titus Jr.: Oh, 'cause he was coming out of *Escape from New York*.
Casey G. Smith: Yeah. And this was his second collaboration with John Carpenter. Good stuff. Um, they would have several including, uh, *Big Trouble in Little China*.
Reginald Titus Jr.: Yeah. There you go. Caribpol, Caribpol is a mixture that holds Twinkies together, according to John Carpenter. And that was the liquid that they sprayed on the dog when, um, that K9 when to erupts and it it's the it, *The Thing*, I mean, it's *The Thing Thing*. And it's like, you can't even name what this is, like *The Thing* alien. Alien. Squirt this liquid at the dog and the dog like, I don't know what's happening to the dog. It's like eating up its fur and skin or whatever. It's pretty bad. It's pretty gross. Those dogs reaction in that scene, it's like, uh, it's kind of. Yeah, it's messed up. Yeah. But it's called Caribpol.
Casey G. Smith: That's the Twinkie filling. Yeah. It's a mix, it's like a, it's a clear liquid, but it holds the Twinkies together, like the little cream stuff. Yeah. After you say that, I'm like, not going to eat that again. That's going to really, yeah, I don't know how I'll ever see Twinkies the same way again now. I'm like, oh, man. Caribpol, C-A-R-B-O-P-O-L. Hopefully I'm saying that right. You're going to have a lot of. Yeah. It's so gross. Like, when you eat a Twinkie, it kind of already tastes kind of chemically. Yeah. It's already got that chemical, chemistry set taste. Yeah. But now, no. But a Twinkie in the right time is, is. When is the right time? Twinkies were delicious. Now, they're devilishly alien. Yeah, man. No, no, no.
Reginald Titus Jr.: Not eating that again.
Casey G. Smith: Uh, there was an active choice made to not have any women in the movie. It was somewhat controversial. They actually caught some flak in some of their reviews. But they made a conscious choice to, to just, uh, have these men isolated. Well, I wonder what the reason was. I believe it it just been a while, uh, since they'd had a film where it was just men. Um, these guys isolated and and having to to deal with those, deal with those dynamics just being men. Okay. Not not having any, any women present. So there's no, in this, in regards, there's no romantic relationships going on. It's just, hey, we're here, we've got a job to do. We, you know, we, we, for the most part, get along. But, yeah, what happens when, when trust is hard to come by? Anymore trivia?
Reginald Titus Jr.: Yeah.
Casey G. Smith: Keith David actually broke his hand during the film and he, he had to actually wear a, a big black. It was a glove that they painted black. Glove, yeah. It was a, it was a glove that they, they painted, you know, to black hand. That black face, just black hand. Yeah, yeah. So whenever they, they show images of people like, uh, drawing blood, that's actually a cameraman's arm that they're using. A guy who frequently volunteered and he's apparently really okay with it. They, the way they, it was funny when they said jokes was that. Yeah, the way Carpenter and, uh, Kurt Russell joked about it. Like, this guy, yeah, apparently liked anything that involved needles. So, take that as you will. Um, I like old commentaries 'cause they just let it all hang out. They just like, the jokes are out there. We had a good time. We can't talk about. Oh, man, for real. Yeah, they, they, they said they actually had a really, really good time. Uh, and they they, they said they actually enjoyed bonding. Uh, just in that time of isolation. The cast and crew, like everybody really, really bonded. Oh, the scene where, where Kurt throws the dynamite, he was almost too close because when it explodes, it like, you can get, his hair kind of, yeah, it, it, it almost got him. He almost didn't throw it far enough. And, uh, yeah, it rattled him a little bit. Kurt is, uh, he's a good sport because he grew up a movie, a movie kid. You know, he could do a lot of the stunts. We, we find this out in the movie, uh, *Death Proof*, 'cause, you know, with Quentin Tarantino, him playing stuntman Mike. He just grew up, you know, jumping on horses, falling off and doing all these falls and things like that. So, that's still the dynamite. It just seems like that's something he's going to do.
Reginald Titus Jr.: Is he in rehab now?
Casey G. Smith: Boom goes the dynamite.
Reginald Titus Jr.: He said, I got lucky. That's an interesting way of looking at it.
Casey G. Smith: Yeah. I got lucky.
Reginald Titus Jr.: Somebody else could be like, hey, John, you almost got me killed.
Casey G. Smith: Yeah, Kurt was just like, yeah, it's day in the life. I got lucky. That's what he said.
Reginald Titus Jr.: Day in the life. I got lucky.
Casey G. Smith: Day in the life. Um, they also used, of course, uh, being this is the '80s, uh, it was an art form back then to, uh, use painted backdrops. And there are definitely some pretty big, there's a pretty big painted backdrop. There's a whole process. Actually, in one of the documentaries, the guy who did those, he kind of really kind of breaks down the process of how, how that was done. It's, it's pretty fascinating to see. And, and the miniatures they made. Yeah. They made some elaborate miniatures, especially at the, the end when that creature is burrowing through the ground. Yeah. Like, that was like a miniature set and they had like a ball tied to a, a rope that they pulling. That was good. That was good. That was very effective. I couldn't tell. Yeah. It's, the, the lady who made the miniatures, she is like insanely detailed. She said, we don't, she goes, some people will just kind of give you the gist. She said, I believe that the miniature set needs to be like 100% like the real set. Yeah. And, uh, I mean, even from like the barrels that were there, it, it was just perfect. Like, man. And they actually used some some claymation, not claymation, some stop effect animation. Ah, stop motion. Yeah, stop motion for the very end. But Carpenter didn't like how it, uh, how it turned out. So they only used, they used very, very little of it towards the end. But there was a whole scene that had been worked out for when, uh, when Brimley transforms and you see the, and you see the, the monster. And his, his head on there was really like more defined. You really, you could really tell it was him partially transformed.
Reginald Titus Jr.: Is he in rehab now?
Casey G. Smith: Versus, with what they used, it was really, it was really tough to tell.
Reginald Titus Jr.: Gross. Yeah, I'm not really a fan of the stop motion, unless like the whole film is a stop motion film. Because your, your eyes can see it right away.
Casey G. Smith: Oh, yeah. It does not, it doesn't hold up well, uh, really doesn't.
Reginald Titus Jr.: It has its own unique way of moving and,
Casey G. Smith: It's own look. Yeah. You know, the lighting around it all changes pretty substantially and, and, um, yeah.
Reginald Titus Jr.: But if you want to watch, uh, what is that, a stop motion film, you can watch Wes Anderson. *Fantastic Mr. Fox*.
Casey G. Smith: *Fantastic Mr. Fox*. Yeah, that was, that's, that was an enjoyable film.
Reginald Titus Jr.: It's a movie around the fall. Favorite scenes?
Casey G. Smith: Again, drop of the grenade at the beginning and falling onto it. That just, I shouldn't laugh, but it, it just makes me laugh every time I see it. Every time I think about it.
Reginald Titus Jr.: Not necessarily favorite scene, but just favorite shot is the, uh, there's a camera that's mounted to the helicopter and it's by, he used a car mount to to mount it to the helicopter. Just a unique perspective. And with with, uh, John Carpenter, the thing I like about him, he he tries to push his, you know, artistic abilities and try to do things differently. So, I like, he could have just stayed in the helicopter. But, you know what, let's keep it on the outside right on, on the edge. One of my other favorite scenes, just the chest cavity bursting open and then gripping the guy's arms and ripping them off.
Casey G. Smith: Man, that's crazy.
Reginald Titus Jr.: That made me jump.
Casey G. Smith: Dude, yep, same here. I remember I was watching, I hadn't seen it before. I watched it, I was like, oh, man.
Reginald Titus Jr.: The timing, the timing really makes you jump because the timing is right. Like, right when he's he's pumping, he's, um, what is it called, reviving the guy 'cause he had a heart attack. So he thinks. So he's so he's pumping them like, boom, one, two, boom. He's doing the whole rhythm thing. So when he goes, boom, and then he goes back in, as soon as he goes in, he grabs, it's like interception. It's like intercepted his arms.
Casey G. Smith: Oh, man.
Reginald Titus Jr.: Man. He's like, blood squirting everywhere. It's perfect.
Casey G. Smith: It's just so in that scene, they actually hired a guy who literally had lost his arms. And they actually, they did a, a, a prosthetic mask of the other actor, put it on the guy. Um, to have him do that, do that scene. So that he would, so he would pull away. When they cut back to him, he was pulling away. It was a guy with no, yeah, a guy with no arms.
Reginald Titus Jr.: Oh. That's smart.
Casey G. Smith: Yeah, a guy with no arms.
Reginald Titus Jr.: Yes. Yeah, man. Perfect.
Casey G. Smith: They, they, in the, then the, in the first, in the documentary that I watched, they, they, that whole scene, man, like, it was, it was dangerous. Like, the whole, like, that whole setup, it was dangerous. Like, stuff. Really? Yeah, stuff caught fire multiple times and, and they were using a real flamethrower. Yeah. They had to work really hard. At one point, something exploded. Like, I think, I think that body exploded at one point because they didn't, whatever they used to, um, open it up. Well, whatever they used to, to make the, to make the goo for the head to, like, separate from the body. Yeah. That stuff, they, it was just some, something kind of hodge-podged together and they, they found it, it was extremely flammable.
Reginald Titus Jr.: Gross.
Casey G. Smith: Wow.
Reginald Titus Jr.: Wow. And they really did, like, blow up the place. All practical. I, that's what I really appreciate. It's all practical. They're really blowing up and people could die for real. Yeah. And, uh, you can see it. You, the CGI stuff now, like, you kind of know. Uh, but when, when things are really blowing up, you feel like inherent danger, kind of like, oh, this, yeah, man. This is a movie. This is a magical movie. You blew that place up.
Casey G. Smith: Yeah.
Reginald Titus Jr.: Tropes. What do you got for tropes?
Casey G. Smith: Monster in the house.
Reginald Titus Jr.: Oh, yeah. Yeah. Yeah. Uh, I wish I guess Tenet could have been a theme, I guess also, but Monster in the House and, uh,
Casey G. Smith: The, the, the, the loner forced to, to take lead.
Reginald Titus Jr.: Who?
Casey G. Smith: The loner, like, the lone person, 'cause, I mean, Kurt Russell's character, McCready, he's a loner. You know, I mean, he's there playing chess by himself. He's like a borderline alcoholic. Yeah. And then he's forced to step up and kind of just take, take lead of it all. So, tropes, people. They exist.
Reginald Titus Jr.: Yeah. Now, it's time for filmmaking tips. I do not have that many. There weren't really that many filmmaking tips, but I would say check out the special features 'cause there is a lot of information there that you may not get in the commentary, but, man, definitely in the behind the scenes stuff. Oh, man.
Casey G. Smith: Yeah, that first documentary alone, man, it's, it dives so deep. Even how they make the, the, the title credits. Like, what the guy uses like, like a garbage bag or something like that. Really? And he cut out the letters and used the garbage bag and then set, set it on fire. So it kind of burns away and then there's lighting set up behind it.
Reginald Titus Jr.: I like it.
Casey G. Smith: Yeah, so, creativity. And with all the, like, with everything we have now, you can just replicate all this stuff easily. Mm-hmm. The hardest thing about shooting anything at those times was just film was so expensive. Sure. The physical effects though, the practical effects.
Reginald Titus Jr.: You can do a garbage, you can set a garbage bag on fire. Yes. I'll give you that. I'll give you that. But like the molds of people faces. I guess you could 3D print though now. And 3D printing is, is, is that yeah, that costs money. Even the mixture that you put the mold on some some, uh, someone's face, that could be done at home. Yeah. There's books on practical effects on how to do that, pill the mold and all that. But you you do need some craftsmanship to paint, to paint it. Some skills. What she, I mean, you know, you can probably hire get a free freelancer. You can probably do like some easy special effects. Like, for example, when they're, um, cutting the blood, you know, drawing blood, it's just a plastic bag on the other side. That's all it is.
Casey G. Smith: Even cost of drugs has dropped significantly.
Reginald Titus Jr.: You can do it.
Casey G. Smith: That still makes like, it's still, it makes me cringe though, man. Like, just like, just like, just for a second. It's done well, like you can see like, 'cause he's like, that guy is gouging, he's getting like, I'm going to get in that thing. Give me that blood.
Reginald Titus Jr.: Special effects.
Casey G. Smith: It's done well, like you can see like, 'cause he's like, that guy is gouging, he's getting like, I'm going to get in that thing. Give me that blood.
Reginald Titus Jr.: You need stitches after that one.
Casey G. Smith: For real. I'm like, hey, bro.
Reginald Titus Jr.: I'm just gonna squirt a little in there.
Casey G. Smith: Oh, okay. Um, tips. So there was something called, um, a lens called a split diopter. It's a shot where there's a character in the foreground, and I can't think of the character's name, but he's working on like, how they're going to get out of this mess. Doing research and stuff like that. He's in the foreground, and he's in focus, facing us, like, from like, waist up. And then in the background, about maybe 25, 30 meters away, we see, uh, Kurt Russell's character kinda walk by in the in the doorway. He's in focus too. So the split diopter allows you to shoot both of these people at the same time and they're one in the way in the background, one in the foreground. They're both in focus, but there's like a cut in the in the lens. So, because there's a cut in the lens, you have to cover that up some kind of way. So, in that scene, you see that that, where the lens will be cut, it's like all dark there. So there's nothing there, it's just completely black. Fascinating. Yeah, but. Lens Diopter. Split Diopter.
Reginald Titus Jr.: Split Diopter.
Casey G. Smith: Lens Diopter?
Reginald Titus Jr.: Split Diopter.
Casey G. Smith: Split Diopter. Um, you can break out of the norm. What Chris, excuse me, what John Carpenter, uh, wanted to do with the monster in this film, is that he didn't want it to be just a, a man in the suit. Which out there's so many movies going up in his time where the monster was some dude in the suit. What you talk about King Kong or Godzilla. Even the first Alien. He said even he has great that movie is, when it balls down to it, once you see the Alien, it's a guy in the suit. He didn't want that for this film. And so, yeah, it's, this is anything but a guy in the suit. The way this thing manifests so many different ways. And they made, they made mention of something either in the commentary or in the documentary that some of the crazy forms you see this thing take is actually supposedly based on some of the forms that it has absorbed from other planets it's gone to. I'm like, oh, that's, that's extra creepy, man. That's gross. Yeah. So I mean you almost could have a connected universe when you think about that *Little Shop of Horrors* aspect of things. Um, but yeah.
Reginald Titus Jr.: Preditor.
Casey G. Smith: Yeah.
Reginald Titus Jr.: Be prepared. Filmmaker directors. Um, in the blood scene when everybody, when he's doing like, what happened to the blood? And nobody knows. Uh, John Carpenter said he didn't know what he was going to shoot, uh, how he was going to shoot that scene. And he when he got there to shoot that scene, everybody's already there waiting on him and ready to shoot. Yeah. And that's like the worst thing as a director because, you know, you got to have a blocking ready, you got to know, you know, who you're going to shoot first. You got to have your whole thing kind of planned out and he wasn't necessarily ready for this thing. Yeah. You know, he he admitted it. He's like, I was prepared, you know. I've had my own experience on a very, very small level from like, I shot a music video, uh, with Lauren Steele and before shooting the music video, did the storyboards, but used, uh, pictures instead of actually drawing, just had a model take pictures. I knew what location I was going to be at. We did everything story-boarded it, wrote it out. So when the day of, when it came time to shoot, it was just a breeze. It was, I knew what I was going to do. But on, um, shooting the Lamar Street video, the Tonight video, half of the stuff I already knew what I was going to shoot, but the other half I didn't because we were going to have to steal some shots in in downtown Dallas. And when you don't know, your crew is kind of looking like, hmm. So, yeah, you just, they're looking to see, but you got to play it off and be like, all right, we're just going to shoot a couple of these scenes and while these scenes are being shot, your brain is thinking about, okay, um, yeah, yeah, yeah. Oh there. Yeah. Look. Over there. I was thinking about this the whole time. Over there. I was thinking about this the whole time. Over there. I was thinking about this the whole time. Over there. I was thinking about this the whole time. Over there. 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