Masking it All (ft. Colin Fox)

[00:00:01] The most thrilling, spikingly series ever!

[00:00:05] From the pages of R.L. Stine's best-selling books,

[00:00:08] and the screens go on forever and ever.

[00:00:13] We now return to Goosebumps.

[00:01:05] Greetings Goosebumps fans, young and old, big and small, living dead and undead.

[00:01:09] Welcome back to the Goosebumps Crew Podcast.

[00:01:12] As always, I am your host Isaiah Vargas,

[00:01:14] and I'm joined by my good buddies Bjorn Palenik and Nick Shaw.

[00:01:16] We are the Goosebumps Crew, and we're back to, as always, talk some Goosebumps.

[00:01:20] If this is your first time joining us here on the Goosebumps Crew Podcast,

[00:01:23] I want to sincerely welcome you all.

[00:01:25] If you are or have ever been a fan of the popular Goosebumps series of books,

[00:01:28] or the monster franchise that they spawned,

[00:01:31] I have a feeling this podcast is going to be right up your alley.

[00:01:33] As I always say, me, Bjorn, and Nick are some of the biggest Goosebumps nerds on the entire planet,

[00:01:37] and we could talk about Goosebumps for hours on end.

[00:01:39] That is exactly what we do here on this podcast.

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[00:02:46] So I just got to say, I don't feel like we talk about the Haunted Mask enough.

[00:02:50] I feel like that's an episode of the 90s show that we just don't talk about a lot.

[00:02:54] So we're going to fix that right now.

[00:02:57] But in all seriousness, for any listeners on the podcast who have been sticking around with us,

[00:03:03] or even if you're new, we've talked about the Haunted Mask and its sequel in the Goosebumps 90s television series a lot here on this channel.

[00:03:12] And for good reason.

[00:03:13] They are the most beloved, well-remembered episodes of that show.

[00:03:17] And they're what we consider to be some of the best episodes of the entire show.

[00:03:22] And so far here on the podcast, we've gotten to interview three cast members from that episode.

[00:03:27] Amos Crawley, who played Chuck.

[00:03:29] Catherine Long, who played Sabrina.

[00:03:31] And, of course, Carly Beth herself, Catherine Long.

[00:03:34] All three of them were Delights.

[00:03:36] And Catherine Short played Sabrina.

[00:03:39] Catherine Short.

[00:03:40] Did I say Catherine Long twice?

[00:03:41] I'm sorry.

[00:03:42] Catherine Short played Sabrina.

[00:03:44] See, that's what you get.

[00:03:45] You get them two different Catherines.

[00:03:48] That's the first time, though, I've made that mistake on camera.

[00:03:51] But, yes, Catherine Short played Sabrina.

[00:03:54] And Catherine Long played Carly Beth.

[00:03:56] You just kept it going from the set, remember?

[00:03:59] Because they kept mixing up their names on set.

[00:04:02] Sure.

[00:04:03] Oh, we've been told.

[00:04:05] You were just continuing that legacy.

[00:04:07] But all three of them were Delights.

[00:04:09] And we've done multiple episodes with them.

[00:04:11] They're some of our most popular.

[00:04:12] But today, we are actually talking to our fourth cast member from the Haunted Mask.

[00:04:17] We're very delighted to introduce Mr. Colin Fox, who played the mysterious shopkeeper,

[00:04:23] the masked shopkeeper, in both Haunted Mask episodes.

[00:04:26] Mr. Fox, it's a pleasure to have you.

[00:04:27] How are you doing this evening?

[00:04:29] Fine this evening.

[00:04:30] It's actually great that I'm able to come on and join you in this and chat about that episode.

[00:04:38] It was amazing to me just how incredibly popular it became.

[00:04:43] Mm-hmm.

[00:04:44] And, I mean, we've talked to many actors who've been on the TV show.

[00:04:48] And, I mean, a lot of them say the same thing.

[00:04:51] It was like, to them at the time, it was just another role.

[00:04:54] And then all of a sudden, you know, years later, it becomes this huge thing.

[00:04:59] It's like you never know what is going to become super popular and what's not.

[00:05:04] True.

[00:05:04] True.

[00:05:04] So, but we're very glad to have you.

[00:05:07] We're excited to ask you some questions about this episode.

[00:05:10] And my first one is something that we ask every actor.

[00:05:15] How did you get involved with this show, Goosebumps, and particularly the premiere episode,

[00:05:21] The Haunted Mask?

[00:05:22] I think it was because I had done some similar kind of characters in a series called Friday the 13th,

[00:05:35] which was set in supposedly anywhere, but it was shot in Toronto.

[00:05:40] And because I was in Toronto at the time, my agent introduced me to the casting agent for Bumps.

[00:05:50] And they said, oh, yeah, they saw something on a reel that I had done,

[00:05:55] which looked a little bit menacing, which I can do.

[00:05:58] And I like doing menacing roles.

[00:06:01] Villains are far more interesting anyway.

[00:06:03] And so they hired me, and I was delighted and found myself part of a whole new series.

[00:06:15] I had no idea what it meant other than the fact that I had been in a couple of things,

[00:06:21] one of which you mentioned before the podcast,

[00:06:24] which was the one regarding the conductor I played on a ghost train.

[00:06:33] Are You Afraid of the Dark?

[00:06:34] Yeah.

[00:06:35] Are You Afraid of the Dark?

[00:06:36] Exactly.

[00:06:37] And so those are the things that I was involved in.

[00:06:41] Wonderful.

[00:06:42] And were you familiar with the Goosebumps books or had heard of them before the show?

[00:06:49] You got hired onto the show.

[00:06:51] Were those like something you had heard about?

[00:06:53] We're always interested to know.

[00:06:56] I was interested only in the sense that I had to look up,

[00:07:00] because the company that produced a number of issues out,

[00:07:09] and I looked them up,

[00:07:10] and I started to research what Goosebumps was all about

[00:07:13] and what they were trying to do in terms of how to do this for young people

[00:07:18] without completely freaking them out.

[00:07:20] And I thought it was a very clever organization.

[00:07:26] I thought they did a very good job with the stories,

[00:07:29] but I wasn't familiar with them as a series of books either.

[00:07:35] And that's the thing.

[00:07:37] We always feel like the TV show, once it got off the ground,

[00:07:41] is what really propelled the books into extreme popularity.

[00:07:44] But there's some folks, like Catherine Wong, for example,

[00:07:48] who were familiar with them.

[00:07:50] In fact, Catherine was a fan,

[00:07:52] so being able to be on the show was a big thing for her.

[00:07:56] But there's also some people who are like,

[00:07:58] I have no idea.

[00:08:00] Like, they're falling under the radar.

[00:08:03] So that's always something...

[00:08:04] They were not familiar with it.

[00:08:07] But then a lot of them even said once they did find out

[00:08:10] what it was all about,

[00:08:12] then they started seeing it everywhere

[00:08:14] because it was like, you know...

[00:08:16] It's kind of like one of those things, you know,

[00:08:17] once you see one thing,

[00:08:19] then all of a sudden it's everywhere you look, you know?

[00:08:22] And it is everywhere.

[00:08:23] That's true.

[00:08:25] And that's so interesting about the fallout

[00:08:31] from having had that show aired

[00:08:34] and then people saying,

[00:08:37] I think my kids saw you

[00:08:40] in this incredible show called Goosebumps.

[00:08:44] You know what?

[00:08:44] I said I know a little bit about it, yeah.

[00:08:47] But I had no idea it was taking off like that.

[00:08:51] Yeah.

[00:08:52] You know, all these years later,

[00:08:53] there's a whole community of fans

[00:08:56] who either grew up with them back in the 1990s

[00:09:00] or are just getting into them recently.

[00:09:03] As I said, this episode, The Haunted Mask,

[00:09:05] and its sequel, The Haunted Mask 2,

[00:09:07] are some of the most remembered,

[00:09:10] well-regarded episodes of the original show.

[00:09:13] Usually even, you know,

[00:09:14] non-fans have probably heard of this episode

[00:09:17] and seen it at least once,

[00:09:19] and it's always one that gets brought up.

[00:09:21] So it's...

[00:09:22] Even as popular as Goosebumps itself is,

[00:09:25] there's something about The Haunted Mask,

[00:09:27] that particular story that is also just kind of

[00:09:30] rocketed into popularity

[00:09:32] on par with the entire franchise.

[00:09:35] Yeah.

[00:09:35] But you play a very key role in the first episode.

[00:09:42] You play the mysterious, unnamed mask shopkeeper.

[00:09:47] There's this mask shop that appears,

[00:09:49] and it becomes the interest of Carly Beth,

[00:09:53] especially after she is humiliated at school

[00:09:56] by bullies Chuck and Steve,

[00:09:58] and she wants to find a really scary mask.

[00:10:00] Yes.

[00:10:01] And as I said,

[00:10:02] you play the shopkeeper who's mysterious

[00:10:04] and very protective of these particular masks.

[00:10:11] So my first question,

[00:10:14] those masks,

[00:10:15] not just The Haunted Mask,

[00:10:17] all the unloved, as they're called,

[00:10:20] are amazing and very creepy,

[00:10:24] especially to kids.

[00:10:25] What was your first reaction to seeing those masks?

[00:10:29] Well, I was amazed at them because I thought,

[00:10:33] I think the principle of this particular episode

[00:10:37] that's terrifying

[00:10:40] is putting on a mask

[00:10:42] and then unable to take it off.

[00:10:45] I think that's one of the things

[00:10:48] that would terrify anybody.

[00:10:50] It's like being put into a closed space

[00:10:54] and unable to get out,

[00:10:55] like being trapped in an elevator, right?

[00:10:58] But in this case,

[00:10:59] you're trapped in this identity

[00:11:01] and you have no idea

[00:11:03] what the impact is

[00:11:05] of what this creature you've created

[00:11:08] by putting it on is.

[00:11:10] And it seems to be controlling you.

[00:11:13] Masks,

[00:11:15] because of my theater background,

[00:11:17] are a very powerful instrument

[00:11:21] of theater.

[00:11:22] They go back to ancient Greek theater

[00:11:25] in which kings and villains

[00:11:29] and characters from mythology

[00:11:32] are played in masks.

[00:11:35] And it gives the actors incredible freedom

[00:11:38] because once you're in the mask,

[00:11:40] you become something else

[00:11:43] or you can be something else

[00:11:44] and nobody knows

[00:11:46] who you really are behind that.

[00:11:48] So that was one of the things

[00:11:49] that gave Carly power

[00:11:55] in the episode.

[00:11:57] But also,

[00:11:59] it was a strange relationship

[00:12:01] I had with her

[00:12:02] because here I am

[00:12:04] running what appears to be

[00:12:05] just a Halloween shop

[00:12:06] and yet the masks themselves,

[00:12:09] the whole place,

[00:12:10] the whole sort of atmosphere

[00:12:12] of the place was sinister.

[00:12:13] And largely because

[00:12:16] when I took on the role,

[00:12:20] I thought,

[00:12:20] well,

[00:12:21] let's do something

[00:12:22] and the makeup person

[00:12:24] was marvelous

[00:12:25] said,

[00:12:25] let's add something

[00:12:26] to your face.

[00:12:28] Let's add some structure

[00:12:29] and something

[00:12:31] that looks a little bit scarred

[00:12:33] or a little bit,

[00:12:35] you know,

[00:12:36] misshapen

[00:12:36] in order to add

[00:12:38] to the strangeness

[00:12:40] of the character.

[00:12:41] And with that

[00:12:42] and with the

[00:12:45] masks being done

[00:12:46] so brilliantly

[00:12:47] by the craft department

[00:12:49] who put these things together

[00:12:51] and formed them,

[00:12:53] ever since then,

[00:12:54] people have been

[00:12:55] clamoring

[00:12:56] to try to find

[00:12:57] where can I get a mask

[00:12:59] like that?

[00:13:00] You know,

[00:13:01] I have fans contacting me.

[00:13:03] Where did you get the mask?

[00:13:04] Can I use one?

[00:13:05] Can I buy one?

[00:13:06] That was a kind of appeal

[00:13:09] to it.

[00:13:10] They're quite terrifying,

[00:13:11] really.

[00:13:13] Definitely.

[00:13:14] And as we've found out

[00:13:15] because we've had the pleasure

[00:13:17] to talk to crew members

[00:13:18] who worked

[00:13:19] in the effects department,

[00:13:21] Ron Stefanik

[00:13:21] who ran the creature shop

[00:13:23] and Matt DeWild

[00:13:24] who worked

[00:13:24] on the first season

[00:13:25] in the makeup department,

[00:13:28] the masks themselves

[00:13:29] were all

[00:13:31] representative

[00:13:32] of the seven deadly sins.

[00:13:34] You have one

[00:13:36] that's like a lot

[00:13:36] more angrier

[00:13:37] and then you have one

[00:13:38] that's a little fatter.

[00:13:40] It's like almost

[00:13:40] like a gluttony one

[00:13:42] and it really does

[00:13:44] show in their designs

[00:13:45] and it's like

[00:13:46] mask shops

[00:13:47] are inherently creepy

[00:13:49] in a way

[00:13:49] because you just have

[00:13:50] a bunch of

[00:13:52] lifeless faces

[00:13:53] hanging on the wall,

[00:13:54] especially the one

[00:13:54] in this episode.

[00:13:55] it's like you're just

[00:13:56] surrounded by faces.

[00:13:59] But then you have

[00:14:00] those ones that are

[00:14:01] just sitting in the back

[00:14:02] and they're just lined up

[00:14:03] and they're like

[00:14:04] they're watching you

[00:14:05] and there's even the

[00:14:06] the thing that creeped me out

[00:14:07] the most as a kid

[00:14:08] was just the slight

[00:14:09] little like movements

[00:14:11] like when they would

[00:14:12] get startled.

[00:14:13] There's the scene

[00:14:14] where you come in

[00:14:15] like you're like,

[00:14:16] no, get away from those

[00:14:18] and they like actually

[00:14:19] like their eyes open up

[00:14:21] and they look

[00:14:21] like it's creepy.

[00:14:24] It was really creepy.

[00:14:25] It was a great,

[00:14:26] great effect

[00:14:27] that was put in after.

[00:14:30] Yeah, it was terrifying

[00:14:32] to say that.

[00:14:33] We learned that the

[00:14:34] we learned that the people

[00:14:35] who were underneath

[00:14:36] the mask

[00:14:37] for those

[00:14:39] blue screen

[00:14:40] because this was

[00:14:40] before green screen.

[00:14:41] I guess it was blue

[00:14:42] at the time.

[00:14:43] Yeah.

[00:14:44] Decided to use the people

[00:14:46] who made the masks

[00:14:48] as the mask wearers

[00:14:50] for those scenes.

[00:14:51] So that was a nice little

[00:14:53] because we had

[00:14:54] like we said,

[00:14:55] we had Matt DeWilde

[00:14:56] on and actually

[00:14:57] he still

[00:14:59] comments on some

[00:15:00] of our stuff

[00:15:00] once in a while

[00:15:01] when we post something

[00:15:02] regarding episodes

[00:15:03] he's worked on.

[00:15:04] He actually said

[00:15:05] the prosthetic sculpted

[00:15:06] for your face

[00:15:08] was by

[00:15:09] Tony Chappell

[00:15:10] if I said that

[00:15:11] correctly.

[00:15:12] Thank you for that.

[00:15:13] Mike Pyatt.

[00:15:15] So

[00:15:17] said it was the last

[00:15:18] it was his last day

[00:15:19] on set

[00:15:19] that all that

[00:15:20] was going on.

[00:15:22] So

[00:15:23] was that

[00:15:23] Tony Chappell's

[00:15:24] last day?

[00:15:26] I think that was

[00:15:28] I think Matt DeWilde

[00:15:29] said that was his

[00:15:29] last day on set.

[00:15:30] Okay.

[00:15:31] Yeah.

[00:15:32] Well,

[00:15:33] they were great

[00:15:34] to work with

[00:15:35] and it was a really

[00:15:36] nice crew

[00:15:37] all the way through

[00:15:39] particularly

[00:15:39] because you have

[00:15:40] a mix

[00:15:40] of an adult

[00:15:42] and kids

[00:15:43] and so

[00:15:45] the way of

[00:15:45] handling them

[00:15:46] was very carefully

[00:15:48] done

[00:15:48] and very well

[00:15:49] done

[00:15:49] and Kathy

[00:15:51] who Catherine

[00:15:52] who knew

[00:15:53] really

[00:15:54] how to

[00:15:55] work very well

[00:15:57] with a situation

[00:15:58] like this

[00:15:59] you had a

[00:15:59] good natural

[00:16:01] sense of acting

[00:16:03] was great

[00:16:04] to work with

[00:16:04] enjoyed her.

[00:16:06] Yeah.

[00:16:07] Like I said

[00:16:08] we've done

[00:16:09] multiple talks

[00:16:10] with her

[00:16:11] since our first

[00:16:12] interview

[00:16:13] and she's

[00:16:14] super fond of her

[00:16:15] time on this

[00:16:16] episode

[00:16:17] and I mean

[00:16:18] without a doubt

[00:16:19] like she

[00:16:20] gave it her all

[00:16:21] like you have

[00:16:22] this kid

[00:16:23] this child actor

[00:16:24] who's giving

[00:16:25] an incredible

[00:16:26] performance

[00:16:27] like the

[00:16:28] Goosebumps series

[00:16:29] no disrespect

[00:16:30] to any

[00:16:30] any other

[00:16:31] the actors

[00:16:32] who've done

[00:16:33] this show

[00:16:33] but as the

[00:16:35] series went on

[00:16:35] a lot of the

[00:16:36] acting became

[00:16:37] very stilted

[00:16:38] very wooden

[00:16:39] very very

[00:16:40] you know

[00:16:41] much that

[00:16:41] you would

[00:16:42] probably expect

[00:16:42] from a young

[00:16:43] child but

[00:16:44] Catherine was

[00:16:45] something else

[00:16:46] like

[00:16:47] natural

[00:16:50] I'd say

[00:16:51] one of the

[00:16:51] scenes that's

[00:16:51] probably most

[00:16:52] talked about

[00:16:52] is actually

[00:16:53] with you

[00:16:53] in the shop

[00:16:55] as she comes

[00:16:55] back

[00:16:55] with the mask

[00:16:57] attached to her

[00:16:58] face and she's

[00:16:58] coming for help

[00:16:59] but she

[00:17:01] you know

[00:17:01] you turn her

[00:17:02] to the mirror

[00:17:03] and say

[00:17:04] this face

[00:17:04] is your face

[00:17:05] now

[00:17:05] and she screams

[00:17:06] and a lot of

[00:17:08] people say

[00:17:08] that scream

[00:17:08] was just so

[00:17:09] blood-curdling

[00:17:10] to them

[00:17:10] that they

[00:17:10] just

[00:17:12] it's like

[00:17:13] yeah

[00:17:14] it was a little

[00:17:16] we used

[00:17:17] the interior

[00:17:18] was shot

[00:17:19] in a studio

[00:17:19] but there was

[00:17:20] a little shop

[00:17:21] in Kleinberg

[00:17:23] Ontario

[00:17:23] which is outside

[00:17:24] of Toronto

[00:17:26] northwest

[00:17:26] of the city

[00:17:27] and they

[00:17:28] went up

[00:17:29] to shoot

[00:17:30] locations

[00:17:31] there

[00:17:31] of approaching

[00:17:32] the shop

[00:17:33] in evening

[00:17:34] and the park

[00:17:35] nearby

[00:17:36] those things

[00:17:36] and I thought

[00:17:38] that was

[00:17:38] wonderful

[00:17:38] because once

[00:17:39] I had seen

[00:17:40] the location

[00:17:43] and knowing

[00:17:44] what that

[00:17:45] exterior looked

[00:17:46] like

[00:17:46] working in

[00:17:47] the interior

[00:17:47] gave me a

[00:17:48] feel

[00:17:49] of the kind

[00:17:50] of character

[00:17:51] he was

[00:17:51] the kind

[00:17:57] that was

[00:17:58] off camera

[00:18:00] but they

[00:18:01] wanted to

[00:18:01] hear me

[00:18:02] sort of

[00:18:03] in the

[00:18:03] background

[00:18:04] and so

[00:18:05] I decided

[00:18:06] I think

[00:18:07] I should

[00:18:08] have an

[00:18:08] accent

[00:18:08] I think

[00:18:09] I should

[00:18:10] be

[00:18:10] someone

[00:18:11] sort of

[00:18:12] vaguely

[00:18:12] eastern

[00:18:13] European

[00:18:13] with rather

[00:18:14] mysterious

[00:18:15] background

[00:18:16] probably

[00:18:16] a war

[00:18:18] criminal

[00:18:18] from some

[00:18:19] past

[00:18:20] experience

[00:18:21] from war

[00:18:21] or something

[00:18:22] like that

[00:18:23] just to

[00:18:24] make it

[00:18:24] a little

[00:18:24] bit

[00:18:26] juicier

[00:18:26] in terms

[00:18:27] of

[00:18:28] making

[00:18:28] the

[00:18:29] character

[00:18:29] work

[00:18:31] and

[00:18:32] actually

[00:18:32] that leads

[00:18:33] into

[00:18:33] my next

[00:18:34] question

[00:18:34] is

[00:18:35] because

[00:18:36] this role

[00:18:37] has a lot

[00:18:37] of

[00:18:37] dare I say

[00:18:39] it

[00:18:39] gravitas

[00:18:39] in it

[00:18:40] because

[00:18:41] you essentially

[00:18:42] have to

[00:18:42] come off

[00:18:43] as somebody

[00:18:44] who is

[00:18:44] very

[00:18:45] mysterious

[00:18:46] at first

[00:18:47] when she

[00:18:47] first comes

[00:18:48] into the

[00:18:48] shop

[00:18:50] it's

[00:18:50] very

[00:18:52] creepy

[00:18:52] because

[00:18:53] these masks

[00:18:54] are not

[00:18:54] for sale

[00:18:55] they're

[00:18:55] too

[00:18:56] terrifying

[00:18:57] and

[00:18:57] my favorite

[00:18:59] line I gotta

[00:18:59] give a shout

[00:19:00] out to

[00:19:00] is

[00:19:00] there's

[00:19:01] a really

[00:19:01] frightening

[00:19:02] gorilla

[00:19:02] mask

[00:19:03] made

[00:19:03] with

[00:19:03] real

[00:19:04] gorilla

[00:19:04] hair

[00:19:09] I'll

[00:19:10] give it

[00:19:10] to you

[00:19:10] for

[00:19:11] nothing

[00:19:13] I just

[00:19:13] remember

[00:19:14] that

[00:19:14] front

[00:19:14] display

[00:19:15] window

[00:19:15] being

[00:19:16] freaky

[00:19:16] as

[00:19:16] just

[00:19:17] the

[00:19:17] masks

[00:19:17] they

[00:19:17] had

[00:19:17] in

[00:19:18] the

[00:19:18] front

[00:19:18] display

[00:19:18] when

[00:19:19] they

[00:19:19] first

[00:19:19] walk

[00:19:19] up

[00:19:20] some

[00:19:20] of

[00:19:20] them

[00:19:20] just

[00:19:20] horrifying

[00:19:22] like

[00:19:22] oh

[00:19:23] that was

[00:19:24] blood

[00:19:24] coddling

[00:19:24] in itself

[00:19:25] it's

[00:19:26] really

[00:19:26] good

[00:19:27] I mean

[00:19:28] the whole

[00:19:28] shop

[00:19:29] has this

[00:19:30] feeling

[00:19:30] of

[00:19:31] strangeness

[00:19:32] and walking

[00:19:33] and walking

[00:19:34] into it

[00:19:35] like the

[00:19:35] camera

[00:19:35] walks

[00:19:37] with her

[00:19:37] in a

[00:19:38] sense

[00:19:39] really engaged

[00:19:40] I think

[00:19:40] the audience

[00:19:41] into feeling

[00:19:42] ooh

[00:19:42] we're into

[00:19:43] something

[00:19:43] a bit

[00:19:44] dangerous

[00:19:44] here

[00:19:46] yeah

[00:19:47] definitely

[00:19:47] I wanted

[00:19:49] to ask

[00:19:49] so

[00:19:50] yeah

[00:19:51] so

[00:19:51] there's

[00:19:51] a lot

[00:19:51] of

[00:19:51] mysteriousness

[00:19:52] in the

[00:19:53] first

[00:19:53] scene

[00:19:53] but

[00:19:53] when

[00:19:53] she

[00:19:53] comes

[00:19:54] back

[00:19:54] there's

[00:19:54] a lot

[00:19:55] more

[00:19:55] tragedy

[00:19:56] it's

[00:19:57] less

[00:19:58] creepy

[00:19:58] and more

[00:19:59] sad

[00:20:00] because

[00:20:00] that's

[00:20:01] when

[00:20:01] the

[00:20:01] truth

[00:20:01] comes

[00:20:01] out

[00:20:02] about

[00:20:02] what

[00:20:02] the

[00:20:02] masks

[00:20:03] are

[00:20:03] they're

[00:20:03] not

[00:20:04] masks

[00:20:04] they're

[00:20:04] faces

[00:20:04] and

[00:20:05] they

[00:20:06] were

[00:20:06] turned

[00:20:06] that

[00:20:06] way

[00:20:07] by

[00:20:08] somewhat

[00:20:09] evil

[00:20:09] but also

[00:20:10] as

[00:20:10] you know

[00:20:11] your character

[00:20:12] explains

[00:20:13] you know

[00:20:14] they're

[00:20:14] his

[00:20:15] masks

[00:20:16] that he

[00:20:16] made

[00:20:16] for himself

[00:20:17] to hide

[00:20:17] his

[00:20:19] real

[00:20:19] emotions

[00:20:20] and his

[00:20:21] true face

[00:20:22] but my

[00:20:23] question is

[00:20:24] there's a lot

[00:20:25] of

[00:20:25] it seemed

[00:20:26] like there's

[00:20:26] a lot

[00:20:26] of

[00:20:26] inspiration

[00:20:27] from

[00:20:27] classic

[00:20:28] horror

[00:20:28] and

[00:20:28] theater

[00:20:29] in your

[00:20:29] performance

[00:20:30] were there

[00:20:30] any

[00:20:30] inspirations

[00:20:31] that came

[00:20:31] with it

[00:20:32] for your

[00:20:33] performance

[00:20:34] well I

[00:20:35] grew up

[00:20:36] watching a lot

[00:20:37] of black

[00:20:37] and white

[00:20:37] horror movies

[00:20:38] which I

[00:20:39] loved

[00:20:40] certainly

[00:20:41] Boris

[00:20:41] Karloff

[00:20:42] in the

[00:20:43] classic

[00:20:43] 1931

[00:20:45] Frankenstein

[00:20:46] I wasn't

[00:20:47] alive then

[00:20:47] by the

[00:20:48] way

[00:20:48] but it

[00:20:49] would watch

[00:20:50] reruns

[00:20:50] you know

[00:20:50] on TV

[00:20:51] that kind

[00:20:52] of thing

[00:20:52] and also

[00:20:53] Bela Lugosi

[00:20:54] in Dracula

[00:20:57] and the

[00:20:58] other ones

[00:20:58] that really

[00:21:00] I found

[00:21:01] fascinating

[00:21:02] were

[00:21:03] such

[00:21:04] films as

[00:21:05] Gaslight

[00:21:09] there was

[00:21:10] one

[00:21:10] called

[00:21:11] The

[00:21:12] Haunting

[00:21:12] which

[00:21:13] was

[00:21:13] really

[00:21:14] beautifully

[00:21:14] done

[00:21:15] because

[00:21:15] you

[00:21:16] didn't

[00:21:16] actually

[00:21:16] see

[00:21:17] it was

[00:21:18] Robert Wise

[00:21:19] who conducted

[00:21:19] it

[00:21:20] who directed

[00:21:20] it

[00:21:21] you don't

[00:21:22] actually

[00:21:22] see

[00:21:23] what is

[00:21:24] haunting

[00:21:24] this house

[00:21:25] and why

[00:21:26] people

[00:21:26] never want

[00:21:27] to stay

[00:21:27] there

[00:21:28] it's just

[00:21:29] that you

[00:21:29] see

[00:21:29] effects

[00:21:30] and I

[00:21:31] thought

[00:21:32] that was

[00:21:32] the most

[00:21:32] powerful

[00:21:33] thing

[00:21:33] about it

[00:21:33] as with

[00:21:34] Hitchcock

[00:21:35] it's not

[00:21:36] what you

[00:21:37] don't

[00:21:37] it's not

[00:21:38] what you

[00:21:38] see

[00:21:39] it's what

[00:21:39] you don't

[00:21:39] see

[00:21:40] that

[00:21:41] terrifies

[00:21:41] you

[00:21:42] and I

[00:21:43] think that

[00:21:43] worked

[00:21:43] very well

[00:21:44] at

[00:21:45] parts of

[00:21:46] this

[00:21:47] episode

[00:21:49] I'm glad

[00:21:50] you brought

[00:21:50] up

[00:21:50] Bela Lugosi

[00:21:51] because

[00:21:51] that's

[00:21:52] actually

[00:21:52] what I

[00:21:52] was

[00:21:53] thinking

[00:21:54] about

[00:21:54] it's

[00:21:55] very much

[00:21:56] in

[00:21:56] Lugosi

[00:21:56] not just

[00:21:58] Dracula

[00:21:58] but he

[00:21:59] did a ton

[00:21:59] of

[00:22:00] Universal

[00:22:00] horror

[00:22:01] movies

[00:22:01] back then

[00:22:01] and

[00:22:02] his

[00:22:03] performance

[00:22:05] it was

[00:22:06] almost

[00:22:06] like he

[00:22:07] was trying

[00:22:07] to be

[00:22:08] a gentleman

[00:22:09] but he

[00:22:10] just had

[00:22:10] that

[00:22:10] tinge

[00:22:11] of

[00:22:12] disturbing

[00:22:13] nature

[00:22:13] to him

[00:22:14] he could

[00:22:14] do

[00:22:15] anything

[00:22:15] at

[00:22:15] any

[00:22:17] what I

[00:22:18] got out

[00:22:19] of that

[00:22:19] performance

[00:22:20] personally

[00:22:22] yeah

[00:22:23] that's

[00:22:24] great

[00:22:24] definitely

[00:22:26] Nosferatu

[00:22:27] movie coming

[00:22:27] out that

[00:22:28] looks

[00:22:28] very good

[00:22:29] I heard

[00:22:30] good things

[00:22:30] already about

[00:22:31] that and

[00:22:31] it's in

[00:22:31] black

[00:22:32] I'm looking

[00:22:33] forward to

[00:22:33] that

[00:22:33] yeah

[00:22:34] that one

[00:22:35] I'm

[00:22:35] I've seen

[00:22:36] the trailers

[00:22:36] and I'm

[00:22:37] just like

[00:22:37] this movie's

[00:22:37] gonna be

[00:22:38] good

[00:22:38] I hope

[00:22:38] it's

[00:22:39] good

[00:22:39] but I

[00:22:39] think

[00:22:40] it is

[00:22:42] and you

[00:22:42] you mentioned

[00:22:43] you know

[00:22:44] sometimes

[00:22:45] things are

[00:22:45] scarier

[00:22:46] that you

[00:22:46] don't see

[00:22:47] rather than

[00:22:47] what you

[00:22:48] do see

[00:22:48] and I

[00:22:49] have to

[00:22:50] bring

[00:22:50] mention

[00:22:50] to

[00:22:51] the fact

[00:22:52] that

[00:22:52] the shopkeeper

[00:22:54] apparently

[00:22:55] has something

[00:22:56] so horrifying

[00:22:57] under

[00:22:57] the face

[00:22:58] he's wearing

[00:22:58] in that episode

[00:22:59] is also a

[00:23:00] mask

[00:23:01] and he

[00:23:02] explains that

[00:23:03] the scarring

[00:23:04] on it

[00:23:04] is that

[00:23:05] it's turning

[00:23:06] now too

[00:23:07] and he says

[00:23:08] you know

[00:23:08] I don't want

[00:23:09] I dare not

[00:23:09] show you

[00:23:10] what's underneath

[00:23:10] and he's like

[00:23:11] or perhaps

[00:23:12] I should

[00:23:12] and it's like

[00:23:14] that was always

[00:23:14] disturbing to me

[00:23:15] because I'm like

[00:23:16] what does his

[00:23:16] face look like

[00:23:19] why couldn't

[00:23:20] they show us

[00:23:21] yes

[00:23:22] I'm actually

[00:23:22] glad

[00:23:23] that's

[00:23:24] that's

[00:23:24] one of

[00:23:25] those

[00:23:26] I think

[00:23:27] one of the

[00:23:27] geniuses

[00:23:28] of

[00:23:29] horror movies

[00:23:31] or anything

[00:23:32] that

[00:23:33] draws an

[00:23:34] audience in

[00:23:35] is

[00:23:36] it's

[00:23:37] really

[00:23:37] only giving

[00:23:38] you a hint

[00:23:39] but you're

[00:23:40] never actually

[00:23:41] going to see

[00:23:42] it

[00:23:43] but behind

[00:23:44] it

[00:23:45] is the

[00:23:45] promise

[00:23:46] that if you

[00:23:47] ever did

[00:23:48] see it

[00:23:48] you would

[00:23:49] never

[00:23:50] forget it

[00:23:51] like Phantom

[00:23:51] of the Opera

[00:23:52] for instance

[00:23:54] with the

[00:23:55] mask

[00:23:55] if you look

[00:23:56] at the

[00:23:59] 1920s

[00:23:59] film with

[00:24:00] Lon Chaney

[00:24:01] senior

[00:24:03] in

[00:24:04] Silent

[00:24:05] movie

[00:24:05] when his

[00:24:06] mask was

[00:24:07] revealed

[00:24:08] in this

[00:24:08] skeletal

[00:24:09] face of

[00:24:11] horror

[00:24:12] is there

[00:24:14] it's

[00:24:15] absolutely

[00:24:16] frightening

[00:24:17] I mean

[00:24:18] you

[00:24:18] go to bed

[00:24:20] with the

[00:24:20] light on

[00:24:20] yeah

[00:24:22] yeah

[00:24:23] it still

[00:24:27] sticks with

[00:24:28] you and

[00:24:28] it's funny

[00:24:28] that they

[00:24:29] still

[00:24:29] will make

[00:24:30] like

[00:24:31] masks

[00:24:32] and figures

[00:24:33] of that

[00:24:33] particular

[00:24:34] character

[00:24:35] over

[00:24:35] other

[00:24:36] versions

[00:24:36] and it's

[00:24:37] because of

[00:24:38] just how

[00:24:38] it looked

[00:24:39] I mean

[00:24:40] it is a

[00:24:40] classic

[00:24:40] as well

[00:24:41] but

[00:24:42] its

[00:24:42] appearance

[00:24:44] was very

[00:24:45] haunting

[00:24:45] to a lot

[00:24:46] of people

[00:24:46] so

[00:24:47] it makes

[00:24:48] total sense

[00:24:49] it was

[00:24:50] it was a

[00:24:51] very sudden

[00:24:51] unmasking

[00:24:52] too

[00:24:52] the action

[00:24:54] of the

[00:24:54] unmasking

[00:24:55] in the

[00:24:56] silent film

[00:24:57] created this

[00:24:58] startle effect

[00:24:59] in the

[00:25:00] audience

[00:25:00] I think

[00:25:01] whoever saw

[00:25:01] it live

[00:25:02] in a film

[00:25:04] theater

[00:25:04] and I

[00:25:06] thought that

[00:25:06] was fascinating

[00:25:07] to do

[00:25:09] that

[00:25:09] again

[00:25:10] that effect

[00:25:11] of having

[00:25:13] the audience

[00:25:13] feeling tense

[00:25:15] something's

[00:25:16] going to

[00:25:17] happen

[00:25:17] and then

[00:25:18] when it

[00:25:18] does

[00:25:19] it really

[00:25:21] gathers

[00:25:21] them in

[00:25:24] especially

[00:25:24] when it's

[00:25:25] unexpected

[00:25:26] again

[00:25:27] because

[00:25:27] up until

[00:25:29] that point

[00:25:30] most of

[00:25:31] this episode

[00:25:31] I think

[00:25:32] what makes

[00:25:32] it special

[00:25:33] is that

[00:25:33] it's

[00:25:34] grounded

[00:25:35] in subtlety

[00:25:36] there's not

[00:25:37] a lot of

[00:25:38] big jump

[00:25:38] scares

[00:25:39] there's not

[00:25:39] a lot of

[00:25:40] super

[00:25:41] creepy

[00:25:41] monsters

[00:25:42] it's more

[00:25:43] about

[00:25:43] as we've

[00:25:45] discussed

[00:25:45] before

[00:25:46] sort

[00:25:47] of the

[00:25:47] internal

[00:25:48] struggles

[00:25:49] that are

[00:25:50] exacerbated

[00:25:51] by an

[00:25:51] external

[00:25:52] force

[00:25:54] and that's

[00:25:55] exactly what

[00:25:55] the mask

[00:25:56] the haunted

[00:25:56] mask is for

[00:25:57] Carly Beth

[00:25:58] because Carly

[00:25:58] Beth has a

[00:25:59] lot of

[00:25:59] internal

[00:26:00] struggles

[00:26:01] that she's

[00:26:01] going through

[00:26:02] she's not

[00:26:02] happy with

[00:26:03] herself

[00:26:04] you know

[00:26:05] she's very

[00:26:06] she wants

[00:26:07] to prove

[00:26:08] to everyone

[00:26:08] else that

[00:26:09] she can be

[00:26:09] something that

[00:26:10] she really

[00:26:11] isn't

[00:26:11] and that's

[00:26:14] what the

[00:26:14] whole journey

[00:26:15] of the

[00:26:15] episode is

[00:26:16] but

[00:26:17] the mask

[00:26:19] essentially

[00:26:19] brings out

[00:26:20] the really

[00:26:21] bad aspects

[00:26:22] of her

[00:26:23] sort of

[00:26:24] cranks them

[00:26:24] up to an

[00:26:25] 11

[00:26:26] so it's a

[00:26:27] very internal

[00:26:28] story and

[00:26:29] it's all the

[00:26:30] more interesting

[00:26:31] because the

[00:26:31] shopkeeper

[00:26:32] himself is

[00:26:32] only in

[00:26:33] two scenes

[00:26:34] yet he's

[00:26:35] probably like

[00:26:35] the second

[00:26:36] most important

[00:26:37] character

[00:26:38] in the whole

[00:26:39] episode

[00:26:39] because he

[00:26:40] is essentially

[00:26:41] a mirror

[00:26:41] of Carly

[00:26:43] Beth

[00:26:44] he has

[00:26:45] the same

[00:26:45] struggles

[00:26:46] but he

[00:26:46] has been

[00:26:48] unable to

[00:26:48] overcome them

[00:26:49] like she

[00:26:50] is

[00:26:51] he still

[00:26:52] hides behind

[00:26:54] a mask

[00:26:55] literally

[00:26:58] that's

[00:26:59] that's great

[00:26:59] that's actually

[00:27:00] a marvelous

[00:27:01] way of looking

[00:27:03] at it

[00:27:04] and I

[00:27:05] actually

[00:27:05] hadn't

[00:27:06] thought

[00:27:06] of the

[00:27:07] pain

[00:27:09] behind

[00:27:10] that

[00:27:10] I mean

[00:27:12] it was

[00:27:12] a man

[00:27:13] who was

[00:27:13] didn't want

[00:27:15] to be

[00:27:16] exposed

[00:27:17] a man

[00:27:18] who was

[00:27:18] hiding

[00:27:19] but at the

[00:27:20] same time

[00:27:22] aside from his

[00:27:23] threatening

[00:27:24] personality and

[00:27:25] things like

[00:27:25] that

[00:27:25] there was

[00:27:26] pain

[00:27:27] and I

[00:27:28] think Carly's

[00:27:29] pain

[00:27:30] and his

[00:27:30] in a sense

[00:27:32] created a

[00:27:33] bond

[00:27:34] strange

[00:27:34] bond

[00:27:35] between

[00:27:35] them

[00:27:36] despite

[00:27:36] her

[00:27:37] taking

[00:27:37] the

[00:27:37] mask

[00:27:39] and

[00:27:40] I

[00:27:40] agree

[00:27:41] because

[00:27:42] there was

[00:27:42] definitely

[00:27:42] a lot

[00:27:42] of

[00:27:43] that

[00:27:44] I

[00:27:44] think

[00:27:44] played

[00:27:45] out

[00:27:45] in

[00:27:45] some

[00:27:45] of

[00:27:45] those

[00:27:45] scenes

[00:27:46] because

[00:27:47] again

[00:27:47] you see

[00:27:48] the

[00:28:03] turned around

[00:28:03] he's

[00:28:04] like

[00:28:04] later

[00:28:08] as she

[00:28:08] comes

[00:28:08] back

[00:28:10] and

[00:28:11] they

[00:28:11] start

[00:28:11] to

[00:28:12] talk

[00:28:12] you

[00:28:12] can

[00:28:12] see

[00:28:12] where

[00:28:13] he's

[00:28:13] kind

[00:28:13] of

[00:28:13] like

[00:28:13] now

[00:28:14] very

[00:28:14] empathetic

[00:28:15] with

[00:28:15] her

[00:28:15] and

[00:28:16] that

[00:28:16] demeanor

[00:28:16] has

[00:28:17] changed

[00:28:18] that we

[00:28:19] didn't see

[00:28:19] earlier

[00:28:20] even

[00:28:21] the tone

[00:28:21] of your

[00:28:22] voice

[00:28:22] changes

[00:28:23] from

[00:28:23] this

[00:28:23] more

[00:28:24] rough

[00:28:25] aggressive

[00:28:26] kind

[00:28:26] of

[00:28:26] voice

[00:28:27] to

[00:28:27] a

[00:28:27] more

[00:28:28] sympathetic

[00:28:28] one

[00:28:30] when you

[00:28:31] tell her

[00:28:31] about

[00:28:31] why you

[00:28:32] made

[00:28:32] the

[00:28:32] faces

[00:28:33] so

[00:28:34] even

[00:28:34] though

[00:28:35] it's

[00:28:35] a

[00:28:35] slight

[00:28:35] change

[00:28:35] you

[00:28:36] can

[00:28:36] see

[00:28:36] it

[00:28:36] in

[00:28:36] those

[00:28:36] scenes

[00:28:37] and

[00:28:37] that's

[00:28:37] where

[00:28:38] they

[00:28:38] connect

[00:28:38] and

[00:28:38] even

[00:28:38] when

[00:28:39] it

[00:28:39] goes

[00:28:39] into

[00:28:39] the

[00:28:39] Haunted

[00:28:39] Mask

[00:28:39] 2

[00:28:40] when

[00:28:41] they

[00:28:41] actually

[00:28:41] see

[00:28:41] each

[00:28:42] other

[00:28:42] again

[00:28:42] for

[00:28:42] the

[00:28:42] first

[00:28:43] time

[00:28:43] to

[00:28:44] help

[00:28:46] Steve

[00:28:47] with

[00:28:47] his

[00:28:47] mask

[00:28:49] she

[00:28:49] couldn't

[00:28:49] find

[00:28:50] you

[00:28:50] but

[00:28:50] at

[00:28:50] the

[00:28:50] end

[00:28:50] you

[00:28:51] can

[00:28:51] just

[00:28:51] see

[00:28:51] the

[00:28:52] way

[00:28:52] they

[00:28:52] talk

[00:28:52] to

[00:28:52] each

[00:28:53] other

[00:28:53] is

[00:28:53] a

[00:28:53] more

[00:28:54] empathetic

[00:28:54] to

[00:28:55] each

[00:28:55] compared

[00:28:55] to

[00:28:55] how we

[00:28:56] talked

[00:28:56] to

[00:28:57] Steve

[00:28:57] or

[00:28:58] anybody

[00:28:58] else

[00:28:58] yeah

[00:29:00] and

[00:29:01] that's

[00:29:01] very

[00:29:02] well

[00:29:02] put

[00:29:02] yeah

[00:29:03] yeah

[00:29:04] and

[00:29:04] another

[00:29:05] thing

[00:29:06] is just

[00:29:06] that

[00:29:06] adding

[00:29:07] to

[00:29:07] the

[00:29:07] pain

[00:29:08] it's

[00:29:08] like

[00:29:08] you

[00:29:09] know

[00:29:10] he

[00:29:10] he

[00:29:10] was

[00:29:10] like

[00:29:11] the

[00:29:11] mask

[00:29:11] wearing

[00:29:11] like

[00:29:12] this

[00:29:12] before

[00:29:12] it

[00:29:12] was

[00:29:13] like

[00:29:13] they

[00:29:13] were

[00:29:13] beautiful

[00:29:13] they

[00:29:14] were

[00:29:14] like

[00:29:14] they

[00:29:15] like

[00:29:16] they

[00:29:16] were

[00:29:16] beautiful

[00:29:16] faces

[00:29:17] but

[00:29:17] the

[00:29:18] evil

[00:29:18] the

[00:29:19] thoughts

[00:29:19] were

[00:29:19] inside

[00:29:20] of

[00:29:28] again

[00:29:29] we

[00:29:29] always

[00:29:30] go

[00:29:30] into

[00:29:30] this

[00:29:30] when

[00:29:30] we

[00:29:31] talk

[00:29:31] about

[00:29:31] this

[00:29:31] episode

[00:29:31] of

[00:29:32] like

[00:29:32] how

[00:29:32] is

[00:29:33] it

[00:29:33] goosebumps

[00:29:33] is

[00:29:34] like

[00:29:34] pulling

[00:29:35] off

[00:29:35] something

[00:29:35] this

[00:29:36] honestly

[00:29:37] very

[00:29:37] gravitas

[00:29:38] it

[00:29:39] really

[00:29:39] is

[00:29:40] and

[00:29:40] it

[00:29:41] just

[00:29:42] shows

[00:29:42] like

[00:29:42] it's

[00:29:43] very

[00:29:43] sad

[00:29:43] it

[00:29:44] is

[00:29:44] a

[00:29:44] sad

[00:29:44] sad

[00:29:45] situation

[00:29:45] but

[00:29:46] at

[00:29:47] the

[00:29:47] same

[00:29:47] time

[00:29:47] it

[00:29:48] leads

[00:29:48] into

[00:29:48] being

[00:29:48] like

[00:29:49] you

[00:29:49] know

[00:29:49] you

[00:29:49] have

[00:29:49] a

[00:29:49] chance

[00:29:50] to

[00:29:50] like

[00:29:51] you

[00:29:51] know

[00:29:51] fix

[00:29:52] this

[00:29:52] like

[00:29:53] you

[00:29:53] have

[00:29:53] you

[00:29:54] find

[00:29:54] the

[00:29:54] symbol

[00:29:54] of

[00:29:54] love

[00:29:55] and

[00:29:56] you'll

[00:29:56] remove

[00:29:56] the

[00:29:57] mask

[00:29:57] so

[00:29:58] it's

[00:29:58] almost

[00:29:58] like

[00:29:59] he's

[00:29:59] trying

[00:29:59] to

[00:29:59] he

[00:30:00] couldn't

[00:30:01] save

[00:30:01] himself

[00:30:01] but

[00:30:02] he

[00:30:02] can

[00:30:02] save

[00:30:02] someone

[00:30:02] else

[00:30:03] yeah

[00:30:05] exactly

[00:30:05] right

[00:30:06] exactly

[00:30:07] right

[00:30:07] I think

[00:30:08] that's

[00:30:08] it

[00:30:08] and

[00:30:09] I

[00:30:09] think

[00:30:10] he

[00:30:10] I

[00:30:11] think

[00:30:11] he

[00:30:11] was

[00:30:12] when

[00:30:18] given

[00:30:18] up

[00:30:18] he

[00:30:19] has

[00:30:19] dealing

[00:30:20] with

[00:30:20] this

[00:30:21] that's

[00:30:22] making

[00:30:22] eking

[00:30:23] out

[00:30:23] a

[00:30:23] living

[00:30:23] in

[00:30:24] the

[00:30:24] meantime

[00:30:24] having

[00:30:25] to

[00:30:25] deal

[00:30:25] with

[00:30:26] this

[00:30:26] huge

[00:30:27] psychological

[00:30:28] burden

[00:30:28] but

[00:30:29] he

[00:30:29] can't

[00:30:29] escape

[00:30:30] it

[00:30:30] he

[00:30:31] can't

[00:30:31] escape

[00:30:31] himself

[00:30:31] and

[00:30:33] when

[00:30:33] this

[00:30:35] comes

[00:30:35] out

[00:30:35] I

[00:30:37] think

[00:30:37] he's

[00:30:39] actually

[00:30:39] released

[00:30:42] from

[00:30:42] it

[00:30:43] he

[00:30:44] has

[00:30:44] to

[00:30:44] he

[00:30:45] has

[00:30:45] to

[00:30:45] open

[00:30:46] up

[00:30:46] to

[00:30:47] her

[00:30:47] so

[00:30:48] that

[00:30:48] she

[00:30:48] doesn't

[00:30:49] get

[00:30:49] into

[00:30:50] the

[00:30:50] same

[00:30:51] trap

[00:30:51] he

[00:30:51] wound

[00:30:52] up

[00:30:52] in

[00:30:53] and

[00:30:54] he

[00:30:54] even

[00:30:55] says

[00:30:55] it

[00:30:55] he's

[00:30:55] like

[00:30:56] the

[00:30:56] reason

[00:30:56] he

[00:30:56] threatens

[00:30:57] to

[00:30:58] reveal

[00:30:58] his

[00:30:58] true

[00:30:58] face

[00:30:59] is

[00:30:59] because

[00:30:59] he's

[00:30:59] like

[00:31:00] you

[00:31:00] should

[00:31:00] have

[00:31:01] appreciated

[00:31:01] who

[00:31:01] you

[00:31:02] really

[00:31:02] were

[00:31:02] like

[00:31:03] you

[00:31:03] you

[00:31:04] made

[00:31:04] the

[00:31:04] same

[00:31:04] mistake

[00:31:05] I

[00:31:05] did

[00:31:05] you

[00:31:05] tried

[00:31:06] to

[00:31:06] hide

[00:31:06] your

[00:31:06] pain

[00:31:07] instead

[00:31:07] of

[00:31:07] confront

[00:31:08] it

[00:31:09] and

[00:31:10] even

[00:31:10] by

[00:31:10] the

[00:31:10] time

[00:31:11] you

[00:31:11] get

[00:31:11] to

[00:31:11] the

[00:31:11] sequel

[00:31:12] episode

[00:31:14] by

[00:31:14] that

[00:31:17] he's

[00:31:17] had

[00:31:18] enough

[00:31:18] and

[00:31:18] he's

[00:31:18] trying

[00:31:19] to

[00:31:19] get

[00:31:19] rid

[00:31:19] of

[00:31:19] him

[00:31:19] but

[00:31:20] the

[00:31:20] mask

[00:31:21] the

[00:31:21] haunted

[00:31:22] mask

[00:31:22] itself

[00:31:22] is

[00:31:23] like

[00:31:23] no

[00:31:24] you

[00:31:24] won't

[00:31:25] destroy

[00:31:26] me

[00:31:26] so

[00:31:26] he

[00:31:27] takes

[00:31:27] over

[00:31:28] the

[00:31:28] shopkeeper

[00:31:30] and

[00:31:31] I

[00:31:31] don't

[00:31:33] know

[00:31:33] it's

[00:31:33] just

[00:31:33] such

[00:31:34] an

[00:31:34] interesting

[00:31:34] character

[00:31:35] and

[00:31:36] again

[00:31:36] he

[00:31:36] doesn't

[00:31:37] have

[00:31:37] too

[00:31:38] much

[00:31:39] presence

[00:31:39] in

[00:31:39] both

[00:31:40] episodes

[00:31:40] but

[00:31:42] when

[00:31:42] he's

[00:31:42] there

[00:31:42] it

[00:31:43] really

[00:31:47] very

[00:31:48] impactful

[00:31:48] when

[00:31:49] your

[00:31:49] character

[00:31:50] is

[00:31:50] on

[00:31:50] screen

[00:31:52] given

[00:31:52] the

[00:31:53] smaller

[00:31:53] time

[00:31:53] frame

[00:31:54] he

[00:31:54] gets

[00:31:54] compared

[00:31:54] to

[00:31:55] others

[00:31:56] I

[00:31:56] guess

[00:31:56] that

[00:31:57] that's

[00:31:57] kind

[00:31:57] of

[00:31:57] nice

[00:31:58] in a

[00:31:58] way

[00:31:58] to

[00:32:18] very

[00:32:19] I'm

[00:32:19] very

[00:32:20] I

[00:32:21] feel

[00:32:21] very

[00:32:25] complimented

[00:32:25] by

[00:32:25] your

[00:32:27] remarks

[00:32:27] and also

[00:32:28] by

[00:32:29] the

[00:32:30] reaction

[00:32:30] that this

[00:32:31] has had

[00:32:31] and I

[00:32:32] think you're

[00:32:33] right

[00:32:33] when you

[00:32:34] talk about

[00:32:34] this being

[00:32:36] far

[00:32:37] and beyond

[00:32:37] what was

[00:32:39] meant to

[00:32:39] be an

[00:32:39] episodic

[00:32:40] kids

[00:32:40] show

[00:32:41] it did

[00:32:42] go into

[00:32:42] another

[00:32:43] realm

[00:32:43] went to

[00:32:44] another

[00:32:45] level

[00:32:45] and I

[00:32:46] salute

[00:32:47] the director

[00:32:48] on that

[00:32:48] I salute

[00:32:49] the

[00:32:50] performance

[00:32:51] of

[00:32:53] Catherine

[00:32:55] who did

[00:32:56] this

[00:32:56] and I

[00:32:57] think I

[00:32:58] salute the

[00:32:59] writers too

[00:32:59] they had

[00:33:00] something there

[00:33:01] and everyone

[00:33:02] stepped up

[00:33:03] to it

[00:33:04] yeah

[00:33:05] I definitely

[00:33:06] agree

[00:33:06] they had something

[00:33:06] special from

[00:33:07] the beginning

[00:33:08] I think

[00:33:08] they knew

[00:33:08] they had

[00:33:09] something

[00:33:09] and they

[00:33:09] said hey

[00:33:10] let's just

[00:33:10] let's just

[00:33:11] go all

[00:33:12] out

[00:33:12] let's go

[00:33:12] big

[00:33:12] and they

[00:33:13] did

[00:33:13] and being

[00:33:14] the first

[00:33:15] episode

[00:33:15] what a

[00:33:16] way to

[00:33:16] start

[00:33:19] the ground

[00:33:20] running

[00:33:20] right away

[00:33:21] it was

[00:33:22] phenomenal

[00:33:23] how many

[00:33:24] millions of

[00:33:24] people tuned

[00:33:25] in do you

[00:33:25] remember

[00:33:25] Isaiah

[00:33:26] it was on

[00:33:26] the

[00:33:26] I

[00:33:28] don't

[00:33:28] remember

[00:33:29] the exact

[00:33:29] number

[00:33:30] but it

[00:33:30] was a

[00:33:31] super

[00:33:31] highly

[00:33:32] rated

[00:33:32] program

[00:33:32] when it

[00:33:33] premiered

[00:33:33] that night

[00:33:34] on Fox

[00:33:35] prime time

[00:33:37] slot

[00:33:38] not many

[00:33:39] hit shows

[00:33:40] got prime

[00:33:41] time slots

[00:33:41] on Fox

[00:33:42] and a big

[00:33:43] network

[00:33:44] but it

[00:33:44] did

[00:33:45] and it

[00:33:45] yeah

[00:33:47] it raked

[00:33:48] in the

[00:33:48] reading

[00:33:49] so it

[00:33:49] was a

[00:33:50] very popular

[00:33:51] and it's

[00:33:53] always the

[00:33:53] episode people

[00:33:54] talk about

[00:33:54] I've seen

[00:33:55] numerous

[00:33:56] video essays

[00:33:57] on YouTube

[00:33:58] just dissecting

[00:34:00] this episode

[00:34:01] in particular

[00:34:02] like no

[00:34:03] other one

[00:34:03] like I've

[00:34:05] never seen

[00:34:06] this level

[00:34:07] of

[00:34:08] analytical

[00:34:10] prowess

[00:34:11] that in

[00:34:12] any other

[00:34:12] episode of

[00:34:12] the show

[00:34:13] and that's

[00:34:14] just because

[00:34:14] I don't

[00:34:14] think any

[00:34:15] other episode

[00:34:15] had this

[00:34:16] kind of

[00:34:16] writing in

[00:34:17] it

[00:34:18] where it

[00:34:18] was very

[00:34:19] internal

[00:34:19] rather than

[00:34:20] external

[00:34:22] personally

[00:34:24] I'm

[00:34:24] fascinated

[00:34:25] by that

[00:34:26] because

[00:34:26] when you're

[00:34:27] doing it

[00:34:28] you're not

[00:34:29] thinking

[00:34:30] at all

[00:34:31] about the

[00:34:32] ramifications

[00:34:32] of where

[00:34:33] this is going

[00:34:34] or how

[00:34:35] it would

[00:34:35] be received

[00:34:37] sometimes

[00:34:38] when things

[00:34:39] get patched

[00:34:39] up or

[00:34:40] changed

[00:34:40] a word

[00:34:41] or a line

[00:34:42] or maybe

[00:34:43] an angle

[00:34:44] that happens

[00:34:45] and it

[00:34:46] just happens

[00:34:46] is put

[00:34:47] together

[00:34:49] I keep

[00:34:50] thinking

[00:34:50] about

[00:34:51] the mess

[00:34:53] that

[00:34:54] Casablanca

[00:34:55] was in

[00:34:56] but it

[00:34:57] didn't know

[00:34:57] how to

[00:34:57] finish the

[00:34:58] film

[00:34:59] and

[00:35:01] the number

[00:35:01] of things

[00:35:02] they said

[00:35:02] I don't

[00:35:03] know

[00:35:04] let's do

[00:35:04] this

[00:35:05] I need

[00:35:05] to walk

[00:35:05] off the

[00:35:06] you know

[00:35:06] let's try

[00:35:07] that

[00:35:09] let's

[00:35:09] throw in

[00:35:10] the line

[00:35:10] there

[00:35:10] we need

[00:35:11] a line

[00:35:12] and those

[00:35:13] lines

[00:35:13] became

[00:35:13] famous

[00:35:14] and the

[00:35:15] ending

[00:35:15] became

[00:35:16] famous

[00:35:16] the whole

[00:35:16] movie

[00:35:17] became

[00:35:17] famous

[00:35:18] but

[00:35:19] sometimes

[00:35:20] things

[00:35:20] happen

[00:35:22] when you're

[00:35:23] doing it

[00:35:24] that you

[00:35:24] have no

[00:35:25] idea

[00:35:25] what the

[00:35:26] impact

[00:35:26] is going

[00:35:27] to be

[00:35:28] yeah

[00:35:29] that's

[00:35:30] true for

[00:35:30] this episode

[00:35:31] that's definitely

[00:35:32] true for this

[00:35:32] episode

[00:35:33] it's resonated

[00:35:34] with a lot

[00:35:34] of people

[00:35:34] and I think

[00:35:35] it's just

[00:35:35] because

[00:35:36] intentional

[00:35:37] or not

[00:35:38] we still

[00:35:38] don't know

[00:35:39] the implication

[00:35:41] of the

[00:35:41] story

[00:35:41] and how

[00:35:43] it relates

[00:35:44] to everyone

[00:35:45] pretty much

[00:35:46] whether you

[00:35:47] been bullied

[00:35:48] or you feel

[00:35:49] insecure

[00:35:49] or you know

[00:35:51] what have you

[00:35:52] it resonates

[00:35:53] with so many

[00:35:53] people

[00:35:54] and I think

[00:35:54] that's why

[00:35:54] it still

[00:35:55] holds up

[00:35:55] compared to

[00:35:56] a lot

[00:35:56] of the

[00:35:56] other

[00:35:56] episodes

[00:35:57] that Goosebumps

[00:35:58] did

[00:35:58] and why

[00:36:00] it's still

[00:36:00] so revered

[00:36:01] by so many

[00:36:01] as the

[00:36:02] best

[00:36:02] episodes

[00:36:03] of the

[00:36:04] show

[00:36:06] I'm so

[00:36:08] pleased

[00:36:09] to see

[00:36:09] you

[00:36:10] a younger

[00:36:11] generation

[00:36:13] and me

[00:36:14] talking about

[00:36:15] the same

[00:36:16] thing

[00:36:16] and how

[00:36:17] that has

[00:36:18] resonated

[00:36:19] down through

[00:36:20] one or two

[00:36:21] other generations

[00:36:22] you know

[00:36:23] kids

[00:36:24] younger than

[00:36:25] you

[00:36:25] I'm really

[00:36:26] I'm really

[00:36:27] very pleased

[00:36:29] to hear that

[00:36:30] absolutely

[00:36:31] yeah

[00:36:33] some of the

[00:36:34] 30 year

[00:36:35] anniversary

[00:36:36] next year

[00:36:37] and

[00:36:38] which is

[00:36:39] wild to

[00:36:39] think about

[00:36:40] I know

[00:36:41] crazy to

[00:36:41] think about

[00:36:43] but it's

[00:36:44] just when you

[00:36:45] think about

[00:36:45] that though

[00:36:45] like

[00:36:46] you know

[00:36:47] I was

[00:36:47] roughly 10

[00:36:48] when the

[00:36:48] show aired

[00:36:49] and so

[00:36:50] of course

[00:36:51] like I

[00:36:52] share the

[00:36:53] show with

[00:36:53] my daughter

[00:36:54] and I'm

[00:36:55] you know

[00:36:55] hoping

[00:36:55] she'll share

[00:36:56] it with her

[00:36:57] kids

[00:36:57] if she

[00:36:57] won't

[00:36:57] I will

[00:36:59] so

[00:36:59] it'll

[00:37:00] you know

[00:37:01] it's just

[00:37:01] it's generational

[00:37:02] it'll go

[00:37:03] through

[00:37:03] and there's

[00:37:04] so many

[00:37:05] people

[00:37:06] that when

[00:37:07] you ask

[00:37:07] them what

[00:37:07] they watch

[00:37:08] around

[00:37:08] Halloween

[00:37:08] you get

[00:37:08] your typical

[00:37:10] Halloween

[00:37:10] 78

[00:37:11] John Carpenter

[00:37:11] film

[00:37:12] you'll get

[00:37:13] a few others

[00:37:14] there

[00:37:14] and the one

[00:37:15] that always

[00:37:16] sticks out

[00:37:16] to me

[00:37:17] as well

[00:37:17] which is

[00:37:18] not surprising

[00:37:19] but surprising

[00:37:19] at the same

[00:37:19] time

[00:37:20] is you hear

[00:37:20] the Haunted

[00:37:21] Mask 1

[00:37:22] and 2

[00:37:22] usually back

[00:37:23] to back

[00:37:23] they usually

[00:37:24] just do it

[00:37:25] in succession

[00:37:27] it's a shorter

[00:37:28] time frame

[00:37:28] because they were

[00:37:29] just episodes

[00:37:30] yeah

[00:37:32] it's really

[00:37:32] interesting

[00:37:33] when you ask

[00:37:34] people what

[00:37:34] they watch

[00:37:35] and when

[00:37:35] those pop

[00:37:36] up

[00:37:36] it's

[00:37:36] pretty nice

[00:37:37] yeah

[00:37:38] that's great

[00:37:39] because I

[00:37:39] have

[00:37:40] had

[00:37:41] a continual

[00:37:43] fan

[00:37:44] chat

[00:37:45] with

[00:37:46] an Australian

[00:37:47] young man

[00:37:48] his name

[00:37:49] is Liam

[00:37:50] yes

[00:37:51] and maybe

[00:37:52] he's been

[00:37:53] in touch

[00:37:53] with you

[00:37:53] yeah

[00:37:55] he's an

[00:37:56] absolute

[00:37:57] fanatic

[00:37:58] about

[00:37:58] goosebumps

[00:37:59] particularly

[00:37:59] this episode

[00:38:00] so

[00:38:02] he'll be

[00:38:03] pleased to

[00:38:03] see this

[00:38:03] podcast

[00:38:04] that would

[00:38:04] be great

[00:38:05] yep

[00:38:06] he will

[00:38:06] shout out

[00:38:07] to Liam

[00:38:08] because

[00:38:08] we

[00:38:09] wouldn't

[00:38:09] have been

[00:38:09] able to

[00:38:10] probably

[00:38:10] get in

[00:38:10] touch

[00:38:10] with you

[00:38:11] otherwise

[00:38:11] I did

[00:38:12] try to

[00:38:12] find

[00:38:12] like

[00:38:13] contact

[00:38:13] information

[00:38:14] and

[00:38:14] things

[00:38:15] like

[00:38:15] that

[00:38:15] through

[00:38:16] like

[00:38:16] IMDB

[00:38:17] Pro

[00:38:17] and a few

[00:38:18] other

[00:38:29] years

[00:38:30] and he's

[00:38:31] like

[00:38:31] hey

[00:38:32] can I

[00:38:33] reach out

[00:38:34] to

[00:38:34] Colin

[00:38:35] on your

[00:38:35] behalf

[00:38:36] and I'm

[00:38:36] like

[00:38:36] yeah

[00:38:37] absolutely

[00:38:37] I was

[00:38:38] like

[00:38:38] just

[00:38:38] let him

[00:38:39] know

[00:38:39] we would

[00:38:39] love

[00:38:39] to

[00:38:40] have

[00:38:40] him

[00:38:40] on

[00:38:40] and

[00:38:40] here

[00:38:41] we

[00:38:41] are

[00:38:41] that's

[00:38:42] how

[00:38:42] it

[00:38:42] happened

[00:38:43] well

[00:38:44] good

[00:38:45] deal

[00:38:45] and a

[00:38:46] testament

[00:38:46] again

[00:38:47] to how

[00:38:47] beloved

[00:38:48] this episode

[00:38:49] is

[00:38:49] is that

[00:38:49] when

[00:38:50] you know

[00:38:51] when we

[00:38:52] every time

[00:38:53] we talk

[00:38:53] about this

[00:38:54] episode

[00:38:54] it's

[00:38:54] as I said

[00:38:55] some of

[00:38:56] our most

[00:38:56] popular

[00:38:57] discussions

[00:38:58] are

[00:38:58] around

[00:38:59] this

[00:38:59] episode

[00:39:00] we've

[00:39:01] gotten

[00:39:01] to talk

[00:39:01] to

[00:39:02] you know

[00:39:02] three

[00:39:02] of the

[00:39:02] main

[00:39:03] child

[00:39:03] stars

[00:39:03] but even

[00:39:05] when we

[00:39:05] announced

[00:39:06] that we

[00:39:06] were doing

[00:39:07] this

[00:39:07] interview

[00:39:07] with you

[00:39:08] lots

[00:39:09] of folks

[00:39:09] were super

[00:39:10] super

[00:39:11] excited

[00:39:11] and again

[00:39:12] just a

[00:39:13] testament

[00:39:13] to

[00:39:14] the

[00:39:14] performances

[00:39:15] the

[00:39:25] owned

[00:39:26] in

[00:39:26] just

[00:39:26] about

[00:39:27] every

[00:39:27] way

[00:39:27] and

[00:39:28] it

[00:39:28] really

[00:39:29] was

[00:39:29] lightning

[00:39:29] in

[00:39:30] a

[00:39:30] bottle

[00:39:30] for

[00:39:31] this

[00:39:31] series

[00:39:34] that

[00:39:35] first

[00:39:37] season

[00:39:37] of

[00:39:38] goosebumps

[00:39:38] was

[00:39:39] something

[00:39:40] different

[00:39:40] season

[00:39:41] one

[00:39:41] was

[00:39:42] just

[00:39:42] something

[00:39:42] different

[00:39:43] to the

[00:39:43] rest

[00:39:44] season

[00:39:44] two

[00:39:44] had

[00:39:45] some

[00:39:45] good

[00:39:45] episodes

[00:39:46] sprinkled

[00:39:47] in

[00:39:47] but

[00:39:47] season

[00:39:48] one

[00:39:48] was

[00:39:49] just

[00:39:49] kind

[00:39:49] of

[00:39:49] a

[00:39:56] whereas

[00:39:56] the

[00:39:56] first

[00:39:57] season

[00:39:57] was

[00:39:57] a lot

[00:39:57] more

[00:39:58] focused

[00:39:58] on

[00:39:58] the

[00:39:58] scares

[00:39:59] and

[00:39:59] the

[00:40:00] directing

[00:40:00] and

[00:40:01] the

[00:40:01] writing

[00:40:01] which

[00:40:02] I

[00:40:04] think

[00:40:05] kids

[00:40:05] can

[00:40:06] tell

[00:40:06] when

[00:40:07] they're

[00:40:09] being

[00:40:10] manipulated

[00:40:11] with

[00:40:12] something

[00:40:12] campy

[00:40:13] they'll

[00:40:14] sort

[00:40:14] of

[00:40:14] yeah

[00:40:14] yeah

[00:40:15] yeah

[00:40:15] they're

[00:40:16] much

[00:40:17] smarter

[00:40:18] than we

[00:40:18] think

[00:40:19] they are

[00:40:19] but

[00:40:20] when

[00:40:21] they

[00:40:21] see

[00:40:21] something

[00:40:21] like

[00:40:22] this

[00:40:22] and

[00:40:22] they

[00:40:22] get

[00:40:22] drawn

[00:40:23] in

[00:40:23] wow

[00:40:24] no

[00:40:25] very

[00:40:27] effective

[00:40:27] definitely

[00:40:28] well

[00:40:29] as it

[00:40:30] turns out

[00:40:31] it was

[00:40:32] over

[00:40:32] 14

[00:40:33] million

[00:40:33] people

[00:40:34] who

[00:40:35] watched

[00:40:35] when it

[00:40:35] first

[00:40:36] yeah

[00:40:37] one

[00:40:37] night

[00:40:38] that's

[00:40:38] I gotta

[00:40:39] write that

[00:40:39] down

[00:40:41] it's all

[00:40:42] the goosebumps

[00:40:42] fans

[00:40:43] that's

[00:40:44] off of

[00:40:45] IMDB's

[00:40:48] listing

[00:40:49] so

[00:40:50] but

[00:40:51] it says

[00:40:51] over 14

[00:40:52] million people

[00:40:53] watched

[00:40:53] I feel like

[00:40:54] the reason

[00:40:54] season two

[00:40:55] went a little

[00:40:56] more campy

[00:40:56] is because

[00:40:57] season one

[00:40:58] see

[00:40:59] there was a few

[00:41:00] episodes from the

[00:41:01] first season

[00:41:01] that actually got

[00:41:02] banned here

[00:41:02] in Australia

[00:41:03] they didn't even

[00:41:03] they aired them

[00:41:04] once and that

[00:41:05] was it

[00:41:05] and then

[00:41:06] parents

[00:41:06] called in

[00:41:07] they phoned

[00:41:08] in that

[00:41:08] they would

[00:41:08] their kids

[00:41:09] were traumatized

[00:41:09] by some

[00:41:10] episodes

[00:41:10] and I

[00:41:12] feel like

[00:41:12] maybe

[00:41:13] if it

[00:41:14] happened in

[00:41:14] Australia

[00:41:15] it probably

[00:41:15] happened in

[00:41:16] other places

[00:41:16] so

[00:41:17] it makes me

[00:41:18] think

[00:41:18] maybe they

[00:41:19] toned it

[00:41:20] down a bit

[00:41:20] for season

[00:41:21] two

[00:41:21] like they

[00:41:21] thought

[00:41:22] okay

[00:41:23] maybe we'll

[00:41:24] add a few

[00:41:25] laughs

[00:41:25] to make the

[00:41:27] scares seem

[00:41:27] more safe

[00:41:29] I think

[00:41:30] that's why

[00:41:30] season one

[00:41:31] does resonate

[00:41:32] a lot more

[00:41:33] with people

[00:41:33] because

[00:41:33] like the

[00:41:34] fans

[00:41:34] because it's

[00:41:35] genuinely

[00:41:35] creepy at

[00:41:36] times

[00:41:37] you know

[00:41:37] like

[00:41:37] those episodes

[00:41:40] just rank

[00:41:41] as the

[00:41:42] top tier

[00:41:43] of goosebumps

[00:41:44] you know

[00:41:44] even

[00:41:44] the first

[00:41:45] nine

[00:41:45] looming

[00:41:46] dummy

[00:41:46] episode

[00:41:46] they did

[00:41:47] that's a lot

[00:41:47] creepier than

[00:41:47] the later

[00:41:48] ones

[00:41:48] so it's just

[00:41:49] you know

[00:41:50] it's season

[00:41:51] one

[00:41:51] just realized

[00:41:53] about

[00:41:54] before I

[00:41:55] move on

[00:41:55] to my

[00:41:55] next

[00:41:55] question

[00:41:56] is that

[00:41:57] you know

[00:41:58] we talked

[00:41:58] a lot

[00:41:59] about like

[00:41:59] classic

[00:41:59] horror

[00:42:00] black and

[00:42:00] white

[00:42:01] movies

[00:42:02] I feel

[00:42:02] like this

[00:42:03] isn't the

[00:42:03] only episode

[00:42:04] or maybe

[00:42:05] one of the

[00:42:05] only episodes

[00:42:06] but honestly

[00:42:07] you could

[00:42:08] like put in

[00:42:08] black and

[00:42:09] white

[00:42:09] and I

[00:42:10] feel like

[00:42:10] it would

[00:42:10] feel right

[00:42:11] at home

[00:42:11] just with

[00:42:12] the again

[00:42:12] the directing

[00:42:13] and the style

[00:42:14] of writing

[00:42:14] is very

[00:42:15] reminiscent

[00:42:22] like

[00:42:22] could be

[00:42:23] black and

[00:42:23] white

[00:42:23] and give

[00:42:24] you back

[00:42:24] horror town

[00:42:25] you could

[00:42:26] do the

[00:42:26] whole

[00:42:27] black and

[00:42:28] white thing

[00:42:28] only when

[00:42:28] they go

[00:42:29] back

[00:42:30] you know

[00:42:30] when they

[00:42:31] go back

[00:42:31] in time

[00:42:31] it could

[00:42:32] change

[00:42:32] the

[00:42:37] flashbacks

[00:42:37] yeah

[00:42:39] but only

[00:42:40] for like

[00:42:41] when they

[00:42:41] actually

[00:42:41] go back

[00:42:42] in time

[00:42:42] they could

[00:42:42] have

[00:42:42] it

[00:42:43] in

[00:42:43] white

[00:42:44] and

[00:42:44] then

[00:42:44] it

[00:42:44] goes back

[00:42:46] Orson

[00:42:46] Wells

[00:42:46] said

[00:42:47] something

[00:42:47] interesting

[00:42:48] about

[00:42:48] black and

[00:42:48] white

[00:42:49] he said

[00:42:50] it's an

[00:42:50] actor's

[00:42:50] medium

[00:42:51] because

[00:42:53] the focus

[00:42:54] goes so

[00:42:56] much on

[00:42:56] the actual

[00:42:57] performing

[00:42:59] body and

[00:43:00] face

[00:43:00] of the

[00:43:01] actor

[00:43:01] you may

[00:43:02] be in

[00:43:02] the most

[00:43:03] colorful

[00:43:03] place in

[00:43:04] the world

[00:43:05] such as

[00:43:06] Italy or

[00:43:07] something like

[00:43:08] that

[00:43:08] and the

[00:43:09] color

[00:43:09] is glorious

[00:43:10] but if

[00:43:11] it's in

[00:43:12] black and

[00:43:12] white

[00:43:12] it becomes

[00:43:14] focused

[00:43:15] and narrow

[00:43:16] and quite

[00:43:17] often that

[00:43:18] happens

[00:43:18] Mr.

[00:43:19] Ripley

[00:43:20] the remake

[00:43:21] of the

[00:43:22] amazing

[00:43:22] Mr.

[00:43:23] the talented

[00:43:24] Mr.

[00:43:25] Ripley

[00:43:25] which was

[00:43:26] became a

[00:43:26] miniseries

[00:43:27] was all

[00:43:28] shot in

[00:43:29] black and

[00:43:29] white

[00:43:30] in Italy

[00:43:31] on the

[00:43:32] Amalfi

[00:43:32] Coast

[00:43:33] I thought

[00:43:34] clever

[00:43:35] clever

[00:43:36] because you

[00:43:37] really concentrate

[00:43:38] on the

[00:43:39] characters

[00:43:40] it went

[00:43:41] well

[00:43:41] yeah

[00:43:42] and

[00:43:43] I

[00:43:44] see that

[00:43:45] sentiment

[00:43:46] because

[00:43:47] even

[00:43:47] going

[00:43:48] back

[00:43:48] to

[00:43:48] Casablanca

[00:43:49] black

[00:43:50] and

[00:43:50] white

[00:43:51] far

[00:43:51] superior

[00:43:51] to

[00:43:52] the

[00:43:52] color

[00:43:52] version

[00:43:52] and

[00:43:54] even

[00:43:55] even

[00:43:55] Wizard

[00:43:56] of Oz

[00:43:56] in my

[00:43:56] opinion

[00:43:57] like

[00:43:57] as much

[00:43:57] as I

[00:43:58] love

[00:43:58] seeing

[00:43:59] Oz

[00:44:00] and everything

[00:44:02] I don't know

[00:44:02] when it was

[00:44:02] in black

[00:44:03] and white

[00:44:03] it was just

[00:44:04] I think

[00:44:04] it was a

[00:44:04] little

[00:44:05] better

[00:44:05] I think

[00:44:05] it worked

[00:44:05] better

[00:44:07] it's a very

[00:44:08] stylistic

[00:44:09] choice

[00:44:09] and

[00:44:10] you know

[00:44:11] sometimes

[00:44:12] taking the

[00:44:13] color out

[00:44:13] forces you

[00:44:15] essentially

[00:44:15] to focus

[00:44:16] on the

[00:44:16] acting

[00:44:16] and even

[00:44:18] sometimes

[00:44:18] just the

[00:44:19] sets

[00:44:19] themselves

[00:44:19] like

[00:44:20] just

[00:44:20] taking

[00:44:20] the

[00:44:20] color

[00:44:21] away

[00:44:21] you

[00:44:21] look

[00:44:21] like

[00:44:22] I

[00:44:22] think

[00:44:22] back

[00:44:22] to

[00:44:23] Frankenstein

[00:44:23] and

[00:44:23] Dracula

[00:44:24] like

[00:44:24] those

[00:44:25] sets

[00:44:25] even

[00:44:26] for

[00:44:26] the

[00:44:26] the

[00:44:27] 30s

[00:44:27] were

[00:44:28] spectacular

[00:44:29] even

[00:44:29] in black

[00:44:29] and white

[00:44:30] and actually

[00:44:31] it adds

[00:44:31] to the

[00:44:32] horror

[00:44:32] because

[00:44:32] there's

[00:44:33] no

[00:44:33] there's

[00:44:34] no color

[00:44:35] to it

[00:44:35] it's

[00:44:35] it's

[00:44:36] literally

[00:44:36] it's

[00:44:37] almost

[00:44:37] like

[00:44:37] shadows

[00:44:38] everywhere

[00:44:40] cinematographers

[00:44:41] who really

[00:44:41] know how

[00:44:42] to light

[00:44:42] black and

[00:44:43] white

[00:44:44] because

[00:44:45] it's

[00:44:45] shadow

[00:44:46] and

[00:44:47] light

[00:44:47] I never

[00:44:48] get all

[00:44:48] those

[00:44:48] film

[00:44:49] noirs

[00:44:49] with

[00:44:50] Venetian

[00:44:51] blind

[00:44:51] stripes

[00:44:52] of light

[00:44:53] going

[00:44:53] across

[00:44:54] the

[00:44:54] room

[00:44:54] all

[00:44:55] that

[00:44:55] stuff

[00:44:56] it's

[00:44:56] just

[00:44:56] great

[00:44:57] it sets

[00:44:58] an

[00:44:58] atmosphere

[00:44:58] yeah

[00:44:59] it really

[00:45:00] really

[00:45:00] does

[00:45:00] it's

[00:45:00] almost

[00:45:01] like

[00:45:01] the

[00:45:02] girl

[00:45:02] cry

[00:45:02] monster

[00:45:03] I

[00:45:03] feel

[00:45:03] it

[00:45:03] could

[00:45:03] have

[00:45:03] been

[00:45:03] black

[00:45:03] and

[00:45:04] white

[00:45:04] too

[00:45:04] actually

[00:45:06] it's

[00:45:06] kind of

[00:45:06] got that

[00:45:07] you

[00:45:07] the

[00:45:10] library

[00:45:10] scenes

[00:45:11] could have

[00:45:11] all worked

[00:45:12] in black

[00:45:12] and white

[00:45:12] I feel

[00:45:13] like

[00:45:14] that

[00:45:14] could have

[00:45:15] worked

[00:45:15] because

[00:45:16] that

[00:45:16] scene

[00:45:17] was

[00:45:17] lit

[00:45:17] it was

[00:45:18] almost

[00:45:18] lit

[00:45:19] like a

[00:45:19] black

[00:45:19] and white

[00:45:20] movie

[00:45:20] but in

[00:45:20] color

[00:45:21] so

[00:45:21] I

[00:45:22] I

[00:45:22] feel

[00:45:22] like

[00:45:22] it

[00:45:23] could

[00:45:23] work

[00:45:23] but

[00:45:23] my

[00:45:24] next

[00:45:24] question

[00:45:24] is

[00:45:26] do

[00:45:26] you

[00:45:27] have

[00:45:27] a

[00:45:27] personal

[00:45:27] like

[00:45:28] favorite

[00:45:28] line

[00:45:28] that

[00:45:28] you

[00:45:29] remember

[00:45:29] or

[00:45:29] even

[00:45:29] just

[00:45:30] like

[00:45:30] a

[00:45:30] favorite

[00:45:30] moment

[00:45:30] to

[00:45:31] shoot

[00:45:33] I

[00:45:36] think

[00:45:36] it's

[00:45:37] really

[00:45:37] the

[00:45:37] mask

[00:45:38] moment

[00:45:39] when

[00:45:40] he

[00:45:40] says

[00:45:42] look

[00:45:43] you know

[00:45:44] when he

[00:45:44] points

[00:45:45] to his

[00:45:45] face

[00:45:46] it's

[00:45:46] not

[00:45:46] so

[00:45:47] much

[00:45:47] a

[00:45:47] line

[00:45:47] as

[00:45:48] it

[00:45:48] is

[00:45:48] a

[00:45:48] gesture

[00:45:50] which

[00:45:50] is

[00:45:51] don't

[00:45:51] go

[00:45:51] there

[00:45:53] this

[00:45:53] is

[00:45:54] where

[00:45:54] I

[00:45:54] am

[00:45:54] yeah

[00:45:55] I

[00:45:56] forget

[00:45:58] the

[00:45:58] line

[00:45:59] actually

[00:45:59] I

[00:45:59] can't

[00:46:00] remember

[00:46:00] it

[00:46:00] but

[00:46:01] it

[00:46:01] did

[00:46:01] have

[00:46:02] an

[00:46:02] effect

[00:46:03] on

[00:46:03] me

[00:46:04] as

[00:46:04] an

[00:46:04] actor

[00:46:04] saying

[00:46:06] oh

[00:46:06] my

[00:46:06] god

[00:46:07] I've

[00:46:07] lived

[00:46:07] through

[00:46:07] this

[00:46:08] and

[00:46:09] so

[00:46:09] I

[00:46:09] have

[00:46:09] to

[00:46:10] show

[00:46:11] this

[00:46:12] is

[00:46:12] why

[00:46:13] I'm

[00:46:13] in

[00:46:13] pain

[00:46:14] that's

[00:46:15] what

[00:46:15] he

[00:46:16] basically

[00:46:16] says

[00:46:17] because

[00:46:17] he's

[00:46:17] explaining

[00:46:18] that

[00:46:18] they're

[00:46:18] all

[00:46:19] faces

[00:46:19] that

[00:46:19] he's

[00:46:19] worn

[00:46:19] and

[00:46:20] they

[00:46:20] they've

[00:46:21] turned

[00:46:21] because

[00:46:23] he

[00:46:24] looks

[00:46:25] out

[00:46:25] and

[00:46:25] turns

[00:46:26] to

[00:46:26] the

[00:46:26] mirror

[00:46:26] and

[00:46:26] he's

[00:46:27] like

[00:46:27] this

[00:46:27] one's

[00:46:28] turning

[00:46:28] now

[00:46:28] and

[00:46:28] he's

[00:46:28] like

[00:46:29] pretty soon

[00:46:29] it's

[00:46:29] going to

[00:46:30] join

[00:46:30] the

[00:46:30] other

[00:46:30] failures

[00:46:31] on

[00:46:31] the

[00:46:31] shelf

[00:46:32] and

[00:46:32] he's

[00:46:32] like

[00:46:32] you

[00:46:33] almost

[00:46:33] like

[00:46:34] you're

[00:46:34] getting

[00:46:35] emotional

[00:46:35] saying

[00:46:36] saying

[00:46:36] saying

[00:46:36] like

[00:46:37] you

[00:46:38] say

[00:46:38] in

[00:46:38] that

[00:46:39] moment

[00:46:39] he

[00:46:39] realizes

[00:46:40] what

[00:46:40] his

[00:46:40] life

[00:46:40] is

[00:46:41] and

[00:46:41] he's

[00:46:41] just

[00:46:41] kind

[00:46:41] of

[00:46:42] like

[00:46:42] oh

[00:46:42] my

[00:46:42] god

[00:46:43] this

[00:46:43] is

[00:46:44] my

[00:46:44] life

[00:46:47] it's

[00:46:47] so

[00:46:48] I

[00:46:49] don't

[00:46:50] want to

[00:46:50] hammer the

[00:46:50] point

[00:46:51] home

[00:46:51] anymore

[00:46:51] I think

[00:46:51] we've

[00:46:52] made

[00:46:52] our

[00:46:52] point

[00:46:52] but

[00:46:53] again

[00:46:53] so much

[00:46:54] gravitas

[00:46:56] so much

[00:46:56] emotion

[00:46:57] in those

[00:46:58] line

[00:46:58] deliveries

[00:46:59] from

[00:46:59] both

[00:46:59] you

[00:46:59] and

[00:47:00] Catherine

[00:47:00] that

[00:47:01] it

[00:47:01] expresses

[00:47:02] it's

[00:47:03] not

[00:47:03] hitting

[00:47:03] you

[00:47:04] over

[00:47:04] the

[00:47:04] head

[00:47:04] it's

[00:47:05] being

[00:47:05] subtle

[00:47:06] and

[00:47:07] especially

[00:47:07] for a

[00:47:08] kid

[00:47:08] show

[00:47:08] like

[00:47:09] again

[00:47:09] like

[00:47:10] you

[00:47:10] said

[00:47:10] kids

[00:47:11] know

[00:47:11] when

[00:47:11] they're

[00:47:11] being

[00:47:11] manipulated

[00:47:12] the way

[00:47:13] this

[00:47:13] episode

[00:47:14] is

[00:47:14] written

[00:47:14] is

[00:47:15] in

[00:47:15] a

[00:47:16] way

[00:47:16] that

[00:47:16] anybody

[00:47:17] can

[00:47:17] watch

[00:47:17] a

[00:47:18] kid

[00:47:18] or

[00:47:18] an

[00:47:18] adult

[00:47:19] and

[00:47:19] they

[00:47:19] can

[00:47:19] get

[00:47:20] behind

[00:47:20] it

[00:47:22] it

[00:47:23] it's

[00:47:23] just

[00:47:23] I

[00:47:23] don't

[00:47:23] know

[00:47:24] it

[00:47:24] really

[00:47:24] does

[00:47:25] work

[00:47:25] like

[00:47:25] that

[00:47:25] and

[00:47:26] I

[00:47:26] would

[00:47:26] say

[00:47:26] that

[00:47:26] is

[00:47:27] one

[00:47:27] of

[00:47:28] the

[00:47:28] best

[00:47:28] scenes

[00:47:28] the

[00:47:29] whole

[00:47:29] episode

[00:47:30] I

[00:47:32] love

[00:47:32] that

[00:47:33] there's

[00:47:33] that

[00:47:33] one

[00:47:34] line

[00:47:34] he

[00:47:34] says

[00:47:34] to

[00:47:35] Carly

[00:47:35] Beth

[00:47:35] earlier

[00:47:36] on

[00:47:36] when

[00:47:36] she

[00:47:37] wants

[00:47:37] the

[00:47:37] mask

[00:47:37] for the

[00:47:38] first

[00:47:38] time

[00:47:38] and

[00:47:38] he

[00:47:38] just

[00:47:39] kind

[00:47:39] of

[00:47:39] because

[00:47:39] obviously

[00:47:40] underneath

[00:47:40] your

[00:47:41] mask

[00:47:41] is

[00:47:42] something

[00:47:42] monstrous

[00:47:43] right

[00:47:43] but

[00:47:43] he

[00:47:44] kind

[00:47:45] of

[00:47:45] puts

[00:47:45] his

[00:47:46] hand

[00:47:46] on

[00:47:46] his

[00:47:46] shoulder

[00:47:46] and

[00:47:46] says

[00:47:47] you

[00:47:47] have

[00:47:47] a

[00:47:47] nice

[00:47:47] face

[00:47:48] Carly

[00:47:48] Beth

[00:47:48] why

[00:47:49] change

[00:47:49] it

[00:47:50] you

[00:47:50] know

[00:47:50] what

[00:47:50] mean

[00:47:51] that

[00:47:52] really

[00:47:52] stuck

[00:47:52] with me

[00:47:52] that

[00:47:53] line

[00:47:53] because

[00:47:54] it's

[00:47:54] like

[00:47:55] you

[00:47:56] don't

[00:47:56] have

[00:47:56] what

[00:47:56] I've

[00:47:57] got

[00:47:57] underneath

[00:47:57] you

[00:47:57] know

[00:47:57] you've

[00:47:58] got

[00:47:58] a

[00:47:58] nice

[00:47:58] face

[00:47:58] already

[00:47:59] like

[00:47:59] don't

[00:48:00] ruin

[00:48:00] it

[00:48:00] you

[00:48:01] know

[00:48:01] by

[00:48:01] putting

[00:48:02] amused

[00:48:03] at

[00:48:03] the

[00:48:16] you

[00:48:16] seriously

[00:48:16] considering

[00:48:17] this

[00:48:17] for

[00:48:18] revenge

[00:48:19] like

[00:48:20] it's

[00:48:20] almost

[00:48:20] just

[00:48:20] an

[00:48:21] amusing

[00:48:21] gesture

[00:48:22] but

[00:48:22] it's

[00:48:22] like

[00:48:23] out

[00:48:23] of

[00:48:23] warning

[00:48:25] and

[00:48:26] a

[00:48:26] touch

[00:48:27] of

[00:48:27] cynicism

[00:48:28] about

[00:48:30] his

[00:48:30] own

[00:48:30] experience

[00:48:31] yeah

[00:48:32] yeah

[00:48:33] yeah

[00:48:33] definitely

[00:48:34] I

[00:48:35] definitely

[00:48:36] echo

[00:48:36] that though

[00:48:36] that is

[00:48:37] a great

[00:48:37] moment

[00:48:38] in the

[00:48:38] I feel

[00:48:39] like

[00:48:40] it's

[00:48:40] what

[00:48:40] cements

[00:48:40] it

[00:48:42] kind

[00:48:42] of

[00:48:42] goes

[00:48:42] back

[00:48:42] when

[00:48:43] you

[00:48:47] when

[00:48:47] he

[00:48:47] says

[00:48:48] ah

[00:48:48] revenge

[00:48:50] I

[00:48:50] don't

[00:48:50] know

[00:48:50] like

[00:48:51] you

[00:48:51] kind

[00:48:51] of

[00:48:51] think

[00:48:51] what

[00:48:52] did

[00:48:52] this

[00:48:52] guy

[00:48:52] do

[00:48:52] in

[00:48:53] the

[00:48:53] past

[00:48:53] he

[00:48:53] seems

[00:48:53] to

[00:48:53] really

[00:48:54] like

[00:48:54] revenge

[00:48:54] so

[00:48:55] I

[00:48:56] don't

[00:48:56] know

[00:48:57] again

[00:48:57] it goes back

[00:48:58] to that mysterious

[00:48:58] part though

[00:48:59] it's like

[00:48:59] I don't know

[00:49:01] what did this

[00:49:01] guy do

[00:49:01] back then

[00:49:02] that's just

[00:49:02] how I see

[00:49:03] it

[00:49:03] personally

[00:49:03] but I

[00:49:04] feel it

[00:49:05] could go

[00:49:05] either way

[00:49:07] obviously

[00:49:07] he put

[00:49:08] the mask

[00:49:09] on three

[00:49:09] times

[00:49:09] it doesn't

[00:49:10] come off

[00:49:10] so he

[00:49:10] could have

[00:49:11] even said

[00:49:11] like

[00:49:12] hey

[00:49:12] look

[00:49:13] you can

[00:49:13] do

[00:49:13] that

[00:49:14] but

[00:49:14] you

[00:49:15] can

[00:49:15] only

[00:49:15] put

[00:49:15] it

[00:49:15] on

[00:49:15] once

[00:49:16] or

[00:49:16] twice

[00:49:16] so

[00:49:17] if

[00:49:17] you're

[00:49:17] going

[00:49:17] to

[00:49:17] scare

[00:49:18] them

[00:49:18] make

[00:49:19] sure

[00:49:19] you

[00:49:19] get

[00:49:19] it

[00:49:45] police

[00:49:46] believe

[00:49:47] that

[00:49:47] I

[00:49:47] mean

[00:49:47] yeah

[00:49:48] I

[00:49:50] mean

[00:49:51] it's

[00:49:51] believable

[00:49:52] that

[00:49:52] like

[00:49:52] his

[00:49:53] mask

[00:49:53] with

[00:49:53] real

[00:49:54] gorilla

[00:49:54] hair

[00:49:55] okay

[00:49:55] that

[00:49:56] that's

[00:49:56] believable

[00:49:57] I mean

[00:49:57] okay

[00:49:58] there's

[00:49:58] another

[00:49:59] one

[00:49:59] in there

[00:49:59] I'm

[00:50:00] sure

[00:50:01] but

[00:50:01] yeah

[00:50:01] there's

[00:50:02] another

[00:50:02] one

[00:50:02] in that

[00:50:03] scene

[00:50:03] that I

[00:50:03] always

[00:50:04] loved

[00:50:04] it's

[00:50:04] like

[00:50:05] it

[00:50:05] looks

[00:50:05] like

[00:50:05] a

[00:50:05] werewolf

[00:50:06] and he

[00:50:06] has

[00:50:06] like

[00:50:07] big

[00:50:07] glasses

[00:50:08] on

[00:50:09] I

[00:50:13] a

[00:50:13] little

[00:50:14] easter egg

[00:50:14] to the

[00:50:15] graphic

[00:50:15] novel

[00:50:16] they

[00:50:16] put

[00:50:16] a

[00:50:16] mask

[00:50:16] of

[00:50:16] R.L.

[00:50:17] Stein

[00:50:18] actually

[00:50:18] on

[00:50:19] the

[00:50:20] mask

[00:50:21] in

[00:50:22] the

[00:50:22] new

[00:50:22] graphic

[00:50:22] yeah

[00:50:24] actually

[00:50:24] that's

[00:50:25] really cool

[00:50:25] that's

[00:50:26] great

[00:50:27] you kind

[00:50:27] of

[00:50:27] point

[00:50:28] to it

[00:50:28] and say

[00:50:28] what about

[00:50:28] this one

[00:50:29] and you're

[00:50:29] like

[00:50:29] nah

[00:50:30] it's

[00:50:30] R.L.

[00:50:30] Stein's

[00:50:31] face

[00:50:31] and I

[00:50:31] thought

[00:50:31] that was

[00:50:32] really

[00:50:32] funny

[00:50:32] oh

[00:50:32] actually

[00:50:33] yes

[00:50:33] what

[00:50:33] he's

[00:50:33] referring

[00:50:34] to

[00:50:34] is

[00:50:34] there

[00:50:35] actually

[00:50:35] was

[00:50:35] a

[00:50:35] new

[00:50:35] graphic

[00:50:36] novel

[00:50:36] adaptation

[00:50:37] of

[00:50:37] this

[00:50:38] story

[00:50:38] released

[00:51:12] but

[00:51:13] not

[00:51:14] everybody

[00:51:14] from the

[00:51:15] cast

[00:51:16] got to

[00:51:16] meet

[00:51:16] him

[00:51:16] so

[00:51:16] I

[00:51:17] think

[00:51:17] I

[00:51:18] don't

[00:51:18] I'm

[00:51:19] not

[00:51:19] sure

[00:51:20] I

[00:51:21] think

[00:51:21] when

[00:51:22] we

[00:51:22] were

[00:51:23] up

[00:51:23] in

[00:51:23] Kleinberg

[00:51:24] I

[00:51:24] don't

[00:51:24] think

[00:51:25] he

[00:51:25] was

[00:51:25] there

[00:51:25] it

[00:51:26] was

[00:51:26] at

[00:51:26] the

[00:51:27] studio

[00:51:28] and

[00:51:29] I

[00:51:30] might

[00:51:30] have

[00:51:31] seen

[00:51:31] him

[00:51:31] I

[00:51:32] might

[00:51:32] have

[00:51:32] seen

[00:51:32] him

[00:51:32] I

[00:51:33] can't

[00:51:33] remember

[00:51:34] now

[00:51:41] he

[00:51:41] may

[00:51:41] have

[00:51:42] seen

[00:51:42] him

[00:51:42] may

[00:51:42] have

[00:51:42] not

[00:51:42] seen

[00:51:43] him

[00:51:45] here

[00:51:45] today

[00:51:45] gone

[00:51:47] as

[00:51:48] we

[00:51:48] always

[00:51:48] say

[00:51:48] if

[00:51:49] you

[00:51:49] want

[00:51:49] someone

[00:51:49] that's

[00:51:49] really

[00:51:50] mysterious

[00:51:50] you

[00:51:51] got

[00:51:51] R.L.

[00:51:51] Stein

[00:51:51] as

[00:51:53] Catherine

[00:51:54] Long

[00:51:54] put it

[00:51:54] he

[00:51:55] was

[00:51:55] a

[00:51:55] creepy

[00:51:55] Mr.

[00:51:56] Rogers

[00:51:59] that's

[00:52:00] right

[00:52:00] definitely

[00:52:00] Mr.

[00:52:01] Stein's

[00:52:01] neighborhood

[00:52:04] but

[00:52:05] I

[00:52:06] think

[00:52:06] another

[00:52:06] thing

[00:52:07] that

[00:52:07] is

[00:52:08] important

[00:52:09] when

[00:52:09] you

[00:52:09] mentioned

[00:52:09] about

[00:52:11] when

[00:52:11] the

[00:52:12] shopkeeper

[00:52:12] says

[00:52:13] what's

[00:52:14] the

[00:52:14] matter

[00:52:14] you

[00:52:14] have

[00:52:14] a

[00:52:15] lovely

[00:52:15] face

[00:52:15] why

[00:52:16] would

[00:52:16] you

[00:52:16] do

[00:52:16] that

[00:52:16] that

[00:52:17] touches

[00:52:17] on

[00:52:19] a lot

[00:52:20] of

[00:52:20] things

[00:52:20] that

[00:52:20] we're

[00:52:20] seeing

[00:52:20] right

[00:52:21] now

[00:52:21] in

[00:52:22] social

[00:52:23] media

[00:52:23] where

[00:52:24] girls

[00:52:24] are

[00:52:25] made

[00:52:25] to

[00:52:25] feel

[00:52:25] inadequate

[00:52:26] about

[00:52:27] their

[00:52:27] looks

[00:52:28] because

[00:52:28] of

[00:52:29] the

[00:52:30] models

[00:52:30] and

[00:52:30] the

[00:52:31] kinds

[00:52:31] of

[00:52:31] things

[00:52:31] that

[00:52:32] are

[00:52:32] constantly

[00:52:33] pushed

[00:52:34] at

[00:52:40] image

[00:52:41] and

[00:52:41] their

[00:52:41] self

[00:52:42] image

[00:52:42] crashes

[00:52:43] the

[00:52:44] more

[00:52:44] they

[00:52:44] watch

[00:52:44] this

[00:52:45] so

[00:52:46] I

[00:52:46] think

[00:52:46] that

[00:52:46] brings

[00:52:47] up

[00:52:47] another

[00:52:48] element

[00:52:48] again

[00:52:50] which

[00:52:50] is

[00:52:51] what

[00:52:51] couldn't

[00:52:51] be

[00:52:52] predicted

[00:52:52] when

[00:52:52] it

[00:52:52] was

[00:52:53] being

[00:52:53] shot

[00:52:54] but

[00:52:54] nonetheless

[00:52:55] is

[00:52:56] relevant

[00:52:56] today

[00:52:57] yeah

[00:52:58] it really

[00:52:59] is

[00:53:00] definitely

[00:53:00] and

[00:53:02] it's

[00:53:03] it really

[00:53:03] is sad

[00:53:04] that

[00:53:04] so many

[00:53:05] especially

[00:53:06] with social

[00:53:06] media

[00:53:07] that

[00:53:08] this

[00:53:08] sort

[00:53:08] of

[00:53:08] conversation

[00:53:09] comes

[00:53:09] up

[00:53:09] a lot

[00:53:10] especially

[00:53:10] in

[00:53:11] young

[00:53:11] women

[00:53:13] and

[00:53:14] it

[00:53:14] really

[00:53:14] is

[00:53:15] almost

[00:53:15] like

[00:53:15] a

[00:53:16] commentary

[00:53:16] on

[00:53:16] that

[00:53:17] because

[00:53:17] it's

[00:53:17] just

[00:53:17] like

[00:53:18] why

[00:53:18] would

[00:53:18] you

[00:53:18] want

[00:53:18] to