AV Geeks Lunch 10-31-2023

hi everybody this is Skip alimer welcome to the avgeeks lunchtime streaming show um I am not in the archive today I am traveling to see family um because I've been traveling so much and I haven't been seeing my family so that's what we're doing anyhow uh today's halloween I was going to show you a bunch of trailers uh horror trailers but I realized uh I had this film that we haven't seen scene uh called the horror of it all and that's about an hour long so we're going to watch that now uh what could potentially happen because this is an hourong uh it might have been a TV show uh the copyright Hammer might come down so um hopefully this is going to work but it might not but I think it's worth it uh this uh looks at the history of horror movies it's narrated by Jose Ferrer and it has a bunch of uh great interviews in it uh Roger corman's in it uh and many many many many other people uh so anyways happy Halloween everybody I will be back live tomorrow uh here's the horror of it all enjoy Darkness the breeding ground of horror where fiends not of this Earth appear moments of Terror and how we relish them a haunted mansion where actors Pap maé and paint speak a language we know well the language of horror we learned it from superstitions Tales comic books but most of all we learned it in those other Halls of Darkness the movie theaters of yester year desperate Heroes beautiful heroins villains monsters all always they were there to provide us with our beloved moments of [Music] [Applause] Terror grotesque images torn out of our own dark our own earliest nightmares try as we may we are never quite able to leave them behind and that's the horror of it all [Applause] [Music] it seems we are forever drawn toward what we fear young or old we are tempted to go inside the darkness to come out on another side a Temptation for which we have always been willing to pay we grow up with a certain hunger not only for the bright things in life but for things that are fearful and and terrifying the filmmaker put something on the screen and each individual member of the audience adds something unto themselves to complete the process know if you wonder why the continual preoccupation with horror in Motion Pictures there's a reason people love to be scared the great horror movies of bygone days are like extensions of nightmares past and present a secret word in the 1920 film The Golem gives magic power to a sage so taken was Paul vager with the legend of an inanimate figure who becomes a champion against oppression that he three times turned it into film veer's own impressive size enabled him to play the giant clay statue brought to life the Golem set a pattern defying the laws of God and man even with good intentions inevitably led to disaster we learned too that beautiful women would never be safe with monsters also so in horror films Leading Men are invariably ineffectual against [Music] monsters in the cabinet of Dr Caligari also produced in Germany in 1920 horror took on a uniquely subjective cast a Sinister figure Caligari Reveals His strange Powers over a [Music] sleepwalker [Music] seeking to project the world of a psychotic this film uses painted Flats to create a threatening and surreal environment as cheser the somnambulist Goes Forth to commit the murders commanded by his master this scene was so unsettling that it helped make the cabinet of Dr Caligari one of the most discussed films of the 20s an abiding dread that would be aroused repeatedly in horror films of the future being attacked when we are most vulnerable while we sleep the cabinet of Dr Caligari catapulted Conrad Vite to World attention and it bore home the axium horror films would repeat our monsters were invariably very human and vulnerable to [Music] Beauty one of Horror's most reliable Staples guaranteed to produce dread in any audience the story story of the vampire in 1922 movie goers were mesmerized by the German made Nosferatu an early working of the Bram Stoker novel [Music] [Applause] [Music] Dracula this was no simple creature made from clay no sleeping figure locked in a trance this was the undead a Monster who retreated by day to his coffin but who Roam by night to feed unhuman blood in director Fritz Lang's metropolis a fantasy and horror film also from Germany the heroin is trapped in the very world of the Dead the dark catacombs of a city in a far distant future as always the heroin's cries bring no rescue her villainous pursuer the arch heavy of the horror film The Mad [Music] Scientist a scene that would Echo and re-echo in horror films to come the laboratory where a scientist dares imitate God as he transfers the very goal of a human being to give life to his robot creation European horror films emphasize the supernatural but in the United States horror had a more realistic base in 1920 a Prohibition conscious audience readily accepted that in Jackal and Mr Hyde even a single drink could lead to terrible consequences John baramore performance made that possibility chillingly [Applause] [Music] believable he understood Stevenson's play Stevenson mentioned that he was the personification of evil but it was the evil of his expression and it was not achieved by bore with makeup you know the the leading men are not remembered by the public it's the heav that remembered because they're the characters in plays and emotion pictures who are the active ones Leading Men are acted upon but the Heavies the villains are the ones who do things uh that's why the great actors of oh ever since betterton have preferred to play The Heavy lelan was a leading man to s burnhard for many years and he came to the states and uh I got annoy him because we were both sculptors was an extremely handsome man with a magnificent physique walked like a panther had a cold gray eye that you could see a mile away and he once said to me I love my men of sin L Cheney one of the great actors of silent films gave his men of sin A Thousand Faces each more fear inspiring than the next Cheney's Pride was that he not only performed his own stunts he also created and applied his often spectacular makeup one of his greatest films made in 1925 The Phantom of the [Music] Opera the important element is that much of it takes place in the semi darkness of catacombs in a way this Paris opera house is a symbol of the unconscious mind in which dwells monsters desire and this struck a resonant chord in many of the masculine members of the audience Chain's performance because he spent much of the time wearing a mask was a matter of ballet he was a master a consumate master of panamine fom of the Opera didn't have any overt Supernatural implications but we had a man whose slept in a coffin who lived in catacombs five levels below the Paris opera house and who masked himself to disguise a hideous face and in a way he pressed the buttons of an audience that that time was very unaware of the sexual symbolism involved but it registered nonetheless because in effect the character of Cheney is portrayed in the Phantom of the Opera was that of a man who is ashamed or afraid of his own sexuality who conceals his monstrous desire as it was termed in those days under a mask when it is revealed the heroin recoils in Fright from a kindly gentle man who's now revealed as a hideous being the unique quality of the silent film in America was that it did not deal with Supernatural topics per se actually evil was personified by the ugly and the deformed as in the case of Lan Cheney and other actors and it took place usually in an atmosphere of Darkness we knew of course that handsome people were almost invariably good and that the deformed elderly unfortunate people were bad this we had learned in our fairy tales as children now we were seeing those fairy tales in darkness up there on the screen without benefit of Freudian psychology without benefit of special effects the important thing is we believed what we saw and it frightened the living blazes out of us a 1927 American film that did frighten the Blazers out of audiences the cat and the canary the dark Haunted Mansion where Terror could lurk in every corner became part of the growing language of Horror it was where Anything could happen and often did again the leading man proved undependable but at least in this film he provided comic relief a classic moment of horror and the source of countless [Music] [Applause] nightmares [Music] in 1931 Svengali starring John baramore was released sound had arrived increasing immeasurably the ways films could influence the emotions of [Music] [Music] [Applause] audiences [Music] sali's true impact came from the unsettling demonstration of mind control from [Applause] afar [Music] [Applause] [Applause] here was no mad scientist intent on creating life this villain is able to take a life over [Applause] gentlemen it uh might be as well to remember there are more things in Heaven and Earth than are dreamt of in your philosophy these Mysteries became a challenge for a new generation of filmmakers Mr zooker the head of palmont called me up and asked me if I would like to do a film of the famous Stevenson story Dr jaal and Mr Hyde I saw the story uh as a conflict between not between good and evil as it used to be done before where a um J becomes an evil person a monster uh but I saw the story more as a conflict between the high aspiration of every human being and his lower baser instincts and that the whole idea was to have a young man very handsome whose whole intention is to free himself from all the evil impulses all the animal impulses really not evil animal and the idea with Frederick March was that he when he becomes Hyde he does not become a monster but he becomes our common ancestor the Neal man and Frederick March have a beautiful performance and wind up by winning the the Academy Award not any I can't wait a come back come back fre at last [Music] it was the same year 1931 one of the films designed to meet a public appetite for movies that scared was the bat Whispers there was the reliable old mansion at night this time the Menace casting Shadows a bat in human form shades of Terror to come outside the reliable thunderstorm and inside a heroine who naturally insists on going where no one in her right mind would even dream of going through the ever presentes Secret Door [Music] one essential sound of the horror film The Scream of the terrorized heroin was yet to be [Music] heard [Music] in the tradition of the mystery horror film The Villain is eventually unmasked there be no get away this time you think you've got me eh let me tell you this and never was a jail built strong enough to hold the bat and after I have paid my respects to your cheap lockup I shall return at night the bat always flies at night and always in a straight line the bat enacted by Chester Morris never did manage to return but in the same year another kind of bat descended on the movieo public with the release of Dracula bats wolves and vampires became honorary members in haram's Hall of Fame as did Dracula star Bala Lugosi after this one production the supernatural would become an enduring element of the American horror film also in 1931 another movie was destined to become a classic creating a new horror star Boris carof the film was Frankenstein based on the early 19th century novel by Mary Shelly yet again a scientist dares attempt to create a life the result a Monster who would eventually turn on his creator never before and perhaps never again would the elements for producing Terror in an audience seem so perfectly fused it's very interesting to compare these two films that were made almost at the same time in the early 30s uh in that they both dealt with the theme of death Dracula with an undead creature brought back to life living off of the blood of the living and the Frankenstein monster a creature made from parts of dead bodies and perhaps doubly terrifying for that reason when I I was much younger I knew the late James whale and uh he told me a fascinating anecdote about the first sneak preview of Frankenstein which was held in Santa Barbara while he was sleeping in the middle of the night he was awakened with a phone call and a voice came on the line saying are you the director of that film that was previewed tonight and he said yes and the voice said well I can't sleep and I'll be damned if I'll let you sleep and James uh found this uh story to be very amusing and it was a characteristic of his horror films particularly but they were always very much leaved with humor because uh he felt and I think rightly so from a dramatic point of view and from the audience point of view that it was very important to relieve the the the tension that was built in a horror film with humor along the way I there was humor in White Zombie a blend of horror and Gothic romance made in 1932 not all of it intentional however in this film another method used to build tension was an especially effective music [Music] track what is it all right [Music] good wife my [Music] wife produced one year after Dracula White Zombie clearly showed the influence of the earlier film once again B Lugosi played the arch villain the harbinger of Doom who are you and what are they for you my friend they are the Angels of death not surprisingly the leading man was inadequate the heroin helpless it was uh 1932 and James whale had just finished fr Frankenstein which was an enormous success with Boris carof who was the star of the Old darkh House 2 we had Charles Lon in his first American Film we had Raymond Massie we had Melvin Douglas and I was very impressed Boris was as charming and gentle a person off screen as he was horrendous and threatening on screen there was a great deal of uh Thunder going and lightning and rain coming in and cobwebs and doors creaking as a leading lady it was my job to be very very frightened so Mr whale put me into a pale silk velvet bias cut evening dress very decate and I asked him why and he said because when Boris is chasing you through the corridors I want you to be like a flame going through the house and be very threatened and that was my role to be very threatened very frightened and to scream a lot you know actually I think that putting me in pale pink silk velvet uh added to the feeling of fragility and uh and help uh helplessness that actresses needed in in horror films because if the beautiful young actress or lady is not threatened there's there's no horror the horror film playing at the neighborhood Movie House became like a visit of dearly valued old friends how audiences loved those actors they had learned to hate high on their special enemy list was Lionel at his most frequent victim F Ray a 1933 film The Vampire Bat you you're the one what mad thing are you doing Mad the one who has sold the secret of life to be considered mad life created in the laboratory no mere crystaline growth with tissue living growing tissue life that moves pulsates and demands food for its continued growth you shutter in horror so did I the first time no one expressed The Lunatic logic of the Mad scientists better than Lionel Atwell I have lifted the ve I have created life rested the secret of life from Life now you stand for the lives of those who have gone before I have have created life I'll tell K Ray was every Fan's ideal of a beautiful threatened heroin for the night to's name will be added to yours and all of those whom Miss achievement will immortalize you're safe now there it's like a hor when would Leading Men stop being so wrong again now it's all right don't worry I'm going to stay right here with [Music] [Music] you surely F Ray never had better reason to utter her famous scream than in the classic horror film of 1933 King Kong but audiences everywhere understood love was what the Monster gorilla really felt for the beest [Applause] [Music] Fay makeup alone doesn't make the best monster the best monster is one whom we as members of the audience can recognize through the makeup as having some of the qualities that are buried within ourselves all of us got some kind of vicarious pleasure I'm sure out of Watch and King Kong go on a rampage and tear down the very symbols of New York City that represented wealth and power and Prestige which most of us were denied because most of us were very poor during the Depression we paid a dime or 15 cents or 25 cents tops to see King Kong and the other monsters those of us who are adolescence got the same kind of satisfaction and gratification out of watching Frankenstein's monster because he in a way was a very symbol of adolescence lumbering inarticulate ugly unwanted in a society where age was uh deemed Superior to youth it's hard to believe that it's turned around but it has by the end of the 30s the old monsters were beginning to lose their impact we now found humor in the master of horror himself B Lugosi we knew the truth even if the Ritz Brothers didn't the gorilla had a zipper down his back other films followed they revealed that the old Sinister characters and situations had been made laughable by the real horror of a very real [Music] war he back werewolves vampires and mad scientists continued to populate be movies in the' 40s but increasingly they had become old hat I work in the Loof I was almost insane with joy to attract additional and more sophisticated audiences a new kind of horror film began to appear it was in 1944 that Blue Beard was released everywhere At Last I traced her through the doctor I'd called in for her he gave me her address I went there outside our door I heard laughter but what laughter then it was then I really saw her she invited me in she wasn't the same J this was the real Janette a low coarse loathsome creature he offered me money I suppose she thought she could repay me with money suddenly the sight of that Janette did something to me something indescribably infuriating I thought they would stop her defiling the image I created of her stop her degrading my work blue beard hangs in my memory not only because I was the star of it but because it had a depth of characterization which in that period in Hollywood was not often seen on the screen because when they became Jette I could take out my fury on them I couldn't kill wood in the early days of Hollywood pictures were in black and white black and white in more than one way not only in the in the character of the fil of the film material but in the in the plot lines everything was either black or white there were no Grays the villains were steeped in villainy and the heroes were just just too good to be true uh Hollywood grew and now we have human characters on the screen that have shades of of uh evil and shades of good and there are Grays uh it took a while for holler to learn this the titles of the films produced by Val Luton in the early' 40s seem to promise a traditional form of horror but instead of tales of man made monsters vampires and werewolves luton's films explored the quality of fear itself the Unseen the dark the superstitions of the ages the hidden recesses of the human psyche these were his subjects the power of his films derived from what they implied rather than what they showed a monster in a luten film could otherwise be quite an engaging fellow a scene from the body Snatcher directed by Robert Wise with Boris carof and Baya Lugosi what did they do 18 people they killed and sold the bodies to Dr dox 10 for a large eight for a small that's good business Joseph where did they get the people that was ha's end oh you should have seen him on the streets when he saw some old beldame deep in drink Howe couser good day to you madam topot and would you like a little glass of something before you take your rest come with me to my house and you shall be my guest you shall have PS to drink if you like how he coused them we can do that but when he get him there then what nor did they handle ax or knife to take away their victim's life no sooner done than in the chest they cram their lately welcome guest I don't understand the song Tell Me plain how they did it I'll show you how they they did it Joseph I'll show you how they bur them no put your hand down how can I show your man this is how they did it Joseph the abomb had fallen audiences conditioned by years of movies knew the consequences of science Unleashed here was the spawn monsters wreaking havoc from Japan came horror films featuring Godzilla raging huge and pies not to be distracted by any F Ray released from a deep freeze by atomic blasts he was intent only on his Deadly Mission and from a menacing outer space came the implacable gidra [Applause] [Music] the ' 50s were a time of Suspicion as one movie solemnly warned watch the skies there were enemies out there there were enemies everywhere mutants resulting from nuclear radiation out to kill weird monsters from the planets out to destroy horror and science fiction merged in films that reflected the daily headlines warning of conspiracies within and imminent attack from without but monsters were not always easily recognized in the 1956 Invasion of the Body Snatchers they took on the familiar forms of your nextdoor neighbor at the same time the monsters in some horror films were becoming more personally connected with an important new audience one of the first and most successful of these films I was a teenage werewolf starring Michael Landon in his first feature film when I first started making horror films was because I made a film called Crime of Passion starring Barbara Stanwick Sterling ha rondberg we got great reviews and the picture opened up and died and I want to know what happened so I tour the country I got out of Hollywood and I saw what happened and what was happening that was was the teenagers that were buying the records it was the teenagers that were leaving the house getting away from that TV box in the living room the teenagers wanted to get away from the home they wanted to get away from their parents and they went to the cinema they went to the theater and they had fun with a horror picture because in in my horror films whether it was I was a teenage werewolf I was a teenage Frank Stein Blood of Dracula the teenager was they were always against the culprit that was the adult and that's what the kids felt and that's why they really had a good time and they had fun with my pictures the lines of demarcation were gradually being drawn between those who wanted their horror straight and those who preferred it to be suggested a film that brought the issue home the 1958 production curse of the demon directed by jacqu duner and starring Dana Andrews these are his tool oh you want your hat and coat don't you my coat oh yes yes it's very forgetful of me thank you very much you passed them you sip them in my [Music] pocket it's 2 minutes of 10 come on [Applause] we had completed the picture over in England and had returned quite satisfied with the work we had done and uh much to arag Grand when we saw the picture uh the uh producer had put into the picture a mechanical device which had been con Ed by the special effects English people and made a real demon which you could see walking through the [Music] forest and this course was tremendous shock to all of us because the the Oliver onions uh story had ended with the remark maybe it would be better not to [Music] know to know or not to know in the 1960 Italian production distributed in the United States under the title black Sunday the director left no doubt horror was to be known it was to be seen very graphic and up [Music] close the law of the horror film from earliest days the dead are never totally dead [Music] [Applause] but hard also came from the living and in Francis Ford cop's first feature film Dementia 13 which he both wrote and directed it came in a particularly Grizzly [Music] way an important change had come to horror films not all beautiful women were to be saved from love smitten monsters instead they became the Quarry the hunted victims of a fate that was all too true to life death at the hand of a psychotic [Music] [Applause] killer fantasy and the supernatural however would always flourish now with the added excitement of color it came first from Hammer films of England Horror of Dracula with England's Great stars of horror Christopher Lee and Peter [Music] [Applause] [Music] [Applause] [Music] kushin [Applause] [Music] [Applause] [Music] devotees of the hammer films could take heart Dracula and Christopher Lee would always find a way to [Music] [Applause] return [Applause] [Music] [Applause] for me hammer was the beginning of a cult the beginning of a a new era a new year a new beginning of horror pictures um hammer I think came out of the fact that perhaps on television they couldn't show a lot of blood they weren't allowed to show that they they weren't allowed to show a lot of sexuality there was no nudity on television so perhaps Hammer came out of that taboo and so I think a new color came blood came and a new sexuality a new sensuality of course because there was nudity but there was also a sensuality connected to the dark side and uh that's something I think that connected with people the dark side we all have it I've never been offered the role of a sweet person I think it has to do with the fact that perhaps they saw the dark side of me and I do fit the traditional pictures of the dark woman the evil lady I think that's why movie goers go to see these films they want to get in touch with that evil side in the United States films that dealt with the dark side received a significant Boost from the work of producer director Roger Corman despite limited budgets he made a series of compelling horror films based on stories by Edgar Allen Poe they frequently starred such well-known masters of the macabra as Boris carof basil Rathbone Peter Lori the PO films helped reaffirm Vincent Price as the reigning Prince of films of the dark the most lavish and striking of these films was mask of the Red Death I have tasted the beauties of [Music] Terror H listen the passing of time the beating of a heart the footstep of an assassin [Music] [Applause] destiny I beg you do not mourn for Juliana we should celebrate she has just married a friend of mine Let The Mask begin you might hold a little bit longer on the shot of his going under the table and then trim a little bit of the beginning of this shot here I'd like to hold a little horror stories have been popular throughout all of history I think there's a reason for that the experiencing of horror through emotion picture or a story is a cathartic experience from the movement in the long that coming in the over it's a way in which the person can work out and express certain problems within his unconscious mind we all have had feelings of horror as a child these feelings have generally been buried they lay repressed suppressed in the back of the mind and when you go to see a horror film and you scream and you scream with the audience you are easing some of the [Applause] pressure now at the same time when you do scream you will very often smile afterwards smile or laugh because you know to a certain extent you've been head by the filmmaker you know that he has manipulated the tools of his craft in order to get get the right emotion from [Applause] [Music] you these are some of the new techniques we're working with here at New [Music] World in our prothetics department we're capable of doing almost anything not an endroid this guy's got a closeup tomorrow and so John beer is one of the best men in the business I think he's the head of our department and he's created the special effects the prothetics for a number of our films push it over back back to the left a little bit in each one of these things what he's trying to do is to give the audience something to build upon from within themselves brace is slipping right okay okay try to M I'm not an Android with this Mell I I'm not an Android I am a human being it'll work but it's essential to remember that special effects are never an end unto themselves special effects are a means to lead the audience into a fuller understanding and appreciation of the film the goal is not to Dazzle the audience with a special effects although it's nice if you can do that the goal is to reach the unconscious of the audience and to let them experience through special effects emotions and visual Sensations on film that cannot be achieved in any other way when I was doing the PO films years ago we had to leave much to the audience's imagination and I don't think that was necessarily bad the audience should participate in the filmgoing process the language of horror has been extended our most blood curdling nightmares rendered a thousand times over special effects have brought spectacular new ways of instilling Terror and yet graphic realism is not new nor is the debate that it stirs the the tradition of the gr guol Theater which goes back to the turn of the century and before in France was always one of presenting Gore on stage I mean showing it happened people having their throats ripped open and and having a hot burning iron placed on the side of their face or something like that with done with tremendous technical expertise uh and this this tradition of course has been carried over into the horror film The Essence of enjoying a horror film is in the fact that you as a spectator are totally safe you are secure what's happening on the screen is not going to happen to you some years ago I wrote a novel called a psycho about a mass murder and Alfred hitchock made it to do a film very effectively without using overt violence merely suggesting it on the screen but times have certainly changed in the last 20 years we have nothing but explicit violence in the so-called spatter films today the Real Horror today is not horror films which are a lot of fun teenagers and adults love them because we never get rid of our fears of the dark and fears of the night the Real Horror is on the streets today in every city in every town it's on our television news if you see a body lying in the street and you've seen it on film uh as a child and as a a young person and as a young young adult and as a mature person it's not a great shock and it should be in recent times that I think that it has become so excessive and then it becomes a kind of pornography of uh blood for its own sake and of course that does become distasteful it's necessary to uh call the halt somewhere along the line I feel and return to the prime virtues of the horror film The Wonder and the fantasy and ter that it Woks you can hand somebody a glass of milk and if the music is right and the setting is right the audience would jump and scream in the theater that the very fact that you don't know is what makes it fearful and makes it mystifying and shocking and uh can scare the devil out of you our enjoyment of Terror derives mainly from movies but like children at Halloween We Are Forever tempted to get up close to be surrounded Ed by what we most fear fear why do people come in here to get scared what do you do that's going to bring out that fear in the person what you want to do is you want to put yourselves in the position of what seeing you're doing you are Lizzy bordon you killed your mother Jack the Ripper he killed all these women whether you're the wolfan whether you're Dracula whether you're a butcher or to scare you have to be scared we are able to take either role for we have all at one time or another had to deal with our own dark I was orphaned when I was 3 years old my father died and I was sent to an Episcopal orphanage in the peakville New York run by the Episcopal Sisters of St Mary they were very sensible women lights went out when it was time to go to sleep and they stayed out until the morning uh so I never learned to be afraid of the dock my mother told me that I used to have a Halloween skeleton made out of paper in my room and she was very amused because I loved that skeleton it represented my fears but she said that every night before I went to sleep I would take that and put it outside my room and Clos the door so that I didn't have to have it with me in the dark I remember Mama saying every night good night children my brother and I shared the same bedroom good night children I'll leave the light on in the hall and I must have equated that with um dark not being good for me dark and light they exist together they coexist and they must must be delved into the dark side must be and suddenly we heard this scratchy noises behind the glass my grand grandm went and opened the curtain and there pressed against the glass was this frightening face of this young woman with her nose flattened against the glass her teeth scowling and her nails going like this on the glass but were absolutely petrified with fear I'll never forget how frightening that was so my grandmother said don't be afraid and she opened the door and I could see her as if it happened yesterday she stood there and she made this gesture to the girl open her Embrace and the girl the insane girl came right up to her and she embraced her the girl put her head against my grandmother's shoulder you see she said you must learn one thing and that is that if you fill your heart with love there will be no room left in it for fear through the years the attitude of fans of the the old classic horror films has been one of love what you see now on the walls is an approximation of my devotion to the horror films of the 30s these particular frames always remind me of the old theaters where people could go in and lose themselves into another world where people can live for 500 years on human blood where fantasy Reigns Supreme these G foies and ghosties creatures That Go Bump in the Night the things that make you as a child whistle past the graveyard these flickering images of Cinema thanks to Carlo legosi Cheney F and the clutches of King Kong all the memories of our childhood of the horror film of vampires these things are never going to die because in the horror film they are truly deathless and so are we [Music] [Applause] [Music] [Applause] all we have all passed this way before shivered at these gargoyles and Phantoms honed out of our common fears and yet we go on in a perverse Delight to confront what may lie ahead head in the [Music] dark in every horror film there is a door and behind that door lurks that which we fear the most that which we fear in real life something that lurks behind the closed door in our own mind it's often the fear of death the fear of pain and yet that door must be opened we must face we must confront our own mortality our own feeling of inadequacy and in the best horror films that door is opened for us we Glimpse the horror are able to confront it and walk away with the feeling that from then on we can live with the fear of death or the fear of suffering we can understand it a little better and in so doing understand our own Souls we have all learned the language of horror we have shared it just as we share the nightmares of the child that remains within us [Music] all [Music] n n