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  • - I think the M-80 firecracker,

  • is the weapon of choice.

  • - [James] Oh, what're you gonna do with that?

  • - [Joe] Well I think you have to,

  • shove it down the front of her dress.

  • (cackling) (bomb exploding)

  • And, set it off, because otherwise how are you gonna

  • get rid of her?

  • (chainsaw revving) (techno synthesizer music)

  • - [James] Hey I'm James A. Janisse,

  • and some of you may know me as Dead Meat.

  • If you do, you probably already know

  • that I love to watch people die.

  • (screaming) You know, like, on screen.

  • I've always wanted to talk to the horror legends

  • who put those kills on screen and find out what scares them.

  • And also, if they could survive their favorite kill scenes.

  • This is Meat Up.

  • Today's guest, director and Gremlins creator Joe Dante.

  • (slow swing music)

  • - Hi Joe, I'm James. - Oh, Hi.

  • Come on in.

  • - Thank you. Thank you.

  • Hey, welcome back to another episode of Meat Up.

  • I'm James A. Janisse and today I'm here with Joe Dante,

  • who has done so much marvelous work, thank you.

  • - And, we've got the meat, for Meat Up.

  • - That's right.

  • - Foods here, it's from Lala's

  • - [James] Yep, we ordered out.

  • - You have the best one which is pechuga dijon.

  • - [James] Oohh

  • - It's the best thing they have.

  • - And Lala's is an Argentinian grill

  • from, its in Studio City.

  • I've gone there before.

  • - There's one here in Hollywood.

  • - Oh, this is from the Hollywood one.

  • - Because this would really be cold

  • if it came from the Studio City.

  • - That's what I thought, yeah.

  • [Casual Music]

  • Horror fans might best know you for Piranha or Gremlins

  • but your career has spanned a lot of different genres

  • and a lot of different films but they all have

  • that kind of fun play to them.

  • The're kind of fantastical.

  • - I like the genre and um when you start out in something

  • and it works then they tend to tell you

  • that we like you to make more of it.

  • - Mhmm

  • - But it's fine with me because I enjoy these pictures.

  • - Yeah, and I've heard ah, various other people

  • kind of complain or like it rubs them the wrong way

  • that they get kind of pigeon holed into the genre

  • but even though you say your fine with it.

  • It does seem like you've been able to

  • breakout of it a little bit.

  • You haven't just done horror.

  • - Well yeah because, because I think horror

  • and comedy are kind of aligned

  • and some of my favorite comedies are

  • horror pictures and uh vice versa.

  • - What are some of your favorites, like that?

  • - Well everybody always says

  • Abbott and Costello Meet Frankenstein.

  • - Of course.

  • - That's the one that that blends all the stuff

  • that scared you when you were a kid with the things

  • that made you laugh when you were a kid.

  • But I remember watching the James Whales movies,

  • um, like the Invisible Man.

  • Where you know the Invisible Man is obviously crazy

  • and he does a lot of weird crazy things

  • and it was sort of funny, but then in the middle

  • of it he will hit someone over the

  • head with a stool and kill them.

  • You sort of, you laugh kind of catches in your throat.

  • - Yeah

  • - And a laugh in the right place is a relaxer and

  • you can scare people a lot more easily if their relaxed.

  • (upbeat swing music)

  • - [Jame] Roger Corman, would it be fair to say

  • like you started your career with him?

  • - I wouldn't have a career if it wasn't for Roger Corman.

  • - Yeah, yeah.

  • - And I am not the only one who can say that.

  • There's a whole generations of people in Hollywood

  • whose career wouldn't exist if it wasn't for

  • working for Roger, because you made movies

  • that were under the radar for not much money

  • and you learned all these problem solving ticks

  • that you wouldn't get otherwise.

  • - Mhmm

  • - And because you had to have a movie at the end

  • of your ten days or whatever it was that

  • you got to shoot it and it got released

  • which was fairly terrifying.

  • And so many of the people who went through The Corman School

  • became Academy aware winners and became

  • the pillars of the industry.

  • And Roger is still going, he's 92.

  • I had lunch with him yesterday.

  • - Oh wow

  • - And he just doesn't show any signs of quitting.

  • He's still making movies.

  • - That's so good to hear. I love hearing that.

  • You began by editing some stuff for him right?

  • Editing trailers and uh.

  • - Yeah, I started in the trailer department,

  • uh, which is a great way to learn

  • how to make movies because you have to take every scene

  • and reduce it to down to its components.

  • Uh, you take a three minutes scene

  • and you got to reduce it down to 30 seconds

  • and then in doing that you start to realize,

  • well you don't really need that

  • angle at all. You can go from here to here.

  • All those things are in your head when

  • you finally get a chance to direct a movie.

  • - Mhmm

  • - So instead of wasting time shooting angles

  • that you don't need and covering the scenes

  • as if every angle in every shot and every actor

  • is going to be important.

  • You do what you need to do,

  • in order to be able to make it work.

  • - Did you ever edit any of your own features?

  • - I, yes, I started out editing my own picture

  • Hollywood Boulevard, which I co-directed

  • with Allan Arkush and he also

  • - Mhmm

  • - co-edited it with me.

  • And then I did Piranha which I was one of the editors on.

  • I did The Howling which I was one of the editors on.

  • But I discovered when I got into the studio business

  • that to give the director the power

  • of editing his own movie.

  • Is really in their eyes giving him a little too much power.

  • - Yeah.

  • - And so its like, they feel that you're

  • not really the best judge of what it is that you shot.

  • So, its better to have someone else do it.

  • (energetic groovy music)

  • - Yet you have this tendency to blend genres,

  • a Gremlins is, it's like what kind of movie is this even?

  • Is it a kids movie?

  • Is it a holiday move?

  • A comedy?

  • A horror?

  • And I always appreciate that.

  • I am fine with ambiguity.

  • I'm fine with things not being put into boxes but ah.

  • - But you obviously don't run a studio.

  • - Exactly. Yeah, or how do you respond to people

  • trying to tell you to make things that

  • are more one or the other?

  • Which I'm assuming--

  • - Nobody wants to be dictated to.

  • On the other hand, you know, these people are

  • spending a great deal of money

  • and they have a market and they have ways of

  • doing business and stuff and you want to make them happy.

  • In the case of Gremlins, which was made

  • for Steven Spielberg, who was very accommodating,

  • to letting directors make their own movies.

  • Once the time comes to show it to studio

  • and the studio was totally confused by the movie.

  • They just didn't get it. They didn't understand it.

  • They think Gremlins are so ugly and

  • they rub their nose on the curtains and its like urgh.

  • Why can't they all be like Gizmo.

  • Why can't they just all be cute and lovable.

  • Part of the success of that movie is due entirely

  • to Spielberg's insistence that even

  • at the last minute like a month before

  • we started shooting, that Gizmo does

  • not turn into Stripe the bad Gremlin.

  • Gizmo stays Gizmo for the entire movie

  • and that character I think led parents to

  • thinking this was going to be E.T. two.

  • Once the Gremlins came out, uh, a lot of the

  • parents were annoyed and disturbed and

  • particularly when they went into microwave.

  • - I was going to bring that up. Yeah.

  • - And so the studio was not pleased with this stuff

  • and they said there's just too many Gremlins.

  • And so Spielberg said, I think, correctly,

  • why don't we just cut out all the Gremlins

  • and we'll call it people.

  • (laughing)

  • - But nobodies going to go see it.

  • But again the benefit of working for Speilberg

  • was that director makes his movie.

  • And that's the version of the movie that gets previewed.

  • But if we had done to the movie

  • what they wanted to do with the movie.

  • We'd be, we wouldn't be talking about that movie at all.

  • - Yeah

  • There wouldn't be dozens of Gizmos around your house.

  • - Yeah.

  • - I love it. (laughing)

  • (slow jazz music)

  • Well, now is the fun and games segment of this show.

  • - There's fun?

  • - Well, hopefully, fingers crossed.

  • Yeah.

  • Before we started we had to give us

  • three of your favorite horror movies.

  • But the movie I chose for this game

  • was the, Horror of Dracula.

  • Also known as Dracula.

  • And this was the first, Hammer film, Dracula.

  • Right?

  • - It was the first Hammer Dracula.

  • It followed the success of,

  • The Curse of Frankenstein.

  • And it lead the rather small company,

  • onto a whole new path of making gothic horror movies.

  • And the Dracula adaptation is particularly

  • interesting in that there wasn't a lot of money.

  • And they cleverly wrote in materials saying,

  • that its a common fallacy-- - Yeah.

  • that people think--

  • - yeah they hang the lampshade on it,

  • no we can't do that.

  • (laughing)

  • - And its also very a very sexy movie.

  • And it set a tone and a template

  • for all the pictures that followed it.

  • Its efficient, its well done,

  • its beautifully photographed.

  • Its a terrific movie.

  • - Yeah, watching it,

  • its actually shocking that it was made in fifty-eight.

  • And its got such like vivid colors and its you know,

  • a little more extreme than you might expect

  • to come out of the 50's.

  • - No it was a big hit, it really put them on the map.

  • - Well, hopefully you understand Dracula,

  • cos we're gonna put you in it,

  • for this little segment that involves the,

  • Chum bucket.

  • - Why, have you had that all along?

  • - I have, I have.

  • - You've been hiding it.

  • - I had the Lala's delivery guy

  • - It must have been under your shirt.

  • - drop it off with me.

  • Inside here it has a bunch of index cards

  • with ramdon items on it,

  • so what I'm going to have you do,

  • is draw three of them, and then I'm going to put you

  • in the place of Jonathan Harker actually

  • in one of the scenes form Dracula.

  • And your gonna tell me what you would do in his position.

  • But, unlike him you will have these three items

  • to work with.

  • Alright, so lets see what you draw out.

  • - A rusty corkscrew.

  • A broom handle.

  • An M80 fire cracker.

  • - Okay.

  • So this is a scene earlier on in the movie.

  • And its when Jonathan Harker, he is staying over night there

  • and he ran into this woman earlier

  • who was asking him to help her

  • and at the time he was like

  • I can't help you right now.

  • But after getting settled in

  • he comes downstairs

  • and is looking around the castle

  • and he runs into her again.

  • He finally agrees to help her,

  • and that's when she goes for his neck.

  • Now your Jonathan Harker.

  • What are you gonna do?

  • - Have I been bitten yet?

  • - You have not been bitten yet.

  • - [Jo] I think that probably the broom handle

  • isn't going to help me.

  • - Okay.

  • - The rusty cork screw, if I have it in my pocket

  • I suppose I could stab her in the neck.

  • But I think the M80 fire cracker is the,

  • weapon of choice.

  • - Oh, what are you going to do with that?

  • - Well, I think you have to shove it down

  • The front of her dress.

  • ( explosion) (laughing)

  • And set it off, because otherwise

  • how are you gonna get rid of her?

  • - Alright, unfortunately that commotion

  • got the attention of one Sir Christopher Lee,

  • Dracula who comes out of the room and attacks you.

  • Now Jonathan Harcker,

  • he didn't do that well against him.

  • He kinda knocked out - He got thrown around.

  • But maybe I'll wait with the fire cracker.

  • Maybe I'll wait until Dracula comes in the room.

  • - Okay, so she's still all in one piece

  • - Then I'll be bitten

  • But lets face it, I'm gonna get bitten anyway.

  • (biting) (shouting)

  • - Yeah probably.

  • - Because its part of the story.

  • So I'm bitten,

  • and now I throw the fire cracker

  • at Dracula when he comes in.

  • - Did you remember to light it?

  • - No I may not have.

  • - Oh no!

  • Oh man!

  • - Besides he would probably just kick it away.

  • - He probably yeah, would just like swat it away.

  • - Yeah it looks like I'm doomed.

  • - Its okay.

  • - Its all over for me.

  • - I think your the first person,

  • we have played this game with

  • who's is like,

  • no I wouldn't make it.

  • (crowd cheering) (stake stabbing)

  • (crowd laughing)

  • But hey, man with Christopher Lee attaching you

  • what are you suppose to do?

  • - You know he's got a lot of sequels to make.

  • So I don't want to knock him off.

  • - That's true. Right.

  • (upbeat Jazz music)

  • What have you been up to lately?

  • I believe you have been working with

  • Frank-- - If I were doing anything,

  • I wouldn't be here.

  • (laughing)

  • No, I'm doing my usual stuff.

  • I have Trailers from Hell going on.

  • And all that thing.

  • I have got a new podcast.

  • - Yeah.

  • - The movies that made me.

  • Which just did one, last weekend.

  • With Raymond Franken.

  • - Oh great.

  • - Its not the usually podcast.

  • They don't just come on and talk about their work

  • They come on and talk about the movies

  • that made them won't to make movies.

  • And we have had Rod Prowman and

  • Ernist Dickernson, a lot of really good people.

  • - And you mentioned Trailers from Hell.

  • - Trailers from Hell,

  • you know we record a couple of times a year.

  • And every week we put up three trailers.

  • And the idea hopefully is to,

  • familiarize people with movies

  • they might not know about.

  • - And then you directed a segment of,

  • Mick Garris film.

  • - Mick Garris produced a show,

  • called , Nightmare Cinema.

  • Which is a series of short bits

  • wrapped up with a framing story,

  • much like the Amarcist pictures or Dead of Night.

  • And it makes.

  • Ideal was to get all overseas directors.

  • But in order to get the picture made.

  • He needed two Americans.

  • So I said I would do one.

  • - Oh great.

  • - Its been very well received.

  • And I think we have finally found a distributer.

  • So I think you will be seeing it fairly soon.

  • - And thank you so much for having us into your home.

  • And for this awesome conversations.

  • And for the Lala's.

  • - No its great.

  • So your gonna clean up right?

  • - Yeah, I got it, I got it for ya, yeah.

  • So long as you don't mind me just

  • peaking around at all your awesome stuff in here.

  • - No no, that's fine.

  • The garbage disposal is over there.

  • - Okay. And-- - you can take this home.

  • - Any soap preference on the dishes?

  • - Any soap?

  • I usually lick them clean, or I have the cat do it.

  • - Oh the cat, Okay, cool.

  • I'll pet her why she does it.

  • (laughing)

  • Thanks again Jo.

  • Really appreciate it.

  • (80s techno music)

- I think the M-80 firecracker,

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