Is that a Spooky Penis I hear or a Belial scream? It's BOTH. BASKET CASE (1982): coming right up!
Do you hear that? Do you hear that piercing scream in the darkness of the night? No, it's not Wilhelm. It's Belial! The freakishly deformed twin that is intent on murdering the very people that separated him from his loving brother Duane!
My goodness! We're so excited! It's finally here! In closing our Spooky Penis Month 2024, we're covering Henenlotter's BASKET CASE; the down-and-dirty video nasty that was inducted into the MOMA Collection for Film Preservation. This is one episode you do not want to miss. A celebration of Horror/Exploitation but also of the purest form that cinema can offer!
Unveiling Spooky Cinema: The Basket Case Chronicles
Laura: I wish there was more time in Spooky Penis month. I wish there was many, many months of spooky penises. I'm sad.
Ryan: Every month is spooky penis month for me. In my heart, every time I look at myself in the shower.
Laura: Well, hello there. Welcome to on the BiTTE, the podcast that uncovers full frontal male nudity in cinema. My name is Laura and I am joined by my spooky co host, Ryan.
Ryan: You know what I figured out today is that I look just like Jason Patrick's character in Narc.
Laura: Yes.
Ryan: With the facial hair and the hat. Like, certainly during winter, this is the first time I've kind of done this sort of wild handlebar mustache thing.
Laura: Winter is your month or your season?
Ryan: It is my season. Yes. It is where I come into my own. It's where I. It's where I begin to flourish. I love the fall season. I love the winter. It's my favorite season in Florida. It's very delectable. Um, and yes, I look like a fucking undercover narcissist.
Laura: Speaking of delectable and wet and sticky, covered in blood in a little basket. We are Talking about the 1982 horror film Basket Case.
Ryan: Yes.
Laura: Directed by Frank Hennenlader, starring Kevin Van Hettenrich and Terry Susan Smith. Well, let me tell them what the movie's about. Let me get that synopsis, which is one beautifully long sentence that I pulled from letterboxd.
Ryan: Good.
Laura: A young man carrying a big basket that contains his deformed Siamese twin brother seeks vengeance on the doctors who separated them against their will.
Ryan: This film is brilliant.
Laura: Yes.
Ryan: Yeah, I think this film is fan fucking tastic. There's a lot like, even just that premise alone, it's very interesting. But I think just with that premise, because they don't. They don't really focus too much on that relationship as the films go on, they kind of go into much kind of weirder, kind of goofy territory as they go on.
Laura: I'm not sure about that because there's a whole scene in Basket Case too, that kind of covers Dwayne trying to get his brother back.
Ryan: Yeah, but they don't ever feel like they are the primary focus of those movies, though.
Laura: That's where they go wrong. Yeah, but I'm going to shove you the tagline and then I want you to talk about Frank. So the tagline is, the tenant in room seven is very small, very twisted and very mad. And, um, also the director called it a real perverted piece of nonsense.
Ryan: Yeah, it's a little bit nonsense. Yeah, it's a little bit of nonsense. And you m. Know what? That's perfectly fine.
Laura: Yeah. And I like Frank Hennenlotter. I enjoy his work. I think he is a fun dude with a fun attitude. And I want you to tell me all about him. Jesus.
Ryan: Isn't that how they describe Sonic the Hedgehog? That's weird.
Laura: Really?
Ryan: Yeah. Isn't it?
Laura: That would be really messed up.
Ryan: Yeah. Either way. But, uh, yeah, it's only so cool. Um, Frank Hennenlotter is an American film director, screenwriter, and film historian. Um, so he's known for directing horror comedies, but he kind of prefers to be classified as an exploitation filmmaker. And in his own words, he said, I never felt that I made horror films. I always felt that I made exploitation films. Exploitation films have an attitude more than anything. An attitude that you don't find with mainstream Hollywood productions. They're a little ruder, a little raunchier. They deal with material people don't usually track on or, sorry, touch on, whether it's sex or drugs and rock and roll.
Laura: Whoa. See? Cool dude with a cool attitude.
Ryan: And I would. I would agree with him. Um, and certainly, I think being linked in any way, shape or form to trauma, um, certainly puts you immediately into that category.
Laura: Yeah.
Ryan: Um, but yes, uh, he's not got a massive, extensive filmography. It, uh, kind of begins in 1972 with a short film called the Slash of the Knife. Then we get basket case in 1982, which is effectively his debut. After that, we have brain damage
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Ryan: from 88, which is one of my favorites. I like that movie a lot. Basket Case 2 from 1990, Frankenkooker from also 1990, which is a very popular trauma movie. Basket Case 3, the Progeny from 91, Bad Boy, Vology 2008, and Chasing Banksy in 2015. There's a handful of documentaries as well, scattered in throughout that. But as you can tell, there's kind of quite huge scathing gaps between, you know, his films. Um, which I feel like is a. It's just a sign of the changing times, I guess, probably.
Laura: And he also speaks a lot about how hard it is to make a film.
Ryan: Yeah.
Laura: And how it's a nightmare.
Ryan: Making films is kind of nightmarish. Like, you really have to gear yourself up to want to, uh. Like, I feel like, for me, personally, I haven't made a film in a while. But you're just waiting for it to be, like, the right time, like, mentally, and you feel like you're doing something that's worthwhile.
Laura: This film took ages as well, and they took big long breaks in between.
Ryan: No surprise.
Laura: So it's kind of cool that they were able to get a decent amount of continuity throughout the film.
Ryan: Okay.
Laura: In uh, my opinion, considering how many gaps they had to take.
Ryan: Yeah. Because it's not, it doesn't look like a complicated picture. There's not a lot of you see like with films like this, like low budget horror, things like you would expect to see mistakes, like issues with it and there isn't really any issues with this film. It's very low budget. The location is disgusting and it just, it just works. And it's obvious that they've like cut holes out uh, of furniture and there's hands coming out of the bottom of the basket and you know, there's puppeteers and all sorts of things kind of going on in there. So you can kind of tell like where that is. But you don't ever at any point feel like it's not kind of. Yeah. Like it's not fluid because it is, it's a down and dirty, you know, like little video nasty. Which is what I'd probably put Basket Case as. Um. But yeah, no, it's, it's a pretty, I mean, I don't want to say polished because that kind of diminishes the film somewhat. But uh, yeah, no, like there's no part of it where I'm just, I'm uh, not like in it. Like I'm enjoying it the entire time.
Laura: Yeah. And it's short, so it's easy.
Ryan: Yeah. And for, you know, for a film of its type, I mean the acting is passable, the script is fine. You know, but you kind of half expect that from a debut like this.
Laura: For sure. The idea for the film actually started with the name. So Henden Lauder was trying to think of a psycho style kind of name.
Ryan: Okay.
Laura: You know, that hadn't been used yet. And so he was like, oh, Basket Case. Like psycho crazy. Basket Case came up.
Ryan: Yeah.
Laura: And he goes, but what am I going to do? Am I going to put a little monster in a basket? And he was thinking a malignant Jack in the box. But what he couldn't figure out is like, why would a creature be living in a basket? And why would someone be carrying that basket around? And he was walking around Times Square. He ended up going to get a Nathan's Hot Dog at this big two story Nathan's Hot Dog restaurant that isn't there anymore. And it just popped into his head. He goes, brother there. Brothers. And then he just started writing dialogue on A napkin at the Nathan's hot dog restaurant. And a lot of that dialogue stayed in the film from the little napkin.
Ryan: All right.
Laura: Yeah.
Ryan: Okay. It's a genius idea. I think, uh, it's a great idea. I mean, it's kind of, um, trying to think of, like, any sort of comparison. I mean, there's obviously recent comparisons, Malignant being one, um, which is, you know, a slightly more extreme modern horror version of the same sort of idea with a split character.
Laura: Yeah. Scarier.
Ryan: A little, I would say, fun. M. It's definitely not. Well, it depends on how you see malignant, though. I think malignant is kind of goofy as well. Like, I think it definitely has some real goof to it.
Laura: It's like you want to compare it to brain damage. But that makes sense because he also wrote and directed that film.
Ryan: Yeah, yeah, I guess so.
Laura: Cause you got a little guy and.
Ryan: You know, a little parasite that's like. Yeah. Feeding off of you. Um, but at least, like with Basket Case, like, there's an inherent. There's an inherent sadness to it. You know, where it is. It is kind of as much as it's kind of twisted and it's fucked up, you know, it is literally about two brothers who can't stand to be without each other.
Laura: Family.
Ryan: Family.
Laura: Because, you know, during this spooky penis season, we've
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Laura: really honed in on the importance of family.
Ryan: We have really almost, almost accidentally just, uh, had this as the month of family.
Laura: Two films set in the 1980s, all about family.
Ryan: Pretty much, uh, it's the decade of family, you know, that's all it is. It's the decade of family.
Laura: And you'd already mentioned that this is Frank Canenlotter's first feature.
Ryan: Yes.
Laura: And he constantly says in every interview and everything that you can look up that says he has no idea what he was doing. No clue. And the crew was basically just the people who showed up.
Ryan: Okay.
Laura: And he was often the one with his hand up the puppet. He was on the floor, in a basket, in a piss filled bathroom. In a porno theater. There was people's children that would help move the puppet around because they were small enough to get under the bed and get into the little hole.
Ryan: Jesus.
Laura: And arm the puppet.
Ryan: Yep.
Laura: So. And it was not a joy to make, as I think we've already alluded to. They had no money. The original budget was $33,000 total.
Ryan: I mean, that probably covers the film.
Laura: I think it covers celluloid, probably the film. And often they would go to get the film developed but then they had to pay to pick it up. And so it would be weeks before they could get enough money to actually pick up the film. So often they were shooting blind and just hoping that they had the shots that they needed. Yeah, because they couldn't go back and review it. They would.
Ryan: Cool. That sounds horrible.
Laura: Henenlotter, uh, said it was pure hell getting that film done. It was just work, work, work. None of it came out the way I wanted because I didn't have the money. It looks like fun because of the way it was edited and the sense of humor.
Ryan: Yeah, I think he's, yeah, he's on the right track. But like this is, this is back in the time where like, he's not the only person doing this. Like Sam Raimi did Evil Dead very similarly, except he stole money from dentists and didn't tell him what he was making. And then, and then, you know, and then obviously you have hen and lotter. Like the reason this film is as good as it is is because of the way it was made. If it was made and it was more polished and it had a little bit more of a sheen to it. I, uh, just don't know if it has the same sort of quality to it.
Laura: I love when you can get your, get some pals together. You get everything that you can just from your surroundings. You're shooting in the basement of where you work. You're, you know, you're running down the street naked and you, you know, you don't have permits for anything. You shoot at the Statue of Liberty. And he goes, oh, there's cameras everywhere already. No one's going to ask us any questions.
Ryan: Yeah, of course.
Laura: So you just go, you get your shots and you run away hoping you don't get in trouble.
Ryan: Yeah, it's weird because like now we're coming into an age where digital filmmaking certainly is at the forefront and you know, shooting on film is certainly in the rarity. But to say that you don't have, you don't have the tools at your disposal now. I mean you can get a camera for maybe less than five grand.
Laura: People films on their iPhones.
Ryan: Yes, on their iPhones.
Laura: So.
Ryan: Mhm.
Laura: You can do it.
Ryan: You can definitely do it. Will it be as good as this? Maybe not. But no. Um, there, there's something about, there's a little bit of a happy accident with Basket Case, I think as well. I think it's just, it's bolstered by just a very interesting central premise and uh, it just, it just does it well. Really?
Laura: I. I fully agree. It's very fun. This is a fun, silly little movie.
Ryan: Yeah.
Laura: And they had other. Like I said, they kind of utilized everything that was at their disposal. They had two friends that happened to work at Saturday Night Live, and one of them would just grab stuff that they kind of had laying around, stuff that was extra. So one day they gave them random stuff, like a big bottle of latex, and they go, oh, here you go. And they would use stuff like that to make the effects, like, to make the scarring where, um, Belial was cut off of Dwayne and, you know, scalpels in their heads. And they would just use a latex that they got from their friends at snl.
Ryan: I mean. Yeah, I mean, it looks. It looks pretty decent. I mean, the crew list is actually relatively quite extensive for a film of, like, this size, so.
Laura: Would you like to know a little secret? It's not a secret. I guess most of the names in the credits are made up.
Ryan: Oh, okay.
Laura: The crew was so small, they didn't want to keep repeating all the names over and over again, so they just made a lot of them up.
Ryan: Okay, well, then. Yeah,
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Ryan: that makes sense. Yeah. Yeah, that kind of just makes sense.
Laura: And did you. I'm, um. This makes sense why they would do this. But they used, uh, Kevin Van Hettenrich's face as, like, the face cast for Belial.
Ryan: Yes. Because as the films go on, Belial does look more and more like his brother.
Laura: Yeah.
Ryan: Like, the effects do get better, and they do start to look like his. Do look like his brother.
Laura: I don't know if it's for the benefit of the films. I think if you kept Belial looking how he did in the original film throughout the sequels, it would look weird. But I don't know. I just feel like when the films get later on, I don't love it as much.
Ryan: Yeah, I guess because he's not central to those stories. For the most part, he's in him, but he's not really central to the story.
Laura: Yeah, it's not a Dwayne and Belial story. It's like a freak show story.
Ryan: Yeah.
Laura: I love Belial. I love when he screams. And I still couldn't figure out who does that. And it's probably Kevin Van Hettenrich because he's the one who. He did, like, I think he did the voice and stuff, so I think he was the one who did the screams.
Ryan: Okay.
Laura: And I wish that I had that as my text tone on my phone.
Ryan: Yes. It's, uh. It's Pretty wild. Like, my favorite. My favorite thing is, like, when you're watching the movie. And I was watching. I watched it again recently, obviously, for this. And you're like. You're like, yeah, this is really. This is Basket Case. And you're like, oh, this is. This is happening. And then immediately when he pops out for the first time and starts screaming, I'm like, yeah, this is why I like Basket Case. It's. It's immediately when Belial jumps out and he's got that. That piercing scream that can only be from him and himself. So.
Laura: Yeah. Because you have a while in the film before he comes out of that basket.
Ryan: He's. Yeah, the.
Laura: Not too long.
Ryan: But, yeah, they do horror tropey stuff in it where, you know, they disguise him and they, um, know they hide him, you know, obviously to, you know, uh. Uh, you know, uh, the suspension of disbelief. Sorry. Just trying to get my head around that. That idea. But anyway, yes. Uh, you know, to try and, you know, make him more of an entity when he does finally show up. But he's pretty scary. I mean, it's not. It's not friendly. And he's like. He looks fucked up. Like, I can understand. I can understand when the parents see him. Um, and then the mother died during childbirth. And the father's just like, I need to get this freak off my son. Because he does look like a freak. He's got sharpened teeth and those fucking glowing eyes. And he's super fucked up. And, like, the story I want to hear is of how did Belial come to be otherwise? He's just like this malignant, parasitic Siamese twin. Who looks nothing like, you know, his brother, obviously, other than in the facial features. But, like, how the fuck did he come to be and then also be this strong, threatening presence that just, like, screams at you.
Laura: It would seem as though Belial would be strong enough to be, like, the dominant of the twins. You know what I mean?
Ryan: Yes.
Laura: Where rather than Dwayne being the prominent being and having him attached, it'd be the other way around. Like, Belial would have eaten Dwayne in.
Ryan: The womb or something, potentially.
Laura: Because.
Ryan: Because there's a psychic link between them as well.
Laura: Hell, yeah.
Ryan: So, like, that's how Belial's actually able to communicate. Because he can't communicate. Um, he. He Basically, through telepathy, he's able to communicate with, uh, Dwayne. Which is something I think is cool and stuff. Other than it. It's only really good in the first movie because you're then just like, Watching Dwayne, it's obvious he's just like, he's speaking to himself.
Laura: Yeah.
Ryan: As it goes on later and they're having like full on conversations, I kind of lose a little bit of interest in finding out exactly what it is that they speak to each other about. Certainly when you know, it goes full trauma and Belial ends up finding a uh, female equivalent to him and has sex with it. Which is something I never ever expected to see myself.
Laura: Well, he raped someone in this movie.
Ryan: Oh yeah, he fucking does.
Laura: Yeah.
Ryan: Rapes them to death.
Laura: Yes.
Ryan: Yeah, it's pretty messed up.
Laura: I forgot about that.
Ryan: Wholeheartedly recommend this film to everybody.
Laura: I. Yeah, I forgot about it. And then I was watching it and I go, oh, he's on to. Oh, oh no, no. And then there's blood everywhere.
Ryan: Yeah. It's not.
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Laura: And he takes. Okay, yeah, I'm jumping ahead but Dwayne takes a minute to get him unhooked.
Ryan: Yeah.
Laura: Disgusting. I have a lot of kind of just behind the scenes stuff. Do you want to hear it?
Ryan: I think so because all I've kind of written down are uh, like stuff from Cuz like I do love the fact that it's in New York and I like it. It's in the. It's in. It's when New York is shitty because like 70s New York was really dangerous. And then obviously into the early 80s. Although saying that this film. Yeah, I mean by the early 80s it was still a dangerous.
Laura: Especially where they were kind of where they were filming around and uh, where these guys hung out. And where these guys lived was around 42nd street, which was a very dirty and dangerous area.
Ryan: Okay.
Laura: Lots of porno theaters and like lots of cinemas that apparently they all hung out at the movies all the time.
Ryan: It's before obviously it got cleaned up when Giuliani came in.
Laura: Right.
Ryan: So it still has like, I guess a lot of that character still.
Laura: Yeah. So it's not the opening part of the film, but when you see Dwayne walking down the street with the basket for the first time. So they're walking down kind of near 42nd Street. Apparently when they were shooting it, they have everyone in kind of in a van with the camera shooting down the street.
Ryan: Okay.
Laura: And a guy that was working in front of one of the porno theaters started screaming at them, jumped into the van where they were filming and said if they didn't stop filming the porno theater he was going to kill all of them. But they weren't filming the porno theater. Obviously. They were just they were doing something else.
Ryan: Yeah, of course.
Laura: So that's how that started. And oh boy. I don't know if I, uh, just love hearing how they made the set because of how little money they had. They had to just use their ingenuity and creativity to make a lot of the sets because they would film in other people's apartments and apartment buildings and stuff. But the front desk of the hotel, for example.
Ryan: Mhm.
Laura: Was the freight elevator. So they stopped the freight elevator, repurposed it. The walls were made out of canvas.
Ryan: Okay.
Laura: So. And a lot of the walls in what was meant to be the hotel were made out of canvas.
Ryan: Okay.
Laura: So if you see people like slamming up against the wall, there were other people on the other side of the wall holding it up so that it wouldn't break.
Ryan: Okay. So it's like moving around and stuff when you probably shouldn't. Right.
Laura: If doors moved or, uh, uh, if doors were closed too harshly, the walls would shake. You can see it a few times if you really look.
Ryan: Okay.
Laura: Not that you're really concerned about that. Who cares?
Ryan: It's just funny. No, but what's the purpose of doing that though? Because, like, I'm assuming they're using actual real locations. So why are they doing that?
Laura: A lot of the hotel, like the hotel hallway scenes, for example, were filmed in a friend's loft. So they had a big open loft and they made the hallway right out of the canvas sheets. The pipes that are going along the ceiling are cardboard tubes.
Ryan: Okay.
Laura: And the ceiling of the hallway is sheets. Huh.
Ryan: Huh. Interesting.
Laura: Yeah.
Ryan: Okay. Yeah, that's very interesting.
Laura: Thank you very much.
Ryan: Huh.
Laura: I do my best, I guess.
Ryan: Yeah. Because I guess, like, if you're able to just like make that location, then that's something you never need to worry about disappearing.
Laura: You know, they would reuse rooms that they'd created and just paint the walls different colors. Like a lot of the rooms are the same, you know, quote unquote, hotel rooms.
Ryan: Okay.
Laura: Where, you know, they would paint it yellow. Got you paint it pink. Or they'd paint it a different color so they could just keep reusing the rooms.
Ryan: Okay. Okay.
Laura: That they made.
Ryan: That's clever.
Laura: Thank you. A, uh, lot of stuff was also shot at this porno theater that was on 42nd street as well.
Ryan: Okay.
Laura: So you know in that part where Dwayne's in the Sunny Chiba movie.
Ryan: Yes.
Laura: In the theater and he falls asleep and that dude steals the basket.
Ryan: That film is called the Bodyguard.
Laura: Nice.
Ryan: In case you weren't aware.
Laura: I'd already kind of talked about this, but you get a shot out of the basket and it was uh, always the director on the floor in the basket with the camera. So he's on, on the floor in a piss covered porno theater bathroom and he's just shooting out of this basket. He goes, it was horrible. It was horrible. He goes, why did I, why did I do this to myself? Because he shot the film as well. Like he did the puppetry, he did the animations. He's a lot like you in that
00:25:00
Laura: respect. Like he kind of did everything, you know. And he goes, I'm not a cinematographer, I don't know what I'm doing. I just thought, all right, I'll just put the camera here and then hope for the best. Yeah, you know, there were times where he would be in the basket or like in, you know, that uh, dresser that's in the hotel room and the basket's on top of it and you know the puppet comes out.
Ryan: Yeah, it's just holed out and he's inside it. Yeah, the dresser.
Laura: The dresser, yeah. And he would have a mirror kind of on the other wall so he could see how the shot looks.
Ryan: Yeah, boy.
Laura: Yeah, he's doing his best.
Ryan: It does sound, yeah, it does sound slightly nightmarish. But then when you have no money, I mean that's just kind of the way it's meant to, needs must, meant to go. I don't know if, and this is me speaking from personal experience. If you spend a lot of time doing these things on your own, you get very good at them. It's not uh, beneficial to your mental health or your physical well being, but you do get better at it as time goes on and you brutalize yourself over and over.
Laura: Yeah. There was one part, you know, where they have the animation. I think it's stop motion.
Ryan: Yeah.
Laura: Where.
Ryan: You know what that reminded me a lot of like um, Haruko, uh, the Goblin. Or like Tetsuo, like Shinya Tsukamoto, stuff like that. Like that's what that reminded me of. Because that's exactly what um, he did for. He did all that stopmation stuff himself. Um, so yeah, and it's only one shot in Basket Case.
Laura: There's a couple.
Ryan: There's one where he gets. He ends up on the. And he walks a little while. Walks, he moves. And then there's one where I think he jumps up onto something. I think. Or it's the other way around. I'm not too sure.
Laura: I think it was the day that they were filming at uh, the statue of Liberty. And he was saying, um, Frank Cannon Lauder was saying to somebody, he's like, I feel like I hurt. Everything in my body hurts. Do people just get cancer? I feel like I have cancer. And they're like you were doing. You probably did 2,000 squats yesterday. Because he was doing the stop motion of Belial in the basket.
Ryan: And he's just getting up and down.
Laura: Up and down and up and down and up and down. And they're like, I don't think you have cancer. You just did too many squats.
Ryan: Oh, boy. Yeah, we've all. We've all been there.
Laura: Oh, right. Totally.
Ryan: We've all been there. Um, but yeah, like I said, if you just keep on doing it more often, you, uh, you just get better at it. That's really it.
Laura: Uh, when you get really strong thighs.
Ryan: Yeah, your thighs are the biggest part of you. For no particular reason you can never remember. You're just like, why do I have these gigantic thighs? You're just like, oh, I can just put a watermelon between here and then you just pop it.
Laura: Yeah.
Ryan: Just because you're just, like, woofed. Look what I've done to myself. You've still got a belly, but you've got giant thighs.
Laura: And kind of the last bit of fun behind the scenes stuff I have is it's a little bit further into the film, but the flashback scene where you see young Dwayne and baby Belial and they're still attached.
Ryan: Yes.
Laura: There's this part where this guy is walking kind of barefoot, like, in the basement, and he's walking around, which is something.
Ryan: Again, like, if I had to put a, uh, little mark on this film, who the fuck walks in their basement with their bare feet? Because I wouldn't do that. There's no way.
Laura: What's going to be worse is I tell you where they actually filmed it.
Ryan: Okay.
Laura: They filmed it at the Hellfire Club in New York, which was a sex club for gay, lesbian, poly, trans and leather folk in the meat packing district.
Ryan: Oh.
Laura: So they had to clean up the floor because he didn't want to walk around there barefoot.
Ryan: Of course.
Laura: And if you notice all the props kind of all kind of against the wall m, they were strategically placed there to cover up the multitude of glory holes in the walls. So if you just look around and you go, wow, that really looks like a basement.
Ryan: Yeah.
Laura: Yeah, it does. Cause it is a basement. Well, it's not, actually.
Ryan: It's a sex basement.
Laura: It's a sex glory hole fiesta room. It's pretty in New York.
Ryan: It's pretty awesome.
Laura: Thank you.
Ryan: It's pretty amazing. Cause I don't know if any of that stuff like exists anymore. It probably. It maybe does in a very underground sense.
Laura: That club got rebranded. I think it was called the Vault. But, you know, this was in the very early 80s kind of. And then, you know, the AIDS epidemic started to flourish. So they kind of had to rebrand the club in a way. So.
Ryan: Yeah.
Laura: Uh, there's the glory days of the glory holes in New York City.
Ryan: Yeah.
Laura: Cruisin.
Ryan: Uh, yeah.
00:30:00
Laura: Leatherfolk.
Ryan: I like the, uh, Biker boys. Leather daddies. Um. Yeah. No, well, I think I like that scene as well because they make that death contraption.
Laura: Yes.
Ryan: Which is easily one of the dumbest things in the entire film. Is that is the. Is the buzzsaw cart, which it just. To me like. I just. I'm like. It makes no goddamn sense. And you see it for a good three or four seconds before it starts rolling down and then effectively cuts them in half. Yeah, it's very stupid and I love it.
Laura: There's some really solid death. Murder. Death kills in this film.
Ryan: Yeah. Yeah. And they're still. They're still the best ones in the Basket Case series, probably. Other than when Belial gets the. It's kind of like. It's kind of like aliens gets the robot suit at the end of Basket Case three.
Laura: Basket. Basket Case three does some, uh. Oh my gosh, I'm m getting so excited. Has some really good ones. I. Isn't that the one where he crushes the guy's throat and his eyeballs pop out of his head?
Ryan: It's probably one of the most famous horror.
Laura: It's wonderful. It's wonderful.
Ryan: It's just very. Well, Basket Case three is trauma as fuck. Like it is very trauma just. Just from. There's musical numbers in that film, you know. And a very trauma thing that I quite enjoyed is that there's a. He gets attacked and someone has a shotgun. The shotgun goes off and it kills the daughter and then she falls over and then that squashes one of the little baby belials.
Laura: I screamed like a little domino effect, the baby belials.
Ryan: Which is something I see in trauma stuff quite a fair amount.
Laura: And I know this is controversial that I didn't love Basket Case two.
Ryan: Yeah, well, I don't know why you said it was boring.
Laura: It was boring. It's not boring. And again, I wanna see Dwayne and Belial. I don't care about the other characters. Big teeth and the guy with the moon face.
Ryan: I, uh.
Laura: Like, did you have a particular. I know we're not. I know that there's not penises in Basket Case two and three, but why not watch them all?
Ryan: Yeah. Well, I want.
Laura: Do you have a favorite, Ryan?
Ryan: A favorite freak? Yes, A favorite person. I like the one with the oversized head who can't, like, lift it up but has a very beautiful singing voice.
Laura: Oh, yeah, I like that one with a big mouth.
Ryan: Well, there's that. There's that line in Basket Case three because they all get on the school bus, and the mother, who's like the kind of mother superior, she's like, looking after all of these poor, unfortunate people, and she's very nice. She goes, oh, Curtis, you brought your lettuce along. And I'm like, I love it. Like, I actually love it. Like, I love how. I just love. I love stuff like that. And, um, yeah, no, I don't really have an issue with basket case 2. I think they perfect it with basket case 3.
Laura: When all those baby belials came out, it really warmed my heart. The guy. What was his name? Who had all the arms. He had, like, 11 arms. Kevin. His name was, like, Kevin or something.
Ryan: They all have very normal names.
Laura: You know, I can't remember his name. I'm terrible.
Ryan: Or George Curtis. Yeah, something very. It's very. Yeah, it's very standard.
Laura: He's holding the video camera and he's just. He's doing rhymes as all the little baby belials come out. Oh, uh, I was obsessed.
Ryan: Oh, you mean the doctor. Oh, he was the son of the doctor. Yeah. Who had like. Yeah, he was. Yeah, he makes the suit and stuff.
Laura: Yeah, he was. As soon as that part happened in the birth in Basket Case three, we'll go back to Basket Case. But that drew me back in, and I was fully engaged.
Ryan: Loved it. Yeah. No, Basket Case three is. We've got Basket Case three coming in the mail, right? Yes, yes.
Laura: Because we have a problem and we don't stop buying.
Ryan: Yeah. And we're not going to address it, so it's fine.
Laura: We're just going to keep doing.
Ryan: We're just going to keep on going. To keep on going until we die. Um, yes. No, I think we're going to be. We're going to be fine. But. Yeah, no, I think that. But, uh, covering Basket Case because Basket Case has been. Has been on my to do list for the podcast for a while. It just. It was a. It was a great excuse to go back to watching the two other Basket Case movies that I saw, like, more than a decade ago before.
Laura: So yeah, it was my first time.
Ryan: There you go.
Laura: The first time I ever broke your.
Ryan: Cherry on that one. Eh, gross.
Laura: The. The first time I ever was made aware of Basket Case was my old roommate, I don't even know how many years ago, had a shirt.
00:35:00
Laura: And it was. It was this old shirt, like he'd had it forever. Really faded. Had. Huh. And you know, it said Basket Case. A little blisle popping out. I'm m. Like, what the hell is that? I'd never seen it. And this is coming from someone who's been obsessed with film since she was little. I worked in video stores for as long as I could possibly work in a video store. And I was like, what is that? I guess it wasn't very video store friendly for Hollywood video.
Ryan: It was a. It was a video nasty.
Laura: But I never. We never carried it at any of the video stores I worked at. So I never saw it. And I don't know when I saw it for the first time, but I was. It was probably you. I probably watched it with you.
Ryan: It may be. I got it. I had. I had um. I had friends at ah, college. When I first left high, uh, school and did film and stuff there. That's how I met like early. That's how I, uh. Sorry. That's how I watched like early Peter Jackson stuff like Meet the Feebles and Bad Taste and Brain Dead and stuff like that. And then Basket Case was kind of just. And then trauma stuff kind of came into that as well because it was all this kind of natural progression.
Laura: It would have been right up my alley too because I loved all that early Peter Jackson stuff. It's all very wet.
Ryan: I used to go to HMV and FOP and stuff all the time and you'd see films all over the place like. And there was, um, you know, I spit on your grave. A, uh, lot of. A lot of obscure Takeshi Miki stuff that I can't find anymore, like Metal Yakuza. I remember seeing that on a shelf. And some of his other really, really early kind of like bully films that he made that were kind of like Alan Clark esque. And then, uh, yeah, a bunch of Italian like zombie movies.
Laura: That's cool.
Ryan: That were also kind of there. So it's like a lot of stuff that has very vivid images in my mind of what they were. And yeah, I just kind of found myself drawn to them a little bit. Um. But yeah, that was just purely by the company that I kept. And we were all weird little loners, so that was Just kind of the way it went is that we kind of just watched movies instead of actually going out and maybe meeting people. So.
Laura: Yeah, it's really fun. I don't know, it's. It's such a treat, this one. A big treat. And um, speaking of treats. Trick or treats?
Ryan: Treats.
Laura: Trick or treats. Yeah.
Ryan: You did this last time as well.
Laura: Did I? Oh, um. God, I'm redundant.
Ryan: We need to get some order around here.
Laura: Wait, some m. Order? Why won't they just leave me alone? Would you like to talk about the penis scene?
Ryan: Yes.
Laura: Hooray.
Ryan: Mhm.
Laura: This penis scene happens at about. It's really, really close to the end of the film. Uh, about an hour 18, depending on how you watch. An hour 18 or an hour 22 minutes.
Ryan: It's like the last 15 minutes.
Laura: Yeah.
Ryan: Probably even less than that.
Laura: Um, is this before or after the rape of Sharon by his wife?
Ryan: Oh, this is just before.
Laura: Just before. Because they are about to get intimate. Right.
Ryan: Well, she's. Yeah. For. For whatever reason, she's not seeing any of the warning signs from Dwayne.
Laura: Yeah, there's. And there's plenty.
Ryan: And there's plenty. And she's just.
Laura: Take me, Dwayne, take me in my wig.
Ryan: And it's like. It's like. Okay. And then obviously Dwayne has another one of his wobblies where it's. It's him. And obviously Belials, like enraged. Um, and that's when he has a little bit of a wobbly. But the thing is, is that you think it's just a dream sequence. So. Yeah, Dwayne's in bed and we've already highlighted like Belial has gone, like Belial has gone for a little. Want to put it that way.
Laura: Well. Cause he's out doing murders. He's out doing the duties. Right. He's getting rid of all the doctors that separated them and all the people involved.
Ryan: Yeah, like that's not important.
Laura: Very sad.
Ryan: Yeah, I mean, that's kind of just the driving thing for the plot anyways, that he's. They're killing. Then you kind of start to find out that some of these doctors were vets, um, who performed the surgery, which I think is quite funny. But, um. Yeah, no, there's. You've. We've already established that Belial's gone for a little wander. He's been a bit pissed off. Obviously. There was the hotel owner who's like angry about Bob Hoskin, who's just kind of going in there and just screaming, just like, what the fuck going on? Um, but, you know, there's been some murders. There's been some things that have happened in, like, the hotel. People have seen things, all this sort of stuff.
Laura: They've certainly heard things.
Ryan: They've certainly heard things. Um, but, yeah, Dwayne is lying down. He's having a little sleep. And he's dreaming. And he's completely naked
00:40:00
Ryan: in this dream. And he's just running around the dark New York streets.
Laura: Yes, it was odd. It is odd.
Ryan: It's odd. But as it goes on, it starts to make sense. So in terms of, like, our visibility, we're seeing him in wide shots and he's coming towards camera. So you're seeing a lot of. I mean, I don't know, what would you like to say? Bush?
Laura: Yeah.
Ryan: Yeah. It's very bushy and 80s bush. 80s bush. And he's coming towards. He's coming towards camera, and there's a few shots of him. Because it cuts back and forth. And you think he's just dreaming. And then he can. He's looking up at a window and the light is on. And then the next thing you know is that, uh, you're looking at his lady friend who's lying in bed and she's naked. And they pull back the sheets and there's some booby touching. And it's obviously real hands that are.
Laura: Touching her, uh, Belial hands.
Ryan: Well, in the dream, it's real hands.
Laura: Oh, okay.
Ryan: So it's this continuation. So basically what we come to realize is that no, it's not Dwayne that's in the room having a dream. It's actually Belial is actively in that room. And fucking rapey murders her. Yeah, pretty much.
Laura: He must be so strong.
Ryan: But the thing is, is that, like, Dwayne's asleep, and his. He is envisioning the journey he is envisioning in the dream. I say, in inverted commas, is just Belial on his little wander. Which I thought was actually very clever.
Laura: Their psychic connection.
Ryan: Yes. So it's not. It wasn't a dream, per se. It was just this manifestation of the psychic connection that they share that was perpetually like. It was the physical journey of Belial ending up at her apartment. And then obviously what ensues after that.
Laura: Love that you explained that. I actually didn't. I just was watching it. I wasn't thinking about it. I just thought, this is weird.
Ryan: Okay.
Laura: No, I thought that that makes total sense.
Ryan: Yeah. I thought that was relatively quite obvious. Just based on. Just based on kind of how they've kind of taken it, which I thought, I thought it was relative. I thought it was quite clever.
Laura: Yeah.
Ryan: Because otherwise that's like that what is the stop frame animation of him going around those New York streets would be tough. That's probably a budget restraint. That's why they've done it this way.
Laura: You are absolutely correct.
Ryan: Clever.
Laura: Because that was the original ending of the film was Belial leaving New York and walking around New York. But they didn't have the animation skills or the technical know how to do or the budget to make that happen. Because it would have been too much.
Ryan: Yeah, it would have been crazy. Yeah, it would have been absolutely crazy.
Laura: So the director's idea, obviously was what ensued. And he called up Kevin and he goes, he tells him the idea, like, okay, what about this? We get you naked, you're running down the street. And Kevin's like, yeah, great. So they actually filmed that on a really cold night, unfortunately. So what they had, they had two vans, like, heated up the heater on full blast. They had one further down. So he would. Kevin would jump out of one van, run, run all the way down the street towards the camera, jump into the other van, and then they would drive away really fast. Yeah, so they did that, I guess a few times. Um, but first they swept the street out of any debris because he was barefoot.
Ryan: Yeah.
Laura: And that's. They would drive away really fast after they got it done. So that if anyone called the cops about a naked man in the streets, they could be like, what are you talking about?
Ryan: He's not naked. Look, he's wearing clothes.
Laura: So no permits, baby. Cut and run.
Ryan: Yeah. Yeah.
Laura: He, um, was totally down for it. He was like, no problem whatsoever. He's like, yeah, sure, sounds great.
Ryan: Well, here's the thing. I know that you can, you can film in Orlando. Probably can't do that. I wouldn't recommend doing that.
Laura: Well, yeah, because that's public.
Ryan: That's public nudity. But you don't need a permit in Orlando if it's less than three people.
Laura: Nice.
Ryan: So that suits me to a T.
Laura: All right, let's take our clothes off. Let's go.
Ryan: Yeah. No, we're not taking our clothes off. That's not going to happen.
Laura: Bummer.
Ryan: But, um, yeah, there you go. That's the, that's the, uh, that's the penis scene.
Laura: It's. It's great. It's a great scene. Um, and I'm glad you explained it to me a little bit better. I just sometimes don't think about things when I'm watching them. I'm just Having a nice time.
Ryan: I guess not. I mean, it just. Yeah, I mean, that's. That was kind of, uh. Yeah. I don't know. I don't know.
Laura: And I would expect.
Ryan: That was my expectation.
00:45:00
Ryan: That's what I thought. That was my interpretation.
Laura: I would expect some weird stuff to happen, considering how they filmed it. But. But no, that's. It makes total sense. It's great.
Ryan: Well, I'm glad I was here to give you. To give you that explanation.
Laura: Yeah. You have anything extra that you wanted to talk about? I mean, I could talk about the film forever. We could talk about how, you know, at the end they're hanging off of the Hotel Broslyn sign and they had to make a rig to hold Kevin up on the sign. They actually made that sign and hung it up outside the building.
Ryan: Well, I figured that because there's a, uh. There's a neon lights company that they thank at the end of the film.
Laura: Yeah.
Ryan: So I was like, they've obviously made that sign to do everything that they're going to do. Yeah, I think that's good. Yeah. I mean. Yeah. The only thing, you know, the only thing that ending is missing is to actually show the. The drop is my thing. And I think you've already got all those extras there. They're all there and stuff like that. Why not just get like a dummy or something, put a wig on it, put the clothes on it, fill it with all sorts of blood and like tripe and all sorts of things so.
Laura: That when it can't do too much because they don't die, can't do too much blood and guts.
Ryan: I bet there can be a little bit of splash. You know what I mean? So when it does hit the ground, there's something.
Laura: It's only the second floor also.
Ryan: It's only. It's the first movie as well.
Laura: Yeah. I guess you didn't know that they were gonna.
Ryan: You didn't know. Plus they can still. You can still bring them back out Basket Case too easily.
Laura: Just like stepfather.
Ryan: No problem. Yeah. Just. Just explain it away because it's already goofy as it is. Just be like, no, of course they just came back, you know, it's fine. Yeah. That's the only thing I feel is missing from the ending of Basket Case really is you don't see the fall. But I mean, I can live with that, I guess.
Laura: Yeah.
Ryan: And the only other thing I have, the only other major issue is, you know, when the guy who's like, you see that money he has and all this, right. And he's Obsessed with it. And he breaks into the apartment.
Laura: Mhm.
Ryan: And he uses the lock pick. It is obvious that you can tell that the lock is painted shut. That's my only main issue, is that it doesn't make any sense. That does not make any sense.
Laura: They're doing their best.
Ryan: They are doing their best, Jess. But it's obvious. It's like painted. It's painted to the point where it's like, that's never. That bolt lock's never going to work again.
Laura: Oh boy. Well, uh, did you know that in. You do know this. I don't know why I'm asking you if you know. Does the audience know that in 2017, basket case became part of the permanent film collection at the Museum of Modern Art?
Ryan: I mean, it says it at the beginning of the movie now.
Laura: It sure does.
Ryan: So good for him. Good for them. I mean, I think it's. I think a lot of it maybe comes down to the fact that like, um, Henning Lautter's very big on film preservation. So, you know, same with. Same with Scorsese and stuff like that. Like those sorts of actions are what get you immortalized in cinema. Not so much as to, you know, let's say they don't make. He didn't make good films. He has made good films. But I think, yeah, as much as you are, uh, filmmakers, you should be a, uh, preservationist, basically. So.
Laura: And the release that it's at a. It's, um, not on 4K, is it? It's on Blu Ray.
Ryan: We have it on, um, Blu Ray. All of the films are on Blu Ray.
Laura: So that release that came out, they were actually able to get it done properly because it was filmed in 16 millimeter. But when it was released theatrically, it was blown up to 35 and it just looked like ass. Yeah, no, things were cut out from the top and bottom. Like it just looked horrific, apparently. So he's happy that they got to fix that.
Ryan: Well, I think it says that it's a 4K transfer from the original negative, basically.
Laura: Absolutely, yeah.
Ryan: So it's the best it's ever going to look, as much as it looked the way it looked back then. Um, so it's the best version of that film that you can come to see. But, uh, we do tend to like, we have a massive TV now, like a huge 75 inch, like, like 4K TV. That's insane. And we do watch some of the grittiest, nastiest looking things on it. And you can see every little minute grain. Because I watched again, I Watched Narc on it today. And that's. I don't think that's shot in 30. I think that's shot mostly
00:50:00
Ryan: on 16. It might be some stuff in it that's shot on 35, but, like, that is. That's one of the dirtiest films that's ever existed.
Laura: Yeah, I was just thinking about that version of A Night in Heaven that's chilling on YouTube, and it's like 20p.
Ryan: Yeah.
Laura: Like, it's really bad. You watch it on that big tv.
Ryan: Uh, it's like you're better off watching it because we have it on vhs, but we're better off watching that on a crt. And that's it. Yeah, I mean, that's. That's a treat that we gave to ourselves, really is hooking up that VCR to that CRT for ourselves.
Laura: Oh, my gosh. We had our, uh. Uh, some younger friends over, and I showed them the CRT and vcr, and they couldn't, like, comprehend that there was a vcr. They go, you have a VCR player? Like, they'd never. Like they hadn't seen one. I'm like, you had to have seen a VCR in your life.
Ryan: One of them had to have seen one. I can understand the other one not seeing it, but at least the other one should have understood it.
Laura: I'm like, I love that. I love it. I'm like, come over. Let's watch some tapes.
Ryan: It's not even that, like, it's just. It's. It's one of. It's. It's still a great way to watch films. The only thing I would suggest is we. Well, we have a PS2 that's connected to it. Watching a DVD on that CRT, it'll be like watching it on. On a 4K. It'll look nice because that's what was meant for. Yeah.
Laura: Um, one more thing I wanted to say that was, like, I think, one of the last things in my notes.
Ryan: It's itching at you.
Laura: It's itching.
Ryan: Scratching.
Laura: The etymology of the word belial comes from the Hebrew Bible, meaning lacking worth.
Ryan: Wow.
Laura: So it didn't until much, much later come to refer to the devil. So originally, it just meant, like, you're worthless.
Ryan: Okay. Okay. Yeah. Well, I thought. Yeah. I thought the Devil went by many different names.
Laura: Oh, tons.
Ryan: Yeah.
Laura: So that's just one of them. That's just one little nickname. M for the devil.
Ryan: Yeah.
Laura: Would you like to jump into your ratings, sir? Would you like to go first as a gift?
Ryan: Ooh, what a. What a Special gift, that is. Um, so I guess for visibility and context, I'd say for, like, context, it's quite high visibility, though. I m. Don't know. Maybe I just go four and a half and just, like, chop off there. Because contextually, I think it's actually quite interesting. Um, but certainly visibility maybe takes a little bit of a knock, but not so much. So, yeah, maybe say four and a half.
Laura: Okay.
Ryan: Not to kind of over explain the scene. Cause I feel like I did over explain it slightly.
Laura: Um, I'm gonna go in the same boat as you. I originally put a four, but then you, uh, explained to me what it was all about, and I go, oh, cool. Okay. I like that a lot more. Also, the length of time that it holds on that, like, that scene is actually pretty long.
Ryan: Yeah.
Laura: So it's not just a flash. It's not a blink. And you miss. You're not gonna miss that part.
Ryan: No.
Laura: If you're watching the film, you go, oh, shit, that guy's running down the street naked in New York.
Ryan: Yeah. That's awesome. If you blinked and you missed it, it's because either you fell asleep or you temporarily went blind. And I would suggest going to the doctor.
Laura: Yes. So, yeah, definitely not a blink. And you miss. It's there for a long time. The visibility is decent even though it is dark. There were some people who, when reviewing the movie or talking about the movie, said they didn't have any lights. There were no lights. You know, And Frank's like, we had a couple light bulbs. Yeah, it is dark. But, you know, they're. They're working with what they got, and they're doing stuff in the streets.
Ryan: Oh, yeah.
Laura: So you're also.
Ryan: I mean, they're also working on 16 millimeter as well. It's not like the contrast ratio on 16 millimeter is relatively quite high. You can push that film pretty far. Certainly, uh, in low light as well.
Laura: So, you know the facts that they get the team out there, get a couple of vans. They get out there. I think they're in Tribeca. Uh, and they just. They're like, all right, go. Just run. Yeah, I love it. It's super fun.
Ryan: Yeah.
Laura: And how about the film Ryan?
Ryan: Oh, five stars. Yeah. It's one of my. It's one of my. Go to horror movies every year. I love Basket Case. I love Basket Case. And I love. I love a lot of hen and lotter stuff anyway. A lot of the, uh. Yeah, a lot of his, uh, trauma stuff I absolutely adore. Frankenhooker is awesome.
Laura: Frankenhooker is really good. Yeah.
Ryan: You know, Brain Damage is also very, very clever. I think Brain Damage is great. Absolutely love Brain Damage. But, uh,
00:55:00
Ryan: yeah, no, five stars. Five stars. Five stars all round.
Laura: I, I gave it four and a half. I'll rethink it. I don't know why it's four and a half. There's no reason for it. It could be five.
Ryan: I don't think there's anything wrong with the.
Laura: There's not. No, there's really not. I mean it could be five, it doesn't matter.
Ryan: Yeah, because like, like Basket Case, like the original Basket Case is quite mean. Like it's quite vicious and it's very, like, it's quite vindictive. Like it, it works well as a revenge film. And yeah, it can be a little bit goofy when you look at. But like, genuinely, it's hard. It's a little, it's a little vindictive. It's like a little shit, little angry bastard. And I quite like that. Uh, because obviously the next two films that come out, they're a little goofy, but at least a little, they're, well, they're in earnest, you know, I mean, like the characters are interesting and it's kind of, it's exploring this world, you know, which I think is, is a lot more interesting and it's, they're more comedies than anything else.
Laura: Yeah.
Ryan: Um, but Basket Case, just as a, like, as an outlier. Like it's, it's, it's a pretty, it's. As much as he probably doesn't like it being called a, ah, horror film, like it's a very effective low budget horror.
Laura: All right. It can be five. You can have my five.
Ryan: Okay.
Laura: I think when you take into account how they made it, how long it took, how arduous it was, even though they didn't have fun making it, you can tell that there's a love there. And I think that translates really well. And I think it's very fun and very gross and uh, I like it a lot.
Ryan: So they don't really make films like this anymore. You know, I mean it was like when we went to see the Substance recently, like that's where, that's where you're like, oh. Because, uh, Screaming Mad George did the effects for the uh. I think the other two Basket Cases, if I'm not wrong.
Laura: Okay.
Ryan: Um, so yeah, there's, you know, they don't really make stuff like that, but like there's little flourishes where you're just like, oh, I remember when they used to do cool shit like that.
Laura: Well, that's what I mean. I don't want no spoilers for the substance, but, like, I think that you can tell based on how popular that movie is at the moment that there is a potential for stuff like that to weirder shit like that to keep coming out and being marketable. And I think that's really interesting and I look forward to seeing more weird shit like that because why not? Mhm. Be weird. Have fun. Be gross.
Ryan: Yeah.
Laura: You know, like color out of space, you know, get weird.
Ryan: Yeah.
Laura: Have fun.
Ryan: Mhm.
Laura: Cool. Aw, Spooky Penis month, my favorite.
Ryan: Yeah, it's over for another year, but, uh, that's okay. It's all right. Because, um.
Laura: Yeah, we'll be back.
Ryan: There's plenty. There's plenty of films for us to cover now. We're getting into the fall, we're getting into the season.
Laura: Getting into. Getting into Ryan's Jason Patrick season.
Ryan: Yeah. My narc time.
Laura: Well, thank you all for being here for Spooky Penis Month. It's been a real treat because I got to talk about one of my favorite movies and one of Ryan's favorite movies. And well, I love both of these movies, Stepfather and this one. Um, make sure to follow us on. Follow us on social media, on letterboxd Instagram, things like that. It's pouring rain outside, but that's okay.
Ryan: Is, ah, that what that is?
Laura: Well, uh, yeah.
Ryan: I thought was the fan.
Laura: Nah.
Ryan: Oh. I was like, yeah, that means the fan's broken because it's not stopped. I was like, jesus Christ. All right, well, there you go.
Laura: And yeah. All right. We will talk to y'all soon. Coming to you from the hotel Broslyn.
Ryan: I've been Laura, I've been angry Bob Hoskins.
Laura: Cool.
Ryan: Or Jason Patrick, more specifically. I look nothing like Bob Hoskins, but I definitely look like an arc.
Laura: And I'll be working on my Belial scream for the rest of the month.
Ryan: And yeah, can't do it.
Laura: I think you have to do like an in, like a.
Ryan: There you go. See, that worked.
Laura: They do it. It's like an inside.
Ryan: Yeah, that kind of worked. Cool. Nice.
Laura: All right.
Ryan: Nice.
Laura: Aww.
Ryan: I accomplished terrifying.
Laura: I accomplished something.
Ryan: Like, if I heard that while we were asleep and you're just like, no, I'm all right.
Laura: Too bad. You live with me. We'll see you guys.
Ryan: Too bad indeed.
Laura: All right. Turn it off.
Ryan: Yeah, I'm really not feeling well. Like, genuinely not feeling well.
Laura: He's down.
Ryan: Must
01:00:00
Ryan: have been that surgery I had to remove my brother from my side.
Laura: Um, okay, I'm gonna go again.
Ryan: It's kind of very similar to my own brother. Very angry and about as freakish.
01:00:16