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- There's a lot of talk about
elevated horror these days,

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which is kind of a weird and
semi meaningless cliche term,

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but good horror movies
have always been elevated.

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Going back to Carl Dryer's
Vampire for instance.

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You know, I came up really a lover

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of early cinema, even when I was young.

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So I really loved everything
from hair hammer horror

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to silent horror films.

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I think probably the greatest
elevated horror movie is The

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Exorcist, you know, which
is incredibly well made

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and beautifully directed
and beautifully acted.

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So I'd say watching the classics,

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but I think that the classics
are, you know, should refer

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to kind of what people
view as low art too.

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Some of the greatest stuff is, is trashy

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or sort of considered trashy.

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And that, that stuff that
started to happen in the fifties

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and sixties, some of that
through Hammer Horror,

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and then you got into like Peter Jackson

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and Ramey, you can't make horror films

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and not see, you know, something like

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the thing Carpenter's the Thing
Theist on sort of one hand,

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these sort of grand classic
movies that are more modern.

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But on the other you
should be looking at Brain

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Dead and Evil Dead Two.

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I'd say probably Evil Dead Two
is the most important modern

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horror movie, and it was
probably the, the sort

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of most innovative and influential of,

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of all modern horror movies.

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So I would say that's a must.

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I mean, evil to two spawned
everything that came after it.

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I think what Ramey and
Peter Jackson were doing at

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that time were just rewriting
the rules of the game,

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using a lot of the same kind of spirit

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and innovation of, of filmmakers that came

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before just kind of DIY, pull
a bunch of people together,

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make something outta the
seat of your pants with a lot

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of invention, a lot of ambition, ambition,

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far surpassing whatever money you had.

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But they were pulling different
tropes together in a way,

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ways that no one had
really been been doing.

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And I think Evil Dead too is
the crowning achievement of,

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of those films and has spawned everything.

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I mean, it was a big
influence on Tom Stern

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and myself when we made
Freak, which was in 92.

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So it tells you how long kind
of the arc of that tale is.

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I think it's so long now that a lot

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of kids coming up today
don't even know about it.

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They just know the
influences, sort of like,

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people will watch these
elevated horror movies now

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and not realize that they come from a

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very specific tradition.

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So I think it's a good place
to, to stop in and visit

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and have it infect you in that way.

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And certainly it was an
influence for us on Destroy

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because, you know,

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destroy All Neighbors
was was a DIY punk movie,

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basically made by a bunch of friends

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with very limited budget
and a lot of ambition.

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Everybody on it was doing something,

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whether it was Ryan Kaner
who was doing the score

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with Brett, as well as playing a character

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and art department was
building a vis, you know,

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makeup effects rigs and
practical effects rigs.

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So it was one of those sets
where every day when you go in,

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we're all doing something.

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Even the actors are
pitching in to do something.

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Hi, it's Alex Winter. You can
watch our movie Destroy All

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Neighbors on Shutter right now.