Podcasts about orlok

The off-cuts from our review of Nosferatu. Some more Orlok chat, what we've been watching and other bits and pieces Enjoy Hit the like button and subscribe at the podcast source of choice. You can find the Spotify playlist accompanying the review at Moviescramble Deleted scenes Ep 83: Nosferatu Find us on iTunes: https://podcasts.apple.com/gb/podcast/moviescramble/id1466571460 Spotify: https://open.spotify.com/show/42wPn0tXvH3GQJ2E3NYDYp?si=TPUrCkecQb-zdEOAaD3cDA Amazon: https://music.amazon.co.uk/podcasts/ed9b87c9-fb70-4307-96a7-d6223a202741/moviescramble Youtube: https://www.youtube.com/channel/UCsR--3Bae_QGM5xiM3fWohA and all podcast providers. Contact us on Facebook, Twitter, and Instagram @Moviescramble  

Welcome to Creep-O-Rama, the horror podcast that dares to ask: What if Count Orlok was just a goth Victorian raccoon with boundary issues?In this week's episode, we explore the damp cathedral of Robert Eggers' Nosferatu (2024)—a movie so dark, brooding, and horny it might actually be a sentient Victorian wallpaper sample.

This week on *The Rotten Horror Picture Show*, Clay and Amanda are doing nothing to help my steadily worsening vampire confusion by taking a big ol' bite out of Werner Herzog's 1979 classic Nosferatu the Vampyre, starring Klaus Kinski as maybe the creepiest Dracula/Nosferatu/Count Orlok hybrid ever filmed. It's moody, it's beautiful, and it's got rats. So many rats. Okay. Look. I'm just gonna say it: I think we've officially hit critical mass on Nosferatus and Draculas. I mean, how many pasty bald guys with capes and long fingernails named “Count Something” does the world *need*? First there was the original *Nosferatu*, then Lugosi's *Dracula*, then Lee's *Dracula*, then the *Nosferatu* remake, then Dracula in space, Dracula in love, Dracula with a podcast probably—I don't know anymore. The point is, I'm starting to suspect these aren't *characters* in movies. I think they might be *real*, and I think they're multiplying. Every time I look around, there's another Nosferatu lurking in a dark corner, hissing at a cat. I'm tired. I'm confused. And I'm scared of capes now.Join Clay and Amanda as they dive into Herzog's eerie homage to Murnau's 1922 silent classic and debate just how many spooky bald vampires is too many. Is Kinski's Count Dracula really just Orlok with a stage name? Does it matter when he's this unsettling? Who gave him permission to move like *that*?One thing's for sure: if another Nosferatu pops up, I'm going into hiding. Probably somewhere with garlic. Maybe in a mall. Wait, no—*not* a mall. We've been over that.Anyway, listen in… while you still can.And be sure to hit up patreon.com/thepenskyfile to hear all the coverage of remakes and reboots this year!

We're joined by guest hosts Kayin (I Wanna Be The Guy), Jay Ma (Into the Breach), and droqen (Starseed Pilgrim) to discuss Divers, the 27th game in the UFO 50 collection. “Control Dylan, Orlok, and Thyme as they explore the watery depths” Next week: Rail Heist Audio edited by Dylan Shumway.   Discussed in this episode: Final Fantasy Legend 1 (via the Collection of SaGa: Final Fantasy Legend) https://saga-franchise.square-enix-games.com/en-us/games/collection-saga-final-fantasy-legend  Dungeon Encounters https://www.square-enix-games.com/en_US/games/dungeon-encounters Girls Last Tour https://yenpress.com/titles/9780316470636-girls-last-tour-vol-1  Subnautica https://store.steampowered.com/app/264710/Subnautica/ Stardom World Wrestling https://www.stardom-world.com/contents/4272  Droqen's website https://www.droqen.com/  Jay Ma on bluesky https://bsky.app/profile/jarmustard.bsky.social Kayin on bluesky https://bsky.app/profile/kayin.moe droqen on bluesky https://bsky.app/profile/droqen.bsky.social   https://www.youtube.com/eggplantshow  http://discord.gg/eggplant https://www.patreon.com/eggplantshow  

Alright, the witches are wrapping it up with discussing Orlok's mesmerizing seal, his wicked ways, Lily Rose Depp's incredible performance and lore around her character, some super weird stuff at the end, and MORE!  Blackbird and Scarlet could probably do yet another episode, but there's something to be said for too much of a good (or goth) thing.  Hex Rated is here for you IN EXCESS!  Rip open your bodice, become apoplectic, and use your one precious and glorious mortal life to listen!

Welcome to the Horror Project Podcast. Join hosts Laura and Phil as they review Nosferatu (2024).Hutter is dispatched by his boss to wrap up a deal with Count Orlok, but he quickly discovers that Orlok is a vampire with a dangerous interest in Hutter's wife, Ellen. We dive into the latest portrayal of this iconic vampire on the big screen, discussing the Count's appearance in the film and how Nosferatu measures up against the many Dracula adaptations out there.Thank you for listening!Email - Horrorprojectpodcast@hotmail.com  X (Formerly Twitter) - @TheHorrorProje1Instagram - horrorprojectpodcastTikTok - @horrorprojectpodcastSay Hi - Send The Horror Project a Message!

The shadow returns! This week on Cocktails & Classics, we delve into the chilling world of Robert Eggers' "Nosferatu" (2024). Join us as we explore the film's gothic atmosphere, haunting visuals, and the terrifying return of Count Orlok. We'll discuss the film's blend of classic vampire lore with a modern cinematic approach, the performances, and the overall impact of this highly anticipated remake. Feeling the chill? Craft The Drop of Blood cocktail while you listen! Don't miss this episode for a deep dive into a new cinematic vision of a timeless horror icon, fueled by delicious cocktails and chilling discussions.Topics:Gothic Atmosphere: Discuss the film's use of cinematography, set design, and sound to create a pervasive sense of dread and gothic horror.Count Orlok's Return: Explore the portrayal of Count Orlok and did what we though of this take on a vampire. Performances and Characters: Discuss the performances of the cast, including Bill Skarsgård as Orlok, and the development of the film's characters.Lack of Horror: Discuss how the film loses its horror elements halfway through the film.Cinematography Discussion: Discuss the use of shadows, framing, and visual effects to create the film's distinct aesthetic.Expectations vs. Reality: Discuss the initial expectations for the film and how it compares to the final product.The Drop of Blood:2 oz Vodka 1 oz Cointreau2 oz White Grape Juice½ oz Fresh Squeezed Lemon JuiceGrenadine soaked Rose Petals for garnishWhat's your favorite vampire movie? Share your thoughts on "Nosferatu" (2024) and your favorite gothic horror moments on Instagram! Don't forget to share this episode with your friends and family! Subscribe and leave a rating wherever you listen.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Our Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Our Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Hvad var egentlig årets bedste abe? Hvem havde det bedste hår? Og hvem var det mest toxic par? I anledning af Oscars 2025 afholder vi her på Filmmagasinet Nosferatu for andet år i træk vores helt eget award-show, der hylder alle de film og vigtige kategorier, som de ”rigtige” Oscars forbigår. Vi har spurgt Nosferatu-redaktionen om, hvilke kategorier de helst ville se, og hvilke film fra det amerikanske filmår 2024, som fortjener mere anerkendelse. Hvem mon går hjem med deres helt egen gyldne Orlok? Værter: Sofie Rechendorff Andersen, Helena Moustgaard og Benjamin Blaakilde

Nosferatu, ese clásico que surgió de una adaptación no oficial del Drácula de Bram Stoker se ha convertido en un icono terrorífico universal. Analizamos los clásicos de Murnau y Herzog, os contamos qué nos parece la versión de Eggers pero hasta revisamos versiones x, de animación rusa o hasta cómicas. Descubrimos la conexión de Smashing Pumpkins o Bad Bunny con el conde Orlok, flipamos con el Vampir de Sfar o con el Batman Nosferatu, rememoramos las versiones en 8 bits o shooter del vampiro calvo y, por supuesto, no nos olvidamos del clan Nosferatu del juego de rol de Vampiro: La mascarada. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Jeder Filmfreund, der etwas für Horror übrig hat war aus dem Häuschen, als vor ein paar Jahren angekündigt würde dass “The Lighthouse”-Regisseur Robert Eggert sich einem absoluten Klassiker aus dem Genre annehmen will…der Dracula Geschichte oder um es genauer zu betiteln: Nosferatu. Warum das Ganze auch bei seinen Vorgängern nicht einfach Dracula genannt wird verraten wir euch übrigens auch in dieser Episode. Für die wenigen, denen das Ganze jetzt absolut nichts sagt kann man es kurz und knapp zusammenfassen. Ein Graf aus dem tiefsten Transilvanien verlässt seine Burg und reist nach Deutschland um den Ruf einer jungen Frau zu folgen, welche seine Lebensgeister anscheinend wieder kräftig aufgefrischt hat. Orlok ist besessen von Ellen und hinterlässt auf dem Weg zu ihr eine blutige Spur von Leichen, Verwüstung und Wahnsinn. Liebe macht in diesem Fall nicht nur blind, sondern auch obsessiv und überrollt mit gnadenloser Grausamkeit die Hauptcharaktere dieser Geschichte wie ein heftiges Sommergewitter. Da behaupte nochmal jemand die Romantik sei tot. If he wanted to he would—und das hat er. Ob und wie uns dieser besonders düstere Film gefallen hat, verraten wir euch in dieser Folge.#Nosferatu #Filmtipp #jetztimkino #lilyrosedepp #billskaesgard #willemdafoe #movie #cinema

Episode Notes In what might be their last hurrah for a while, our heroes present a rogues gallery to send them off. This week they have Bob Dylan, Nosferatu, and what could be described as what you might get if Bob Dylan and Nosferatu were to somehow reproduce: Marilyn Manson. First up it's mustachioed, undead bloodsucker, Count Orlok, a.k.a. Nosferatu. Will Robert Eggers horror epic give Lorraine and Will the fear? Can Will get past Orlok's clumsy ultimatum? Next is tiresome shock-merchant, Marilyn Manson, who has been up to what can only be described as fairly unsurprising behaviour. Channel 4's 3-piece documentary boils our heroes blood to the point where Count Orlok himself would burn his tongue on it! Finally, Dylan biopic A Complete Unknown rounds off this trio. Can Timothee Chalamet pull off the job of inhabiting the most cantankerous and obtuse musicians of all time? This may be our last show for a while. We've had a great time doing it and we hope to be back at some point. Thanks to NEAR FM.ie for having us, and as Dylan himself said "It's All Over Now, Baby Blue". This podcast is powered by Pinecast.

Things are getting real horny this week because we're covering 2024's NOSFERATU! We're doing all the accents, giving you valuable insight into the making of this movie, and talking about Orlok slangin' that meat! Please stop being attracted to Count Orlok, ladies, he's not good for you!Support "They're Coming to Get You" on Patreon.https://www.patreon.com/TheyreComingtoGetYou

This week Devo comes with cheat codes! Infinite lives, here we come! Meanwhile, Derwood Bowen wants to let you know how much he cares, Holy Bongwater are oversharing a bit, and Aaron Fraser-Nash has a chat with Mr. Orlok. Where do I know that name from? 1. "I'll Click Care for You" by Derwood Bowen 2. "Nurples Live at MarsCon 2024" by Holy Bongwater 3. News of the Stupid! 4. "Nosferatu Sings a Song" by Aaron Fraser-Nash Derwood Bowen is at DerwoodBowen.Bandcamp.com Holy Bongwater is at HolyBongwater.Bandcamp.com Aaron Fraser-Nash is on YouTube Thank you to our Patreon backers for making this show possible!!!

Get ready for the Royal Rumble and Count Orlok's mustache is correct! We'll talk about it with today's #MikeJonesMinuteCon.

We are joined by Director of Photography and first-time Academy Award® nominee Jarin Blaschke, as well as Director Robert Eggers, to discuss the stunning cinematography of “Nosferatu.” Together, the frequent collaborators delivered a gothic masterpiece, blending German romanticism and chilling horror into stunning, painterly visuals. In this conversation, Eggers and Blaschke discuss the meticulous development of the film's look, the challenges of shooting with practical lighting, and their shared love for highly composed one-take shots. From the fog-drenched crossroads to the eerie interiors of Orlok's castle, the pair reveal the painstaking care and simple, practical ingenuity that brought this cinematic fever dream to life.“I'm just trying to curate life… What kind of optics just feel right? The little flare around the windows. What is the lens that just feels nice? Let's just look at a bunch of those. Let's have lenses made. We're very privileged in that we can do that now and see what that looks like.”—Jarin Blaschke, Director of Photography, “Nosferatu”This conversation was a live webinar as part of Dolby Creator Lab's partnership with Sundance Collab, the digital platform from the Sundance Institute designed for filmmakers, with exclusive webinars, curated resources, and free educational videos.Be sure to check out “Nosferatu” in Dolby Vision® and Dolby Atmos®, in select theaters.Please subscribe to Dolby Creator Talks wherever you get your podcasts.You can also check out the video for this episode.Our previous episode with Robert Eggers and Sound Designer Damian Volpe, discussing the sound of "Nosferatu,” is now on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

Bueno YA ESTÁ AQUÍ!!! Seremos redimidos por fin de la maldición de Robert Egger que nos azota desde sus inicios? Esperemos haberlo conseguido y tomarnos nuestra revancha con este especial sobre uno de los grandes iconos del terror y del cine... Señoras, señores... arrodíllense ante este majestuoso conde Orlok ... Se viene NOSFERATU!!!!

Get the blood out of your mustache and get ready for A Bite Of's review of Robert Eggers' Nosferatu! On the menu: a return to classic vampire horror, Lily-Rose Depp's body bending performance, rats on rats, Bill Skrsgård's animalistic Orlok and more! Check out the links below and connect with us!!   INSTAGRAM: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/abiteofpod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠    TWITTER: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/ABiteOfPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠   THREADS: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.threads.net/@abiteofpod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  YOUTUBE: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/@ABiteOfPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ WEBSITE:  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.abiteofpod.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠   DISCORD: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bit.ly/461OOcf⁠⁠⁠⁠⁠⁠ (2:46) - Initial Thoughts (5:34) - The Gothic-ness & Setting (9:27) - Performances (13:21) - What is Nosferatu trying to say? (16:49) - Bill Skarsgård's Count Orlok (18:08) - Back to scary Vampires & Romanticism (23:58) - Final Thoughts Hosts: Derek Ivie and Noah Reed For business inquiries please contact abiteofpod@gmail.com

El mítico conde Orlok está de regreso. En esta sesión hablamos de su más reciente encarnación, invocada por el mismísimo Robert Eggers.

Esta mañana, de camino al Teatro Luis del Olmo, Sergio del Molino ha pinchado con su avión privado. Por eso, ha pedido a Rosa Belmonte que le sustituya. Un cultureta por otra, tampoco cambia tanto. Desde los confines de Rumanía, se ha traído al teatro la cripta del castillo del conde Orlok, Nosferatu, para entrevistar al gran vampiro. 

Esta mañana, de camino al Teatro Luis del Olmo, Sergio del Molino ha pinchado con su avión privado. Por eso, ha pedido a Rosa Belmonte que le sustituya. Un cultureta por otra, tampoco cambia tanto. Desde los confines de Rumanía, se ha traído al teatro la cripta del castillo del conde Orlok, Nosferatu, para entrevistar al gran vampiro. 

Check out Cam's latest novel / audio drama here! True to our name, we decided to give Robert Eggers' Nosferatu a second chance. While we emerged from our first viewing fairly united in our opinions, this second viewing brought us to vastly different places, and this episode is our chance to unpack those together. For Cam, the film felt much more vibrant, both in its visuals (thanks, digital projection!) and in its continuation of Eggers' favorite themes, including temptation, lust, Faustian contracts, messy relationships, animal omens, and commitment to period. For Maggie, this second viewing seemed to double down on her frustrations with the film. The hollowness that we identified in our first episode creeps in again here, but this time we understand it a little better: through Ellen's fraught relationship with Orlok, and the way the film directs us to experience it. Our discussion concludes in a fixation on a central question: does Ellen love Orlok? LINKS: Patreon, YouTube, Spotify, Instagram Feedback & Theories: secondbreakfastpod@gmail.com

Brandon and I are joined by Marc of the Toys of a Time Gone By to discuss the other Nosferatu remake...Nosferatu: A Symphony of Horror (2023)! This one stars Doug Jones as Orlok. You may remember Jones from Guillermo del Toro's Hellboy, The Shape of Water, and Pan's Labyrinth. Jones also appeared in Star Trek: Discovery, and Hocus Pocus. Could this be the superior Nosferatu remake? Is it better than Herzog's version or Egger's version? Check them out for yourself and let us know which one you prefer! Plot: Vampire Count Orlok expresses interest in a new residence and real estate agent Hutter's wife. Taglines: The Vampire Lives

He's coming! And by "he" we mean Robert Eggers' reimagining of the sublime Dracula copyright dodge, "Nosferatu". Eggers' telling centres on Ellen, the character who in previous versions has been the object of the Vampyr, Orlok's, appetite. But Eggers' version poses the question that she might be the subject who summoned him to satisfy her own. But can this smoothed version of Eggers' auteurship in pursuit of a popcorn hit adequately grapple with such a troubling idea?

I årets första program så har vi varit på bio och sett Robert Eggers nytolkning av vampyrrafflet NOSFERATU där Bill Skarskård gurglar med Mongolisk underton som greven Orlok. Vi har bevittnat en live-show från 70-talet där dragplåstret är att frammana en demon i direktsändning. Detta sker i streamingaktuella LATE NIGHT WITH THE DEVIL. Vi har sett den svenska kortfilmen RICKARD & DIO som visar en fin vänskap mellan en jägare och hans hund men vänskapen får en tragisk vändning. Sedan har vi tagit an vårt uppdrag med att kolla in THE BOONDOCK SAINTS från 1999. Där Daryl Dixon från The Walking Dead och den ungen Indiana Jones spelar huvudrollerna. Dessutom bjussar vi på ett par tv-serietips. Välkommen till 2025. Nu åker vi!

Mindframes Episode: Robert Eggers' Nosferatu Summary: In this episode of Mindframes, Michael and Dave explore Robert Eggers' reimagining of the classic silent film Nosferatu. They discuss Eggers' meticulous approach to filmmaking, the legacy of Nosferatu, and the cultural evolution of vampires in cinema. The conversation touches on German Expressionist cinematography, standout performances, and the thematic depth of the film. They also reflect on how vampires mirror societal fears across decades, from early depictions of monstrous villains to modern sympathetic portrayals. Timestamps: 00:00 – Introduction Overview of the podcast and today's topic: Robert Eggers' Nosferatu. Michael and Dave reflect on their history with Eggers' films. 05:30 – The Legacy of Nosferatu A look back at the 1922 silent film and its influence on cinema. Discussion of previous adaptations, including Werner Herzog's 1979 version. 12:00 – Eggers' Filmmaking Style Comparison to Ridley Scott's attention to detail and world-building. How Eggers adapts myths in The Northman, The Witch, and Nosferatu. 17:45 – Spoiler-Free Review Praise for the German Expressionist-inspired cinematography. Discussion of Lily-Rose Depp's performance and Count Orlok's menacing presence. The thought-provoking and ambiguous ending. 25:00 – Vampires in Cinema: A Cultural Lens How vampires have evolved from monstrous threats to sympathetic figures. Examples from Dracula (1931), Dark Shadows (1966), and Interview with the Vampire (1994). The resurgence of evil, monstrous vampires in recent films like Let the Right One In and The Last Voyage of the Demeter. 38:30 – Thematic Analysis of Nosferatu Count Orlok as a symbol of predation and isolation. Ellen's mystical connection to Orlok and her ultimate sacrifice. Reflections on societal fears of disease, isolation, and evil. 50:00 – Final Thoughts and Recommendations How Eggers' Nosferatu compares to his earlier films. Other films mentioned: The Lighthouse, The Witch, Herzog's Nosferatu, and Let the Right One In. Upcoming episodes teased: Best of 2024, The Wolfman, and animation coverage. Where to Find Us: Website: mindframesfilm.com Facebook: facebook.com/mindframesmovies Podcast Network: Now Playing Network Next Episode: Best Films of 2024 (tentative)

I over hundre år har filmskapere vært fascinert av grev Dracula. Eller grev Orlok, som han heter i Robert Eggers Nosferatu, den nye utgaven av stumfilmklassikeren fra 1922. Men har egentlig vampyr-skikkelsen noe i dette århundret å gjøre? Ukens episode handler om middelklasse-skrekk og hva som skjer når stemning og stil blir viktigere enn substans. Aksels anbefaling: Dokumentaren Jerry Springer: Fights, Camera, Action. Tilgjengelig på Netflix.Elises anbefaling: Markering av filmskaper Vibeke Løkkebergs 80-årsdag på Cinemateket i Oslo: https://www.cinemateket.no/filmer/loperjentenArtikler og verk nevnt i episoden:Nosferatu (2024) Kan sees på kino. Nosferatu – Eine Symphonie des Graues (1922) Regi: F. W. Murnau (Tilgjengelig på strømmetjenesten Mubi) Nosferatu – Phantom der Nacht (1979) Regi: Werner Herzog (Tilgjengelig på strømmetjenesten Mubi)Dracula av Bram StokerFictions of loss in the Victorian fin de siècle: Identity and empire av Stephen Arata. Her kan du lese om rettssaken mot Dominique Pelicot: https://www.morgenbladet.no/ideer/kommentar/2024/12/19/gisele-pelicot-viser-at-metoo-ikke-gikk-langt-nok/Richard Brodys anmeldelse av filmen i The New Yorker: https://www.newyorker.com/culture/the-front-row/the-new-nosferatu-drains-the-life-from-its-predecessor Hosted on Acast. See acast.com/privacy for more information.

Now that Father Time has allowed one more year to pass, and Santa has been banished to his ice prison until next solstice, it's time to visit our favorite memory from this holiday season: Nosferatu, AKK Robert Eggers Presents "This Ain't Dracula: A XXX Symphony of Horror." Stalk the stone paths of turn-of-the-century Germany alongside The BOP Suitors as Lilly Rose-Depp's star-making performance ties together an all-star cast, including Bill Skarsgaard at his most uncanny, Willem Dafoe at his most grave, Nicolas Hoult at his most dandy, and Aaron Taylor-Johnson at his most obsessed with his wife. Along their stroll they'll discuss the appeal of the Nosferatu iteration of familiar vampire lore and how Eggers plays with those expectations, rank the stars of Dracula Cinema by their fashion and sex appeal, and scour forgotten lore to determine how exactly Orlok traveled by boat to a landlocked country.https://www.boxofficepulp.com/Listen on Apple: https://www.boxofficepulp.com/appleListen on Spotify: https://www.boxofficepulp.com/spotifyListen on Amazon: https://www.boxofficepulp.com/amazonAll The OTHER Ways to Listen: https://www.boxofficepulp.com/listenFollow on Facebook: https://www.facebook.com/BoxOfficePulpPodcast/Follow on Twiter/X: https://x.com/BoxOfficePulp

Robert Eggers' new version of Nosferatu is an absolute horror show in the best way possible. With Orlok Fever sweeping the nation, we're taking the opportunity to repost a 2022 episode on F.W. Murnau's century-old original. Travis also offers his take on the Eggers adaptation. He promises not to read it as a political allegory, then promptly does so anyway.

Í gær fjallaði fréttaskýringaþátturinn Þetta helst um hraðan vöxt tískumerkisins Metta-sport hér á Íslandi. Við veltum fyrir okkur tísku, kósígöllum og áhrifavöldum. Björn Þorfinnsson, skákáhugamaður og ritstjóri DV ræðir stöðu Magnúsar Carlsen í skákheiminum. Á dögunum var honum vísað af móti fyrir að vera í gallabuxum. Ásgerður Júníusdóttir, söngkona, hjálpaði Bill Skarsgård að verða Orlok-greifi í kvikmyndinni Nosferatu. Hún segir frá því hvernig þau þjálfuðu rödd Bill þannig að honum tókst að lækka hana um áttund og túlka vampíruna sem er meira en þúsund ára gömul.

In this chilling reimagining of the classic tale, a decrepit castle in the Carpathian Mountains hides a dark secret: Count Orlok, who thirsts for more than blood. When a young real estate agent journeys to the Count's eerie domain, he unwittingly becomes the catalyst for Orlok's descent upon an unsuspecting coastal town, and Thomas' new wife must confront her own fears to end the nightmare. This gothic, atmospheric horror story weaves shadowy dread, otherworldly imagery, and spine-tingling suspense into a hauntingly modern take on Nosferatu, inspired by the various film adaptations and Bram Stoker's Dracula. youtube.com/@scarystoriespod

Robert Eggers („The Witch“, „The Lighthouse“) stellt sich mit seiner „Nosferatu“-Version in die Traditionslinie von Friedrich Wilhelm Murnau und Werner Herzog. Kein leichtes Unterfangen, wie sich bald herausstellt: Zunächst beginnt der Film atmosphärisch dich mit Ellen (Lily-Rose Depp), die offenbar schon mit dem Vampir in Kontakt steht. Schlaflose Nächte und psychotische Anfälle nehmen zu, dennoch bricht ihr Mann Thomas Hutter (Nicholas Hoult) auf, um mit Graf Orlok (Bill Skarsgard) ein Immobiliengeschäft abzuwickeln. Im Gegensatz zu Murnau und Herzog legt Eggers den Fokus auf Ellen und verleiht dem Grafen etwas Zombiehaftes, wenngleich es rasch störend ist, dass dieser klingt wie eine Mischung aus Bane und Venom. Zudem wurde er mit einem lachhaft großen Schnurrbart ausgestattet, was mimisch mehr als einengend ist. Überhaupt glückt so gut wie keine Szene mehr, sobald Hutter und Orlok aufeinandertreffen. Robert Eggers scheitert an seinen Vorbildern. Mehr dazu von Wolfgang M. Schmitt in der Filmanalyse!   Werbung: Das Best-Of von DIE FILMANALYSE als Buch. Mit einem Vorwort von Dominik Graf. Affiliate-Link: https://amzn.to/3NCkVHB Unser Kinderbuch „Die kleinen Holzdiebe und das Rätsel des Juggernaut“ ist erschienen! Affiliate-Link: https://amzn.to/47h1LQI Die Anthologie SELBST SCHULD! ist jetzt erschienen. Affiliate-Link: https://amzn.to/47qau3a Sie können DIE FILMANALYSE finanziell unterstützen – vielen Dank! Wolfgang M. Schmitt Betreff: DIE FILMANALYSE IBAN: DE29 5745 0120 0130 7858 43 BIC: MALADE51NWD PayPal: http://www.paypal.me/filmanalyse Patreon: https://www.patreon.com/wolfgangmschmitt Wolfgang M. Schmitt auf Twitter: https://twitter.com/SchmittJunior Wolfgang M. Schmitt auf Facebook: https://www.facebook.com/wolfgangm.schmittjun/ Wolfgang M. Schmitt auf Instagram: https://www.instagram.com/wolfgangmschmitt/ Produziert von FatboyFilm: https://www.fatboyfilm.de/ https://www.facebook.com/fatboyfilm/ https://www.instagram.com/fatboyfilm/

Årets første Radio Information handler om statsministerens nytårstale, om Elon Musks støtte til den europæiske højrefløj og om grev Dracula, hans grimme fætter grev Orlok og alle de andre vampyrer i filmhistorien.   »Det udstiller både statsministerens begrænsninger og udfordringernes omfang, at Mette Frederiksen ikke talte om de store trusler mod Danmarks forretningsmodel, forsvarsalliancer, rigsfællesskab og verdensorden,« skriver Rune Lykkeberg i sin analyse af statsministerens nytårstale. Han er i studiet og uddyber. Og giver kongen et (regulært) kærligt ord med på vejen.  Og så skal det handle om Elon Musk. »Kun AfD kan redde Tyskland,« skrev techoligarken i et debatindlæg i den tyske avis Welt am Sonntag. Elon Musk fortsætter dermed sin støtte til højrenationale partier uden for USA – en støtte, som sidste år kom både den italienske og den britiske højrefløj til gode. I Tyskland er reaktionerne på, hvad der opfattes som utidig indblanding i valget til februar, voldsomme. Samtidig hjemme i USA har Elon Musk lagt sig ud med store dele af MAGA-baglandet med sine bud på en indvandringspolitik, der byder højtuddannede fremmede velkommen. Mathias Sindberg er i studiet og tager temperaturen på Trump og Musks nye bromance.  Og så skal vi i biografen med filmredaktør Christian Monggaard. Tag hugtænderne på og kom med på den helt store – og lidt uhyggelige – tur med filmbussen tilbage til stumfilmen Nosferatu fra 1922 og gennem filmhistorien med de klamme, de sexede og de totalt fjollede vampyrer – selvfølgelig alt sammen i anledning af premieren på Robert Eggers nye Nosferatu-film. 

Redki so filmi, ki več kot sto let po nastanku s skoraj nekakšnim magnetizmom tako močno privlačijo gledalce kakor Nosferatu – simfonija groze iz leta 1922. Ta nesmrtni ekspresionistični klasični film nemškega režiserja F. W. Murnaua je sicer iz predvsem praktičnih razlogov – Murnau se je poskušal izogniti tožbi zaradi kraje avtorskih pravic – predstavila lik vampirja drugače, kakor so bili vajeni tedanji bralci. Grof Orlok se namreč od romanesknega grofa Drakule Brama Stokerja, ki je bil več kot očitno glavni vir navdiha in pozneje spora glede filma Nosferatu, močno razlikuje. Medtem ko je Drakula ugleden, človeku podoben gentleman, ki svoje žrtve z ugrizom spremeni v vampirje in se lahko giba tudi podnevi, je Orlok zverinski nočni stvor, ki ubija za preživetje in pušča za sabo le trohneča brezkrvna trupla, sončni žarki pa so zanj smrtonosni. Ti popravki zgodbe skupaj s spremembo imen glavnih oseb seveda niso bili dovolj, da Stokerjevi potomci ne bi dobili tožbe proti Murnauu in zahtevali uničenja vseh kopij filma, so pa zadoščali, da se je v kinematografijo in pozneje v popkulturo hkrati z romantičnim Drakulo zasidral tudi veliko temačnejši Nosferatu, ki vsake toliko časa spet oživi v novih in novih filmskih različicah. Najnovejša izmed njih je prišla na filmska platna tik pred novim letom in zvesto upošteva osnovne Murnaujeve zamisli o brezkompromisnem in surovem vampirju iz še ne čisto pozabljenega ljudskega izročila, dodana pa ji je še ena popolnoma sveža razsežnost – ljubezenski trikotnik in ženska moč v njem. Že res, da je bila tako pri izvirniku kot tudi pri do zdaj najbolj priznani Herzogovi priredbi iz leta 1979 prav ženska tisti magnet, ki je grofa Orloka privlekel iz divjine v civilizacijo, a za to ni bila niti sama kriva niti odgovorna. Bila je samo njegova žrtev in hkrati sredstvo za njegovo uničenje. Režiser Robert Eggers, mojster sodobne filmske grozljivke, pa je lik svoje Ellen osvobodil spon žrtve, s tem pa ji seveda naložil tudi odgovornost za svoja dejanja. Prav ona je namreč tista, ki grofa Orloka obudi v življenje, ona ga prikliče in pozneje mora sama sprejeti posledice svojega mladostniškega ravnanja. Eggersov Nosferatu je dobesedno utelešenje Ellenine spolne sle, o kateri spodobne ženske sredi 19. stoletja seveda niso smele niti razmišljati, kaj šele, da bi o njej lahko govorile ali jo izražale, Ellen (še kar posrečeno jo igra Lily-Rose Depp) pa se tako znajde sredi otipljivega trikotnika, ki ga je ustvarila sama. Na eni strani je njen mož Thomas, ki simbolizira varno, družbeno sprejemljivo romantično ljubezen, ki naj bi si jo želelo vsako dekle, na drugi neustavljivo privlačna, a pogubna spolna sla, manifestirana v brezkompromisnem vampirju, ki ogroža vso okolico. Ellen se svoje odgovornosti seveda zaveda, sprejme jo in izkoristi za končni obračun, s tem pa Eggers po več kot stoletju končno preseže romantično podobo ženske žrtve, ne da bi s tem osnovno zgodbo kakor koli oškodoval. Najnovejši Nosferatu ni brez napak – čudovita vizualna gotska podoba filma je kar nekoliko preveč digitalno izčiščena, da bi zares delovala srhljivo, enako pa se zgodi z ozračjem, saj so s posnetki globokega dihanja in obraznih grimas, vrednih nemega filma, občutno pretiravali –, vendar je vsekakor ena boljših Nosferatujevih oživitev, ki ni namenjena le sami sebi. Prvinska upodobitev grofa Orloka Billa Skarskagårda pa je naravnost ikonična. Piše: Gaja Poeschl Bere: Sanja Rejc

What defines a movie as a classic? In Robert Eggers' new imagining of NOSFERATU, we journey deep into the world of Count Orlok (Bill Skarsgård), the oldest "living" vampire. The nocturnal bloodsucker has a new obsession: a husband (Nicholas Hoult), sent to his home to aid in purchasing a home closer to civilization, and his wife (Lily Rose-Depp), who Orlok quickly discovers is more than meets the eye.   It's another SPOILER FREE review, join Cam & Kirk.   Are you brave enough to watch?   Show Open [00:00] And the Oscar Goes to… [04:03] Scene Stealer [12:05] Show Stopper [19:11] Director's Shoes [26:24] Final Thoughts & Scores [31:09]   Thanks for listening!   Please rate, review, and subscribe if you liked this episode!   For all things Popcorn for Breakfast: https://linktr.ee/popcornforbreakfast   Chat with us on Discord: https://discord.gg/7wGQ4AARWn Follow us on Twitch: https://www.twitch.tv/popcornforbreakfast Subscribe to our YouTube channel: https://www.youtube.com/channel/UCeVJZwPMrr3_2p171MCP1RQ Follow us on Spotify: https://open.spotify.com/show/4HhMxftbuf1oPn10DxPLib?si=2l8dmt0nTcyE7eOwtHrjlw&nd=1 Like us on Facebook: https://www.facebook.com/popcorn4breakfast Follow us on Twitter: @pfb_podcast Follow us on Instagram: @pfb_podcast Follow us on TikTok: https://www.tiktok.com/@popcornforbreakfast? popcorn4breakfast.com Email us: contact@popcorn4breakfast.com   Our original music is by Rhetoric, check them out on Spotify: https://open.spotify.com/artist/44JvjuUomvPdSqZRxxz2Tk?si=hcYoSMLUQ0iPctllftAg2g&nd=1

In this special instant take, Will Ashton dives into Robert Eggers' latest film, Nosferatu, unpacking its deep ties to the 1922 horror classic and its fresh take on the Dracula mythos. He breaks down Eggers' distinct artistic style, highlights standout performances from Willem Dafoe and Bill Skarsgård, and praises the film's jaw-dropping production design and cinematography. Will also reflects on how Nosferatu fits into the modern horror landscape, sharing why it’s such an exciting year-end release that horror fans won’t want to miss. Nosferatu opened in theaters on December 25 through Focus Features and has a runtime of 132 minutes. The rest of the cast includes Nicholas Hoult, Lily-Rose Depp, Aaron Taylor-Johnson, Emma Corrin, Ralph Ineson, and Simon McBurney. More about Nosferatu: Set in 19th-century Europe, Nosferatu follows Thomas Hutter, a real estate agent who heads to the eerie, isolated estate of Count Orlok to close a business deal. Sounds straightforward, right? Not quite. Things take a dark and sinister turn when Hutter realizes Orlok is no ordinary recluse: he’s a full-on vampire with a thirst for blood and an unsettling interest in Hutter’s wife, Ellen. As the danger escalates and Orlok’s shadow creeps closer to the village, the story unfolds into a chilling mix of gothic horror, psychological tension, and devastating stakes. Robert Eggers brings his trademark grit and authenticity to this retelling, delivering a film that feels both classic and refreshingly new. Links: Email your feedback for the show to cinemaholicspodcast [at] gmail.com Join our Discord and chat with us! We have a Cinemaholics channel here. Check out our Cinemaholics Merch! Check out our Patreon to support Cinemaholics! Connect with Cinemaholics on Facebook and Instagram. Support our show on Patreon: https://www.patreon.com/cinemaholicsSee omnystudio.com/listener for privacy information.

Send us a textWelcome to our FFF Christmas mash-up where we are going to look at the two important titles released on the 25th of December in the year of  Our Lord 2024: Nosferatu, directed by Robert Eggers and starring Lily Rose Depp, Nicholas Hoult, Aaron Taylor Johnson, Emma Corrin, Ralph Ineson, Bill Skarsgard, and Willem Dafoe up against A Complete Unknown directed by James “Walk the Line/Ford Vs. Ferrari” Mangold and starring Timothee Chalamet, Edward Norton, Elle Fanning, Maria Barbaro, Dan Fogler, and the one two punch of craggy, Oakie-faced Narcos Alums:  Boyd Holbrook and Scoot McNairy.I'm your host Gino Caputi and I am joined by the lean and mean crew of Roseanne Caputi and Gordon Alex Robertson. Before we throw down with the garlic, wooden stakes, crucifixes and Gibson J-50's, the synopses:In Nosferatu the Dracula story is reimagined as a German tale where newlywed, social climbing Thomas Hutter is sent to Transylvania to sell a house to the mysterious Count Orlok. Orlok in turn knows Hutter's Wife Ellen as years before she allowed him to enter her soul. After Hutter escapes Orloks castle of horrors, Orlock relocates to Wisborg and brings evil and plague with him. With the town gone mad, it is up to Ellen to stop Orlok. In A Complete Unknown, it is 1961 and a young Bob Dylan arrives in New York City to meet his idol Woody Guthrie. Introduced to Guthrie by Pete Seeger in the hospital where Guthrie is dying, Dylan becomes immersed in the New York Folk scene, developing a relationship with folkl sensation Joan Baez. Years go by and Dylan decides to go against Seeger and the Folk community by playing an electric guitar at the famous Newport Folk Festival. Chaos ensues. So which film best exemplifies the spirit of Christmas? Find out! Watch the podcast on Youtube:https://youtu.be/M4qRzeybvd4Follow the FFF Facebook page!https://www.facebook.com/groups/fabulousfilmandfriends

Der frisch verheirateter Thomas Hutter wird aus Wismar in die Karpaten geschickt um dort in wichtigen Geschäften den mysteriösen Fürsten Orlok aufzusuchen, der sich als Vampir entpuppt. Knapp dem Tod entronnen, hat Hutter aber das Monster nun auf seine Frau Ellen angesetzt. Per Schiff folgt es dem Paar mit einer die Pest übertragenden Rattenschar und bringt Tod und Verderben nach Wismar. Das Remake des Murnau Horror-Klassikers kommt allerdings bei Weitem nicht an das Original heran.

“As someone who's been obsessed with vampires since I was a little kid, I don't totally know [why we love vampire movies so much]. Obviously, sex and death are always interesting and in vampire stories, including the very earliest accounts of folk vampirism in Eastern Europe, that connection has always been there. Some of these early folkloric vampires didn't drink blood but fornicated with their widows until they died. And then, being undead, rising from the grave, you know Dracula and Jesus have had the most movies made about them of any popular characters in Western cultures, so there must be something to that as well,” says Robert Eggers, writer/director of Nosferatu, starring Lily Rose Depp, Nicholas Hoult and Bill Skarsgård.  In this episode, Eggers talks about the play-version of Nosferatu that he wrote and directed when he was in high school, writing the Ellen character (Depp) as a woman at war with herself, and making Orlok (Skarsgård) the villain without making him too arch or campy.  “[Orlok] has a sense of humor and he has a sense of poetry. He's a well-learned man so that's enjoyable. It's fun to write dialogue for someone who had their heyday in the the 16th century and English was like their 17th language, that's fun,” says Eggers.  We also asked Eggers about telling an old story but making it relevant to today. He says that while he doesn't worry about making a film with a specific message, “I don't live in a vacuum. So even if I'm not trying to write a film with a message, whatever is happening around me is coming out. Also, it's interesting that the movie didn't get made until when it did. The original Nosferatu came out a couple of years after the Spanish flu. This is coming out a couple of years after the pandemic. And I wrote all that stuff before the pandemic. In fact, they had face coverings originally, and I took them away because it felt too much on the nose. So, I think it's all there for the taking,” he says.  To hear more about the power of vampires and Egger's writing process, listen to the podcast.   

Christmas! Get the fireplace ready, pour the hot cocoa, and prepare to succumb to the darkness. We travel to the Carpathian Mountains with Jason, Rosie, and producer Joelle Monique to visit Count Drac…I mean Orlok? The hosts give us their impressions of the fourth and latest Robert Eggers output, Nosferatu. To wrap things up, they each rate the Eggers Movies. Follow Jason: twitter.com/netw3rk Follow Rosie: IG & Letterboxd Follow X-Ray Vision on Instagram Join the X-Ray Vision DiscordSee omnystudio.com/listener for privacy information.

FILMOTECAMURCIA.ES (20 aniversario Filmoteca)Viernes 1 de noviembre / 20.30 horas / Música en directo a cargo de Salvador Martínez Nosferatu (Eine Symphonie des Grauens; F.W.Murnau, 1922) Alemania. 91'. Año 1838. En la ciudad de Wisborg viven felices el joven Hutter y su mujer Ellen, hasta que el oscuro agente inmobiliario Knock decide enviar a Hutter a Transilvania para cerrar un negocio con el conde Orlok. Se trata de la venta de una finca de Wisborg, que linda con la casa de Hutter. Durante el largo viaje, Hutter pernocta en una posada, donde ojea un viejo tratado sobre vampiros que encuentra en su habitación. Una vez en el castillo, es recibido por el siniestro conde. Al día siguiente, Hutter amanece con dos pequeñas marcas en el cuello, que interpreta como picaduras de mosquito. Una vez firmado el contrato, descubre que el conde es, en realidad, un vampiro. Al verle partir hacia su nuevo hogar, Hutter teme por Ellen. (FILMO EN FAMILIA)Sábado 2 de noviembre / 17.30 horas / Entrada libre hasta completar aforoCoco (Lee Unkrich & Adrián Molina, 2017) Estados Unidos. 109'. VE Miguel es un joven con el sueño de convertirse en leyenda de la música a pesar de la prohibición de su familia. Su ídolo es Ernesto de la Cruz, el músico y cantante más famoso de México. La pasión de Miguel le llevará a adentrarse en la "Tierra de los Muertos", donde conocerá su verdadero legado familiar. (TITEREMURCIA)Sábado 2 de noviembre / 19.30 horas / Entrada libre hasta completar aforoFrankenweenie (Tim Burton, 2012) Estados Unidos. 87'. VOSE Película basada en el cortometraje homónimo que el propio Burton realizó en 1984. El experimento científico que lleva a cabo el pequeño Victor para hacer resucitar su adorado perro Sparky, lo obligará a afrontar terribles situaciones cuyas consecuencias son imprevisibles. ESTRENOS DE LA SEMANA Escape (Rodrigo Cortés, 129 min) novela: Enrique RubioMario Casas, Anna Castillo, Josep Mª Pou, Blanca Portillo, José Sacristán N. es un hombre estropeado, algo no va bien en su interior. N. no quiere tomar una sola decisión más, sólo apearse del mundo. Dejar de tener opciones. El psicólogo a quien visita no sabe cómo abordarlo, tampoco su hermana, que intenta apoyarlo sin frutos. N. sólo quiere vivir en la cárcel, y hará cuanto sea necesario para conseguirlo. ¿Lograrán sus allegados que desista de cometer delitos cada vez más graves? ¿Hasta dónde será capaz de llegar el juez para no concederle su propósito? Jurado nº 2 (Clint Eastwood, 117 min)Nicholas Hoult, Toni Collette, JK Simmons, Kiefer Sutherland Justin Kemp, un hombre de familia, mientras forma parte de un jurado en un juicio por asesinato de alto perfil, se encuentra luchando con un serio dilema moral... uno que podría utilizar para influir en el veredicto del jurado y potencialmente condenar (o liberar) al asesino acusado. Terrifier 3 (Damien Leone, 125 min.) El payaso Art desata el caos entre los desprevenidos habitantes del condado de Miles mientras duermen plácidamente en Nochebuena. Tras sobrevivir a la masacre de Halloween perpetrada por el peor asesino en serie desde Jack el Destripador, Sienna y su hermano se esfuerzan por reconstruir sus vidas destrozadas. A medida que se acercan las fiestas de Navidad, intentan abrazar el espíritu navideño y dejar atrás los horrores del pasado. Pero justo cuando creen que están a salvo, el payaso Art regresa, decidido a convertir su alegría navideña en una nueva pesadilla. La temporada festiva se desmorona rápidamente mientras el payaso Art desata su retorcido terror marca de la casa, demostrando que ninguna festividad es segura.

Viernes 13 y la tradición manda. Le damos un giro al programa para hablar de cine. Y en esta ocasión hablamos de criaturas como Godzilla, Orlok, Valak o el Creeper y su inspiración real. ¿La realidad supera la ficción? ¿O el cine es superior? Preparaos para un programa cinematográfico y terrorífico. ¿Quieres anunciarte en este podcast? Hazlo con advoices.com/podcast/ivoox/158506

Viernes 13 y la tradición manda. Le damos un giro al programa para hablar de cine. Y en esta ocasión hablamos de criaturas como Godzilla, Orlok, Valak o el Creeper y su inspiración real. ¿La realidad supera la ficción? ¿O el cine es superior? Preparaos para un programa cinematográfico y terrorífico.

On this episode of Iron, Silver and Salt, we are joined by the podcast Transylvaniacs, to tackle one of the most famous vampires from film: Count Orlok a.k.a The Nosferatu. Will fears that the podcast is no longer hip, cool, nor funky fresh! Adrian saves his village from the great Tequila Flood. Chris, on the other hand, dreams of Swedish troll hunting. Colleen proposes a modern solution: rocket propelled grenades! Guest Will brings The Rizz, we think. We're not sure what that means. And this group of vampire hunters tells you how to fight the Orlok, the Nosferatu.  Sources: (The entire movie is on there, isn't that wild?)   And you can find the Transylvaniacs here:  

Orlok's story is about a voice he heard when there was no one with him. Ren saw his dead uncle's ghost and Al was visited by brother's silent look-a-like. Campfire's blazing, and these stories are ready for scaring!AUDIO- Listen for free via: bit.ly/PhCampfireStoriesVIDEO- Youtube: https://bit.ly/PhCampfireStoriesYTLike, Follow and Join us in our social media channels!Email Address: campfirestoriesph@gmail.comFacebook: https://www.facebook.com/campfirestoriesphX: https://x.com/campfirestoryphInstagram: https://www.instagram.com/campfirestoriesphFB Group Messenger: https://m.me/ch/AbYMxBMNFZA6gEpa/You can send over your support thru the following platforms:FULL VIDEO EPISODES via Patreon patreon.com/campfirestoriesphFOR YOUR TIPS via Paypal earlm.work@gmail.comAudio Production by The Pod Network Entertainment#podcastph #philippinecampfirestories #santelmosociety #pinoyhorror #pinoypodcastThanks to BingoPlus for helping make this episode happen!Enjoy a good game of BingoPlus! — the first online poker casino in the Philippines. Licensed by Pagcor. Get it at Google Play and App Store, or visit www.bingoplus.com. PS — keep it legal! Gaming is for 21-year-olds and older only. Game responsibly! Support this show http://supporter.acast.com/philippinecampfirestories. Hosted on Acast. See acast.com/privacy for more information.

Er du også altid frustreret over Oscar-udvalget? Føler du dig også uenig i de nominerede film og skuespillere? Hvis svaret er ja, så er du kommet til det helt rigtige sted! I anledning af Oscars 2024 har vi her på Filmmagasinet Nosferatu valgt at lave vores helt eget award-show, nemlig Nosferatu Awards! Vi har spurgt Nosferatu-redaktionen om, hvilke kategorier de helst ville se, og hvilke film fra 2023, som fortjener mere anerkendelse i Hollywood. Dette er en hyldest til de film, som har taget redaktionen med storm, og som ikke bare skal skylles ude med badevandet... Glæd dig til klassiske kategorier såsom "Bedste kvindelige hovedrolle", "Bedste mandlige birolle" og "Bedste film". Men gør dig også klar til helt nye kategorier som "Mest toxic par", "Mest ubehagelige scene" og "Årets saddest sad man, dead wife". Hvem går hjem med deres helt egen gyldne Orlok, og hvem må indse, at de bare er Ken? Værter: Benjamin Vang Blaaklide, Bolette Mai Larsen og Sofie Rechendorff Andersen

Vi snackar om F.W. Murnaus klassiska skräckfilm från 1922 med Max Schreck i huvudrollen som greve Orlok.

Nosferatu the Vampyre (1979): Jonathan Harker is sent away to Count Dracula's castle to sell him a house in Virna, where he lives. But Count Dracula is a vampire, an undead ghoul living off men's blood. Inspired by a photograph of Lucy Harker, Jonathan's wife, Dracula moves to Virna, bringing with him death and plague... An unusually contemplative version of Dracula, in which the vampire bears the cross of not being able to get old and die. Nosferatu (1922): In this highly influential silent horror film, the mysterious Count Orlok (Max Schreck) summons Thomas Hutter (Gustav von Wangenheim) to his remote Transylvanian castle in the mountains. The eerie Orlok seeks to buy a house near Hutter and his wife, Ellen (Greta Schroeder). After Orlok reveals his vampire nature, Hutter struggles to escape the castle, knowing that Ellen is in grave danger. Meanwhile Orlok's servant, Knock (Alexander Granach), prepares for his master to arrive at his new home. To check out more information about That Horrorcast, take a look at our website: https://thathorrorcast.com Twitter: https://twitter.com/horrorpod666 Art and other work done by host, Dmitry Samarov can be found on his site: https://www.dmitrysamarov.com Mallory Smart's writing and random publishing projects can be checked out here: https://mallorysmart.com --- Support this podcast: https://podcasters.spotify.com/pod/show/thathorrorshow/support

Vampire Radu Vladislas Talks Horror, Character and The 2023 Release of Subspecies: BloodriseEvery generation has their monsters and while the 70's and 80's saw the monsters moving away from the gothic castles of Transylvania to the suburbs, there is one monster from the 90's that reigns supreme in the mold of the classic vampires going all the way back to Max Schreck's iconic performance as Orlok in F.W. Murnau's masterwork Nosferatu.Produced in 1991 by genre royalty Charles Band's Full Moon Entertainment and directed by Full Moon veteran Ted Nicolau, Subspecies has become a beloved franchise spawning multiple excellent sequels including series highlight Bloodstone: Subspecies 2 which may be Full Moon's best film.There's a lot about Subspecies to admire from Nicolau's assured direction to the stunning location shooting in Romania and the rock-solid performances from Denice Duff and Kevin Spirtas as the heroes but the star of the show is unquestionably the series antagonist, Radu.A centuries old vampire, Radu is grotesque and vile, usually gore dripping from his fanged maw while he speaks in a rasping, decrepit voice. This is not the romantic vampire of Hammer films but a force of evil that will stop at nothing to reclaim his birthright, the bloodstone. He's one of SYG host Kevin Lane's favorite monsters. Radu is played by Anders Hove.A Danish actor, Ander's deftly manages the balance of keeping Radu sinister and menacing but also imbues the character with an unexpected empathy and a haunting past. It's a truly remarkable transformation when you find that Anders himself is a lowkey, kind, thoughtful man.Anders and Kevin Lane talk about his years growing up in Greenland as well as his father's significant political impact, why he thinks there's far more important things to life than being an actor, the challenges of shooting in Romania and how important it is to find the humanity when playing a monster.SYG will have more interviews with the folks behind the Subspecies saga, including Charles Band, Ted Nicolau, Denice Duff and Kevin Spirtas as we all prepare for the much anticipated Subspecies: Bloodrise, which sees the gang all returning after a more than 20-year gap since the last film. The film has been shot and will be released in 2023. Without further delay my fledglings, let there be a bloodbath with Anders Hove.Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information. ★ Support this podcast on Patreon ★

Min 5: EL FILTRO LUCHINI Vivir para ver. Con la que está cayendo en el pulso cine vs plataformas y un director como David O. Russel, después de conseguir para “Amsterdam” -su proyecto más atrevido- a un reparto irrepetible, va y nos suelta una película de 135 minutos aburrida, inconexa y absolutamente fallida. Pues eso es en esencia lo que les ha parecido a nuestros críticos Alberto Luchini y Raquel Hernández la que se presumía sería la película más estimulante de la semana. Christian Bale, Margot Robbie, John David Washington, Robert De Niro, Chris Rock…un auténtico “dream team” actoral que Russell ha desperdiciado en su deseo de regalarnos una genialidad que se queda en una decepción en pantalla grande. En el Filtro Luchini explicamos los porqués del fiasco más sonado de la semana y te contamos por qué Álex de la Iglesia sí da lo que se espera de él en “El cuarto pasajero”. El director de “Perfectos desconocidos” se rodea de Alberto San Juan, Blanca Suárez o Ernesto Alterio para componer una ácida comedia de actualidad con la que vuelve a su humor negro y castizo. Completan la nueva la cartelera el drama italiano “La inmensidad”, con una espléndida Penélope Cruz; la comedia americana “Bros” o “Edén” el intimista y dramático debut en la dirección de la directora española Estefanía Cortés. Min 35: ESPECIAL BSO 100 AÑOS DE NOSFERATU Y el as en la manga, con el Día de Difuntos flotando en el ambiente, nos lo reservamos para el No Muerto más genuino, longevo y espeluznante de la Historia del Cine. Ángel Luque nos propone cerrar este capítulo con un tributo al magistral “Nosferatu” de Murnau y a su sorpresiva banda sonora. Nuestro crítico musical ha sondeado el rastro complicado de las piezas que componen la banda sonora de este clásico imperecedero del expresionismo alemán y del terror universal para regalarnos un inédito homenaje a la atmósfera musical que rodeó al temible Conde de Orlok.

Nosferatu is een film uit 1922 van Friedrich Wilhelm Murnau. Het is de eerste echte horrorfilm, met een vampier, de bloedzuigende graaf Orlok (rol van Max Schreck) als hoofdpersoon. De film is losjes gebaseerd op de roman Dracula uit 1887 van Bram Stoker, en sindsdien is er een lange traditie van Dracula-films. De film bestaat nu dus 100 jaar, en dat bracht Lesley Verbeek op het idee om de film van een nieuwe soundtrack te voorzien. Niet helemaal verwonderlijk klopte Lesley aan bij haar vader Evert Verbeek, die onder de naam AutonomY-Music al vele jaren muziek maakt bij film. Een deel van de nieuwe soundtrack is gecompileerd uit ouder, bestaand werk, en voor andere delen van de film is compleet nieuwe muziek gecomponeerd. Alle muziek bij deze 100 jaar ouder film ‘Nosferatu' dus van relatief recente datum of zelfs splinternieuw, gecomponeerd en geproduceerd door Autonomy-Music, waarbij gebruik gemaakt is van samplers, synthesizers en gitaar met de nodige elektronica. Dinsdag 1 november om 20.30 is de film mét de nieuwe soundtrack te zien in Vera in Groningen, met aansluitend een Q&A met Lesley Verbeek over het maakproces.

This week on the blog, a podcast interview with Dawn Brodey and Brian Forrest, talking about the various film versions of “Frankenstein” and “Dracula.”Dawn gave me 4.5 films to revisit: The 1931 version of Frankenstein, Frankenweenie (the feature and the short), Mary Shelley's Frankenstein, and Young Frankenstein.Meanwhile, Brian assigned me the original Nosferatu, the 1931 Dracula, Abbott & Costello Meet Frankenstein, Horror of Dracula, Dracula in Istanbul and Bram Stoker's Dracula. LINKSDawn's podcast (HILF): http://dawnbrodey.com/ - showsBrian's Blog and Vlog, Toothpickings: https://toothpickings.medium.com/ A Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Frankenstein (1931) Trailer: https://youtu.be/BN8K-4osNb0Frankenweenie Trailer: https://youtu.be/29vIJQohUWEMary Shelley's Frankenstein (Trailer): https://youtu.be/GFaY7r73BIsYoung Frankenstein (Trailer): https://youtu.be/mOPTriLG5cUNosferatu (Complete Film): https://youtu.be/dCT1YUtNOA8Dracula (1931) Trailer: https://youtu.be/VoaMw91MC9kAbbott & Costello Meet Frankenstein (Trailer): https://youtu.be/j6l8auIACycHorror of Dracula (Trailer): https://youtu.be/ZTbY0BgIRMkBram Stoker's Dracula (Trailer): https://youtu.be/fgFPIh5mvNcDracula In Istanbul: https://youtu.be/G7tAWcm3EX0Fast, Cheap Film Website: https://www.fastcheapfilm.com/Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastDawn and Brian TRANSCRIPT John: [00:00:00] Before we dive into the assignment you gave me—which was to watch stuff I hadn't seen and also rewatch stuff I had seen to get a better idea of who's done a good job of adapting these books—let's just jump in and talk a little bit about your area of expertise and why you have it. So, I'm going to start with you, Brian. I was very surprised after working with you a while to find out that you had a whole vampire subset in your life. Brian: A problem, you can call it a problem. It's fine. John: Okay. What is the problem and where did it come from? Brian: I was just vaguely interested in vampires for a while. When I was in my screenwriting days, someone had encouraged me to do a feature length comedy about vampires, and that led me to do a lot of reading. And then I just kind of put it aside for a while. And then I was, I had just finished a documentary for Committee Films and they said, do you have any other pitches? And I thought, and I said, you know, there's still people who believe in vampires even today, that could be really interesting. And I put together a pitch package. Then, the guy in charge of development said, [00:01:00]this is what we need to be doing. And then it stalled out. Nothing ever happened with it. And I said, what the hell. I could do this on my own. I could fly around and interview these people. And I did, I spent a couple years interviewing academics and some writers. And along the way, I started finding all these very intriguing moments in the history of either vampire lore or fiction or even just people who consider themselves vampires today. And all these things would connect to each other. It was a lattice work of vampires going back hundreds of years. It didn't fit the documentary, unfortunately, but I found it way too interesting. And I said, I need some kind of outlet for this. And so I started writing about it on Tooth Pickings. And that eventually put me in touch with people who were more scholarly, and it opened up a lot more conversations. And now I can't get out. I'm trapped. John: Well, the first sign is recognizing there's a problem. [00:02:00] Okay. Now, Dawn, you had a different entryway into Frankenstein. Dawn: Yeah, well, I was a theater major and a history minor at the University of Minnesota. Go Gophers. And, this was in the late nineties, early two thousands, when there were still a lot of jobs for people who had degrees and things like this. Or at least there was a theory that this was a reasonable thing to get educated in. And then I graduated in 2001, which was months after 9/11, when all those jobs went away. And so, I had this education so specific and what was I gonna do? And gratefully the Twin Cities is a great place for finding that kind of stuff. And one of my very first jobs out of college was at the Bakkan museum. So, the Bakkan museum was founded by Earl Bakkan, who is the inventor of the battery-operated pacemaker. And he has always, since childhood, been obsessed with the Frankenstein movie that came out in 1931. And he attributes [00:03:00]his great scientific invention and many others to a science fiction in general. And to the spark of the idea that comes from sources like this. So, when he opened the museum, he insisted that there'd be a grand Frankenstein exhibit. And that means going back to the book, and that meant going back to the author, Mary Shelley, who wrote the novel Frankenstein, she started writing it when she was 16.And so, I was hired because—boom, look at me—my degree is suddenly colliding, right? So, I was hired by the Bakkan museum to create a one-woman show about the life of Mary Shelley, where I would play Mary Shelley and would perform it within the museum and elsewhere. And through the course of that research, I read the novel for the second time, but then I read it for my third, fourth, fifth onwards and upwards. Because the show was about 45 minutes long, I referenced, you know, the novel, the books, the popular culture, the science behind it. And the deep dive just never stopped. And so long after I was required to do the research and the show was done and up, I just kept reading. [00:04:00] And it gave me the opportunity to meet experts in this field and the peripheral field, as I would sort of travel with this show and be an ambassador for the museum and stuff like that. And, yeah, it still curls my toes. John: All right, so with that background. I'm going to just be honest right here and say, I've read Dracula once, I've read Frankenstein once. So that's where I'm coming from, and both a while ago. I remember Frankenstein was a little tougher to get through. Dracula had a bit more of an adventure feel to it, but something I don't think has really been captured particularly well in all the movies. But they both have lasted and lasted and lasted.Why do you think those books are still, those ideas are still as popular today? Dawn: I will say that I think Frankenstein, it depends on what you mean by the idea. Because on the surface, just the idea of bringing the dead to life, is, I mean, the Walking Dead franchise is right now one of the most popular franchises. I mean, I think we are really pivot on this idea. And I remember saying to a friend once that the part in [00:05:00]Revelation where the dead rise is like the only part of the Bible that I don't question. It's like, oh, the dead will get up. You know, we always just seem to be real sure that at some damned point, they're getting up. And so I think that that is part of why that it sticks in our brains. But then the story around Frankenstein—especially as it was written in 1818—has so many universal and timeless themes, like ambition and what is right and wrong. And the question that Jurassic Park posed in 1995 and continues to—1993 around there—and continues to pose, which is: just because science is capable of doing something, should it do something? And how do we define progress? Surely the very idea of being able to beat death and not die seems to be kind of the ultimate goal. And here is someone saying, okay, so let's just say, yeah. We beat death and everyone goes, oh shit, that'd be terrible. [00:06:00] You know? And then also, I always love the idea of the creature, the monster, Frankenstein's creature himself, who has a lot of characteristics with which people have identified throughout history. Some people say, for example, that Mary Shelley's whole purpose for writing Frankenstein was a question of: didn't God do this to us, make us these ugly creatures that are imperfect and bumbling around and horrifying? And then once he realized that we weren't perfect, he fled from us in fear or fled. He just keeps going and every generation has a new media that tells the story a little bit better, a little bit different, and yeah, there we are. John: I will say that for me, the most memorable part of the book was the section where the monster is the narrator and is learning. And I think with the exception of Kenneth Branagh's film, it it's something that isn't really touched on that much. There's a little bit in Bride of Frankenstein, of him going around and learning stuff. But the sort of moral questions that he [00:07:00] raises as he's learning—what it is to be human—are very interesting in the book. And I wish they were in more of the movies, but they're not. So, Brian on Dracula, again, we have dead coming to life. Why do we love that so much? Brian: Well, it's one of the questions that made me want to make a film about it myself: why has the vampire been so fascinating for hundreds of years? Why does it keep coming back? You know, it ebbs and flows in popularity, but it never leaves. And it keeps seeming to have Renaissance after Renaissance. Dracula specifically, I think one of the interesting things about that novel is how many different lenses you can look at it through and not be wrong.People have looked at it through the lens of, is this thing an imperialist story? Is it an anti-imperialist story? Is it a feminist story? Is it an anti-feminist story? And you can find support for any of those views reading Dracula. And I think that some of it might be accidental; there's times where Dracula is catching up to whatever the cultural zeitgeist [00:08:00] is right now. And we look at Dracula and we say, oh, he was thinking about this back then. Or maybe Bram Stoker was just very confused and he had a lot of different ideas. John: All right, let's explore that a little deeper. You each gave me an assignment of some movies to watch or to re-watch that you felt were worth talking about, in relation to your subject of Frankenstein or Dracula. I'm going to start with Frankenweenie, just because I had not seen it. And in going through it, I was reminded—of course, as one would be—of watching Frankenweenie, I was reminded of Love, Actually. Because I came to the realization after years of Love, Actually being around that it—Love, Actually—is not a romantic comedy. It is all romantic comedies, all put into one movie. And Frankenweenie is all horror films. Condensed, beautifully and cleverly into one very tasty souffle. [Frankenweenie Soundbite] John: I stopped at a certain point making note of the references to other horror films. Just because there are so many of them. But the idea that it references everything from Bride of Frankenstein to Gremlins. They do a rat transformation that's right out of American Werewolf in London. The fact that they have a science teacher played by Martin Landau doing the voice he did as Bela [00:10:00] Lugosi in Ed Wood. I mean, it's a really good story that they just layered and layered and layered and layered. What was it about that movie that so captivated you? Dawn: Well, so much of what you just said. And also it seems to me the epitome of the accessibility of the story of Frankenstein. The idea that if anyone can think of any moment in which if I could bring someone back to life. But what I love about it too, is that the novel Frankenstein that is not Victor Frankenstein's motivation. It generally tends to be the motivation of almost every character, including the Kenneth Branagh character--at some point, he, when Elizabeth dies, his wife dies for the second time, he says, yes, I'm going to try to bring her back. But it is so not the motivation of the scientist in the book. It is just ambition. He just wants to do something no one else has done. And lots of people die around him and he really never, ever says to himself at any point in the novel, I wish I could bring them back, I'm going to bring them back. That's never, that's never part of it. He just wants to be impressive. And so, I love [00:11:00] that it starts with that pure motivation of wanting to bring the dead to life; just wanting to bring your dog back, so that it's so accessible for everyone watching it. Who wouldn't wanna try this? But then, even in that scene with the teacher, when he shows the frog. And he's demonstrating that if you touch a dead frog with electricity, its legs shoot up, which give the kid the first idea of bringing his dog back. Which is like a deep cut in, in the sense that that's nothing -- Mary Shelley herself and her friends were watching experiments exactly like that before she wrote the book: galvanism and animal magnetism were these really popular public demonstrations happening in London and elsewhere where they would do just that. But because electricity itself was so new, I mean, it blew people's hair back you know, that these dead frogs were flopping around. It was the craziest thing. And a lot of them were thinking to themselves, surely it is only a matter of time before we can, we're gonna have our dead walking around all the time. So, it was so circulating and so forward. [00:12:00] So it's not just movie references and it's not just Frankenstein references. That movie really includes source deep source references for how Frankenstein came to be. And I just love it. John: Which brings me to Frankenstein, the 1931 version, in which Colin Clive has a similar point of view to what you were talking about from the book. He just wants, you know, he wants to be God. [Frankenstein soundbite] John: What I was most impressed with about that movie or a couple things was: it starts, it's like, boom. We're in it. First scene. There there's no preamble. There's no going to college. There's no talking about it, right? It's like, they're starting in the middle of act two. And I think a lot of what we think of when it comes to Frankenstein comes from that movie, [00:13:00] that the stuff that James Whale and his cinematographer came up with and the way they made things look, and that's sort of what people think of when they think of Frankenstein. Now, as you look back on that movie, what are your thoughts on the, what we'll call the original Frankenstein? Dawn: Yeah. Well, I love it. You'll find with me and Frankenstein that I'm not a purist. Like I love everything. Like I have no boundaries. I think this is great. One of the things that 1931 movie did was answer—because it had to, anytime you take a novel and make it a movie, you take a literary medium and make it a visual medium, there's obviously going to be things that you just have to interpret that the author left for you to make for yourself individual. And in this instance, that individual is the cinematographer. So, we're gonna get their take on this. And one of the real ambiguous things that Mary Shelley leaves for you in the novel is the spark of life. What is the spark of life? She does not in any [00:14:00]detail describe lightning or static or any of the recognizable or, or future developments of how electricity would've been. Brian: I was shocked when I first read that book and saw how little space was devoted to that, that lab scene. It's blink of an eye and it's over. Dawn: “I gathered the instruments of life around me that I may infuse a spark of being into the lifeless thing that lay at my.” Period. I just, what I love is what I love about film in general is that they went, oh, spark being all right, girl, it's a dark and stormy night and you know, and there's chains and there's bubblers and there's a thing. And the sky opens. I mean, God bless you, like way to just take that thought. Make it vivid, make it, build a set, make us believe it. And it's so, so pervasive that in Frankenweinie, you know, which of course is about Frankensein. [00:15:00] Like that is one that they do: he's got the white robe that ties in the back and the gloves. And in Young Frankenstein, it's the, you know, that lab scene. And so I love that. And the other thing that they had to do was describe the look of the creature, make the creature—Frankenstein's monster himself—look so like something. Because she, similarly in the novel, says that he is taller than a regular man, has dark hair and yellow watery eyes. That's all we know about what the Frankenstein looks like. And so, in 1931, Boris Karloff with the bolts. And it's black and white, remember, we don't think his skin is green. That he turned green at some point is kind of exciting, but of course he was just gray, but just dead flesh, you know, rotten, dead walking flesh is what's frightening. And, I just thought that the movie did that so well, John: I think the makeup was kind of a green/gray, and that when color photos came out of it, that's why someone went, oh, [00:16:00] it's green, but it wasn't green. Brian: I thought I saw a museum piece of, you know, an actual makeup bit that Jack Pierce did and I thought it was greenish. Dawn: Yeah. Greenish/gray. I think, yeah, the rots, just kind of trying to capture the sort of rotten flesh. Brian: It's just like the bride's hair was red. Dawn: That's right. That's right. My day job here in Los Angeles is as a street improviser at Universal Studios, Hollywood. And two of their most treasured characters of course are Frankenstein and Dracula. So, while most people might separate them, John, they are usually arm and arm where I work every day. And the bride has recently come back to the theme park as a walking character, and they gave her red hair. We don't mess around. John: That's excellent. But you mentioned Dracula, let's jump into the 1931 Dracula. There's a connection point between the two that I want to mention, which is the amazing Dwight Frye, who is Fritz, I believe in Frankenstein. And I'm not the first one to mention his naturalistic [00:17:00] acting kind of putting him above everybody else in that movie. Famously, when he's running up the stairs, stopping to pull his socks up at one point. He's just really, really good in that. And then you see him in Dracula as the, essentially the Harker character. I think he was called Harker -- Brian: Yeah. Well, he's Renfield in Dracula. They merged those two characters. I thought it was a smart move for a first attempt at the film. Yeah. And Dwight Frye, he's in a lot of other Universal horrors, too. Dwight Frye often doesn't get the credit. He somehow was not the leading man he should have been. John: I don't know why that is. He turns up again as an assistant in Bride of Frankenstein. He's a towns person in Frankenstein meets the Wolfman. And then he tragically died on a bus ride to an auto parts job that he took because he wasn't getting any acting work, which was too bad. A really, really good actor. Brian: There is another intersection besides the fact that they were both produced by Junior. Lugosi was put into the [00:18:00] short, the trial film they shot for Frankenstein. I can't call it a short film, because it was never intended for release. But they shot a cinematic test reel and they had Lugosi play the monster, but he was under a sheet the whole time. I think he may have been able to pull the sheet off. It's a lost film. We don't know for sure. We just have kind of the recollections of a few crew people. John: I've never heard of that. I would love to see that. Brian: I would too. I think a lot of people would really love to see it, but it was as much a kind of a testing ground for Lugosi— whether they wanted him to be the monster—as it was for some of the techniques, the things they wanted to try in the film. And what I understand is the producer saw the test reel and they said, yes, we love this look, this is the look we want you to give us. And then it's whatever version of Lugosi not getting that part you want to believe: whether Lugosi turned it down or the producers didn't like him or something. But he ended up not taking that part. John: But he is of course always known as Dracula. So, what are your thoughts on their adaptation? Which [00:19:00]again is not the first adaptation but is the kind of first official? Brian: Yeah. The first to bear the name Dracula, although, well, I'll back up a second. Because some releases of Nosferatu called it Dracula. He would be named as Dracula in the subtitles, you know, because that's an easy thing to do in silent film, you can just swap that out however you want to. But yes, it's the first authorized official film adaptation. John: Well, let's back up to Nosferatu, just for a second. Am I wrong in remembering that the Bram Stoker estate—Mrs. Stoker—sued Nosferatu and asked that all prints be destroyed? And they were except one print remained somewhere? Brian: Close. That is the popular story that she sued Prana Films. She won the lawsuit. All films were set to be destroyed. Now there's a guy named Locke Heiss and a few others who've been doing some research on this. And they will tell you that there's no proof that a single print was ever destroyed. It's a more fun story to say that, you know, this one was snuck away and now we have the film. But there was no real enforcement mechanism for having all the theaters [00:20:00]destroy the film. Who was going to go around and check and see if they actually destroyed this film or not? Nobody, right? So maybe some people destroyed it. Maybe Prana Films destroyed their remaining copies. But the exhibitors kept all of theirs and there's different versions and different cuts that have been found. So, we know that some of these reels went out in different formats or with different subtitles or even different edits. And some of them have made their way back to us. John: There's some really iconic striking imagery in that movie. That haunts me still. Brian: What I always tell people is see the film with a good live accompaniment, because that still makes it hold up as a scary film. If you see a good orchestra playing something really intense when Orlok comes through that door. It feels scary. You can feel yourself being teleported back to 1922 and being one of those audience people seeing that and being struck by it. John: What do you think it would be like to have [00:21:00] seen that or Dawn to have seen the original Frankenstein? I can't really imagine, given all that we've seen in our lives. If you put yourself back into 1931, and Boris Karloff walks backwards into the lab. I would just love to know what that felt like the first time. Dawn: You know, what is so great is I was fortunate enough to know Earl Bakkan who saw the movie in the theater in Columbia Heights, Minnesota when he was 10 years old.And he went, he had to sneak in. People would run outta this, out of the theater, screaming. I mean, when they would do the close up of Frankenstein's Monster's face, you know, women would faint. And of course that was publicized and much circulated, but it was also true. People were freaking out. And for Earl Bakkan—this young kid—the fear was overwhelming, as you said. And also in this theater, I was lucky enough, I did my show in that theater for Earl and his friends on his 81st birthday. So, I got to hear a [00:22:00] lot of these stories. And they played the organ in the front of the curtain. Brian: Is this the Heights theater? Dawn: Yes, the Heights. Brian: Oh, that's an amazing space. Dawn: So, they played the organ in there and it was like, oh my God. And it was so overwhelming. So, I'm glad you asked that question because I was really fortunate to have a moment to be able to sort of immerse myself in that question: What would it have been like to be in this theater? And it was moving and it was scary, man. And yeah, to your point, Brian, the music and the score. I mean, it was overwhelming. Also, I think there's something that we still benefit from today, which is when people tell you going in this might be way too much for you, this might scare you to death. So just be super, super careful. And your heart's already, you know… John: And it does have that warning right at the beginning. Dawn: Yeah. Versus now when people sit you down, they're like, I'm not gonna be scared by this black and white movie from 1931. And then you find yourself shuffling out of the bathroom at top speed in the middle of the night. And you're like, well, look at that. It got me. Brian: That reminds me, there [00:23:00] was a deleted scene from the 1931 Dracula that was a holdover from the stage play. Van Helsing comes out and he breaks the fourth wall and he speaks directly to the audience. And he says something to the effect of—I'm very much paraphrasing—about how we hope you haven't been too frightened by what you've seen tonight, but just remember these things are real. And then black out. And they cut that because they were afraid that they were really going to freak out their audience. Dawn: It's like a war of the world's thing, man. It's oh, that's so great. I love that. [Dracula Soundbite] John: So, Brian, what is your assessment of the 1931 version? As a movie itself and as an adaptation of Stoker's work? Brian: The things they had to do to try to adapt it to film, which they borrowed a lot of that from the stage play. They used the stage play as their guide point, and I think they made the best choices they could have been expected to make. You know, there's a lot of things that get lost and that's unfortunate, but I think they did a decent job. I don't find the 1931 version scary. I like Bela Lugosi. I think he's a great Dracula. I think he set the standard. With the possible [00:25:00]exception of the scene where the brides are stalking Harker slash Renfield, I don't think the imagery is particularly frightening. The Spanish version, I think does a little bit better job. And you know the story with the Spanish version and the English version? Dawn: We actually talk about it on the back lot tour of Universal Studios. Because they shot on the same sets in some cases. Brian: Yeah. My understanding is that Dracula shot during the day, Spanish Dracula would shoot at night. So, they got to benefit maybe a little bit by seeing, okay, how is this gonna be shot? How did Todd Browning do it? Okay. We're gonna do it a little bit differently. It's a little bit of a cheat to say they move the camera. They do move the camera a lot more in the Spanish version, but the performances are a little bit different. I'm going to, I can't get her name out. The actress who plays the ingenue in the Spanish Dracula, I'm not going to try it, but you can see her kind of getting more and more crazed as time goes on and her head is more infected by Dracula. You see these push-ins that you don't see in the English version. There's blocking [00:26:00] that's different. I put together a short course where I was just talking about how they blocked the staircases scene. The welcome to my house, the walking through spider web. And how it's blocked very differently in the two versions. And what does that say? What are these two directors communicating differently to us? In one, Harker slash Renfield is next to Dracula. In one, he's trailing behind him. In one, we cut away from the spider web before he goes through. And in the other one, we see him wrestle with it. That's not really what you asked, John. Sorry, I got off on a tear there. John: I agree with you on all points on the differences between the two films. Although I do think that all the Transylvania stuff in the English version is terrific: With the coach and the brides. The Spanish version, the biggest problem I have is that their Dracula looks ridiculous. Brian: He's not Bela Lugosi. You're right. John: He looks like Steve Carell doing Dracula and there is no moment, literally no moment [00:27:00] where he is scary, whereas Lugosi is able to pull that off. Brian: There's a lot of people who have observed that the Spanish Dracula would be a superior film were it not for Bela Lugosi being such an amazing Dracula in the English version. John: He really, really nailed it. Brian: And since he learned his lines phonetically, he could have done the Spanish Dracula. Just write it out for him phonetically, because he didn't speak English very well. John: If we could just go back, you know, cause a lot of things in history we could change, but if we could just be at that meeting and go, Hey, why not have Bela do it? Okay. So then let's jump ahead, still in Dracula form, to Horror of Dracula. From 1958. With Christopher Lee as Dracula and Peter Cushing as Van Helsing. [Soundbite from Horror of Dracula] Brian: For some people, Lee is the ultimate Dracula, and I think that's a generational thing. I think he's great. He's got the stage presence and I love Peter Cushing as Van Helsing. I don't like the film as a whole. It feels like I'm watching a play with a camera set back. It doesn't work for me the way it works for other people. That is personal taste. Don't come after me. John: It does, however, have one of the greatest, ‘Hey, we're gonna kill Dracula' scenes ever, with Peter Cushing running down the table and jumping up and pulling down the drapes and the sun. Brian: Oh, right. Interesting. Because in Dracula, the book, the sun is not deadly, remotely really. But that's [00:29:00]the influence of Nosferatu being pasted onto the Dracula cannon, that the sunlight is deadly to Dracula. Dawn: I remember having this fight very enthusiastically in the nineties when Bram Stoker's/Winona Ryder's Dracula came out and I was already sort of a literary nerd. And they were like, hey, they have a scene with him walking around during the day. And I was like, yeah, nerds. That's right. That's cuz vampires can walk around during the day.I was very already, like, you don't know anything, go back to history. Brian: And there's a seventies version where he's out on a cloudy day, but he is not hurt either. There suggestions in the book that he's more powerful at night. Dawn: He's a creature of the night. I always understood he had to wear sunglasses. He was sort of like a wolf. Like they show him as a wolf during the day; it can happen, but it's not great. Brian: I like the way they did it in the Gary Oldman version. He's suited up. He's got the sunglasses on. There's not a whole lot of skin exposed. But he's not [00:30:00] going to turn into smoke. John: Well, okay. Let's talk about that version and Kenneth Branagh's version of Frankenstein. Dawn: Ug. John: I'm not going to spoil anything here, when I say it doesn't sound like Dawn cared it. Dawn: You open this, you opened this can of worms. John, sit down for a second. Listen. He calls it: Mary Shelly's fucking Frankenstein. I inserted the fucking. I'm sorry, I wasn't supposed to say that. He calls it. He calls it. How dare you, Kenneth, Brannagh, call this Mary Shelley's Frankenstein. So that was A-number one. But I went into it all excited: It's Kenneth Brannagh. Love him. He calls it Mary Shelley's Frankenstein and he starts with the ship captain out at sea, just like the book. And so I pull up my little, you know, security blanket and I'm like, oh, Kenneth Brannagh, do this to me, buddy. Do it to me buddy. Show me Mary Shelley Frankenstein as a movie. [00:31:00] And then he just fucks it up, John. And he doesn't actually do that at all. It's a total lie. He screws up every monologue. He makes up motivations and then heightens them. And it's dad. The acting is capital B, capital A, capital D across the board. Everybody sucks in this movie. It looks bad. The direction is bad, and it has nothing to do. He tries to bring Elizabeth back to life. This is a huge departure from Mary Shelley's Frankenstein. Thank you very much, Mr. Brannagh, that's all I have to say for now. John: All right, I was fooled by the fact that he started at, at the north pole. Dawn: That's because he's tricking us, John. That's because it's the whole movie is a lie. John: Okay with that same mindset, what do we think of Bram Stoker's Dracula by Francis Ford Coppola? Dawn: I love that one. Brian: I'm afraid that I don't have, I can't match Dawn's intensity in either respect. Um, except I thought Robert DeNiro [00:32:00] was really good in Frankenstein. Dawn: But that's no, he's not. you're wrong. Your opinion is valid and wrong. Yeah, I'm kidding for listeners who don't know me. I am, I am kidding. Of course. Everybody's opinion is valid except for that one. Yeah. The movie, everything about that movie is bad. John: He is, I think, miscast. Dawn: And Helen Bonan Carter is one of the finest actresses of not just our generation, but of all time. And she sucks in this movie. John: Right. So. Bram Stoker's Dracula. Brian: Bram Stoker's Dracula. [Soundbite: Bram Stoker's Dracula] Brian: Also produced by Branagh. And I assume that is the connection, why they both start with the author's name. I always call it Coppola's Dracula because it gets too confusing to make that distinction. I thought it was a decent movie, but it didn't feel like Dracula. It felt like someone who had heard of Dracula and wrote a good script based on what they had heard. So many divergences that bothered me, although I think it's aged better than it felt the first time. I remember seeing it when it first came out in the nineties and not thinking much of it. And I think audiences agreed with me and it seems like it's been kinder, that audiences have been kinder to it as it's gotten older. John: Okay. Dawn, you love it. Dawn: I loved it. I loved it. It, you know what though? That was one of [00:34:00] those movies that unlike, unlike Mary Shelley's Frankenstein, I can't look at with like an adult critical eye because I, what year did it come out? Was it like 90, 92? I'm like middle school getting into high school and like Winona Ryder was everything. Vampires are everything. I mean, Gary Oldman is the, is a great actor and it's so sexy, very sexy. The sex is Primo. And so I remember loving it, very moving. I don't remember comparing it as certainly not as viciously to the novel because I read Dracula after I had seen the movie. And so there's always that inherent casting where Nina is always going to be Winona Ryder. But I do remember really loving the Gothic convention of the letter and that the movie did seem to utilize and to great effect how letter writing can build suspense and give us different perspectives in a, in a unique cinematic way. Brian: [00:35:00] The two or three biggest stakes that film puts in the ground are not to be found in the book. So there's no love story in the book. There's no Vlad in the book. John: Can I interject there? Isn't that basically, didn't they just rip that off of Dark Shadows, The idea of my long lost love is reincarnated in this woman. I must connect with her. Brian: That is a good question, John. I'm glad you asked that because I call it the doppelganger love interest. Right? We first see that, the first time I know of it happening, I'm sure there's an earlier precedent, is in The Mummy, but then Dark Shadows does it. But that's not where Stoker, I mean, that's not where Coppola and a screenwriter claimed to have gotten the idea. They claimed to have gotten it from Dan Curtis's Dracula in 74. John: Dan Curtis, who produced Dark Shadows, with Barnabas Collins, falling in love with his reincarnated love. Brian: But Dan Curtis's Dracula comes out two years after Blacula. That has a reincarnated love interest. John: Not only does the Blaclua [00:36:00] have a reincarnated love interest, but if I'm remembering movie correctly at the end, when she says I don't want to go with you. He goes, okay. And he's ready to go home. It's like, sorry to bother you. Brian: No, uh, in Blacula, he commits suicide John: Oh, that's it? Yeah. He walks out into the sun. Brian: He goes home in a different way. John: Yes. He's one of my favorite Draculas, the very stately William Marshall. Brian: Yeah, absolutely. That is a favorite of mine. John: Anyway, you were saying stakes in the ground from Coppola's Dracula. Brian: Well, the, the love story, the equating Dracula with Vlad the Impaler. And I felt like they did Lucy really bad in that movie. They had her turn into a wanton harlot, which is not in keeping with the book. Some things are okay, but they really said these are the building blocks of our story and that bugged me. But Anthony Hopkins I liked, so, all right. Dawn: Alright, but see, this [00:37:00] the itch that still that still makes me wanna scratch though: why say Bram Stoker's Dracula? Why say Mary Shelley's Frankenstein? I mean, because I think you heard the venom, obviously. If they took Mary Shelley's name off that thing, you can make Frankenweenie. And I will love, like, I love Frankenweenie. Do your Frankenstein homage all day, all the time. But when you call, when you say it's Bram Stoker's, I think that this is what has been frustrating historians like me and getting high school students Ds in English class ever since. Because it just creates the false perception that you've basically read the book. Right. Or that you, if you know the thing you know the book and it's just a cheap ploy. And I don't like it. Brian: I think, somebody correct me on this, that there, there had been a plan to do a reboot of the Universal monster franchise, and these two movies were supposed to be the reboot of it. [00:38:00] And then they would've then done HG Wells' Invisible Man. John: The Mummy killed it. They've tried to reboot it several times. And that was the first attempt. Brian: Yeah, I've heard that called the dark universe. They were trying to do their own MCU. Dawn: Yeah. Well, at Universal Studios, there is of course in, in LA, in general, there's the property wars, you know? What what's, who has what? And sometimes those get really blurred. Like why does Universal Studios have Harry Potter? When we can see Warner Brothers from the top of our wall/ And that's obviously, you know, those things happen. But when it comes to like the IP or intellectual property, those original monsters are so valuable and they always are at Halloween. And then it's like, sort of, how can we capitalize on this? And yeah. And it's cross generational. Brian: All they really own right now is the look right? They own Jack Pierce's makeup job from Frankenstein. Dawn: But I think that that's exactly the point; [00:39:00] the delusion of what is it that you own if you own, you know, Frankenstein, whatever. But yes, there was definitely an interest to sort of revamp all of the original Universal Monsters they call them and it's the Mummy, Frankenstein, Dracula, and the Invisible Man. John: It's everybody who shows up in Mad Monster Party. Dawn: Exactly. [Soundbite: Mad Monster Party] Dawn: But yeah, The Mummy, starring Tom Cruise, was a tremendous flop. And I think that sort of took the wind out of everybody's sails. John: Let me ask you this, Dawn. If Mel Brooks had titled his movie, Mary Shelley's Young Frankenstein, instead of Mel Brooks' Young Frankenstein, would you have a problem with that? Dawn: Yeah, no, but no, I would not have had a problem, because that would've been irony and juxtaposition. Not just a straight lie. John: So that brings us to some comedies. Young Frankenstein and Abbott and Costello meet Frankenstein, which I was very surprised and a little unnerved to [00:40:00] realize a few years back, Abbott and Costello meet Frankenstein was made a mere 10 years before I was born. And I had always assumed it was way back then. And it's like, no, it wasn't all that way back then. It was pretty, pretty recently. Brian: That happened to me when I realized that Woodstock was only six years before my birth. And it always seemed like ancient history. John: Is that the common thing, Madame Historian? That people kind of forget how recent things were? Dawn: Oh yeah. Remember Roe V. Wade. Sorry, too soon. Brian: We're recording this on that day. Dawn: Yeah, absolutely. I think that it happens to everybody so much faster than you think it's going to. I remember looking around in the nineties feeling, well, surely the seventies was ancient history, you know, because they had That Seventies Show, which debuted as like a period piece. I am still very young and hip and happening and [00:41:00] they are in production for That Nineties Show right now. And I said to my husband, That Nineties Show. I was like, Jesus, I guess that's 20 years because I was in the nineties they did That Seventies Show. And he goes, no baby that's 30 years. And I was like, I'm sorry. I said, I'm sorry, what? He goes, the nineties was 30 years ago. And I just had to sit down and put my bunion corrector back on because these feet are killing me. John: All right. Well, let's just talk about these two comedies and then there's a couple other things I wanna quickly hit on. What are our thoughts on, let's start with Young Frankenstein? [Soundbite: Young Frankenstein] Dawn: I told you I'm not an idealist and we're not a purist about Frankenstein, but I am an enthusiast. So that is why I told you to watch Kenneth Branagh's movie, even though I hate it so much. And that is also why I love Young Frankenstein, because I think that it is often what brings people into the story. For many, many people, it introduces them to the creature. They may know literally nothing about Frankenstein except for Young Frankenstein. And that's actually fine with me because I'm a comedian myself. And I believe that parody is high honor. And often when you parody and satirize something, especially when you do it well, it's because you went to the heart of it. Because you got right in there into the nuggets and the creases of it. And there is something about Young [00:43:00] Frankenstein as ridiculous as it is that has some of that wildness and the hilarity and The Putting on the Ritz. I did find out from my Universal Studios movie history stuff, that that scene was very nearly cut out. Mel Brooks did not like it. And he just didn't like that they were doing it. And of course it's the one, I feel like I'm not the only one who still has to make sure that my beverage is not only out of my esophagus, but like aside, when they start doing it. [Soundbite: Young Frankenstein] Brian: And I understand they were about to throw away the sets from the 1931 Frankenstein when Mel Brooks or his production designer came up and said, Stop stop. We want to use these and they were able to get the original sets or at least the set pieces. John: I believe what it [00:44:00] was, was they got Kenneth Strickfaden's original machines. Ken Strickfaden created all that stuff for the 1931 version and had been used on and off, you know, through all the Frankenstein films. And it was all sitting in his garage and the production designer, Dale Hennessy went out to look at it because they were thinking they had to recreate it. And he said, I think it still works. And they plugged them in and they all still worked. Brian: Oh, wow. Dawn: Oh man. It's alive. John: Those are the original machines. Dawn: I didn't know that. That's fantastic. John: At the time when I was a young kid, I was one of the few kids in my neighborhood who knew the name Kenneth Strickfaden, which opened doors for me. Let me tell you when people find out, oh, you know of the guy who designed and built all those? Oh, yes. Oh, yes. I know all that. One of my favorite stories from Young Frankenstein is when they sold the script. I forget which studio had said yes. And as they were walking out of the meeting, Mel Brooks turned back and said, oh, by the way, it's gonna be in black and white, and kept going. And they followed him down the hall and said, no, it can't be in black and white. And he said, no, it's not gonna work unless it's in [00:45:00] black and white. And they said, well, we're not gonna do it. And they had a deal, they were ready to go. And he said, no, it's gonna stay black and white. And he called up Alan Ladd Jr. that night, who was a friend of his, and said, they won't do it. And he said, I'll do it. And so it ended up going, I think, to Fox, who was more than happy to, to spend the money on that. And even though Mel didn't like Putting on the Ritz, it's weird, because he has almost always had musical numbers in his films. Virtually every movie he's done, he's either written a song for it, or there's a song in it. So, it's weird to me. I've heard Gene Wilder on YouTube talk about no, no, he didn't want that scene at all, which is so odd because it seems so-- Brian: I never thought about that, but you're right. I'm going in my head through all the Mel Brooks films I can remember. And there is at least a short musical interlude in all of them that I can think of. John: But let's talk then about what's considered one of the best mixes of horror and comedy, Abbott and Costello Meet Frankenstein [00:46:00] [Soundbite: Abbott & Costello Meet Frankenstein] Brian: As with comedies of that age, it, it starts off slow, but then it starts to get very funny as time goes on. And all the comedy is because of Abbot and Costello. They are the, [00:47:00] the chemistry they have on screen. I don't know how much of that was actually scripted and how much of it was just how they rolled with each other. But it works really well. Not much of the comedy is provided by the monsters or the supporting cast or even there's maybe a cute, a few sight gags. But wouldn't you say most of the comedy is just the dynamics between them? John: It is. The scary stuff is scary and it's balanced beautifully at the end where they're being chased through the castle. The monsters stayed pretty focused on being monsters and Abbot and Costello's reactions are what's funny. Dawn: If I may, as someone who has already admitted I haven't seen much of the movie, it's feels to me like it may be something like Shaun of the Dead, in the sense that you get genuinely scared if zombie movies scare, then you'll have that same adrenaline rush and the monsters stay scary. They don't have to get silly. Or be a part of the comedy for your two very opposing one's skinny, one's fat, you know, and the way that their friendship is both aligning and [00:48:00]coinciding is the humor. Brian: I believe there is one brief shot in there where you get to see Dracula, Frankenstein's monster and the Wolfman all in the same shot. And I think that might be the only time that ever happens in the Universal Franchise. During the lab scene, does that sound right John? John: I think you really only have Dracula and the Wolfman. I'll have to look it up because the monster is over on another table-- Brian: Isn't he underneath the blanket? John: Nope, that's Lou Costello, because it's his brain that they want. And so they're fighting over that table. And then just a little, I have nothing but stupid fun facts. There's a point in it, in that scene where the monster gets off the table and picks up someone and throws them through a window. And Glenn Strange, who was playing the monster at that point -- and who is one of my favorite portrayers of the monster, oddly enough -- had broken his ankle, I believe. And so Lon, Chaney, Jr. put the makeup on and did that one stunt for him, cuz he was there. Brian: He did that as Frankenstein's monster? John: Yes. Frankenstein. Brian: I didn't know that. Yes, I [00:49:00] did not know that. So he plays both of those roles in that movie? John: Yes. Let me just take a moment to defend Glenn Strange, who played the monster three times: House of Dracula, House of Frankenstein, and Abbott and Costello Meet Frankenstein. In House of Frankenstein, he is following up the film before that, which was Frankenstein Meets the Wolfman, in which, in this very convoluted universe, Lugosi is playing the monster, even though he didn't wanna do it in 31. Because his brain in Ghost of Frankenstein had been put into the Monster's body. So, in Frankenstein Meets the Wolfman, it is Lugosi as the Frankenstein monster. It is Lon Chaney Jr., who had played the monster in Ghost of Frankenstein, now back to playing Larry Talbot. So, it is Wolfman versus Frankenstein. And the premise of the script was he's got Ygor's brain and it's not connecting properly. He's gone blind. They shot that. They had tons of dialogue between the two characters of Larry Talbot pre-wolfman, and the monster, Bela Lugosi. And the executives thought it sounded silly. So they went in and they cut [00:50:00] out all of Lugosi's dialogue out of the movie. So now you have a blind monster stumbling around with his arms in front of him, but he doesn't talk. And if you look at the movie, you can see where he's supposed to be talking and they cut away quickly. And it's really convoluted. Glenn Strange who then has to play the monster next, looks at that and goes well, all right, I guess I'm still blind. I guess I'm still stumbling around with my arms in front of him. Which is the image most people have of the Frankenstein monster, which was never done by Boris in his three turns as the monster. So with, in that regard, I just think Glenn Strange did a great job of picking up what had come before him and making it work moving forward. Anyway, a couple other ones I wanna just hit on very quickly. Brian asked me to watch Dracula in Istanbul. Under the circumstances, a fairly straightforward retelling of the Dracula story. I would recommend it--it is on YouTube--for a couple of reasons. One, I believe it's the first time that Dracula has actual canine teeth. Brian: Yes. John: Which is important. But the other is there's the scene where he's talking to Harker about, I want [00:51:00] you to write three letters. And I want you to post date the letters. It's so convoluted, because he goes into explaining how the Turkish post office system works in such a way that the letters aren't gonna get there. It's just this long scene of explaining why he needs to write these three letters, and poor Harker's doing his best to keep up with that. That was the only reason I recommend it. Brian: That movie is based on a book called Kazıklı Voyvoda, which means The Warrior Prince and it was written in, I wanna say the 1920s or thirties, I wanna say thirties. It's the first book to equate Dracula and Vlad the Impaler, which I've come back to a couple times now, but that's significant because it was a Turkish book and the Turks got that right away. They immediately saw the name Dracula like, oh, we know who we're talking about. We're talking about that a-hole. It was not until the seventies, both the [00:52:00] fifties and the seventies, that Western critics and scholars started to equate the two. And then later when other scholars said, no, there, there's not really a connection there, but it's a fun story. And it's part of cannon now, so we can all play around with it. John: But that wasn't what Bram Stoker was thinking of? Is that what you're saying? Brian: No. No, he, he wasn't, he wasn't making Dracula into Vlad the Impaler. He got the name from Vlad the Impaler surely, but not the deeds. He wasn't supposed to be Vlad the Impaler brought back to life. John: All right. I'm going to ask you both to do one final thing and then we'll wrap it up for today. Although I could talk to you about monsters all day long, and the fact that I'd forgotten Dawn, that you were back on the Universal lot makes this even more perfect. If listeners are going to watch one Dracula movie and one Frankenstein movie, what do you recommend? Dawn, you go first. Dawn: They're only watching one, then it's gotta be the 1931 Frankenstein, with Boris. Karloff, of course. I think it has captured [00:53:00] the story of Frankenstein that keeps one toe sort of beautifully over the novel and the kind of original source material that I am so in love with, but also keeps the other foot firmly in a great film tradition. It is genuinely spooky and it holds so much of the imagery of any of the subsequent movies that you're only watching one, so that's the one you get. But if you do watch any more, you've got this fantastic foundation for what is this story and who is this creature? John: Got it. And Brian, for Dracula? Brian: I was tossing around in my head here, whether to recommend Nosferatu or the 1931 Dracula. And I think I'm going to have to agree with Dawn and say the 1931 for both of them, because it would help a viewer who was new to the monsters, understand where we got the archetypes we have. Now, why, when you type an emoji into your phone for Vampire, you get someone with a tuxedo in the slick back hair or, I think, is there a Frankenstein emoji? Dawn: There is, and he's green with bolts in his neck. [00:54:00] Brian: Yeah, it would. It will help you understand why we have that image permanently implanted in our heads, even though maybe that's not the source material. We now understand the origins of it. Dawn: And if I may too, there's, there's something about having the lore as founded in these movies is necessary, frankly, to almost understand what happens later. I mean, I get very frustrated in 2022, if there is a movie about vampires that takes any time at all to explain to me what a vampire is, unless you're breaking the rules of the vampire. For example, you know, like in Twilight the vampire sparkles, like a diamond when it's out in the sunshine and is the hottest thing ever. That's really great to know. I didn't know that about vampires. That wasn't necessarily true before, you know, but you don't need to take a lot of time. In fact, when you do read Dracula, one of the things for me that I found very frustrating was the suspense of what is it with this guy? They were like: He said we couldn't bring [00:55:00] garlic and they take all this time. And you're kind of as a modern reader being like, cuz he is a fucking vampire. Move on. Like we know this, we got this one. It's shorthand Brian: That's one snide thing I could say about the book is that there are times where Dracula's powers seem to be whatever his powers need to be to make this next scene creepy and move on to the next chapter. John: He was making it up as he went along. Yeah, yeah, yeah.

Sin City comes to Mega-City One as Dave and Adam hit the MEAN STREETS! Enoy gang! Please support the show on Patreon! Every dollar helps the show! https://www.patreon.com/SignalofDoom Follow us on Twitter: @signalofdoom Dredd or Dead: @OrDredd Legion Outpost: @legionoutpost Follow Dave on Twitter: @redlantern2051

Episode #250 of BGMania: A Video Game Music Podcast. This week on the show, Bryan and Bedroth from RPGera are back with a special 250th episode celebration! For this milestone, we decided to reach into the top hat of magic tricks once again, and are focusing on another Composer Appreciation... this time with the legendary Alberto José González! And yes... we managed to get a text-based interview with the man himself, which you can hear the two of us re-enact during the show, as well as find over on our website by clicking here! Also, please be sure to visit Alberto's Soundcloud and Bandcamp websites for some really excellent music! Email the show at bgmaniapodcast@gmail.com with requests for upcoming episodes, questions, feedback, comments, concerns, whatever you want really! Special thanks to our Executive Producers: Jexak & Xancu. EPISODE PLAYLIST AND CREDITS Area 1-1 Music from Les Aventures de Tintin: Le Temple du Soleil [Alberto José González, 1997] Scroll Stage from Turok 2: Seeds of Evil [Alberto José González, 1998] Act 03 & 10 -The Swamps & Gargamel Manor House- from The Smurfs [Alberto José González, 1994] Painful Gulch from Lucky Luke [Alberto José González, 1999] Title Screen from Hugo 2 [Alberto José González, 1997] The Castle from Melkhior's Mansion [Alberto José González, 2022] Full OST from The Morning Adventure: Mananitos Bollycao [Alberto José González, 2003] Track 4 from Sylvester & Tweety: Breakfast on the Run [Alberto José González, 1998] Olympia from Asterix & Obelix [Alberto José González, 1995] Boss -Cyanidia- from Spirou [Alberto José González, 1995] The Gorge of Orlok from The Sword of Ianna [Alberto José González, 2017] Menu from Otto's Ottifanten: Baby Bruno's Nightmare [Alberto José González, 1998] Action Theme from Turok: Rage Wars [Alberto José González, 1999] Space Trip from The Light Corridor [Alberto José González, 1990] SUPPORT US Patreon: https://patreon.com/rpgera CONTACT US Website: https://rpgera.com Discord: https://discord.gg/cC73Heu Twitch: https://twitch.tv/therpgera Twitter: https://twitter.com/OriginalLDG Instagram: https://instagram.com/bryan.ldg/ Facebook: https://facebook.com/leveldowngaming RPGERA PODCAST NETWORK Very Good Music: A VGM Podcast --- Send in a voice message: https://anchor.fm/bgmania/message

In Chapter 19 of the Gadget Adventure Team serial, Jean-Pierre and an American spy tell each other some lies while Shay and Emma encounter a masked stranger..How long do they have before Orlok's heat ray strikes and sends thousands to a watery grave? Find out in this thrilling episode, “Cruise to Danger”!Sounds by https://freesound.org/Music includes loops from https://soundtrackloops.com/ and the following:The Curtain Rises by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/5007-the-curtain-risesLicense: https://filmmusic.io/standard-licenseEvening Melodrama by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/3722-evening-melodramaLicense: https://filmmusic.io/standard-licenseSpecial thanks to Eddy Webb of Onyx Path Publishing!Send us your thoughts and suggestions at gadgetextractionteam@gmail.com!

In Chapter 18 of the Gadget Extraction Team serial, our band of Talents board a transatlantic cruise ship in the hope of preventing another use of Baron Orlok's deadly heat ray. Intrigue and surprises await on the SS Manhattan, with mistaken identities, mysterious strangers, and door-slamming farce. Will the G.E.T. ferret out the agent of Orlok among the throng of passengers? Find out in this thrilling episode, “The Burning Mirror”!Sounds by https://freesound.org/Music includes loops from https://soundtrackloops.com/ and the following:The Curtain Rises by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/5007-the-curtain-risesLicense: https://filmmusic.io/standard-licenseEvening Melodrama by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/3722-evening-melodramaLicense: https://filmmusic.io/standard-licenseSpecial thanks to Eddy Webb of Onyx Path Publishing!Send us your thoughts and suggestions at gadgetextractionteam@gmail.com!

In Chapter 16 of the Gadget Extraction Team serial, our Talent band has been discovered by Marketa Orlok and her gunmen, leading to a frantic battle for survival amid the Cairo warehouse. Bullets fly, swords are drawn, and fists are liberally applied to jaws! Can the agents of the Aeon Society fight their way to freedom or does Orlok have more surprises in store? Stay tuned!Sounds by https://freesound.org/Music includes loops from https://soundtrackloops.com/ and the following:The Curtain Rises by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/5007-the-curtain-risesLicense: https://filmmusic.io/standard-licenseEvening Melodrama by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/3722-evening-melodramaLicense: https://filmmusic.io/standard-licenseSpecial thanks to Eddy Webb of Onyx Path Publishing!Send us your thoughts and suggestions at gadgetextractionteam@gmail.com!

Nosferatu från 1922 är en tysk stumfilm vars estetik modeskapare som Yohji Yammamoto, Rick Owens, Comme des Garçons och Viktor & Rolf har flirtat med. Filmen Nosferatu har inspirerat många under årens lopp, inte minst svartklädda och vitsminkade gothrockare som flirtat med mörkrets många krafter har lånat från Nosferatus look. Även oräkneliga hårdrocksband har under åren tagit namnen Orlok eller Nosferatu eller snott stilen.I veckans program pratar vi bland annat om den lesbiska vampyrfiguren Carmilla, blodets symbolik och vampyrens kulturella utveckling under åren från skräckinjagande till sexig.Gäst i studion är Anna-Sofia Rossholm, lektor i filmvetenskap vid Stockholms universitet.

In 1838, in the fictional German town of Wisborg,[1][6] Thomas Hutter is sent to Transylvania by his employer, estate agent Herr Knock, to visit a new client named Count Orlok who plans to buy a house across from Hutter's own home. While embarking on his journey, Hutter stops at an inn where the locals become frightened by the mere mention of Orlok's name.Hutter rides on a coach to a castle, where he is welcomed by Count Orlok. When Hutter is eating dinner and accidentally cuts his thumb, Orlok tries to suck the blood out, but his repulsed guest pulls his hand away. Hutter wakes up the morning after to find fresh punctures on his neck, which he attributes to mosquitoes. That night, Orlok signs the documents to purchase the house and notices a photo of Hutter's wife, Ellen, remarking that she has a "lovely neck." Reading a book about vampires that he took from the local inn, Hutter starts to suspect that Orlok is a vampire. He cowers in his room as midnight approaches, with no way to bar the door. The door opens by itself and Orlok enters, and Hutter hides under the bed covers and falls unconscious. Meanwhile, his wife awakens from her sleep, and in a trance walks onto her balcony's railing, which gets his friend Harding's attention. When the doctor arrives, she shouts Hutter's name, apparently able to see Orlok in his castle threatening her unconscious husband.The next day, Hutter explores the castle, only to retreat back into his room after he finds the coffin in which Orlok is resting dormant in the crypt. Hours later, Orlok piles up coffins on a coach and climbs into the last one before the coach departs, and Hutter rushes home after learning this. The coffins are taken aboard a schooner, where all of the ship's sailors and captain die and Orlok takes control. When the ship arrives in Wisborg, Orlok leaves unobserved, carrying one of his coffins, and moves into the house he purchased.Many deaths in the town follow after Orlok's arrival, which the town's doctors blame on an unspecified plague. Ellen reads the book Hutter found, which claims that a vampire can be defeated if a pure-hearted woman distracts the vampire with her beauty. She opens her window to invite Orlok in, but faints. Hutter revives her, and she sends him to fetch Professor Bulwer, a physician. After he leaves, Orlok enters and drinks her blood, but starts as the sun rises, causing Orlok to vanish in a puff of smoke by the sunlight. Ellen lives just long enough to be embraced by her grief-stricken husband.The last scene shows Count Orlok's destroyed castle in the Carpathian Mountains, symbolizing the end of his bloody reign of terror.

Celebrate the 100 year anniversary of one of the first horror films ever made: Nosferatu! We watch the oldest film yet this week on First Timers Movie Club as Patrick shows Lolo the classic example of German Expressionism, Nosferatu. This episode gets real film nerdy so prepare to learn all about the history of the artform of cinema, how WW1 gave birth to the German Expressionist movement and how WW2 brought it to America shaping the future of film history and giving us style and techniques still used today!!! New episodes of First Timers Movie Club come out every other Friday so click SUBSCRIBE and rate us five stars to make sure you don't miss our next episode!Watch the trailer for ALMOST SORTA MAYBE: https://youtu.be/Y7j122FYyxQCome see ALMOST SORTA MAYBE at the First City Film Festival: https://filmfreeway.com/FirstCityFilmFestival/ticketsCome see ALMOST SORTA MAYBE at the Kansas City Film Festival: https://kcfilmfest.org/Come see ALMOST SORTA MAYBE at the Doc Sunback Film Festival: http://www.docsunbackfilmfest.com/home.htmlBecome a Patreon today for access to exclusive episodes here: www.patreon.com/ixfilmproductionsHave a favorite (or least favorite) famous movie that you think we should've seen? Reach out to IX Film Productions on Twitter, Instagram or email and we'll add it to our list!Follow IX Film Productions for podcast updates, stand up comedy, original web shorts and comedy feature films at:Facebook: www.facebook.com/ixfilmproductionsTwitter: www.twitter.com/ixproductionsInstagram: @IXProductionsYouTube: www.youtube.com/ixfp"First Timers Movie Club" is brought to you by IX Film Productions."Making the World a Funnier Place one Film at a Time"MusicThe Curtain Rises by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/5007-the-curtain-risesLicense: http://creativecommons.org/licenses/by/4.0/

**Dark Indulgence Mixshow presents a special feature collaboration show featuring back to back Dark Disco sets from Dj Scott Durand (USA) & Orlok (Tunisia). As Dark Disco is taking global dancefloors by storm two shows are at the forefront of the movement Dark Indulgence each week and Orlok's: Dark Is The New Disco heard exclusively on Soundcloud! We have come together to present you with some of our favorites of this last year so turn the volume to 11 and enjoy a global meltdown of Dark Disco! ** For More Info About Orlok and his Dark Is The New Disco show visit: https://soundcloud.com/marouthedude www.facebook.com/orlokdude www.facebook.com/darknewdisco/ www.instagram.com/dark.disco_ For more info about Dj Scott Durand visit: https://www.djscottdurand.com Orlok set starts: Tronik Youth - Spirit Dancer Tiempo de Maldad - Maxico 59 to 1toxido e r Peter Schilling – Terra Titanic ( Curses Edit ) Kendal - Corpo Meccanico Mufti - Restrained Clean and Neat - (David Carretta Remix) Tobias Bernstrup - Hitman Zanias - endling No Regrets - Black Devil Terminator One - Body Party Baptism - Crystal Castles Fighting Spirit - Protector 101 Dj Scott Durand Starts: Senor Chugger – Press The Flesh Black Light Odyssey - The Beat Los Mekanikos - Viene Viene MYRDDIN - Disconaut (Aleito remix) Koto - Visitors (Block & Crown Italo Disco Mix) Makeup and Vanity Set - Death Laser Blackout Band - Transgresión Fatigue - Bleach Black Light Smoke - Never Go Home (Tronik Youth Remix) Chinaski - Fun House Apoptygma Berzerk - Disarm (Alex O. Mix) BhamBhamHara - Your Eyes onenine - BUZZ Serarth - Auditive TR/ST - Sulk John Lord Fonda - Someone is calling (Voltaire remix) Pablo Bozzi - Reach for the Lasers

**Dark Indulgence Mixshow presents a special feature collaboration show featuring back to back Dark Disco sets from Dj Scott Durand (USA) & Orlok (Tunisia). As Dark Disco is taking global dancefloors by storm two shows are at the forefront of the movement Dark Indulgence each week and Orlok's: Dark Is The New Disco heard exclusively on Soundcloud! We have come together to present you with some of our favorites of this last year so turn the volume to 11 and enjoy a global meltdown of Dark Disco! ** For More Info About Orlok and his Dark Is The New Disco show visit: https://soundcloud.com/marouthedude www.facebook.com/orlokdude www.facebook.com/darknewdisco/ www.instagram.com/dark.disco_ For more info about Dj Scott Durand visit: https://www.djscottdurand.com Orlok set starts: Tronik Youth - Spirit Dancer Tiempo de Maldad - Maxico 59 to 1toxido e r Peter Schilling – Terra Titanic ( Curses Edit ) Kendal - Corpo Meccanico Mufti - Restrained Clean and Neat - (David Carretta Remix) Tobias Bernstrup - Hitman Zanias - endling No Regrets - Black Devil Terminator One - Body Party Baptism - Crystal Castles Fighting Spirit - Protector 101 Dj Scott Durand Starts: Senor Chugger – Press The Flesh Black Light Odyssey - The Beat Los Mekanikos - Viene Viene MYRDDIN - Disconaut (Aleito remix) Koto - Visitors (Block & Crown Italo Disco Mix) Makeup and Vanity Set - Death Laser Blackout Band - Transgresión Fatigue - Bleach Black Light Smoke - Never Go Home (Tronik Youth Remix) Chinaski - Fun House Apoptygma Berzerk - Disarm (Alex O. Mix) BhamBhamHara - Your Eyes onenine - BUZZ Serarth - Auditive TR/ST - Sulk John Lord Fonda - Someone is calling (Voltaire remix) Pablo Bozzi - Reach for the Lasers

Timestamps: 01:08 - Production/Cast; 36:38 - Plot Jason and William lay out all the facts about this film's wonderful history, and the colorful cast. The facts about Max Schreck will do, Donkey, they'll do. They get carried away babbling about the plot and Count Olaf. I meant Orlok. Also they... Wait... Is that a deathbird...?? (faints) ------ "Running Fiddlers Country Band" Music by FreeMusicMascot from Pixabay Music by RoccoW Welcome! (RoccoW) / CC BY-SA 3.0 Sweet Self Satisfaction (RoccoW) / CC BY-SA 3.0 Local Forecast - Slower by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3988-local-forecast---slower Unseen Horrors by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4569-unseen-horrors License: https://filmmusic.io/standard-license Audio clips from movies: The Day the Earth Stood Still, The Wolf Man, 2001: A Space Odyssey, Godzilla (1954), Invisible Man, Frankenstein (1931) --- Send in a voice message: https://anchor.fm/cinematic-fantastic/message Support this podcast: https://anchor.fm/cinematic-fantastic/support

THIS EPISODE HAS SPOILERS. SO MANY SPOILERS. But you know what isn't a spoiler? How much we love Gilbert Redford. Seriously, A+ to the World's Best Mafia Boyfriend. Vka and Vki go through the twists and turns in each LIs route, PLUS the True End and Secret Character! Will you learn anything new? Did we forget anything? Could we have gone over MORE??? (Yes, this could've been a 4 hour episode but Vki doesn't have time to edit that much. She has a day job.)Side note, we have to put a blasphemy warning on this episode?? Otomate took some liberties with Catholicism in this game.Games discussed: Cupid Parasite, Ikemen Vampire, Piofiore: Fated MemoriesNone of the games or characters discussed belong to us.Support the show (https://www.buymeacoffee.com/OtomeShimai)

THE SISTERS ARE BACK FROM HIATUS! In this episode we: didn't read our notes, left a cat in the room, forgot how to say “kidding”, and didn't tell you who Yang is. We did, however, show our usual insane amount of biases. If you haven't played Piofiore or are looking for a spoiler free review/overview, this is your episode! Ep. 22 will have all the Spoilers with a capital S.Also, a HUUUUGE thank you to Oona Tempest from Sweet & Spicy Reviews for featuring us in their Community Spotlight last week! If you want to read the interview to learn more about us it's HERE.Games discussed: Cupid Parasite, Ikemen Sengoku, Piofiore: Fated Memories, Tears of ThemisNone of the games or characters discussed belong to us.Support the show (https://www.buymeacoffee.com/OtomeShimai)

Do the Aeronauts know which horror villain has the most kills? What does Tyler know about Count Orlok? Email us your questions at wordballoonspod@gmail.com

It's finally here - the most wonderful time of the year - SPOOKY SEASON HAS RETURNED! The Brides kick off their Halloween celebrations with yet another vampire movie, the brilliantly creepy Nosferatu! Released in 1922, F.W. Murnau's deep dive into German Expressionist horror is the first onscreen retelling of Dracula, even though the studio definitely didn't have the rights to Stoker's novel and got sued into bankruptcy by his widow. Seriously: Prana Films closed after this film because she gouged them with legal fees. And for good reason; it's Dracula. No question about it. This is a film we technically shouldn't have, and that transgressive, unsettling quality shows up in every frame. And that's before we even get to Count Orlok! Along the way we chat about the obvious anti-Semitic tropes that surround vampire lore, the baffling choice to sub a hyena for a werewolf, and debate if Herr Knock is a scarier character than Count Orlok. It's honestly closer than you think. Also, would Orlok sound like the Count from Sesame Street, or Count Chocola? Nosferatu: A Symphony of Horror. 1922. Directed by F.W. Murnau. Written by Henrik Galeen. Starring Max Schreck, Greta Schröder, Gustav von Wangenheim.

Flogoween edition! Topics crammed into the 15 minutes include: Would you attend Count Orlok's housewarming party?Why is Orlok wearing Fiona's dad's shoes? Was the 1920s a golden age for cinema?Why can't Fiona get her head around a film being silent? What did Fiona think of the German expressionist movement? (Take a wild fu*king guess) How often do you see a pointy-eared man walking down the street with a coffin lodged under his arm?  ''It's just soooo Old'' Fiona, eight years old from Ireland. To celebrate the spookiest day of the year, we devised the great idea (it wasn't) of attempting to release 31 horror-themed films for every day in October! We are excited to partner up with Head in The Game to keep us going through this bonanza month of film watching and recording!To help support this fantastic cause, FilmFoggers are donating £2.00 per episode released during October. But we also need your help!We are trying to reach the dizzy heights of getting 1000 downloads during October to add extra sprinkles on top of the pumpkin pie. If we achieve 1000 downloads, Filmfloggers will top up our donation to £100. So even if you have no interest in listening, please think about downloading one or all of our 31 Flogoween films, so we have an excuse to donate more money towards this fantastic cause! Please visit https://headinthegame.co.uk and click on the About Us tab, where you'll find more information on the main aims and objectives of HITG. If you wish to donate to HITG, please visit https://headinthegame.co.uk/donate/ & click on their donate page. There is no minimum donation amount, so please give what you can! Head In The Game Website - https://headinthegame.co.ukDonation link - https://headinthegame.co.uk/donate/FilmFloggers Episodes - https://t.co/uHw3yuylDr?amp=1GameFloggers Twitch - https://tinyurl.com/sabrbumtHelp Flog the Podcast by Rate and Reviewing! Apple iTunes - https://tinyurl.com/268ccs6cPodchaser - https://www.podchaser.com/users/filmfloggersGoodpods - https://goodpods.app.link/gEvDLhAJYibSocial Mediahttps://www.facebook.com/filmfloggershttps://www.instagram.com/filmfloggers/https://twitter.com/FilmFloggersWebsitehttps://filmfloggers.buzzsprout.comEmail FilmFlog suggestions to hosts@filmfloggers.comArtwork by @deanbeattieSupport the show (https://www.buymeacoffee.com/FilmFloggers)

¡Bienvenidos a la segunda temporada de Expediente Terror! Este podcast dedicado a todo lo relacionado con la cultura del terror, la fantasía y la ciencia ficción. En este episodio: Joshep Juárez, Fernando Armenta y Esteban Castellanos platican sobre las míticas y ostentosas construcciones desde donde reyes y reinas dirigían a sus ejércitos y gobernaban sobre sus pueblos. Desde el clásico logotipo de Disney hasta el tétrico hogar del conde Orlok, inauguramos el mes de Halloween hablando sobre castillos y fortalezas. Recuerden que a partir de ahora podrán leer reseñas, artículos, creepypastas y algunas cosas más en el siguiente enlace: www.expedientefreak.wordpress.com Tampoco olviden visitar nuestras redes sociales: www.facebook.com/expedienteterror www.instagram.com/expediente_terror/ Música: October 31st by Nicolas Gasparini (Myuu) Devour by Nicolas Gasparini (Myuu) https://www.youtube.com/user/myuuji

In episode 23 Spike sits down with Orlok from Countess! All the way from the Netherlands we talk about the 30 year run for the Black Metal group including their 16 album catalogue! Countess was the first Metal band to release songs in Dutch. We talk about recording, playing live shows and internet etiquette. As the founding member, main song writer and bassist for this Black Heavy Metal Band, Orlok is a true gentleman with many insights to our music scene. Intro music by Silence The Crow!

Today we’re gonna spice things up! I’m with my best friends and incredible Hosts of the Murder Monday Podcast and the Sunshine Steven Podcast, Steven and Brandon Rice A.K.A Mr. and Mr. Rice.  Join us as we have fun, hang out, and talk all about Halloween stories, horror films, Halloween trivia, and more!    [00:01 – 12:09] Opening Segment I introduce our guests,  Steven and Brandon Rice,a.k.a Mr. and Mr. Rice  I talk about the topic of this episode I share my funny Halloween story about my job  How me and my boyfriend came out as a couple at our office Halloween party  Brandon shares his funny story at his work Halloween party  Thrown into the pool while being drunk Steven shares a scary story about a friend who worked at a haunted hotel   [12:10 – 18:45] Favorite Scary movie Brandon shares his favorite scary movie Halloween  Steven talks about his favorite horror movies Scream I talk about my favorite scary movie Midsommar by Ari Aster We talk about how people have a different perspective and opinion on scary movies We share our review on Host horror Movie that was released recently in 2020 [18:46 – 24:59] This or That Halloween Edition  Trick or Treat? Brandon: Trick Steven: Treat Halloween movie night or party? Brandon: Halloween movie night/party Steven: Halloween movie night Christina: Halloween Party  Hocus Pocus or Nightmare Before Christmas? All: Hocus Pocus Frankenstein or Dracula?  All: Dracula Classic vintage costume or 90s Movie character? Brandon: Classic Vintage Costume Steven: Classic Vintage Costume Christina: 90s Movies character  Haunted house or Escape room? Brandon: Haunted House Steven: Escape room Christina: Escape room Supernatural movies or gore movies? Brandon: Supernatural Steven: Supernatural Christina: Gore  Spooky graveyard or Witches coffin?  Brandon: Graveyard Steven: Witches coffin Christina: Witches coffin  [25:00 – 37:00] Buzzer round with 13 questions Which horror film kills someone by forcing them to eat too much? Brandon: SAW Steven:  Hansel and Grettel Correct answer: Seven  What film showcases death by strangulation with a clothesline in the shower? Steven:  Final Destination  Correct answer: Final Destination  Which horror films kill their high profile main character at the very beginning of the movie? Steven: Scream What horror film depicts their character smashing their dirt bike into an artificial wall? Brandon: The rocky horror film show Steven: Ghost rider Correct Answer: Cabin in the wood how many times does count Orlok blink throughout the entirety of his empire in Nosferatu Brandon: 12 Steven: 22 Correct Answer:  1 time Which on-screen adaptation fell flat, according to Stephen King? Steven: The Shining  Which well-known horror film is recognized as the most profitable film of all time? Brandon: Jason Steven: The Exorcist Correct Answer:  Paranormal Activity What is the number one rule on Randy's list for surviving a horror movie? Steven: Don’t have sex Correct Answer:  Why can't Michael Myers be killed on Halloween the Curse of Michael Myers Brandon: He is a demon Steven: He is part of the cult Correct Answer:  Under an ancient curse How many people involved with the exorcist died during the production? Brandon: 4 Steven: 3,2 Correct Answer:  9 What is odd on the videotape in The Ring? Steven: if you watch it, you died in 7 days Correct Answer: it doesn’t use a time code What is the name of the camp in The Sleep Away Camp? Brandon: Sleeping hollow Steven: Airwalk Correct Answer: Airwalk Who does JC see first in It Follows? Steven: Old lady  Brandon; Old naked lady Correct Answer: Old naked lady Quotes: “It’s not the house that's haunted; it is your son.” Brandon: The Conjuring Steven: Insidious Correct Answer: Insidious Quotes: “This is no dream; this is really happening.” Brandon: Freddie Krueger  Steven: Rosemary’s baby Correct Answer: Rosemary’s baby [37:01 – 40:44]  Closing Segment Where can we keep up with Brandon and Steven Rice? See links below Steven talks about the Sunshine Steven Podcast An inspirational podcast where he talks to guest on different topics Brandon and Steven talk about Murder Monday Podcast All things spooky and cover true-crime stories Final words from me   Resources Mentioned: Halloween (2018) Scream (Franchise)  Midsommar (2019) Host (2020) Murder Mondays Podcast Sunshine Steven Podcast   You can connect with Brandon and Steven on their Instagram @sirstevenrice, @theincrediblemr.rice, and their shared account @mrandmrrice.  LEAVE A REVIEW + Help people spread the message of motivation and chasing your dreams by sharing this episode or click here to listen to our previous episodes. Keep Up with the Podcast on Instagram @workingotpodcast. Follow, my personal page on Instagram @cnsloan_   Don't forget to subscribe and leave a 5-star review!

In this highly influential silent horror film, the mysterious Count Orlok (Max Schreck) summons Thomas Hutter (Gustav von Wangenheim) to his remote Transylvanian castle in the mountains. The eerie Orlok seeks to buy a house near Hutter and his wife, Ellen (Greta Schroeder). After Orlok reveals his vampire nature, Hutter struggles to escape the castle, knowing that Ellen is in grave danger. Meanwhile Orlok's servant, Knock (Alexander Granach), prepares for his master to arrive at his new home. Referenced in this episode: Walt Disney's & Salvador Dali Destino (2003): https://www.youtube.com/watch?v=Wn-HPVep7Ss Shadow of the Vampire (2000): https://en.wikipedia.org/wiki/Shadow_of_the_Vampire Silentology thoughts on Nosferatu: https://silentology.wordpress.com/2016/10/31/thoughts-on-nosferatu/ Coitus Interruptus: Sex, Bram Stoker, and Dracula: https://www.erudit.org/fr/revues/ron/2006-n44-ron1433/014002ar/ Kino's release: https://www.kinolorber.com/product/fw-murnaus-nosferatu-deluxe-remastered-edition-blu-ray hosted by YiFeng, Lily, Bob Recorded November 8th, 2019

Movie Meltdown - Episode 479 This week we are joined by semi-regular cast member... and at this point, a member of the Meltdown family - DOUG JONES!! And this week Doug joins us for our Sofa Theater discussion of Waking Ned Devine. And while we realize both the guest and the cast seem to crash through people's boundaries, we also address… Count Orlok, The Cabinet of Dr. Caligari, Better Things, What We Do in the Shadows, the AFI awards, Guillermo del Toro, Star Trek: Discovery, Mira and Paul Sorvino, the Hallmark Channel, The Shape of Water, Christina Ricci, coming up with a caper, The Candy Shop, the tubby blue guys… with weird white wigs, Ann B. Davis, squeezing faces, movies with rubber monsters in them don't often make it to a 13 nomination night at the Oscars, I've never seen a surge like this last year ever before, being a criminal mastermind, Mimic 3, you’re just not watching it right, it should inspire whatever you need that day, thriving in life, snitches get… thrown into the ocean, I’ll be your Joan Rivers, Falling Skies, Skin and Bones, you’re so creepy in that, The Office...meets Big Brother...meets Nosferatu, ten million per episode, the Morlocks and the Eloi, hooking up with fish people, I think there should be way more wendigo movies, false fangs, huggles and face-cups, my IMDb page does scroll down to 165 credits now, watching that telephone booth sail into the air, not one - but two naked septuagenarians on a motorcycle, he’s very intense to talk to, I'll get me own bangers and mash, old crusty couple, shut up and take the payoff, marked for devouring, involuntary manslaughter, we’ll encase you in latex like every job you have, go-go-Doug-arms, creating matte shots off the original silent film, Beneath the Leaves, H. G. Wells and using fruity soaps! Spoiler Alert: Full spoilers for "Waking Ned Devine", so go watch the movie before you listen. “For me, creating a piece of art… it’s not up to the artist to tell you how to feel about it…”

Tracklist: 01 - Liquido - Scaffolding - Pattern Abuse 02 - Keith David Doyle (as Piston Candy) - Some Kind Of Alchemy - Effusive Muse Productions 03 - Zenzizenz - Jan B10 - Let’s Play House Records 04 - Zenzizenz - Umi - Let’s Play House Records 05 - Naty Seres - Clouds Of Steam - Geometrika FM 06 - Redwan - Nautilus - Geometrika FM 07 - Ikuko Morozumi - Solidification - Cian Orbe 08 - Orlok 101 - Transylvania - Barro 09 - Apparat - Execute - Shitkatapult

Tracklist: 01 - Liquido - Scaffolding - Pattern Abuse 02 - Keith David Doyle (as Piston Candy) - Some Kind Of Alchemy - Effusive Muse Productions 03 - Zenzizenz - Jan B10 - Let's Play House Records 04 - Zenzizenz - Umi - Let's Play House Records 05 - Naty Seres - Clouds Of Steam - Geometrika FM 06 - Redwan - Nautilus - Geometrika FM 07 - Ikuko Morozumi - Solidification - Cian Orbe 08 - Orlok 101 - Transylvania - Barro 09 - Apparat - Execute - Shitkatapult

Tracklist: 01 - Liquido - Scaffolding - Pattern Abuse 02 - Keith David Doyle (as Piston Candy) - Some Kind Of Alchemy - Effusive Muse Productions 03 - Zenzizenz - Jan B10 - Let’s Play House Records 04 - Zenzizenz - Umi - Let’s Play House Records 05 - Naty Seres - Clouds Of Steam - Geometrika FM 06 - Redwan - Nautilus - Geometrika FM 07 - Ikuko Morozumi - Solidification - Cian Orbe 08 - Orlok 101 - Transylvania - Barro 09 - Apparat - Execute - Shitkatapult

Blood! Blood everywhere! This week the gang stays on target mostly with vampires the topic of the week. Get the rundown on vampire lore in movies from silent black and white films to the present day. So sink your fangs into this week’s Terror Trio episode!

This week we review Big Finish Eighth Doctor Adventures Season 3: #3 “The Beast of Orlok” and Titan Comics 10th Doctor Year 3 #6-8 & 10.

Greetings, Earthlings! Why not have a battle of the Pumpkin Ales? Last episode, we sipped on “Pumpkin Ale” by Upslope Brewing Company and this week, we meet its challenger, “Count Orlok Black Pumpkin Ale” by Urban Chestnut Brewing. Count Orlok is a 5.4% Pumpkin Ale that is far from a Pumpkin Pie. Instead, it can be described as a spiced chai tea with loads of espresso. Trying to avoid the typically sweet taste of pumpkin ales, Orlok utilizes the taste of coffee, real pumpkin, and warming spices. Regarding aroma: the brew smells of pumpkin, cinnamon, nutmeg, and hints of charred marshmallow. This week on Friends Drink Beer, we sit down with founder and frontman of the “NK Band”, Nikhil Korula. Together, we seriously debate the Team Edward v. Team Jacob debacle, give advice on how to slide out of the “friend zone”, and Nikki dives into who inspired his infamous stage dance moves. Enjoy another sit down with Friends Drink Beer! To find out more about this Saint Louis, Missouri based brewery that seeks to capture the essence of “New World Meets Old World”, visit: urbanchestnut.com To learn more about Nikhil Korula and the NK Band, visit: nkband.com Have a question for Ryan & Alex? Submit it today at friendsdrinkbeer.com, and we will answer it on the next episode! Lastly if you like the show, donate to our Patreon and show your support: patreon.com/friendsdrinkbeer CREDITS Alex Hobbs - Executive Producer Ryan Roope - Executive Producer Episode Written By: Jared Brody

Happy birthday, CadaverCast! 5-year-old Alistair and his Dad celebrate the one-year anniversary of CadaverCast's debut by revisiting the topic of their very first episode: Dracula. Only this time the Dracula's German and not called Dracula and also has a lumpy head, long fingernails and big ears. So listen in as we discuss F.W. Murnau's NOSFERATU (1922) to hear Al’s thoughts on silent film, learn about Count Orlok's super powers, and find out what mundane activity Orlok looks funniest doing. You can support CadaverCast with your ratings and positive reviews on iTunes, by donating to our network at patreon.com/wordsalad, and spreading the word about CadaverCast to your friends (or enemies). We sure do appreciate it! Email us at: CadaverCast@gmail.com Follow us on Twitter at: twitter.com/Cadaver_Cast Check us out on Facebook at: facebook.com/cadavercast Follow Jef (Dad) on Twitter at: twitter.com/JefBurnham CadaverCast theme by Aaron Ewalt Promo music: "Lin Minmei" by anaphylaxis Series cover art by Angel Onofre Episode edited by Jef Burnham © 2017 Jef Burnham

The 53rd Next 100 Project podcast finds us delving into vampire action of the silent-movie kind. Max Schreck remains one of the creepiest blood-suckers in cinema history and he, and the overall atmosphere, are clearly the best things in the flick. F.W. Murnau directed a few classics, but this is his classic-est. Stay awake with some Sparkplug Coffee as you digest our bloody thoughts!

VA - Nueve [GEO033] Mixtape Tracklist: 01. Angcubo - New Life (Original Mix) 02. 1101 - Complex Communication (Original mix) 03. 5-HT - Passport Control (Original Mix) 04. Oscar Romo - Untitled (Version 1) 05. Spear - The Jupiter's Auroras (Original Mix) 06. Perceptron - Amor Tremolo (Original Mix) 07. V.JØHT- - Equality (Original Mix) 08. Aktiverant - Parallel Walls (Original Mix) 09. Individual Thought Patterns (Original Mix) 10. El viajero del Futuro - La calma (Original Mix) 11. Derk - Quasar (Original Mix) 12. Bruhma - Social Mechanism (Original Mix) 13. BiLY - Unexpected Damage (Original Mix) 14. Digitalboybdn - king of hell (Original Mix) 15. David Reina - Basic Theory (Original Mix) 16. Equal - Sensitiva Psicologia (Original Mix) 17. R&R - Reveal (Version 2) 18. Rarek - London Underground (Original Mix) 19. Orlok 101 - Acid Phantom (Original Mix) 20. Victor AG - Distorsion sektor (Original Mix) 21. Razeed feat. Natirm - Don't stop believing (Original Mix) 22. Razeed - Down (Deepnoise Remix) 23. Abiz Sonko - 016-003 (Original Mix) 24. kNS - Veteris (Original Mix) 25. Bran Lanen - All the lovely insanes (Original Mix) 26. Raszia - Ciudad en el abismo (Original Mix) 27. CementO - Desmonoramiento (Original Mix) 28. Thor-K - Breathe (Original Mix) 29. Dan Böhler - Funeral Rites (Original Mix) 30. Squaric - Geometrikal (Original Mix)

It's Frankenstein meets The Wolfman meets H.C. Andersen meets Jewish folklore meets aliens, set in Germany. Ok...

Welcome back to the Bride of the Creature Podcast!   Damn, Orlok. YOU SCARY [youtube https://www.youtube.com/watch?v=N-DrKgjit4I] Plus, a new game! Send us email! brideofcreature@geekstampede.com Follow us on twitter! Geek Stampede, Nicole Gruszecki, Joey Gruszecki, Bride of the Creature Podcast   New episodes air every tuesday at Geek Stampede.

       Blackout in the Bat House :7--------------------------------------------1. Love Like Blood - Within the Realm of a Dying Sun (5:32)2. Zoophagous Patient - In Paradise (3:18)3. 13th Chime - Sarah's Got A Chainsaw (2:52)4. Death Cult - Christians (3:50)5. Grooving In Green - Ninth Circle (4:25)6. Love Is Colder than Death - Wild World (4:21)7. Funeral Parade - For You (3:29)8. Flowers For Agatha - Through The Ceiling (2:03)9. Christ Vs. Warhol - Cross Of Lorraine (4:31)10. Subtonix - Into The Fire (3:15)11. Sovjet War - Full Control (2:50)12. Ipso Facto - Craving (4:44)13. Trash Groove Girls - Sugar Pink Go Go Baby (5:58)14. Orlok - lapida (3:17)15. Gene Loves Jezebel - Punch Drunk (2:25)16. Les Provisoires - so much more (3:23)17. The Fast Set - King Of The Rumbling Spires (2:01)

"L a d d e r s" by Odd Nosdam from Trish; "Boring Angel" by Oneohtrix Point Never from R Plus Seven; The title track from The Art of Memory by Brandon Nickell; "Crystals" by Clams Casino from the Grand Theft Audio V soundtrack; "We Failed" by t y l e r e t t e r s and the northern information movement from senescence; "Radom" by Raining Leaf from Gemini; "Plucked from the Ground, Towards the Sun" by Huerco S from Colonial Powers; "SSP" by Drew Price's Bermuda Triangle from Friends and Family; "Reconsider" by WMD from Melancholy; "The Fence" by Mind Over Mirrors from When the Rest Are Up At Four; "Mirrored Palms" by Helm from Silencer; "Orlok" by Anna Meredith from Jet Black Raider

"L a d d e r s" by Odd Nosdam from Trish; "Boring Angel" by Oneohtrix Point Never from R Plus Seven; The title track from The Art of Memory by Brandon Nickell; "Crystals" by Clams Casino from the Grand Theft Audio V soundtrack; "We Failed" by t y l e r e t t e r s and the northern information movement from senescence; "Radom" by Raining Leaf from Gemini; "Plucked from the Ground, Towards the Sun" by Huerco S from Colonial Powers; "SSP" by Drew Price's Bermuda Triangle from Friends and Family; "Reconsider" by WMD from Melancholy; "The Fence" by Mind Over Mirrors from When the Rest Are Up At Four; "Mirrored Palms" by Helm from Silencer; "Orlok" by Anna Meredith from Jet Black Raider

We return this week, but things are a little different; you'll see. Rhea has feelings about video games and celebrating weirdos, and Destiny reads a whiteboard. Featuring Matt Marko, Orlok the vampire bat, and Ultimate Evil.

We return this week, but things are a little different; you'll see. Rhea has feelings about video games and celebrating weirdos, and Destiny reads a whiteboard. Featuring Matt Marko, Orlok the vampire bat, and Ultimate Evil.