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S6 EP15 | With Naked Gun ready to unload on movie goers, the Studio demands a parody movie to capitalize off that success.
Two screenwriters attempt to recreate, reimagine, or flat out fix, existing film franchises when 'the studio' demands...MORE FILMS! It's an exercise in creative thinking where they will challenge themselves to conceptualize, pitch, and craft a film based on the stipulations of a hypothetical Hollywood overlord. | Sixfive Media
Hello and welcome to the studio demands it and exercise in creative thinking where we will conceptualize and craft a film or series based on the demands from one of you listeners acting as a hypothetical Hollywood overlord.
Speaker 2:Overlord.
Speaker 1:As professional screenwriters ourselves and massive cinephiles, we talk movies
Speaker 3:All the time.
Speaker 1:And we'd like to believe that we could meet any demand thrown at us. We will be your screenwriters for this episode. I am TCD Witch. And joining me as always is Jim. I forget.
Speaker 1:Wait. Wait. What's I can't read this. It's in small small font, Burzelic. What's that
Speaker 3:all That's that's my full middle name.
Speaker 1:It's teeny tiny. Mhmm. That's so strange. Why why is small font?
Speaker 3:What?
Speaker 1:Why why is your middle name small font?
Speaker 3:Because it's a small font.
Speaker 1:No. I get no. It's in small font, I wanna know why your name is small font.
Speaker 3:Because it's in small font.
Speaker 1:Oh, okay. So it was written first and then they named you that?
Speaker 3:Yeah.
Speaker 1:But how did they know to name you that if they could read the read the the the t c. Yeah.
Speaker 3:What is your last name? What font is your last name in?
Speaker 1:Mine? Yeah. Let's be honest, it's Comic Sans. I don't feel good about it. It's an embarrassing family thing.
Speaker 1:Should I have said something else?
Speaker 3:No. No. I I well, I was hoping I was hoping what you were gonna say. I was hoping my my
Speaker 1:You teased me up.
Speaker 3:My my t was gonna get you to say that your last name was in the font Duet. That was a bit of a reach on my part.
Speaker 1:Yeah. Within
Speaker 3:Going for the Comic Sans gag Mhmm. That made that made more sense.
Speaker 1:It's also funnier that we're dissecting it
Speaker 3:right now. It is. I I am not as right. I have not taken a whole bunch of improv classes. I still do the stupid thing of trying to set up farfetched jokes and hoping my partner psychically reads the elaborate setup that
Speaker 1:I should have said dewit fonts.
Speaker 3:I never go I never go for the the the proper thing. I wanna say the the the easy simple thing, but I'm afraid that sounds derogatory and it's not. I understand the reason for that is it actually makes improv possible.
Speaker 1:Yeah.
Speaker 3:And that's that's what makes that that's where the magic of improv is. Mhmm. But I'm a pretentious jerk who's like, basic comedy isn't good enough for me.
Speaker 1:I'm gonna go cerebral. What would space goes coast to coast write? Which wouldn't be the worst way to go if you No. If you could somehow lock in to always doing something that would be perfectly at home at space goes coast to coast, you'd be a comic genius. You'd be Jim Small font comic genius.
Speaker 3:And that is what I aim for.
Speaker 1:Yeah. To to be like Space Ghost? Yeah. Or that original era of Adult Swim? Yeah.
Speaker 1:The original cartoon cartoon Adult Swim of Space Ghost Coast to Coast. What
Speaker 3:And one more time. My middle name is Small Font.
Speaker 1:Small Font. Am I am I pronouncing it correctly?
Speaker 3:Yes. Small font? No. Not when you do it like that.
Speaker 1:Okay. How do you say
Speaker 3:Just say it.
Speaker 1:I'm saying.
Speaker 3:Just say it.
Speaker 1:Small font.
Speaker 3:No. Small Small font. Small font. Small font. Font.
Speaker 3:Small font.
Speaker 1:Now I've said it too many times. It's lost all its meaning. Jim, what an opening. Our listeners have given us demands from studios literally all over the world. And you listening now, you can send us any demand you'd like, and we will have to meet it right here on the spot.
Speaker 1:And when we reach the end of the episode, if we've done our jobs, we will have pitched a full script meeting or even exceeding those demands. And when the end of the season comes, your demands could have helped us craft the script that will be greenlit by the fans for our finale. Thank you everyone who has submitted. Please keep them coming. You pointed something out about our intro.
Speaker 1:You didn't you didn't even notice I omitted the word pitch. Like, we I I I gave it some thought because you're right. We to truly pitch something, you've got fifteen seconds. The elevator pitch.
Speaker 3:Well, I I can I can nitpick with the best of them, and I can I can probably nitpick a whole bunch of words that we choose to use? So And
Speaker 1:he has.
Speaker 3:I think you should be able to use pitch just as much as you want.
Speaker 1:Okay. I'll put it back in next time.
Speaker 3:Okay. Good.
Speaker 1:Well, what we're gonna do here? Yes. We are going to craft a film.
Speaker 3:Knowing Like that.
Speaker 1:Yeah.
Speaker 3:What do we actually craft?
Speaker 1:A script? A story?
Speaker 3:We don't we don't craft a movie.
Speaker 1:We craft a screenplay.
Speaker 3:Because the craft of a movie is the, like Filming. Filming a thing happening.
Speaker 1:Editing a kid.
Speaker 3:Yeah. Yeah. We we don't we don't do that.
Speaker 1:Damn. I'm gonna have to rewrite the whole intro.
Speaker 3:And then crafting a script, we don't even do that until the finale.
Speaker 1:We're gonna beat out a story.
Speaker 3:We that would be probably the most appropriate.
Speaker 1:Mhmm.
Speaker 3:I could see broadening the definition of craft to being crafting a story. Mhmm. We do do that.
Speaker 1:Do do. Do do. Low brow. So we do do that. Yeah.
Speaker 3:So so there you go. Jim's small font nitpick Burzeli.
Speaker 1:There you go. I knew that I the even smaller font. It says nitpick right here.
Speaker 3:Yeah. It's What? That's my confirmation.
Speaker 1:Oh, yeah. That makes sense.
Speaker 3:Saint nitpick.
Speaker 1:Saint nitpick. What is he the patron saint of? I asked that question so slowly, had time to
Speaker 3:think. Cleanliness.
Speaker 1:Oh, yeah. That makes sense. Picking knits. Mhmm. What a weirdo.
Speaker 1:Okay. Knowing that naked gun's coming out, I did a little keyword search for spoof, parody, naked gun just to see what would pop up. Yeah. And we have we have a demand today. I glancing at what popped up when I did that, we had three demands that that hit the hit the hit the results.
Speaker 1:Mhmm. And I think I wanna I think I might read all three.
Speaker 3:Okay. So We're gonna we're gonna we're gonna get a real big budget by getting three different studios
Speaker 1:Three studios have come in.
Speaker 3:To to back this movie.
Speaker 1:And they are and and so so thank you for those who have submitted. There there was probably other keywords I could have searched, but these are the ones that popped up and they all I just glancing real quick at them. They seem to have similar content without fully reading them. So now Alright. Here I go.
Speaker 1:Reading them live on the spot.
Speaker 3:Let's make some mistakes.
Speaker 1:Frank's illegitimate son. There. That's great. This is from Frank's illegitimate son at Squad Up Studios. The naked gun is back and in the hands of the Lonely Island and Seth MacFarlane.
Speaker 1:Surely, it's going to be amazing. Right? Pause for Jim. Right. Come on.
Speaker 1:You
Speaker 3:got it. Amazing. No.
Speaker 1:No. No. Let's try again. I'm gonna Frank Frank, I'll get it for you. Here we go.
Speaker 3:I'm so sorry.
Speaker 1:It just says pause for Jim. The Lonely Island director and Seth McFarlane. Surely, it's going to be amazing. Right?
Speaker 3:Don't call me Shirley.
Speaker 1:There. Oh, you got it. It's fine.
Speaker 3:No studio. I delivered it terribly, though.
Speaker 1:My studio demands you chase the upcoming success of this film and make a spoof we can release to gobble up all that goodwill. Don't make a cop movie. And dear God, don't try to do what those disaster movie jerks did. You're better than that. Now prove it and make lots of comedy gold.
Speaker 1:Some assumptions in here. Thank you for putting the pause for Jim.
Speaker 3:And don't call me Shirley.
Speaker 1:Oh, wow. You nailed it.
Speaker 3:So now I'd now take that. Yes. And edit it into the proper spot and cut out all the bits where I whined about not getting it right and not knowing what was happening there. And then this will be perfect.
Speaker 1:New listeners might not know this. We do not and and know it'll shock a lot of people listening. We don't edit. What you hear is what we get. No.
Speaker 1:Wait. What you Yeah. No. Yeah.
Speaker 3:What you hear is what we get.
Speaker 1:What is happening? A lot of assumptions here, Frank, that you think that it's gonna be amazing and that it's gonna have success and make a make comedy gold. No. He's from the future,
Speaker 3:and he knows for sure.
Speaker 1:Frank's illegitimate son. Okay. So a spoof movie. Great. Philly Forrester at Totally Killer Pictures.
Speaker 1:There has been a resurgence of classic universal monster movies. There has also been a massive wave of a 24 indie horror. There has also also been some trashy public domain slasher horror movies made of recent hay. We we nailed that. We did.
Speaker 1:With all these in mind, it likely means we are very close to a new surge of spoof movies and Totally Killer Pictures wants to be ahead of the curve. This genre had a brief day in the sun before it turned into some of the worst trash in cinema. Our studio demands you revitalize it with a brand new comedy send up of the new era of horror. Okay. That's from Philly.
Speaker 1:And last but not least, Molina from Perfectly Fine Pictures. To put it plainly no. To to put it plain and simple, I would love to see a solid parody of classic monster movies. Obviously, it comes to send ups of this particular genre, there isn't a massive library. As of now, the best example is undoubtedly Mel Brooks' young Frankenstein.
Speaker 1:That's an act that's so tough to follow I would consider it socially irresponsible to even attempt. That certainly isn't to say that another classic monster movie parody isn't possible and with the recent slew of profile high profile releases like Robert Eggers Nosferatu, Leigh Whannell's Invisible Man, Skip Past His Wolfman, and Del Toro's Frankenstein, and Megan Gyllenhaal's Uncoming the Bride, I could even see it being a demand. It would just have to have its own identity and represent its own unique sense of humor towards the monsters, movies, genre staples, tropes, and cliches without piggybacking off young Frankenstein. With that, I leave it to you guys to create the next truly great horror monster movie parody, whether it's a specific character or the genre as a whole, a throwback to the Hammer horror reimaginings or recent adaptations of the twenty tenets and twenty twenties. I give you complete completely up to you to how to craft it to you like the studio prides itself on granting creative freedom.
Speaker 1:There we go. Melina, Philly, and Frank are asking for a parody film. Now Frank said any parody
Speaker 3:But not cop.
Speaker 1:But not cop. And then Philly and Melina said play with the recent run of horror. Let's let's discuss this. With just saying do a parody of anything, I I think that risks falling into the trappings of Freeburg and Seltzer, which is to try to spoof it all.
Speaker 3:And I believe, not Freeburg and Seltzer, but I believe the Wayans Yes. Are going to do a new scary movie
Speaker 1:Absolutely.
Speaker 3:That is going to do that. It's going to parody. It's going to reference in Lampoon Mhmm. All of the recent horror movies.
Speaker 1:Sure. Yeah. The the Philly here talking about the a 24 run of indie horror. That is a very specific style. We might even be able to talk a little bit about the liminal core type movies that have been coming out because while they aren't traditional horror movies, they do tend to cleave into the nightmarish, like Mhmm.
Speaker 1:Upsetting upsetting type of
Speaker 3:Yeah. They scare Psychological go Yeah. And it it's it's definitely about establishing mood Yes. And and The hassle. Tension, suspense.
Speaker 1:Yeah. And then, yeah, Molina's saying throwback to the I I don't necessarily think that's my I don't know if that's she gave us creative freedom. Thank you. Spoofing horror and going to that, that narrows it down to a genre to play with. I totally called I knew scary movie was coming when I know what you did last summer was coming.
Speaker 1:I was like, oh, boy. We are moments away from the Wayans dusting a and another scary movie? Come on. It was gonna happen. It was happening.
Speaker 1:So it doesn't surprise me that a scary movie six is gonna be coming.
Speaker 3:How I'm I'm I'm devising a thing.
Speaker 1:Okay.
Speaker 3:How funny can Vincent D'Onofrio be?
Speaker 1:Vincent D'Onofrio?
Speaker 2:A friend came in here today with an
Speaker 3:because I got a dumb idea. Okay. So when someone tells me not to do a thing, I I I don't have a strong anti authoritarian there's actually a disorder like when you you you authority defiance. It's something like that disorder. Yeah.
Speaker 3:I got a little bit of a streak of that. But basically, when someone says Don't. This story is bad or this story can't be done.
Speaker 1:Right.
Speaker 3:So I immediately upon you reading, don't do a young Frankenstein It
Speaker 1:just clicks your started your oppositional defiant disorder. I must. Yeah. So Don't write a park bench, Tollbooth.
Speaker 3:Yes. That's exactly what I did in school. One act plays shouldn't have more than five characters.
Speaker 1:There's 15? There's one
Speaker 3:act yep. That's exactly what I did. So I did that just now. We don't have to do the whole episode, but here's my pitch sized pitch Yeah. For a younger Frankenstein.
Speaker 3:Oh my god. Okay. The grandson of the grandson of Frankenstein
Speaker 1:Mhmm.
Speaker 3:Finds all it it's it's almost a repeat, But with I I don't know if I would want it to also be black and white like it was. I basically just came up with a cast which kinda tells you a lot of the sensibilities and I think Lonely Island is a great way to go. Andy Samberg plays the grandson of the grandson of Frankenstein.
Speaker 1:Samberg would be amazing playing Gene Wilder's son.
Speaker 3:And I was trying to think of a big guy to to be the monster. Yeah. And I'm I'm kind of blanking, so I went with Vincent D'Onofrio. But right to that end, they would do a different song. Yeah.
Speaker 3:I don't know what they would do.
Speaker 1:It would be a lonely island rap.
Speaker 3:Oh, there you go. Yeah. Yeah. It would be something something like that. Yeah.
Speaker 1:So just as so those AI generated trailers for, like, Wes Anderson movies, you you wanna generate Andy Samberg?
Speaker 3:No. I don't wanna use AI. I just want Andy Samberg to do it.
Speaker 1:To just to just take it and and and and then have a okay. Well, who's any other are you just No.
Speaker 3:That I'm that's that's all I I think actually it would take place well, because that took place then. I think it would take place in a in a pseudo modern day setting. I think it would be funny if it is still black and white.
Speaker 1:Yeah.
Speaker 3:And it probably kinda follows a bunch of the same beats.
Speaker 1:Yeah.
Speaker 3:I don't know. What what do you think? What what should be different?
Speaker 1:Well, a okay. So the oh, boy. Can't believe we're pitching off this. If we're gonna even touch young Frankenstein, which we were explicitly told not to.
Speaker 3:Yeah. That's why we're only doing this for five minutes. We're only gonna touch the stove Then for five minutes.
Speaker 1:It's the so there there's an anaconda coming out soon. Yeah. It's starring Jack Black and Paul Rudd Mhmm. Who are obsessed with the movie anaconda.
Speaker 3:Okay.
Speaker 1:So they go down to South America to go on an Anaconda tour, and they get caught up in an Anaconda movie. Like, the be while they're there, it unfolds that way.
Speaker 3:Okay.
Speaker 1:So having
Speaker 3:So you you would wanna be more meta?
Speaker 1:Yeah. Maybe. I don't know. Like, because that that's my first pitch is like, well, let's do this meta. If we can't touch Young Frankenstein, then let Andy Samberg be like, I'm gonna remake I'm gonna make the movie is about Andy Samberg remaking Young Frankenstein and being told not to, and he creates a monster in in and of itself.
Speaker 3:So like a alright. That's a different pitch. I think I can get on board with that. So it's actually less a remake of Young Frankenstein and more of like a adaptation or or Shadow of the Vampire.
Speaker 1:Yeah. Exactly.
Speaker 3:Where it's about the making of a movie that should not be made.
Speaker 1:I'm a doctor with a doctor brainiac class, inherit a castle and a monster with mass. You know, like, something like that where it's just, yeah, him him Lonely Island and pop starring his way through.
Speaker 3:Okay.
Speaker 1:Yeah. There you go. Now now we can you can have your young Frankenstein set in modern day. Don't do it. It's a terrible idea.
Speaker 3:God, can't stop thinking about it. Anyway, that's not what we're gonna do. Yeah. We're gonna do something different.
Speaker 1:Yeah. So okay. So let's for a moment now, let's talk about why Naked Gun and Airplane and the first scary movie, not another teen movie, Loaded Weapon. There are some actually there's some really very good parody movies. Sure.
Speaker 1:Most of them, if I think the rule is the movies are just good working within the framework. They're not doing what the spoof movies ended up doing. Was like, get it? Get it? It's Paris Hilton.
Speaker 1:She got hit by a truck. But look, Britney Spears shaved her head and she's got a chainsaw. Oopie doo poo. You get that reference. Like, the the last one I saw, they were just spoofing movie trailers for movies that were coming out later that year.
Speaker 1:They weren't even spoofing, oh, it's Elvin and the Chipmunks, but they're crazy rabid. Just the lowest of the low brow referential humor.
Speaker 3:Okay.
Speaker 1:Ugh. The reason Airplane is good is because they practically remade airport. Mhmm. And, like, right down to shots and dialogue where they just recreate it
Speaker 3:Yeah.
Speaker 1:With these deadpan deliveries. Leslie Nielsen is the is the master of that of just, like, complete deadpan delivery. You know? We must take this woman to the hospital. Well, what is it?
Speaker 1:It's a building where a lot of sick people go to. Right? Like, that's that that's great. And and and surely, the the top secret's another Zucker Brothers. Great.
Speaker 1:And one of the things that makes their movie so good is that they layer humor. Something is said that is funny, something is seen that is funny, and something is is is like, read between the lines funny.
Speaker 3:Okay.
Speaker 1:So, like, you get the reference, also what was said was funny, also what is seen is funny. And, like, scenes are just loaded with all different types of comedy, visual and auditorial. We can't sit here and break down the
Speaker 3:Sure.
Speaker 1:Nuances of a script we're pitching on the fly.
Speaker 3:Yeah.
Speaker 1:But to to my point, those movies are good and they're funny. They aren't funny first. They actually crafted a legitimate screenplay. Scary movie is taking Scream.
Speaker 3:Sure.
Speaker 1:It is the structure of Scream, and then they inserted, I know what you did last summer, and, Usual Suspects and a bunch of a Blair Witch. Like, they fit into the framework of that. So to that point, and going off of, like, what Philly said with the eight twenty four movies and the we just had Nosferatu. Do we want to take an existing film and make that our spine? Like, do we wanna take Hereditary?
Speaker 1:That's actually a pretty dated movie at this point. Do we wanna take Nosferatu and start there? You see what I'm saying?
Speaker 3:Yeah. Don't wanna do Nosferatu Mhmm. Because Nosferatu already is a knock off of Dracula.
Speaker 1:And we had Mel Brooks dead and loving it.
Speaker 3:And and but not not just that. Like like, it's or or I mean, the reason to do that is because then you're just parodying all Dracula. Mhmm. I I would rather do something more more like choosing choosing one of their other breakout kind of movies. And now now my mind is blinking on what might be good to go with.
Speaker 3:Right? Because right. You're right. Hereditary is kind of dated now. It follows is also old.
Speaker 1:Even get out Apparently. Is to Yeah. Is is dated at
Speaker 3:this point. Yeah.
Speaker 1:There's a guy a comedian on
Speaker 3:Well, okay. Let's let's discuss that notion. Because the parodies that we're talk like, that are that are in this sort of the same genre we're doing. Yes. When when did Scary Movie come out?
Speaker 3:How long after Scream did that actually come out?
Speaker 1:The the first Scream was 02/2000. So the first What? Yeah. Really?
Speaker 3:Yeah. It wasn't I thought that what the
Speaker 1:And scary movie was also February. No. No. No. No.
Speaker 1:I'm sorry. Scream scary movie was February. Scream was, like, 1997.
Speaker 3:'96.
Speaker 1:Yeah. 1996. So it was four years Four years.
Speaker 3:Four years later. So having a few years is is okay.
Speaker 1:Mhmm. Okay. Right.
Speaker 3:So something like nope.
Speaker 1:Right. Right.
Speaker 3:Although, I don't know if we wanna make that the backbone of of what we're gonna do here.
Speaker 1:Right. If if we're going to play in the Nope.
Speaker 3:Nope. Feels more like when you make a reference to.
Speaker 1:Yeah. Like, you can you can yeah. That's that's like a a just a quick gag in
Speaker 3:the movie. What would well, so actually looking at what Scary Movie did, scary movie did what it did because Scream redefined the genre and and redefined horror movies Mhmm. How they were being made after that. Mhmm. Basically, became a leader.
Speaker 1:Right.
Speaker 3:So it would be like spoofing the matrix or spoofing Iron Man. Right. And and these are ones that later parody movies did try to
Speaker 1:Mhmm.
Speaker 3:At at least reference.
Speaker 1:But to your point of the spoofing a movie that that redefined something. Yeah. So I guess we're on the spot here. Is there anything that has been done by a twenty four, we'll say the past ten years, that is redefining of the genre? Because I know a twenty four doesn't have, like, that one specific movie, but they do have a vibe, Midsommar.
Speaker 1:And, like, the it's that they're slow burn. They they're ambiguous. Their endings are sometimes open ended. Mhmm. She was they definitely have a visual like, a vibe to them.
Speaker 1:Sure. They feel like, oh, yeah. This is an a 24. Even when it's neon. And then psychological horror is the driving thing as opposed to seeing some slasher monster coming after it.
Speaker 3:Fuck. I can only think of old like, I I went straight to silence of the lambs. That movie is 30 some years old.
Speaker 1:It's elevated horror, Jim. L a '24 makes elevated horror, and they have a lot dysfunctional families.
Speaker 3:Who doesn't? Am I right? Hey.
Speaker 1:We're doing comedy here. And there's usually let's see what else. Like, there's something that can oh, Mocking mocking bird? No. What was the the one with us?
Speaker 1:The the girl who goes to the
Speaker 3:I always Cuckoo.
Speaker 1:Cuckoo. Thank you. Yeah. Cuckoo was like great. That was on that was a great movie of last year.
Speaker 1:Was that last year or was that this year?
Speaker 3:I think that was a couple years ago.
Speaker 1:My god. Time means nothing anymore. I feel like I'm in an 08/24 movie. Anyway
Speaker 3:Right. Because we're doing horror the witch, it's going back to 2015.
Speaker 1:Well, actually, you know what? Let's take let's stop for a second.
Speaker 3:Talk to me?
Speaker 1:Let's I think let's let's reevaluate here. One of the demands within our studios all yelling at us was the classic monster movies. Oh, yelling at We have gotten
Speaker 3:That's right.
Speaker 1:Dracula and Frankenstein's coming. We've had the creature from the Black Lagoon. We've had the invisible man, the brides coming.
Speaker 3:We had a creature from the Black Lagoon movie?
Speaker 1:It won Best Picture, man. Shape of Water.
Speaker 3:Oh, no. That's different.
Speaker 1:That's the
Speaker 3:that's the creature
Speaker 1:from the Black Lagoon. It's the same thing.
Speaker 3:It's not.
Speaker 1:Nosferatu's not Dracula then.
Speaker 3:What?
Speaker 1:It's just being No. Fighting you to It fight 's a love story between a fish man and a woman. Creature in the Black Lagoon is not a love story. It is. He swims and he sees
Speaker 3:It's about it's an obsessive stalker story.
Speaker 1:Yeah. Love, man.
Speaker 3:Also, it takes place in the lagoon. Shape of Water takes place in a laboratory.
Speaker 1:Called the lagoon. You forgot that, didn't you?
Speaker 3:Are you just making that up to to so that I
Speaker 1:Yeah.
Speaker 3:Give in?
Speaker 1:Yeah.
Speaker 3:Or was it No. Like, no. That you said it convincingly. I made it I
Speaker 1:made I made it up.
Speaker 3:Because that was really good, actually. Okay. It's
Speaker 1:But to we we've had the Universal monster movies, nearly all of them at this point. Mhmm. I think all of them. The only one I haven't seen is Count Chocula.
Speaker 3:It's true.
Speaker 1:Fruit Fruit Fruit. Fruit Fruit. Now now we got the werewolf. Yeah. We've had them all.
Speaker 1:So instead of looking at 824, we can come back to 824 and their aesthetic and and we can Sure. We can poke fun at I was gonna say a moment ago, there's that comedian who does the, alright. Give me a monster. Yeah. Alright.
Speaker 1:Give me a weird place in the country. Alright. Give me a
Speaker 3:Oh, dang it.
Speaker 1:What's the movie really about? Okay. Alright. And then he just, like, rattles off an a '24 movie like he's on cocaine, and it's always funny because he's not wrong. Yep.
Speaker 1:But let's look at Dracula, the the classic monster movies. And is there is that the place we should go to mine out a movie to to parody? Dracula dead and loving it exists, probably shouldn't do that.
Speaker 3:And Frankenstein is is coming out, probably shouldn't do that.
Speaker 1:Well, no. It was also because young Frankenstein has already done it so well. The and then the Dracula Den loving it is a complete send up spoof of Bram Stoker's Dracula directed by Francis Ford Coppola. That's what they recreated with the look and they hit the beats of it.
Speaker 3:Oh, really? That because I I did not know that. I didn't know that that I thought it was just a send up of Dracula
Speaker 1:It
Speaker 3:in general.
Speaker 1:Is in general, but the spine of it was off the heels of Young Frankenstein is not a recreation of the Frankenstein mythos as much as some other spoofs are. Like, the the spine of that is, like, the tropes of Frankenstein. But
Speaker 3:No. It follows the movie. It follows the the thirties movie real close.
Speaker 1:I I oh, I'd recently watched it too, like, within the past year, and I guess it's been so long since I've seen the actual Frankenstein. I only think of young Frankenstein, and his resistance to even doing anything with the monster is thirty minutes of that movie.
Speaker 3:Sure.
Speaker 1:Where he's like, no. No. No. Nope. Not gonna do it.
Speaker 1:I'm not the I'm not gonna be my grandfather. I'm not gonna do it. I'm not. And then he does it. And then yeah.
Speaker 1:But I what I'm saying is that it's not it it took a lot of liberties so we could we could pick the invisible man and use that as our spine and then start taking liberties from there. This is tough because, like, be to be put on the spot and say spoof a genre, not just a movie. And I'm trying to say, maybe we could pick a movie and start with that.
Speaker 3:Yeah. Well, because, I mean, what's the other option doing the genre? Where do we begin?
Speaker 1:Right. Like, had midsummer, I saw the TV glow, like, picking those liminal core horror a 24 movies, taking and then and then another difficulty here is is there's a lot of satirical horror that we've gotten in the past years. I mean, the substance is a very funny movie. It's dark
Speaker 3:and Sure. Yeah.
Speaker 1:Messed up, but it has a tongue in cheek aspect to it where it's it's mocking the the social aspects that it's it's it's it's satire. Yeah. It's true satire. Yeah. So to to grab that and go, let's do the substance.
Speaker 1:It's kinda a hat on a hat. It's it's making fun of something that was already making fun of something. You know?
Speaker 3:Sort of. I it I'd you you are I agree. It is satire, but I don't know that it was making fun of anything. It was a hyper real exploration of media and culture surrounding women and their bodies.
Speaker 1:Right. A 100%. It's the it's the humor within the satire. And then I'm saying using that, it's one of the biggest horror movies of recent. Mhmm.
Speaker 1:I don't know if that's the way I wanna pick either. So there's a lot of, like, what not to do at this point, and I'm Yeah.
Speaker 3:I'm I'm This I'm I I'm I'm starting to kind of flounder. Yeah. Do we just go with Nosferatu?
Speaker 1:Well, let's let's talk about that. Like, what about Nosferatu? What's the uncomfortable humor within something like Nosferatu?
Speaker 3:It's to to play up, right, this notion of of of the of of vibes and the the liminal core aspect of these movies and to to mock no. Not to parody that. It would be taking the extended scene letting the scenes breathe
Speaker 1:Mhmm.
Speaker 3:And then letting them breathe for too long and having the characters in the scenes go even from being uncomfortable and and full of dread intention
Speaker 1:Mhmm.
Speaker 3:To it even kinda like goes too far for even them
Speaker 1:Mhmm.
Speaker 3:Is is my my first notion of that. That that's where that's where you turn that on its head and and make it funny. I scenes are just so drawn out.
Speaker 1:Like, wow. Is this still going?
Speaker 3:Like like, when he's sitting there with Nosferatu, with Count Orlok at dinner, and, like, they just sit. And, like, like Wait. Wait. Even even even taking even taking Poe Dameron's line, and you should I talk or do you talk?
Speaker 1:Yeah. Yeah. Okay. Wait. Wait.
Speaker 1:Wait. That that's a good starting point. Okay. The the painful, like, drawn out stuff, it cleaves close to a 20 very mumbly, soft, tension fueled quietude. Right?
Speaker 1:So having, like, a painfully, I'll use emo. That's not the right term, but sort of like a Gen Z gentle vampire who's also, like, toxically masculine, who's like, welcome my castle or whatever.
Speaker 3:Having that be the either protagonist or antagonist feels what what what would be that feels more scary movie
Speaker 1:Yeah. To me. Yeah. I'm just to to give us a starting point of not Serratu, but an a '24 version of it and having
Speaker 3:Serratu a 24?
Speaker 1:No. It wasn't. Oh, was it? I don't think it was. I think it was
Speaker 3:It was Eggers. I know that. Like
Speaker 1:like, as far as was it a '20 four?
Speaker 3:I don't
Speaker 1:No. No. No. That's fine. Let's we're off top.
Speaker 1:We don't have to sit there. Like, having having the vampire be like, you're in Nosferatu, but the vampire is an a 24 style character. Like, you want some you want some shots or something? We Oh, no. Do I hate Gen z?
Speaker 1:Oh my god. We can't sit here googling, Jim. We have to we have to keep going. It was Focus Features. Focus Features release, not Esperatu.
Speaker 1:Damn. The oh, gosh. Another thing that's difficult in this is what we do in the shadows exists.
Speaker 3:Oh, yeah.
Speaker 1:Any any comedy we could draw from vampires has been handedly Yeah. Done by them. So I think we just need to avoid vampires altogether.
Speaker 3:Alright. Alright. Yeah. Pull out of this one.
Speaker 1:Yeah. Vampires are completely out of the question. So then if they're out and Frankenstein is out, unless you wanna go back to start pitching off of Andy Samberg doing okay. So then that's out. Shape of water, we got our creature from the Black Lagoon.
Speaker 1:I know you flinched it just now, but like
Speaker 3:No. No. Actually, I flinched because if we kept Andy Samberg, but we didn't do young Frankenstein, we just did Frankenstein. Mhmm. Looking at what Del Toro's doing
Speaker 1:Yeah.
Speaker 3:Trying to anticipate what he's going to do. Do we have Andy Samberg be our parody Oscar Isaac?
Speaker 1:Yes. He's got the hair for it.
Speaker 3:And that's what Hollywood is based on.
Speaker 1:Oh, it's all about the hair. Yeah. Come on. That's why everyone's wearing wigs now.
Speaker 3:Mhmm.
Speaker 1:No no guy has that hairline. That's a fake hairline on every man you see. Hollywood hairline. So, like, well, that that suggestion we go down the Frankenstein route of of just doing another okay. Yeah.
Speaker 1:A Million Ways to Die in the West failed on pretty much all measures except the mustache song because Blazing Saddles did it perfectly.
Speaker 3:Okay.
Speaker 1:The the parody spoof of the cowboy genre was done so well by Blazing Saddles, everything else is gonna pale in comparison.
Speaker 3:Mhmm.
Speaker 1:So by trying to do another Frankenstein parody, we're
Speaker 3:We're fall destined to fail.
Speaker 1:We're destined to fail. That's what yeah. Socially irresponsible, as Molina said. Yes. So take Frankenstein out the equation.
Speaker 3:Okay.
Speaker 1:Okay? We have Invisible Man.
Speaker 3:The mummy.
Speaker 1:The wolf man. We could try the mummy again. Actually, you know, if it was an 08/24 movie, it would just be called mommy. Tony Colette stars in August mommy.
Speaker 3:That's terrible.
Speaker 1:Yeah. But you can you can already picture the whole movie.
Speaker 3:Actually, I just see the trailer in Arrested Development style. It's it's basically it's basically a movie that that maybe would bitch.
Speaker 1:Yeah. Gangy. Yeah. Okay. A creature from the black loon.
Speaker 1:I'm just keep thinking of Andy Sandberg playing like merman. I don't if that's zoo lander.
Speaker 3:So are we making a movie where we've cast it before we even have a movie?
Speaker 1:Look. The studio gave us we came in knowing Sandberg's gotta be in this. So now we're just getting the whole Brooklyn Nine Nine crew in this thing. You know, rest in peace, Andre Brauer. He would have been a great monster.
Speaker 3:Yeah. Yeah. He would have been spectacular.
Speaker 1:Yeah. And then Igor is oh, what's his name? He's the he's one of Jed Apatow's guys. I'm completely blanking on his name. Whatever.
Speaker 1:The the Brooklyn Nine Nine group. Okay. Wolfman. Let's look at the Wolfman, Jim.
Speaker 3:You're talking about Boyle?
Speaker 1:Yes. Yeah. Yeah. Yeah. In
Speaker 3:in the in the show, his character's name is Boyle. Don't remember the actor's name. He was on the state.
Speaker 1:That's right. Yes. But, okay, let's look at the wolf man. What do we got?
Speaker 3:Honestly, I I only know the the the beats the the the very broad beats of wolf man. Yeah. I would just end up making teen wolf.
Speaker 1:Jolie Truglio is the hacker replacement.
Speaker 3:Oh, there you go. Yeah.
Speaker 1:Yeah. That kid knows. Yep. Little kid screaming. Okay.
Speaker 1:Wolfman, a family the of the most recent one, the Lee Wanell one. Husband, wife, daughter going out to the countryside because the dad's the husband's father passed away and left him his cabin. Mhmm. He's not seen that cabin in decades because his dad was abusive and said there was a wolf in the woods, a werewolf in the woods. They show up, their their van crashes, husband gets scratched by the wolf, he slowly devolves into wolf man.
Speaker 3:Mhmm.
Speaker 1:And then the werewolf that attacked him fights him and the wolf versus wolf, his daughter and wife escape, and then husband ultimately sacrifices himself after killing the wolf and sadness, end of movie.
Speaker 3:Wow. Spoilers.
Speaker 1:Oh, sorry. Spoiler alert. Did I do that right?
Speaker 3:What a hilarious movie.
Speaker 1:Okay. Throw that one out. Presence, the ghost story shot first person that Lucy Liu, where the ghost is is in the house. I don't know if I wanna I don't know if a spoof movie works from a first person perspective because now it's a it's a double gimmick. It's a spoof movie and it's a POV movie, but like a ghost story, like a haunted house spoof movie.
Speaker 1:No. There is a spoof movie called haunted house. Bride of Frankenstein. Bride of Bride of Indie movies, an a 24 style bride of Frankenstein where she's just like, whatever. Yeah.
Speaker 1:So I was created to love this guy, but I'm gay. That sounded like I was being mean, but I'm just
Speaker 3:like No. Yeah. No. I'm I'm I I think I just went off on a tangent and I invented another movie. I'm literally
Speaker 1:babbling at you to see if you can come up with anything. So I'm I'm killing time.
Speaker 3:Holy crap. I don't know. I don't I I don't know if I'm just I it I've just gotta be in my own head about this.
Speaker 1:Yeah. What are you in your head about? Oh, you mean you're stuck? Is that what you're Yeah. Wow.
Speaker 1:Look at that that that here here's the here here come herein lies our problem, Jim. We we don't know how to satisfy this demand. This is this
Speaker 3:I don't think we do.
Speaker 1:This demand is is asking something of us that this is really challenging us, and I'm not gonna I'm not gonna call it. I'm not gonna sit here and say this is dead in the water and we need to walk away from this. We're now gonna have a conversation to dissect why we can't do this right now.
Speaker 3:Okay. Like I just thought of it like another parody movie that we are we are the I can't or meet meet the someone. It's a it's a Meet
Speaker 1:the Blacks. Yeah.
Speaker 3:Meet the Blacks. It's a parody of The Perch. Right. I'm I'm just thinking of genres. Yeah.
Speaker 3:I'm I'm thus trying to find other things to spoof and like, it's been done.
Speaker 1:Let's let's let's talk about that. We I I started off by talking about why the, like, airplane and top secret and scary movie are are, like, the best of the best of some of the best of the best when it comes to spoof movies is because they found that one film to to do and then built off of that. When Not Another Teen movie was put into production, the guy who directed that had only directed music videos before it.
Speaker 3:Mhmm.
Speaker 1:He was given the go. He was put in he's like, you're directing this. Here's the script. Make this. And he said, before I make this, I wanna do a rewrite.
Speaker 1:You are just spoofing the nineties American Pie, She's All That. Bring it on. If you're gonna do a non teen movie, you have to have John Hughes in here. And the studio's like, okay. What?
Speaker 1:What do you wanna do? He's like, let me let me do a rewrite on it. You don't even have to pay me for the rewrite. I just want to add in more teen movie spoofs in here. So he added in Breakfast Club and Pretty in Pink and 60.
Speaker 1:I'm better off to he added in all the teen movies that were the classic teen movies and the nineties one And that were the
Speaker 3:what was his main plot?
Speaker 1:His main plot was was pretty much She's All That, where it was the the bet to date that make the the Janie Briggs, she she has paint on her overalls and wears glasses.
Speaker 3:And Okay.
Speaker 1:Chris Evans playing the the they had varsity blues in there as well. But it was more or less, she's the dork, let's make her pretty, oh, it was all a bet, let's let's go to the dance anyway because I've discovered who I am as a human being.
Speaker 3:Okay. Then let's do a haunted house movie.
Speaker 1:Okay.
Speaker 3:Family moves into a house. Mhmm. It is haunted. Also, the neighborhood maybe, I don't know if we wanna just say the neighborhood is haunted. Mhmm.
Speaker 3:But the neighborhood is also full of eclectic and off putting weirdos.
Speaker 1:Mhmm. Okay.
Speaker 3:And our family needs to right search survive slash in classic haunted house stories, they've put all their money into it so they can't leave.
Speaker 1:Okay. Right?
Speaker 3:Like, now I'm thinking The Conjuring. Mhmm. That was your the plot of the original Conjuring as well. Mhmm. Okay.
Speaker 3:Yeah. And then in the end, they get out. They get away. I I don't know how or why. I'm a thought I'm having is one of the problems is the way we normally do this Mhmm.
Speaker 3:Is we kind of conceptualize an overall plots kind of what I just
Speaker 1:Right. Right.
Speaker 3:Right. Plopped out there. And then we're like, yeah, we did it. Whereas I feel like a parody movie is it's gonna be like this, but then we're gonna start inserting jokes.
Speaker 1:Right.
Speaker 3:So right. So instead not insert, but like so in that case Mhmm. Like for example, scary movie. If that were to have been an episode of our show, it would have been, oh, Scream.
Speaker 1:We do Scream. Yeah.
Speaker 3:But now but then we're gonna go through and say where the gags are and how they're different. And that's not what we're doing, which is which is why I suggest let's just get a plot Right. And start going. And the reason I suggest that is because, also, if a 24 is sort of what we're supposed to be doing, because another thing to consider Mhmm. Is a 24, while not parodies, what they what a lot of critics have kind of talked about them is all a lot of a 24 horror movies are doing is they're hitting all of the traditional things.
Speaker 3:They're just turning them in such a way that they're presented in this new light of what I was dubbing liminal core. Liminal core. Or just like like vibes or things like that. Right? Like, and they they have awesome messaging, but like ex machina, the witch, Mhmm.
Speaker 3:I saw the TV glow. I don't even know if all not all of these are eight twenty four. But they that's pretty much what they all did. They all present like normal normal stories. And then but but the way that they're literally filmed is this this navel gaze extended breathing type of thing.
Speaker 1:It's it's uncomfortable. Yeah. It's it's unsettling. It is it is the weird movement of the shadow in the corner of your room when you're just trying to fall asleep. Yeah.
Speaker 1:They're they're not sending monsters screaming and yelling at you. The screaming and yelling comes when someone has a full meltdown in the bathroom because they looked in the mirror and hate themselves. Yeah. Or, you know, a girl's head gets taken out by a mailbox.
Speaker 3:Now for for what I'm proposing, that that's why if we just get just a classic story arc, a haunted house story.
Speaker 1:Yeah. Yeah.
Speaker 3:Not necessarily a send up of any one movie, which means I think our movie is gonna end up ideally, it'll end up resembling a Mel Brooks movie in in the vein of Blazing Saddles Mhmm. Which was a genre
Speaker 1:Yes.
Speaker 3:Send up and not a specific Right. So Like, Melbrook style actually lends itself so well.
Speaker 1:But Spaceballs, I've escaped. We haven't mentioned that yet.
Speaker 3:Because of of what we're building, I I'm afraid it will end up like a lot of these other movies or okay. We got our framework. Now, let's just jam jokes.
Speaker 1:Jokes. Jokes. Jokes.
Speaker 3:Reference. Reference. Reference, which is the the easiest of jokes.
Speaker 1:Yeah. So then yeah. I think you got a right portrait. Here we go. This is the even just your suggestion of a family movie.
Speaker 1:This movie opens with a drone shot following a minivan driving Mhmm. Through a foggy forest towards a small town in the middle of nowhere. Like the you could probably make a super cut of a 100 movies that trailer start. Yeah. The trailer starts with a drone shot over a car.
Speaker 1:We have a drone shot over our car in in our movie. Yep. So having, like, a drone shot following, like, a minivan over this into this, like, foggy cul de sac and, like, maybe the drone fall gets shot out of the air bus. Right? Like, just, like, you know, setting the tune of that moody honestly, you
Speaker 3:know, I bet Do we do we triple double double triple down on this? So the so the drone is following the truck almost almost police squad style. Mhmm. Not necessarily that close, but or the gag isn't to see the cargo places the car couldn't shouldn't go. Mhmm.
Speaker 3:But it's following, and then it's following long enough. We get sort of the establishment. It catches enough goofy things standing in the fog like a weird town sign Sure. To kinda start establishing this stuff.
Speaker 1:Welcome to Bloonsbury Oaks. Sure.
Speaker 3:There you go. Yeah. And then it gets shot out of the sky. Yeah. And that's funny because it's it's directly referencing the camera.
Speaker 3:Mhmm. Does it double down on the joke if we then go inside the car and the kid had like, one of the kids had an iPad like,
Speaker 1:oh, something happened to my drone. Okay. I
Speaker 3:told you not to not to have that out while you're driving.
Speaker 1:The Witching of Ben Wagner, a made for TV movie from the late ninety or early nineties, has him flying a remote control airplane that he loses signal of, it crashes. His dad says, you shouldn't have been flying it. And then he goes out in the woods to find his plane and meets a little girl witch.
Speaker 3:Oh.
Speaker 1:Yeah. I I remember movies. You do? Okay. I love the idea.
Speaker 1:We have drone shots in this movie multiple times as establishing shots for Okay. Points of easy. And every time
Speaker 3:Always gets shot
Speaker 1:it gets shot out of the sky. Every time. And, like, and, like, to the point where, like, you just, like, the, like, drone shot of the establishing shot, like, credits are rolling, shot out of the sky. Right? Mhmm.
Speaker 1:Maybe we cut to him flying it, maybe not. Later in the movie, we see another establishing shot. We let it linger for a long boom. It shot out of the sky. Third time, drone shot, bang out of the sky.
Speaker 1:Like, it's like a split second. It's like a split second and bang.
Speaker 3:Do we see like, do we know who's shooting? Like, do we see in the in the shot the person shooting?
Speaker 1:No. Out of the Maybe. Maybe not. At this point, no. It's just we are POV from the we are in the drone, and it's I
Speaker 3:think well, in some way, we need to show it getting shot. And it doesn't always have to be someone with a gun. Right. Like, what if a bird just runs into into it one one time?
Speaker 1:Whatever the case
Speaker 3:Okay. At the end knocked out of the sky.
Speaker 1:Every time. Yeah. And even so so much so that if the movie results in them getting saved at the last minute by get the bad guy getting hit by a drone. So, like, right from the get, we we established this. We do it multiple times.
Speaker 1:It's funny that we keep reoccurring it, and that's what saves the day. In the end, is someone getting is like, Ow. I got killed by a drone. Whatever. But yeah.
Speaker 1:Okay. So a Is drone? Is that a drone? I told you not that player.
Speaker 3:So Drone x Machina.
Speaker 1:Yeah. So Deus Ex drone? The Yeah. So family driving into town. We get the drone shot.
Speaker 1:We set that moody tone.
Speaker 3:Mhmm.
Speaker 1:I was gonna say this a moment ago. Do you think people do that because of The Shining? That's how The Shining opens.
Speaker 3:I think at this point, there's a bunch of different things to to oh oh, you mean following the car, not the not the droning sound?
Speaker 1:Not the droning sound. I'm talking about following the car into the nightmare. Maybe? Just an observation. Just an observation.
Speaker 3:I I saying Kubrick invented it, I don't think is the most outlandish Mhmm. Supposition.
Speaker 1:Whatever the case. They're they get into this small town and they pass houses, and it's like every house they look out the window, like, this this neighborhood looks like maybe it's two kids pardon me, two kids and a mom, or maybe a full family, like mom, dad, two kids. Mhmm. But like, they're passing stores and houses as they move
Speaker 3:to it. It's a mom, dad, and three kids.
Speaker 1:Okay. Okay.
Speaker 3:An older daughter, like like probably a teen daughter Mhmm. A tween to elementary school son. Right? Like like like 11. Sure.
Speaker 3:And then like a like a three year old.
Speaker 1:Like a toddler.
Speaker 3:Okay.
Speaker 1:Yeah. Okay. Any reason why? Just a half day? Just cover the gamut?
Speaker 3:Just right right now covering our bases in case we wanna, like, do, like, a a yeah.
Speaker 1:Yeah. We can cover all the bases. I gotcha. And then having the dad and mom and the teenage girl probably be our, like, a a and b plot and then the young, whatever. They're driving in town.
Speaker 1:They're seeing, like, houses and neighbors as they and it's like, this town sucks, but, like, that house is on fire. That one has that was something in the window. Like, just completely, like, ugh. The the teen trope of, like,
Speaker 3:everything's terrible.
Speaker 1:Sort of we got it in Ghostbusters Afterlife. We get it in. Is that how Hereditary starts where they moved into the house? No. Conjuring.
Speaker 3:I I mean, the the teenager hates Right. Everything in that.
Speaker 1:Just that attitude of, like, I don't wanna be here.
Speaker 3:Hereditary starts with a, I guess, a drone shot, but a disembodied camera moving through a dollhouse that eventually pulls out and is in the bedroom.
Speaker 1:Oh, and it's in the yeah. Yeah. Okay. Then they get to their new home, which is a perfectly lovely looking house that
Speaker 3:Mhmm.
Speaker 1:Obviously has issues. And the realtor, like, greets them there. It's like, oh, they they they say it's not a haunted house. It's you. Or no, it's it's not you.
Speaker 1:It's a it's not the haunted house that is haunted. It's you or some some sort of, like, cliche, like, the the nightmare is you.
Speaker 3:Oh, I I was gonna oh, okay. I was I was gonna suggest something like he says, welcome welcome to your new home. It's not haunted. Bye.
Speaker 1:Yeah. That's even better. That's better. Yeah. Yeah.
Speaker 1:Yeah. Oh my god. We're just like, welcome to your
Speaker 3:new home. It's not haunted. Follow me. Yeah. Wait.
Speaker 3:What?
Speaker 1:What? He goes into the kitchen, you'll notice all the crown molding here. Once again, not haunted at all. And then it's like, yeah, like, just, okay, bye. Gotta go.
Speaker 1:Here's your keys. I think of the monkey with that realtor
Speaker 3:Oh,
Speaker 1:yeah. Flayed. Spoiler. Spoiler alert. I did it again.
Speaker 1:I got it. Everyone's fine. They they will retroactively know not to remember that stuff. Mhmm. Yeah.
Speaker 1:Never mind. I'm gonna I was gonna go out of a tangent there. Yeah. Realtor, welcome to the oh my god. We're so happy.
Speaker 1:Oh, and then she could establish what their jobs are. He's he's gonna be working at the factory.
Speaker 3:Mhmm. They they could. And, so so what if it all culminates with them? The realtor says something like, this is now your home. I need you to say it back to me.
Speaker 3:This is your home.
Speaker 1:Okay. This is our home.
Speaker 3:Great. Thank you. Bye. Bye. And they get in their car and they they fly fly up the road out, like, out of town.
Speaker 3:Not even to like, literally the road that that Yeah. The family just came in on.
Speaker 1:Oh my god. Like
Speaker 3:So basically suggesting this is how the realtor gets free of whatever this town is.
Speaker 1:That shot is she went like, if the camera does that sort of whip that is it Paul Thomas Anderson, Edgar Wright style where you, like, lock? It's a locked whip where
Speaker 3:you Oh, okay.
Speaker 1:Point it and then just turn to the she gets in the car and we just watch and watch and watch as she just keeps driving straight down the road and just keeps going Sure. And going.
Speaker 3:Basically back the way we came.
Speaker 1:And going. Yeah.
Speaker 3:And like Oh, and it's not just her. Actually, when she runs out to the out to her car, like, her husband is in the driver's seat hitting the horn.
Speaker 1:Here we go. We're we're got it. We're done. We're done. We're we're out.
Speaker 3:We're I guess that would even suggest that maybe they lived there previously.
Speaker 1:Sure. What or or or if it's the the previous family. It's like, hand well, yeah. But have it that's a great, like, gag of, like, it's yours now. Say it to me.
Speaker 1:It's your home now. Move. And just and then hold it for way too long. Mhmm. And then home sweet home.
Speaker 1:Like, completely just go right back to moving into the place. Having mom or dad be, like, like, an overconfident DIYer. Like, we're gonna fix this place up. And, like, they're the one that slowly succumbs to the house. Like, if they're, like, hanging Oh, okay.
Speaker 1:Like, I'm gonna hang a photo here, and they just put the hammer right through their their hand. It's like, oopsie doodle, and they just wrap it up. And, like, they refuse to ever admit anything's wrong, but they are getting ideally destroyed the whole day.
Speaker 3:Yeah. That that's the dad. And at first, he's like, I I'm I got a job to do. I I have to go. And then he becomes, like, oh, I'm working from home.
Speaker 3:And then he's just not doing his job. He's like, this house needs a fixin'. Yeah. He he just becomes obsessed with fixing the house Yeah. And is constantly, like, breaking himself.
Speaker 1:Mhmm. Like that? He's break like, you can see he's mutating, and no one's acknowledging it. Like, honey, I think you're giving too much attention in the house. Why would you say that?
Speaker 1:Come come lay down with me. Just, always oblivious to the absurd that that works in several of the parodies.
Speaker 3:Mhmm.
Speaker 1:Or having the person who says, you know, I'm surrounded by assholes, like Dark Helmet would say.
Speaker 3:Like Yeah.
Speaker 1:Either you straight up acknowledge it or you completely ignore it. Yeah. There can't there's no middle ground in there. So if if like, a good joke from Nanonotimo that just strike me is where the Janie Briggs character jumps in the pool. She I'm a golden god from Almost Famous.
Speaker 1:She jumps in the pool, and she gets out. And the Jamie Presley equivalent is like, you think you you think you're all that, but you are not all that. And then she throws a drink in her face. Mhmm. And everyone was like, even though she's completely soaked from being in the pool, everyone treats it as the insult that's meant to be, and then she runs away crying.
Speaker 1:So it's that that, like, acknowledge it or don't acknowledge it. No no middle ground.
Speaker 3:Okay. Well, so okay. Then to go with that, that suggests that the mother, the wife Mhmm. Doesn't see what's happening. Yeah.
Speaker 3:So I feel like
Speaker 1:Well, anything she's addressing is is like you're distant from the family, not that you have a board attached to your head kind of thing. Or, like, you are clearly a wolf man now. Go ahead. You were saying
Speaker 3:I'm thinking I'm thinking then the teenage daughter will be our main character.
Speaker 1:Yeah. Okay. And then she can go out and explore the town Mhmm. Like riding her bike?
Speaker 3:Mhmm.
Speaker 1:Kid kid him?
Speaker 3:Right. Sure. Yeah. Yeah. I I don't know if riding riding the it doesn't matter.
Speaker 3:We don't have gags yet for riding bikes or driving cars. It doesn't matter.
Speaker 1:The the young the middle kid, the son could have, like, a ghost buddy. Like, he's the one who just, like, maybe oh, actually, you know what? Let's go a different direction. He's he's clearly, we need to talk about Kevin, kinda like like, oh, I'm obsessed with the dead because, like, oh, tell me how you died. Like, he'd be like, what?
Speaker 1:No. I I was okay.
Speaker 3:The tell me more. Okay. So these gags are suggesting, I guess, it could still be the mom, but I'm thinking one of our characters has to see what's happening. Mhmm. Right?
Speaker 3:So, if the mom is it doesn't acknowledge what's happening to her husband Right. That means the daughter has to be and that that plays into the teenager being
Speaker 1:The most not self complicated.
Speaker 3:Sort of. Like like being the the like, it it's playing with that trope of the teenager just not wanting to be there. Mhmm. Like in the parents, like, you were you're just refusing to adapt. Mhmm.
Speaker 1:Like, no. No. You all are being turned into like literal monsters. You're all adapting too much.
Speaker 3:Yeah. That kind of thing. And so we can have her go to the local high school and she can meet friends that way and we can get all of our
Speaker 1:Eight twenty four cliches out of the way.
Speaker 3:Not just out of the way, but like we can get something like like I'm I'm imagining a talk to me scene where she gets involved with like a certain group of teens that are I don't just wanna take that and and parody that. But, like
Speaker 1:But why not? Having having but no. No. No. Okay.
Speaker 1:Sorry. I'm gonna I we are gonna parody that scene. She does make friends with the high school kids. Tangent, one the high school kids will be Nosferatu, but we'll come back to that. When they do the talk to me scene, right Uh-huh.
Speaker 1:We cut to, like, hey. Come to the party tonight. Boom. We cut to the scene. The hand's on the table.
Speaker 1:They reach for it, and it's arm wrestling.
Speaker 3:Oh, that okay. That's So you're
Speaker 1:arm wrestling like a ghost hand where it's just like and just, like, shattering the table and getting thrown across the room.
Speaker 3:Like, yeah. I'm next. And they just keep
Speaker 1:arm wrestling this thing. It's dumb. Sure. Yeah. Like, the it's yeah.
Speaker 1:Especially if you set the set the mood and it's like, how are they gonna spin this? That's the easiest one. Yeah. But the physicality of sending people flying across the room Mhmm. There's some fun to be had there.
Speaker 1:So but, yeah, in in meeting her new group of friends, having
Speaker 3:But but also because I think following a middle schooler aside from I I'm seeing this more like an a '24 horror movie Mhmm. And not like a a stranger things
Speaker 1:Right. Right.
Speaker 3:Right. Kind of thing
Speaker 1:That's why
Speaker 3:you wanna which is why I don't wanna follow the the the kid the the middle school kid.
Speaker 1:Sure. Sure. Sure.
Speaker 3:But the middle school kid doesn't have to be we have to talk about Kevin type psychopath. Mhmm. He can also kinda be having his own adventure that it maybe eventually the kids have to work together. Well But basically, that way we can have him to do our stranger things kids on kids on bikes
Speaker 1:Yes. Bits. But here's my suggestion for that. Whenever I like that. That he's the kids on bike.
Speaker 1:We only ever see him in passing. And there's a whole another movie we aren't seeing. Like, every time we check-in with him, he's got something going on. Yeah. Or it's like, even if it's the background.
Speaker 3:I really like, she's at home, and he, like, comes up from the basement with an armful of fireworks
Speaker 1:Yeah.
Speaker 3:And, like, three sides.
Speaker 1:Yeah. What are you doing? And he's right next to Dustin. Like a kid who looks
Speaker 3:like Dustin. Another kid who has a laptop.
Speaker 1:Yeah. Yeah. And they're just like, hey. What are you doing? Get out of my room.
Speaker 1:Alright. Fine. Like Sure. Through the window in the kitchen, we see him in the background having, like, a like a summoning of a demon moment. Yeah.
Speaker 3:Some something like that.
Speaker 1:He's got a whole another movie happening in the background. Yeah. So a lot of, like That's kinda funny. A lot of Zucker Brothers background gigs could be utilized with him, and any interactions with him is, like, he's ignored. Like Hey.
Speaker 1:Like, literally, like, he's like, he and
Speaker 3:his friend are passing through the kitchen with the this this, like, this arsenal. Mhmm. And the the mom's like, what are you doing, honey? Oh, just
Speaker 1:Playing for
Speaker 3:Playing in the woods. Alright. Well, be careful.
Speaker 1:Don't get splinters.
Speaker 3:Yeah. Something like that. And then the daughter's like, I'm gonna go upstairs and do my homework.
Speaker 1:You will do no such thing. Yeah. Yeah. Yeah. It's you will sit here and you will enjoy your dinner.
Speaker 3:Yeah. Something like that.
Speaker 1:You brat. Your father's working so hard to maintain this family. Is he? Is he working hard? He he seems like my my dad's a monster.
Speaker 1:Oh, also another with the core group of friends having one of the girls have, like, a super clingy, boyfriend that is the the the shape of water fish man.
Speaker 3:Fish man?
Speaker 1:Okay. Like, there's just it's like they're always on the couch making out. Like, in a pro, it's just like like, having her having our main characters at a down moment, like, sit sadly on the couch
Speaker 3:Sure.
Speaker 1:In one of those, like, asymmetrical shots from an a 24 where where you can maybe pull out from her as some sort of, synth music is playing, and the other side of the couch is just fish man and girl just she's just the main character's sad. The the the flipper keeps hitting her in the face. So the the cursed doll, having maybe that's that could be something in with it. What's the big like, the house being haunted unto itself and turning the dad into a pseudo wolf man monster in as he's Okay.
Speaker 3:So you you I thought of a different thing. You you said may maybe now I'm I'm jamming too many movies, too many narratives in here.
Speaker 1:Keep it going.
Speaker 3:But you you mentioned cursed doll Mhmm. And I thought of the toddler. What if Mhmm. There there's a plot line where, like, the parents absent mindedly, oh, they left this old doll behind. Whatever.
Speaker 1:We'll give it to the baby.
Speaker 3:The baby can
Speaker 1:have it. Yep.
Speaker 3:And then the baby gets it. And we like, a storyline starts where, like, the the doll comes to life.
Speaker 1:Annabelle style.
Speaker 3:Yeah. And it's gonna get the kid. Yeah. And the kid just starts crying. Just like where he's Oh, no.
Speaker 3:Yeah. And the doll's like, oh, no.
Speaker 1:Hey. Listen. Listen. Hey. No.
Speaker 1:Calm down. Shh. No. I'm sorry. Here.
Speaker 1:Do what do you want? Want money? Do you want money? Goodbye. Goodbye.
Speaker 1:Goodbye, baby. How's the song go? I don't $5. It's okay. Oh my god.
Speaker 3:But, like, like, then a ghost busts in and the baby starts crying.
Speaker 1:It's like, no. I just got him here. And
Speaker 3:so, like, like, so that now there's this c plot of the monsters in the house trying to basically take care of the baby.
Speaker 1:The doll. Just the doll becomes the nanny to the like, the mom even come like, at one point, it's like, the baby. And they runs in. It's like, I got him. He's fine.
Speaker 1:Oh, thank you. I don't know what we would do without you. And, like, step back.
Speaker 3:He wouldn't he wouldn't, like, try to, like, go go toy story.
Speaker 1:Go toy yeah. Yeah. Andy's coming. Look at you. You just love your little doll, don't you?
Speaker 1:Okay.
Speaker 3:Oh, oh, god. Does it turn into baby's day out where, like, like, something like the baby's crying that and and Chucky is trying to
Speaker 1:Annabelle Annabelle's
Speaker 3:trying to the the the baby down. The mom comes running because she hears the baby crying. Annabelle goes limp and the baby stops crying. Yeah. When the mom comes in, she's like, is this doll bothering you?
Speaker 3:And it like puts it up on a shelf, puts it somewhere. So now and so now Annabelle is stuck stuck somewhere or even like locked in a in a drawer or something.
Speaker 1:Yeah.
Speaker 3:And the baby starts getting in trouble. So now the cursed doll has to bust out to try to save the baby? Yes. That's ridiculous. The
Speaker 1:mom having a job in town that results in some sort of extramarital affair or, like, someone who's, like, maybe that's where Nosferatu can come in is, like
Speaker 3:No. I like him as an as I just as in high school.
Speaker 1:He's the teenager. Like, he's a full grown thousand year old man, but hanging with the kids. Like, I'm just one of you kids. This
Speaker 2:is the skin of a
Speaker 1:killer, Bella. No Twilight references. No Twilight reference. Yeah. Okay.
Speaker 1:We have some Twilight references. But, like, the fact that he's like, my voice sounds like this from vaping. Like, his tube and throat singing. Okay. But having the mom have some of that Robert Eggers no.
Speaker 1:Not Eggers. Jargos Lathamos kind of Oh. Grossness, like, sort of, Boes Afraid style horror where it's just, like, unsettlingly unsettlingly gross. I'm just trying to get, like, some some a 24 esque plot for the mother where someone is, like, trying to seduce her and and, think of, like, kinds of kindness where cannibalism came into play. I don't know.
Speaker 1:I'm I'm throwing that out of trying to don't
Speaker 3:remember the cannibalism story in there.
Speaker 1:Emma Stone's a cannibal because she survived on the island eating eating people.
Speaker 3:She did?
Speaker 1:Plane crash and then they
Speaker 3:I don't remember the plane crash. I just remember the cult where they had to sit in the sauna.
Speaker 1:It's a bad movie.
Speaker 3:And then the car crash. I remember the car crash.
Speaker 1:Forget about it.
Speaker 3:And the dancing.
Speaker 1:Forget about it.
Speaker 3:Dancing by the car.
Speaker 1:That part was cool, but it was in the trailer. No. I'm just trying to give a plot for the mom where she's involved in some sort of so if the dad is being destroyed by the house, the teenage daughter is needing to know the neighborhood.
Speaker 3:I think, ultimately, the mother need because the one character we don't have is the mother needs to essentially be an antagonist here. She gets she gets involved with whatever the the main plot is because the dad is just sort of an like like, he if this is a haunted house Mhmm. And he is a is that the gag that the house wants to be fixed up, but the dad is so bad at actually rebuilding things that it using him as a puppet is just making things worse?
Speaker 1:Possibly. That's not bad, but it's like like if it's if it's if he's being controlled by some un seen Babadook puppet master Uh-huh. And every time he screws it up, that monster's like it's funny because we keep we're so now have a
Speaker 3:We're get we all our all our references are old.
Speaker 1:No. No. No. No. No.
Speaker 1:No. That sounds I was chuckling at the fact that I was like, we have an Annabelle monster that's gonna hunt Basically, this we're we're setting up all these monsters to be tortured by the humans. Yes. Ineptitude of a man. Yeah.
Speaker 1:The the woman who refuses to be seduced or she thinks she's being seduced. The the the baby who is freaking Buttons and Mindy in it over here where it's like, oh, god. I gotta save the kid again.
Speaker 3:Buttons and Mindy, what a reference. That's a a anime Maniacs. Reference for for those who don't know. Buttons and Mindy was a a cat and dog.
Speaker 1:No. It was baby and
Speaker 3:Oh, buttons protect. What am I thinking of?
Speaker 1:Rita and Runt.
Speaker 3:Oh, that's what I'm thinking of.
Speaker 1:I was thinking, but buttons is always keep it. It's baby's day out.
Speaker 3:That's right. That's right. Yeah. Yeah. Now I'm remembering.
Speaker 3:I knew it was animating.
Speaker 1:At some point okay. So setting all these in motion, we'll figure we'll probably figure something out for the mom in a moment here. But getting to the point where the daughter is the one who's like, something's wrong with my dad. He's acting strange. He's he he he's going full Jack Torrance on our house right now.
Speaker 1:There's something wrong with my dad. My mom has been so detached. She's forgotten about everything. She's forgotten about me. She's forgotten about my brother.
Speaker 1:No reference reference to to the the baby. Baby. The the brother's having his side quest that we just keep getting. The daughter's the one who's like, something's wrong with the house. Some we have to end the and
Speaker 3:her Do we friends want okay. Oh, sorry.
Speaker 1:Sorry. Sorry. Exorcism. Let's have a let's say, seance exorcism in the house and a conjuring style draw out the the ghosts or monsters or something. I don't know.
Speaker 3:I don't know. We're Well, I was I was gonna say, what if we do pull more from hereditary and the mom what if the mom what if the mom is actually trying to sacrifice the family?
Speaker 1:Okay.
Speaker 3:Like, she's almost the one who orchestrated moving here.
Speaker 1:Yeah.
Speaker 3:And she's giving the family to the house and neighborhood because ultimately right here's the the first bit of spaghetti on the wall. Mhmm. She's actually in love with a demon, and the sacrificing the family is how she will get her her first family with the demon. This is actually her second family.
Speaker 1:Mhmm.
Speaker 3:Right? Because in hereditary, the whole everything in the house, the entire family was orchestrated by the dead grandmother
Speaker 1:Right.
Speaker 3:To to bring back their demon god Right. Yeah. Spoiler alert.
Speaker 1:You did it right. You did it right. They know now. They know now. Don't listen to that last part.
Speaker 1:Yeah. Yeah. I don't mind that that that spoofs Or already.
Speaker 3:And and I'm also trying I'm also honestly thinking a little bit of scream. Right? The killer is directly relate it's not just a murderer in town. Right. The murderer is directly directly related to our main character and the things that are happening in their life.
Speaker 3:So that that that's kinda what I'm thinking. That's where I'm kinda going with that.
Speaker 1:Yeah. Don't mind that. What what do you think about being a stepmom to detach from detach her from the family a little bit more? I don't know if it matters. Having to be the mom or whatever.
Speaker 1:The mom being responsible for getting them there and for some Like precarious purpose.
Speaker 3:Is it like this was now I'm starting to think a little too like, there's a couple movies, at least one movie called sketch that's coming out where a little girl I don't we don't know why, but a little girl's drawings come to life. Mhmm. And Hereditary was about, right, this whole plan, this whole orchestrated puppeteered plan, doll housed plan Mhmm. To turn this family into sacrifices for their demon god. And there's there's there's a couple other movies.
Speaker 3:Long Legs has this this long long drawn out story. So basically, if the mother when she was her daughter's age dreamed of the perfect life Mhmm. And fell in love. Right? This also touches on to fall in love with the the woman so long ago.
Speaker 3:There So so, like, literally, this has been her and the demon. Like, she has drawings of their perfect house and the perfect neighborhood, and that's what this is. Mhmm. And and the It's all
Speaker 1:for him.
Speaker 3:Yeah. And the the husband is going to be his vessel. Mhmm. And and I don't know what the kids
Speaker 1:if the plan was the husband to be the vessel and that's why he's, like, becoming the house in a sense, but when the daughter does the seance, new friends show up along with Nosferatu and, like, then there's a switcheroo there where she I I really thought Nosferatu liked me. He was so nice to me, but now he's, like, talking to my mom or whatever, like, that he he becomes the vessel or, like, takes his shine to the mom. I know this is becoming over complicated, but, like, they're doing the seance because the the daughter believes the house is is under some sort of it's cursed or possessed or Sure. Whatever. It's conjured.
Speaker 1:And then during the seance, the mom interrupts it. The house then is jealous of Nosferatu who's into the mom. I don't know. This may be too much twisted of a web, but just the idea of, like
Speaker 3:I'm I'm not into it, but if you like it,
Speaker 1:that's fine. I'm I'm literally just trying to, like, have some fun connect the dots stuff here. Okay. The idea that the the house is a there's a demon within the house. We're touching on some, you know, old school poltergeist stuff here Mhmm.
Speaker 1:And having the possessed house. Yeah. That she she orchestrated this because she she's in love with the demon of the house.
Speaker 3:Yeah. And and and she has their whole their whole dream life plotted out and it and and, like, they are now there to enact the final bits to make that quote, unquote perfect life
Speaker 1:Mhmm.
Speaker 3:Of of her 16 year old dreams come real.
Speaker 1:When she when the demon finally is summoned and exists Oh.
Speaker 3:Well, I don't know if that gets well, we can always do it. A fun comedic spin on it. But like the daughter, literally, the mother plans on switching bodies. Mhmm. And taking
Speaker 1:She freaky she's gonna gonna Friday. We'll get a freaky Friday
Speaker 3:in there. So that way she can be the 16 year old bride to the demon. Sure. Yeah.
Speaker 1:Get us get a freaky Friday reference in here. Sure.
Speaker 3:Yeah.
Speaker 1:Yeah. What about when she finally gets the house to to materialize the demon? He's like, jeez, you're coming on strong. My god. I I didn't I I it was cool what we had.
Speaker 1:I didn't want any of this. And she's like, what? I've I've sacrificed everything for you. And that he's like, I'm not into this girl. Like, I don't know.
Speaker 1:That that that subversion. Or if we stick more closely to the a 24, which is just like, yes. I want this.
Speaker 3:Well, what what I I guess I'm seeing that less being like I can see that gag. Mhmm. But that's that's more of a denouement gag rather than like a a once he's there Mhmm. That's that's sort of the deus ex undoing. Right.
Speaker 3:It's it's more the daughter on like like manages to foil the mother's plot enough that she escapes with her siblings and father. Mhmm. Or or maybe someone dies in this idea. But right now, she escapes with the people who don't actually want up to be a part of Sure. Sure.
Speaker 3:And they they do whatever they need need and they get out of town. Mhmm. And it's so that now it's the mother there with a foil plot, the half manifested demon and a broken house. Yeah. And and she's like really mad about it and she can't leave now because that was a part of the thing is she's stuck there and the demon's like, woah.
Speaker 3:This is too much. We're gonna
Speaker 1:be together all the time now? Like, you're never gonna leave? I don't know how I feel about this. Oh my god. Well, if
Speaker 3:I'm gonna be in the basement.
Speaker 1:I'll be there. This is where the dad is always telling. Goddamn it. During the seance, having them contact a bunch of referential ghosts who have, like, qualms or or they have they have complaints like, we don't have health care in the afterlife. We don't have health care either.
Speaker 1:Never mind. I I don't know. Just getting there's a montage moment there of in the sands of conjuring Sure. Just getting some just thinking
Speaker 3:Fun it's like a rough fun fun gags. Yeah. Yeah. No. Because they don't know the name they don't they don't know the name of what they're trying to conjure.
Speaker 1:Right.
Speaker 3:They they oh, maybe that's what like she has gathered just a bunch of words that are written in weird places from around the house and they start seancing to those and they're like, carnifax here. That's that's the Hi. Hi. Are you the one that my mother's worshiping? Like, who is this?
Speaker 3:No. Is this a crank call?
Speaker 1:Yeah. Leave me don't go don't call back. Don't call back. Please please delete my number from this list. Okay?
Speaker 1:Bye. Yeah. Click.
Speaker 3:Alright. Let's try the next one. And so so it's almost like them just going through Rolodex calling numbers.
Speaker 1:Yeah. Yeah. A Rolodex. But They find an old Rolodex in the house. They probably could.
Speaker 1:Neighborhood potluck, like a block party in the cul de sac where the house And there there's a scene for some pseudo development of what little thin plot is here to like, actually, no. We shouldn't I shouldn't disparage what we have here. Having the building of the lore of the neighborhood Mhmm. And the town itself so that okay. The daughter believes the house is haunted because her mom is in fact trying to conjure within this house the demon she wants to be with.
Speaker 3:Sure.
Speaker 1:Okay. The daughter figures that out and she's, like, gonna stop that. Having the
Speaker 3:I I think what if the reason they picked this house is because it is haunted. It it is it is like to put to put my serious hat on, it it is the entire neighborhood and thus this house as well is a place where it is thinner between the material world Mhmm. And the spirit world. Sure. And and that is a part of why it's her dream home.
Speaker 3:But basically, to to also have our original gag of the real realtor, like, offload. Like, it's important to offload this house. It's not haunted. Trust me. Don't look into it.
Speaker 3:Don't look at it. It's not haunted. Gift house. Bye.
Speaker 1:Bye. Yeah. No. I I I that is this is all working nicely. I'm just trying to think now.
Speaker 1:Okay. They move in. The the family starts being corrupted. Well, the dad gets corrupted. The mom is up to no good.
Speaker 1:The daughter is just traveling around the neighborhood in town, but it's summer, so there's no school. So she's meeting the neighborhood kids. We get some, you know, the arm wrestling moments. We get some gags in that. Then she thinks she's her family keep fighting.
Speaker 1:Her and her mom keep fighting. She believes that the house is doing something to her family. They have a seance. The the truth starts unraveling. Mom versus daughter, demon in the house.
Speaker 1:Daughter saves dad and and brothers. They escape. Mom is left in the house. We're here for all eternity. I'm gonna be in the basement.
Speaker 1:So that's that is, like, the that's the plot of the movie.
Speaker 3:Sure.
Speaker 1:And now finding let let's let's take a break here for a moment. Digest that. Let's come back, and I wanna pitch on I have some some other stuff we can pitch into this to see if we can
Speaker 3:I have I have an idea, and
Speaker 1:I'll probably have one? Great. Okay. We'll be right back after these quick messages from Six Five Media. We've come across something in doing this show.
Speaker 1:We we first came to the realization of it when we tried to do we did the commentary track for Austin Powers, which is trying to be funny over comedy is is asking a lot. Yeah. The movie's already funny. We don't need our wise cracks to enhance something here. Mhmm.
Speaker 1:Being told directly to write a comedy is actually pretty tough. Instead of going, let's write a horror movie that has comedy in it or or write an action movie that has a comic movie that has to just be straight up ass, do comedy. Go. It's it's anyone who's like, I'm a comedian. Cool.
Speaker 1:Tell me a joke.
Speaker 3:Oh, man. I'm a Why would you do that?
Speaker 1:Why would you do that? So that being said, I'm glad we found a rhythm here, and we have somewhat of this I think a haunted house is the right way to go. That that this is this is checking off some boxes. So you said you had some thoughts you wanted to pitch. I wanted to pitch on some stuff too, or at least just go down a quick checklist here.
Speaker 1:Wolfman, the dad in his mutating of the house elements is Wolfman esque is what I'm for him that the monster he's slowly becoming is likened to the wolf man. Having our Nosferatu be one of the cool kids that just hang out with you in town. You're lovely. I see you in your dreams. Like, okay.
Speaker 1:We got our we've got our, we got a Dracula, having the shape of water fish man making out with one of her friends the whole movie. Great. We got that. An invisible man and who else?
Speaker 3:A mummy.
Speaker 1:A mummy. Yeah. Yeah. Having having some element of the characters or the plot, some reference to those two. Having the dad or the mom be have the have the mom, like
Speaker 3:So okay. Have So you want you this segues into a thing that I was I was wanting to to possibly suggest. Mhmm. You you really wanna have the mom have this have this extramarital drama.
Speaker 1:Eight twenty four deals with a lot of, like, familial issues and busted ass families.
Speaker 3:It's a pretty busted family.
Speaker 1:It is.
Speaker 3:Yeah. The the mother is is a mother who, like like, what's sort of sort of unsaid, but I what I feel is sort of emerging is she's she's a mother who micromanages her family. That's all that all alone is already really dysfunctional. Yes.
Speaker 1:And I'm not and we don't need to have her have an affair. She's already trying to summon a demon out of this house. Yeah. So that covers that.
Speaker 3:Because because ultimately, I I I was trying to also do that with the suggestion of she's actually in love with a demon and trying to set that up.
Speaker 1:Yes.
Speaker 3:And that the husband was this whole secondary farce
Speaker 1:Mhmm.
Speaker 3:That she's basically cuckolding for the resources. It's it's it's essentially using someone for their money, but it's not about money. It's about your corporeal vessel Sure. Kinda thing. Mhmm.
Speaker 3:If the if the plan is even to put the demon in his body. But to to go along with the whole what if she's what if she's having an affair around town? Whether she is or not, what if that's what the son thinks? That's his plot is he sees his mom sneak over to another house. And he's like, what's she up to?
Speaker 3:And so that's sort of what he he and his friends are doing is and and
Speaker 1:it doesn't necessarily have to be
Speaker 3:like, let's see let's figure out mom up mom's up to maybe that leads to something else. And I keep imagining a burbs type situation Yeah. With with him.
Speaker 1:Yeah. I like where you're going with this. I'm taking the mom out of the equation. He's just interested in the neighbor lady who is fighting an invisible man. Like, that's Jennifer not Jennifer Gowan, who's who's a hands made Handmaid's Tale.
Speaker 1:What's her name?
Speaker 3:Yevon Strahov.
Speaker 1:Elizabeth Moss.
Speaker 3:He Oh.
Speaker 1:Yeah. She's also in it. You're right. You're not wrong. Instead of having him I like the idea that we just keep checking in with him and he's having a whole another movie.
Speaker 3:Uh-huh.
Speaker 1:He next door, the Invisible Man plot is is one of the things he mixes himself up with.
Speaker 3:So, a rear window, a burbs kind of thing that the kid the kid and his friends are embroiled with. Yeah. Like,
Speaker 1:of the many things that he unfolds in the three days this whole movie takes place in
Speaker 3:is dealing with Of course, it takes place in under a week.
Speaker 1:Yeah. That that at one point, the the Invisible Man reference will be handled over there.
Speaker 3:Okay.
Speaker 1:Oh, yeah. That oh, did did you catch the Invisible Man? If he shows up with literally Elizabeth Moss makes a cameo at the end, he's holding the kid's hand. This is my girlfriend now. Well, I don't know about that.
Speaker 1:I don't know. Where
Speaker 3:are you? Tommy, you're 11.
Speaker 1:Yeah. But one
Speaker 3:day I was gonna I was 12. Gonna It would be funny if as they're leaving, like like the girls driving them out of town Mhmm. Her her brother's with him and and he starts just hitting the highlights of what what his story was. Yeah. Fought an invisible man.
Speaker 3:There were mummies. I punched a squid monster. Yeah. Like like like he just keeps going to all these things we did not see. Yeah.
Speaker 3:And this is like, what are you talking about?
Speaker 1:You got such a vivid imagination.
Speaker 3:Actually, and then it would be super great. Right? The movie ends. We go into the credits. And then during the credits, not a stinger.
Speaker 3:During the credits, we get little
Speaker 1:clips of his
Speaker 3:of his adventure. Totally.
Speaker 1:Yeah. Shot his TikToks.
Speaker 2:Oh, sure.
Speaker 3:There you go. Yeah.
Speaker 1:Absolutely. It's Instagram really things where it's
Speaker 3:just like Boomerangs.
Speaker 1:Yeah. Give me the the give me the Absolutely. And then having a mummy moment somewhere in here where if the if the house is the haunted set, but then the there's something so weird in this whole town that we have maybe a bee like a side side plot moments where the mummies conjured up and they, like, set it on fire and it burns alive.
Speaker 3:So I think before the exorcism thing in the house Mhmm. Literally what because because we have a whole movie to fill, a whole first and second act. Mhmm. It's the the the daughter. Our our main character, the daughter, doesn't necessarily automatically think it's her family
Speaker 1:Mhmm.
Speaker 3:Or even just the house. Like, there is something weird about this whole town. Mhmm. What is up with this town? And so that's sort of what I I think maybe that's where it would begin.
Speaker 3:So she has to, like, find out details, like, about things like that. And eventually she finds out, oh, no. It's it's your Amityville place. Like like that
Speaker 1:Mhmm.
Speaker 3:That's your your issue. Like like, sure. There's all this town was cursed so long ago and stuff like that. But it all it all ends up pointing back at the house.
Speaker 1:Yes. The other friends like, having one of her friends have, like like, we all have messed up families. You know that moment where, like, y'all sit around and just
Speaker 3:Have a breakfast club moment?
Speaker 1:It kinda yeah. Like, the just the how how so you think your life is hard. You assume what my family life is like, and then that character is dealing with a mummy. Like, they're they're
Speaker 3:Oh, literal?
Speaker 1:Like, my stepdad's such an asshole, like, coming in and so whatever we want. Like, having the mummy reference be another kid's teenage angsty problem.
Speaker 3:Sure.
Speaker 1:Like, my stupid follows.
Speaker 3:Actually, like, the kid the kid's, like, arms are crossed and he's he's he's sitting on the couch as a mummy kinda, like, pseudo paces across the living room. And he goes, I don't care
Speaker 1:that you were a pharaoh.
Speaker 3:That was ten thousand years ago. And then he storms out.
Speaker 1:That's all he ever talks about. Yeah. Exactly. That sort of thing. I I oh, good.
Speaker 1:A lot of a lot of this a lot of the teen angst just dialed up to eleven that comes in a lot of the, a 24 stylings is there's a lot to be mined here. Also, it probably would aversion to old yell at cloud kind of stuff, which is why having the classic references to a bunch of things is going to even out Sure. This movie. So it's like, I'm not gonna sit here and be like, the generation after the generation after us is entering their thirties, and they're gonna have the
Speaker 3:same They're they're already slash we are already dealing with the generation after them.
Speaker 1:They're they can be annoyed at Gen Alpha. That's fine. So but
Speaker 3:Well, but so it's hard to describe how we would kind of, like, play up and lampoon the those those vibe moments of of movies because we need to describe action and a lot of these things rely on like
Speaker 1:Synthy quiet.
Speaker 3:Yeah. And and long shots, Long, slow, slow zoom or or, what's the reverse of the zoom? Pull out. Slow pull outs. Mhmm.
Speaker 3:As as characters like slowly drive down the street or watch the road or Yeah. And lights
Speaker 1:Hang out in a flashing across their eyes.
Speaker 3:Hang out in a in a closed parking structure. Mhmm. Yeah. Stuff like that.
Speaker 1:They well, okay. Having stuff like that sprinkled throughout once she has her teenage friends and they do that. There's potential to have someone who hates that they always do that. Can't we go do something? Why do we always have to sit around and do this?
Speaker 1:Just suck on your vape and shut up. Okay. Fine. I'm brooding. Jesus.
Speaker 1:Like, having a lampshade moment of one of the kids having enough of it. Like, there there could there's a potential for that potentially being in there. But okay. You had some thoughts that that
Speaker 3:that you could talk The the it was initially seeing more of the the son's stories.
Speaker 1:Okay. And I'm and I'm like, no. Background. Background. What else do we have here?
Speaker 1:Pain off the drone, like, we want that to come down to that thing get crushed in the head by a drone? What if the trauma was inside of us all along? It
Speaker 3:could. It would again, I'm gonna end up trying to do it. Is is it the son and his friends, like, shooting a firework at the drone, knocking it out of the sky, and it hitting the dad in the head, ultimately
Speaker 1:Freeing him from the Yeah.
Speaker 3:Well, knocking him away from the demon, knocking him out of the circle or whatever.
Speaker 1:Okay. What maybe. What about having a big fight to end this out? Like, if the demon comes out and and and the daughter has united her friends so that we
Speaker 3:Because a fight is an action movie. This is a horror movie.
Speaker 1:True. But it's also Comedy. Okay. I will counter with if okay. Yeah.
Speaker 1:Here we go. I'm gonna have an encounter with this. Okay. We can build up we can play the eight twenty four tropes that it that it can't lead up to a big bombastic ending unless the if everyone is basically gonna fail in the end and the doll who's been protecting the the the Okay. The kid the whole time goes full Megan
Speaker 3:Okay.
Speaker 1:And dance fights her way and kills all the monsters. Then then you have a you have a doll that's built to fight. And now we're spoofing the slasher that is Megan.
Speaker 3:Okay. If you wanna have a big action sequence at the end Mhmm. I I don't know if I I don't know if I like it being a fight. Mhmm. What if it's a ridiculous Rube Goldberg machine of a bunch of things happening?
Speaker 3:Mhmm. Mhmm. Like, we see a bunch of tentacles shoot out of a garage, several houses. Like like, literally, there's a confrontation on the lawn Mhmm. Between the daughter and the mother, and the mother being, like like, holding a knife and the the daughter's, like, falling down or, like, her back is against the the the sold sign.
Speaker 1:Mhmm.
Speaker 3:And the the the dad is, like, mindlessly lumbers after her or is already already is possessed partially possessed by the demon or whatever is is is walking after and the mother has the knife and is like, no. Now, daughter, because I refuse to give her a name, now we shall switch bodies and I will have I will have my true dream life. Mhmm. And you can you can be stuck with a mortgage and three whining brats and No.
Speaker 1:And two whining brats. You have three three whining brats.
Speaker 3:Something like that. But so then so that that sort of rising to the climax for sort of the main story, and then suddenly, these tentacles shoot up out of a garage several houses down and you see the sun and several other kids just running Running. Running away from that. But then that like sets off a thing that like sets another house on or the the house that is perpetually on fire. Mhmm.
Speaker 3:Something happens.
Speaker 1:It's that the the mummy is Like set into flames, and he runs out. And then the the fire the kid's like, oh, I'm sorry. Fire extinguishers that, but that'll launch it like
Speaker 3:Yeah. Yeah. Just do the like it like it all goes around, and they're they're cut, like so the mother's interrupted and everyone in this yard is kind of Watching. Watching the Schroeb Goldberg machine.
Speaker 1:Boom. Boom.
Speaker 3:And it all it all results in it. It comes around and, they they look and or or maybe we we see and they don't necessarily see it, a drone
Speaker 1:Yep. Yep.
Speaker 3:Get hit out of the sky, careen over and, like, hit, I don't know, the the mother, I guess, then Pwing. In the head. Yeah.
Speaker 1:Just beans her. Yep.
Speaker 3:Yeah. And that that ultimately gives the gives her the opening to
Speaker 1:Kill the house.
Speaker 3:To either tie her tie her up or kill the house Mhmm. Or grab her dad. It just or maybe sort of like all of that.
Speaker 1:Yeah. Yeah. Yeah.
Speaker 3:And like like like so she she does that. She tells the the the brother to to grab whatever. Mhmm. And like he grabs whatever an 11 year old would like his BMX and I don't know iPad and just throws them in the the the van. I was like, and what about baby?
Speaker 3:And like like as that happens, whip pan over to the van and the doll is buckling the baby and get out of here.
Speaker 1:No. No. Not even
Speaker 3:get in. Get out. Like, he he the doll's not gonna go with.
Speaker 1:Get out of here. Just just get out of here. Yeah. I don't wanna take care of your baby anymore. Okay.
Speaker 1:Good. They get in the car. They squeal it, leaving mom mom there, like, trapped. Yeah. And having the the final moments of the of the house, like, oh, yeah.
Speaker 1:I'll be in the basement like that.
Speaker 3:We could even we could even do I'm it wouldn't have to be shot like this, but like the mother chases after the like, she wakes up enough to chase after the van.
Speaker 1:No. Mhmm. Now you you're my family. Mhmm. You you must you gotta do what I say kind
Speaker 3:of thing, like, and follows them all the way to the fog. And then, like, they're they're and she's almost gonna get she's almost gonna get the van Mhmm. Like, whatever power she has to, like, stop them or whatever. She's about to use them. And then she blinks out.
Speaker 3:Blink. And the van gets to keep going.
Speaker 1:Yeah.
Speaker 3:Cut back to the lawn and she blinks in because at the beginning, we'll have her be the one who says, this is my house.
Speaker 1:So she can't leave the property. Yeah. Yeah. Yep. I get that.
Speaker 1:Yep. I like that. Having the final moment of house be like, oh god. This is more than I signed up for. Leaving them.
Speaker 1:Maybe the they leave them. But then having the the final moment be her in the car, daughter in the car, dad's, like, recovering next to her, like, oh my god, and letting it draw, like, the Cynthie as she's driving, and it try you know, it's gonna build up. The music is building to, like, what would be, like, an a 24 style ending. And the dad's like, what are we listening to? And he puts on, a like, oh, I'll I'll play a song for you.
Speaker 1:You know, like, I see a bad moon around. Now this is music.
Speaker 3:Yeah. That's that's great.
Speaker 1:Isn't that better? We all read this is better.
Speaker 3:Right? Walk of life. Yeah. It's
Speaker 1:But, yeah, the a 24 ambiguity Yeah. The slow burn ending. So it's just like, ugh.
Speaker 3:I I think I I think he would sit back like, that that's better. But it would still continue to shoot like that just with a different score, with a different soundtrack.
Speaker 1:Yes. Yeah. And then baby and then son is like, you guys wanna know what I've been up to the past for the weekend? Like, past three days? And then he could start rambling off.
Speaker 3:Or or No. No. I if if anything because the dad just came too.
Speaker 1:Mhmm.
Speaker 3:And maybe he came to soon enough in that that he's like, Linda, what's going on? So so he's not so like, so he understands, oh, we're he's he understands the the the his his wife was bad and that they must leave. Mhmm. So but he has just come to, and he'd be like, so what did you guys what happened? What did you guys get get up to or something like that?
Speaker 3:Mhmm. And the kid just says, I don't know, played in the woods.
Speaker 1:They're leaving.
Speaker 3:Something that. And then we cut to all the adventures he had.
Speaker 1:As the credits are rolling? Yeah. Yes. Yeah. Okay.
Speaker 1:What what other what other horror movie things could we find a place for in this? I think that just you you satisfied me in finding places for all the the classic monsters.
Speaker 3:You know,
Speaker 1:if they're just passing references, having well well, what's the what happens with all the friends? Like, having the what happens to Nosferatu in this? Does he get dusted? Does he get banged to death like like he does in Eggers movie?
Speaker 3:Maybe. I'm I'm now leaning more towards, like, I don't know if anything has to manifest, but I'm I think it would be kinda funny if he ended up being in, like, a a a like, sort of sort of what you said when they finally when all the friends go to the daughter's house Mhmm. He ends up trying to hit on her mom and it's a whole Stacy's mom kind of situation.
Speaker 1:Sure. Sure.
Speaker 3:She's not into it, of course. But maybe that's what gets him like, at the end, the whole Rube Goldberg thing is happening and, like, out of nowhere he comes walking up with a bouquet of flowers and says
Speaker 1:Just gets bad. Yeah.
Speaker 2:Like daughter's mom, I really like you and I think I'm gonna be 18 soon and I think I really I'm gonna be 1,800 soon. And I think
Speaker 3:I really have a I think we really have a chance
Speaker 2:to yeah. His
Speaker 1:pants fall down. He has a giant dong, and he dies. Right? Okay. Good.
Speaker 3:Yeah. Yeah.
Speaker 1:Okay. The is there any other current films, not superheroes, that we could add a layer into this spoofing? So, like, for example, scary movie utilize the scary movies, plural, utilize M. Shyamalan's The Village and Signs. They used usual suspects in the first one.
Speaker 1:They I'm, they dealt with, like, alien invasion spoof in scary movie three. Just wondering if, like, with the teenage crew that we have that is the main the girl's main group of friends
Speaker 3:By not by not showing what the younger brother's doing Yeah. We lose real estate. Mhmm. Because for example, I don't see where to fit in the reference with the daughter and and and the kids Mhmm. And and her friends stuff.
Speaker 3:But the son could totally have a parody of Oppenheimer.
Speaker 1:Like Yeah.
Speaker 3:Like him and the neighborhood kids have literally set up a little mini town out in a field where they're putting together the ultimate firework to blow up the
Speaker 1:Just lowers
Speaker 3:the the squid monster's garage.
Speaker 1:Well, let if we create a a reason to run a little bit of a cat and mouse chase, like, the exercise like, containing everything within the house in the end is the right way to go. But if in the middle of the movie, when she's trying to dissect what this house and this town is all about, she can come across, like, him being in the background of shots and also coming across it if she runs into the woods and and after breaking through the tree line, she's in Los Alamos, Texas, like, a desert setting and finds her brother there with a fedora and goggles on. It's like
Speaker 3:Like, what are you doing? Never mind.
Speaker 1:Sisters. Just duck. Get down. Get down.
Speaker 3:Oh, sure.
Speaker 1:Just just for a tangent here. Malcolm in the Middle is such a good show. I know this is a weird reference. No. No.
Speaker 1:I I know.
Speaker 3:I I get where you're going.
Speaker 1:There is a moment in Malcolm in Middle where they go to the desert. I don't remember what the circumstances were, but they get, like, a gigantic firework. Mhmm. And Hal is like, how dare you? You're in trouble.
Speaker 1:Alright. We're gonna set this off tonight. And so it was the boys and Hal, and they go and set the firework off in the desert. And the way they produced this split second moment is something that I've wanted to figure out how to do ever since I saw it, which is they are it's at night. They filmed at night.
Speaker 1:They have this big wide shot, like a crane shot, looking down at them as they've set the firework off. Mhmm. So it's the the boys and Hal standing there. And then the firework goes off, and without moving the camera, they shot in daylight, everyone standing in the same spot, reacting, and then back to the night of everyone going, I applaud. I applaud.
Speaker 1:And it's such a cool, simple trick of the of filmmaking Yeah. That is so well utilized, like, so well realized that I'm like, goddamn, that's a visually that's a great visual gag. And so just having something that was like, sister, get down. And date or night, day, night, and, like
Speaker 3:Yeah. Yeah.
Speaker 1:It's just a it's a I just wanted to throw that at just throw some love towards
Speaker 3:Sure.
Speaker 1:The the great stuff that Malcolm in the Middle did as a forerunner for single cam comedy. Mhmm. There you go. And having an Oppenheimer reference, yes. Yeah.
Speaker 1:That's great.
Speaker 3:I don't I'm not sure what else. I don't know how we'd fit everything everywhere all at once reference.
Speaker 1:Again, any chance we have with her group of friends to if we want some family dysfunction, there might there might be something to that. If we mine other dysfunctional family tropes from other movies Sure. Because something that we've seen in in the post pandemic era is there are more and more films, Everything Everywhere At Once is one of these. I believe I've said this on the show before. We're getting more movies of parents apologizing to their kids.
Speaker 3:Sure.
Speaker 1:Like, hey. Everything sucks. We admit that now. How do we move forward? Let's not leave it at nihilism like we did for ten for the first half of the February.
Speaker 1:Now we're we've all experienced nihilism thanks to a pandemic. Now let's figure out how we move out of that. Even Rick Sanchez. I've said this before. Even Rick Sanchez is an optimistic character now.
Speaker 3:Sure. I you're you're you're not wrong. I guess with this, I don't see this as isn't a parents apologizing thing. Sure. This is
Speaker 2:Or or
Speaker 1:or you mean this
Speaker 3:one? This is this is specifically parents refusing to apologize.
Speaker 1:Yes. Yeah. And I and I wasn't trying to force some sort of motif Sure. Or theme as but, yes, you're right. This this movie in itself is like, no.
Speaker 1:This this woman, this mother is trying to destroy their family.
Speaker 3:Yeah.
Speaker 1:And the the teenagers are the heroes. I think that's what we all learn.
Speaker 3:Yeah.
Speaker 1:Yeah. Yeah. I I would bend over backwards to not put a single reference to superheroes in this entire movie.
Speaker 3:No. No. Why would why would we Like,
Speaker 1:I don't care if the studio demands that we reference Marvel
Speaker 3:or anything. They didn't. Good. We we referenced the things the studios demanded we do. Yeah.
Speaker 1:Horror movies. Slasher, like, many not many slashers within your stuck with, like, ghost story horror movie stuff like that.
Speaker 3:Well, that's really that that's what again, we were we were specifically asked to reference the a 24 catalog. And Yeah. The a '24 catalog, it really is a lot more about the the vibe that they bring. Like, we could fit some peel
Speaker 1:Oh, yeah. Yeah. Some some nope into this.
Speaker 3:And and and some get out and some that like, the first thing that I thought of for for get out is they come across someone, one one of the neighbors or one of the kids is, like, ever since I saw it, I knew I could control it. Every night I come out and I teach it more tricks. And, like, he looks up and it's the moon.
Speaker 1:No. You're talking this is nope. Knock it out.
Speaker 3:Yeah. Yeah. Yeah. And and He thinks he's controlling the thinks he's controlling the moon.
Speaker 1:I've taught it how to become very thin
Speaker 3:Yeah.
Speaker 1:And then all but disappear, and then it always comes back. Takes a while. But he knows
Speaker 3:That's that's how I know that I'm controlling it. Right?
Speaker 1:Like Good job, jean jacket.
Speaker 3:That yeah. That kind of thing.
Speaker 1:Anytime she out goes out walking at night, she comes across some insane idiot.
Speaker 3:Oh, sure. And right to to play up that navel gazing element, she goes out walking every night. Mhmm.
Speaker 1:Mhmm. Yeah. Exactly. Well, let me just take a quick peek here. So Frank, Philly, and Molina.
Speaker 1:So Molina asked us to take some classic movie monsters. Philly said play with the a 24. Frank said just find a spoof movie that's not a cop movie. Yeah. I this certainly falls more in line with, say, Blazing Sandals and Hot Fuzz.
Speaker 1:Like, types of send ups.
Speaker 3:More of a more of a genre.
Speaker 1:Right. Is what you said this was as we dissected it and was the right way to go about doing it. At where it sits right now, I I feel like, okay. We have something here. If this if this is something we had to sit and write Mhmm.
Speaker 1:We we do have a plot and and arcs and relatively silly arcs for these characters within the frameworks of classic horror tropes, as well as more modern
Speaker 3:Mhmm.
Speaker 1:Liminal core horror tropes. And now having fun with drones getting shot out of the sky every time they're used and having those background gags of the little brother and his and his losers club
Speaker 3:Yeah.
Speaker 1:That he's collected to have a whole another movie in the background.
Speaker 3:Yeah.
Speaker 1:Yeah. Cool. I'd I'm I'm I think we might be able to wrap it up here.
Speaker 3:I think so. Okay. At at this point, for the most it's thinking of a title Mhmm. And thinking of just more gags
Speaker 1:Okay.
Speaker 3:I I I think to to put in there. We didn't we didn't, like, fully beat out the points of research she has to do to go from why are we stuck in this town Yeah. To it is my house that is Having causing
Speaker 1:the old lady or old person mentor or the, like, the the monster hunter or the ghost hunter couple, because every every one of these it's always a cliche. We have it. We're having the expert who who divulges some third late second act into the third act information having to deal with it. Counselor? Yeah.
Speaker 1:Like someone at like, a the librarian at the school. Or actually, you know what? Another thing that eight twenty four
Speaker 3:movies oh. I personally like the guidance counselor because in movies, guidance counselors seem like a real big deal. Yeah. And maybe this was a failing on on my part. I think I only ever met with a guidance counselor twice Yeah.
Speaker 3:Because I was required to my senior year to talk about college and or whatever else. Mhmm. But, like, I never spoke with that guy. But in in in shows and in movies, kids seem to be talking to guidance counselors all the time.
Speaker 1:Thank you, miss Mondele, for guiding me.
Speaker 3:Oh, okay. So so I I was the weirdo. No.
Speaker 1:No. No. No. Guidance counselors ors are are are a much bigger deal in in in film and television. Okay.
Speaker 1:NA 24 movies, and and we sort of built it this way, it's it's a teenager's world. It's a Gen Z world. They they tend to, like, not want or need or get help from adults.
Speaker 3:Sure.
Speaker 1:The trope of the these more traditional horror movies is there's always, an elder expert. So I think multiple times in this movie, we should offer up an expert that they'd, like, get them shut up. Don't talk to me. Like, hey. Uh-huh.
Speaker 1:Why don't you come into my office? Like, someone Never wonder why you're why you can't leave this house? I never wonder that. Leave me alone. And I and and I and I think we're sort of ringing that bell in multiple ways within what we just pitched here.
Speaker 3:Sure.
Speaker 1:Like, is the thing. Nope. Gonna do the exact opposite. Having the the, the harbinger character, having the the expert ghost hunter on the on the computer. Like, I think going to that a couple times and not listening.
Speaker 3:Okay.
Speaker 1:So that we can like, hey, this lady wants to tell us something. No. I'm gonna go for a walk.
Speaker 3:Then how do we get that exposition to
Speaker 1:the I was just gonna tell you
Speaker 3:that, you know, when So it's something that ever opened So it's exposition, the audience hears
Speaker 1:Yeah.
Speaker 3:And the main character expressly Ignore. Does not know.
Speaker 1:Yeah. Just ignores it and, like, keeps you know. That's kinda funny. And then, yeah, just having or just having that one mentor esque harbinger character who keeps coming back and they're the one who gets killed by the drone. I don't know.
Speaker 3:Is it funnier to actually have the audience hear the explanation or the audience misses it the same way the main like, literally, they're going for a walk and maybe one of the other kids knows something about the town. They start talking and our our character puts in earbuds Yeah.
Speaker 1:So they hear music.
Speaker 3:And we see the other person talking the whole Yeah. Time Yeah. Like for this long extended thing. And then she pulls them out. And so that's why that's what it is gonna take to finally actually be able to leave this town.
Speaker 1:Mhmm. Because because it
Speaker 3:is Alright. Well, I'll see you tomorrow. Yes.
Speaker 1:Having something like that. I had a moment. I had a thought, and I was it, like, came away. No. It's okay.
Speaker 1:You say things.
Speaker 3:I can't I can't I'm trying to I'm also trying to think of a title, and I I don't know what to go with. I just keep thinking of, like, this old house.
Speaker 1:I I That's okay. That's okay. And and I've lost my whatever thought I had is coming west. But that's fine. Yeah.
Speaker 1:I
Speaker 3:don't know. The the other idea I had, maybe it could even be Nosferatu Mhmm. Who it it's somebody who is clearly aged out of being one of the kids, but still wants to be. So Nosferatu would be perfect. But I'm thinking it's someone that the kids really don't want around.
Speaker 3:Like, they're just old enough to to be tolerated, but, like, like, they graduated two years ago or something.
Speaker 1:They're like, hey, guys. It turns out this, like, we don't Todd, we don't care. That's the one who keeps giving the exposition? Yeah. Yeah.
Speaker 1:I like that. Having someone who's, like, the because because really in those those those minimal core movies, it's a lot of, like, you ever look up at the stars, just wonder if pieces of our soul break with each person we laugh with? Like like that sort of conversation over some y shots. Yeah.
Speaker 3:No. TC is a real big fan of this genre of movies.
Speaker 1:When I when it's good, it's good. When it's bad, I hate it. You you shut up. You hate it with me. I'm
Speaker 3:no.
Speaker 1:No. Throwing throwing me right under that
Speaker 3:ghost You get under the bus. Alright. You get under the bus.
Speaker 1:It's comfortable under here. Sometimes when I lay under the bus, I think maybe
Speaker 3:Yes. You are right. When they're not good, I am right there being like this isn't good. I do feel like I like them more often than you do.
Speaker 1:I I just want an explosion. No. Okay. Whatever. I want a group of people screaming at the same time.
Speaker 1:That's what I want, Jim.
Speaker 3:In funny accents.
Speaker 1:Yes. Yeah. Okay. Here we go. Melina, Philly, Frank, everyone listening.
Speaker 1:How did we do? I'm gonna wrap it up here. I think that we've we've we've hit the demand for the day here. Okay. Agree.
Speaker 1:Disagree. What did we miss? You can message us directly at studio. I'd really fumbled that. I'm just gonna power through.
Speaker 1:You can message us directly at studio demands it dot com or at Instagram studio demands it. If you aren't already, please subscribe or don't, you know, your your your life choices. You can find us on YouTube and TikTok where we post video content including material not heard here on the show, Jim.
Speaker 3:You can join the conversation over on Reddit at r slash studio demands it where I need to post more often, and you can join us on the discord. Go to our website studiodemandsit.com, and there's a link to the server there at the top where I actually converse a little more often. Yeah.
Speaker 1:There you go. And if you want even more, we have a Patreon for a couple bucks a month. You can get episodes early, commercial free, extended double length episodes, movie commentary tracks with episodes hidden within those. You can also just go and subscribe to the show or subscribe to the Patreon for free, and we do put out an occasional free thing for you folks there. So massive thank you to Six Five Media for everything they do for us.
Speaker 1:Please check out the other Six Five shows if you're so inclined. Jim, unless you have anything else, that is it for this episode.
Speaker 3:Home is where the family is?
Speaker 1:Home is where the horror is? Horror home. Home. Just home.
Speaker 3:Family is thicker than home? No. That's Gross. Yeah. You just home home isn't bad.
Speaker 3:Isn't isn't there a movie?
Speaker 1:A 24% yeah. It's a it's a it's a animated movie with little purple alien voice by Jim Parsons.
Speaker 3:Oh.
Speaker 1:Yeah. He had to go one, two, and three. Okay. That's it. Alright.
Speaker 1:We'll be back again soon with one of your demands to challenge ourselves to improve the world of cinema. I am TC and
Speaker 3:I am Jim.
Speaker 1:With in such small thought, you just said it, man. I actually could hear how small the font was and you just said it. That's it. This is how it ends.