Podcasts about texas chainsaw massacre

This week, we're firing up the chainsaw and diving into one of the most influential horror films of all time: The Texas Chainsaw Massacre (1974). Whether you love it, hate it, or simply respect its place in horror history, there's no denying the cultural impact of Leatherface's grim, gritty debut.We break down the dinner scene that feels like a fever dream you can't wake up from, the wild behind-the-scenes stories that make the movie somehow even more unhinged, and why this sun-baked nightmare still crawls under your skin after all these years. And of course…we air out some very strong, very justified feelings about Franklin. Join us for a fun, unhinged, deeply horror-nerdy breakdown of a movie that shaped the entire genre.Tangents Include: Why November 1st should officially be Horror New Year's Day, our complete and utter disdain for Franklin, peeing in a can (yes… it came up), and much more!Don't forget to subscribe, rate, and follow us on social media for more horror goodness!The Texas Chainsaw Massacre (1974)Director: Tobe HooperTawny's Rating: 2.5/5Miriam's Rating: 3/5Send us a textSupport the showAll things TCHF: https://linktr.ee/twochicksandahorrorflickSupport the Show:Join our Patreon: https://www.patreon.com/twochicksandahorrorflickTCHF shop: https://twochicks.threadless.com/designs/podcast-cover-art/Connect with Us:Join our horror community on Discord: https://discord.gg/8WBByTQPFXWatch us on YouTube: https://www.youtube.com/@twochicksandahorrorflickFollow us on Social:Instagram: https://www.instagram.com/twochicksandahorrorflickFacebook: https://www.facebook.com/twochicksandahorrorflickTikTok: https://www.tiktok.com/@twochicksandahorrorflickTwitter: https://twitter.com/twochicksHF Send us your reviews, thoughts, and recommendations: twochicksandahorrorflick@gmail.com or visit our site https://www.twochicksandahorrorflick.com/

A bonus exclusive interview with Julia Ducournau (Palme D'Or winning writer/director of Raw, Titane) about her new film Alpha, out in UK cinemas now.Produced and presented by Anna Bogutskaya***Music: "Slasher" by Karl Casey @ White Bat Audio***The Final Girls are a UK-based film collective exploring horror film history through a feminine lens.→ Support us on Patreon for bonus content.→ Find out more about our projects here: thefinalgirls.co.uk→ Follow us on Twitter and Instagram.→ Read Feeding the Monster

 They put in their cover letter, “Honestly, we're just gonna go up to Yellowstone around that time and we would love to swing by and show the movie.”Rudi Womack is the Director of the Wyoming International Film Festival and the creator of the YouTube channel The Film Festival Guide.In this conversation, Rudi talks about:* What watching thousands of film festival submissions has taught him about good storytelling* The biggest mistake filmmakers make when they submit to festivals* Why transparency matters and why he published all of the submission and acceptance stats for the Wyoming International Film Festival * The importance of a compelling poster and thumbnail* How to write a good description of your movie* The most important questions filmmakers must askHere is a link to Hiike, the new film festival submission platform that Rudi mentioned.If you enjoyed this episode please forward to a friend.Here is an AI-generated transcript of my interview with Rudi. Don't come for me.79. Film Festival Director Rudi WomackBEN: Hi everyone. This is Ben Guest and this is The Creativity Education and Leadership Podcast. My guest today is Rudy Womack, who is the director of the Wyoming International Film Festival, and also Rudy has a fantastic YouTube page called The Film Festival Guide. So for all my filmmakers out there who are interested in submitting to festivals in this interview and on Rudy's YouTube page, he breaks it down. Enjoy.Rudi, thank you so much for joining us.RUDI: Hey, it's my pleasure to be here. Thank you for having me.BEN: So I always start off with a fun question, and we're entering the holiday season, so very important holiday question. Is Die Hard a Christmas movie?RUDI: Absolutely. A hundred percent. Come on.BEN: I love it. So I, I told you this off Air, I found you through the Rate YouTube channel.You have the Film Festival Guide. Is that the right name? I wanna make sure I get the name right. Yeah. The filmRUDI: festival guide. Yep.BEN: On YouTube Film Festival Guide on YouTube. Please. Any filmmakers out there go and subscribe. The information is so helpful. What, why did you start the this YouTube page?RUDI: I, as a filmmaker have gone through the festival circuit several times and I made a lot of amateur mistakes. I didn't know what I was doing. Definitely fell on my face a couple of times, but I also had some successes. And as I did more film festivals, I started learning more about the circuit.I got invited by a film festival to become a programmer, and so I started reviewing a lot of films and seeing a lot of the submissions. And I think instantly that made me a better filmmaker just because I saw what was working, what wasn't working, and how other filmmakers really brought to, brought their stories to life on the screen.And it, it was truly inspirational. Very long story short, the Wyoming International Film Festival was started by a gentleman named Alan Oi, and he's a, he's a documentarian out of Wyoming, which is where I'm from. I'm from Wyoming. So Alan had the film festival and he had run it for some years and it was going great and everything.But then Alan retired and now he's retiring. He wants to move outta Wyoming and he doesn't wanna run a live event. ‘cause it is a lot of work in his words. And I quote, it's a young man's game. And at the same time, COVID hit and he didn't wanna do the whole online thing and it was just a big mess.So Alan was like, I'm done with the festival, it's done. I'm just gonna let it die. And I was begging him, no, Alan, you can't do it. It's so important for indie filmmakers. And at the time I'm just finding my feet in the festival circuit as well as both a filmmaker and now I'm a programmer.I'm begging him like don't let it die. It's important, maybe I can help out. And he was like, why don't you run it? And I was like, absolutely not, man. What are you talking about? That's crazy. No way. No way. And I was like, I'm going to be your director of programming. That's what I'm going to do.I'm gonna help you get films in so you don't have to do that work. Very long story short, I ended up running it. I ended up taking over the festival from Alan. I did so reluctantly. But when I started working with the festival, working with the community, working with my hometown filmmakers and my home state filmmakers, and just seeing how important a film festival can be for a local community to uplift indie filmmakers to help them along the way I fell in love with it and here I am now, I run the film festival.And your question was, how did I start the YouTube channel? Sorry, I'm getting there. But I got a lot of questions from filmmakers about festivals, like how to navigate ‘em. And there's just so much mystery behind film festivals ‘cause it's so opaque. There's not a lot of transparency from film festivals.Film festivals are sketchy about which films they do select and which they don't. And frankly, there's a lot of misinformation out there about festivals. So I started answering a lot of questions and I started repeatedly answering the same question again and again and again. And I had some friends who told me, you should write a book.But I was like, yeah, but books, there are books, like people have already written books, bluntly, frankly, people far more experienced and knowledgeable than myself have written books. And so if you're not reading those books, then you're probably not gonna read my book. So that's when I decided, you know what, the YouTube channel is a great way to just do very easy outreach.Take one single topic, break it down for 10 minutes, and hopefully help filmmakers along on their film festival journey.BEN: I love it. And you said something for all the filmmakers who are listening. I'm gonna come back to it. Don't worry. You said something about once you started programming and watching so many films, you got a good sense of what works and what doesn't.So I definitely wanna come back to that. I know the filmmakers listening want to hear that. But before that you mentioned 10 minute videos. You strike me as somebody who, does research and takes time to Yes. Before they do something. What did you discover about running a YouTube page?What things work, what things don't work?RUDI: I'm still very early on in my own YouTube development. I'm still trying to learn what does and doesn't work. So I'm probably the worst person on earth to give advice. Definitely that first 32nd hook is so important on YouTube, just like it is on a film that, that intro, how we come into the story, whatever, on YouTube, you can see a massive drop off and apparently it's that way on every channel.Again, I'm not a YouTube guru, so I don't give advice, but that first 32nd hook is a big deal, but also just my presence on camera. I come from the post world. I'm an editor, so I'm not just behind camera. I'm behind, behind the camera. So I'm very much not used to an on-camera presence, so I'm developing that and learning it as well.What kind of energy I can bring. How to make it engaging. But also I don't wanna be zany and too quirky or anything because I am trying to give good guidance to filmmakers, but I also don't want to lecture them and bore them to death. So it's finding that balance of information that's valuable, but also entertaining enough that people don't wanna click off.And it's actually quite a complex thing that I'm still unraveling one video at a time. But the best advice that I saw was some YouTube guru who is just focus on getting 1% better on every single video. So is that little bit better graphics or better delivery, or better audio, or better editing or whatever it is.And after a hundred videos, you're now a hundred percent better. So that's what I've been focusing on. Just very small baby steps.BEN: Yeah, that's such a great way to break it down, right? It just makes it bite-sized, get 1% better.RUDI: I think you can apply that to life in general. There's a lot of things in life just today be 1% better.That's it,BEN: so you mentioned once you start a programming scene, get enough feel for what works, what doesn't, especially with short films, both narrative and docs. What are you seeing that works and doesn't work?RUDI: In the shorts world I'm seeing a couple of things. One, a self-contained story, and this is something that I had a problem with because oftentimes I would go for more of a quote unquote scene instead of a full beginning, middle and in, in a story.So a self-contained story typically is gonna make your short film much more successful. This can be hard for some filmmakers because they're trying to make a proof of concept short film that they're gonna go and get financing for their future. So one of the things that they often do is they just take a scene outta their feature and then just shoot that, which has mixed results.And the problem is the films that have gotten financed and been made from shorts that have done that are the ones that you see. So it's actually a survivor bias, where it's like it, it works for those particular films and therefore everybody thinks it's gonna work for their film. But obviously the films that it doesn't work for, you're never going to see.So you don't understand, actually for the majority of films, it doesn't work. So if you have a proof of concept, I actually say, don't pull a scene outta your feature. I say write its own scene, or sorry, your own short film. That exists in the same world and universe with the same characters as what your feature film is.And I think that's gonna have much more success on the film festival circuit. And that will lean you or lead you to whatever your goal is, financing or distribution or whatever. So that's a big thing with short films that makes ‘em successful is make sure it is actually a self-contained story and it doesn't have any loose ends, so to speak.What doesn't work is something that I myself struggle with, ironically as an editor. And that's things being too long and you need to parse them down. Now a lot of people will say, shorter, the better, which is true, but I actually think that's a result of actually getting to the core of the problem.And that's make your film as concise as possible. Get the idea. The emotion, the story out as concise as you can. And what that does by happenstance is it makes your film shorter. So it's not that shorter is better. I know there's it almost sounds like I'm just splitting hairs here, but I've seen plenty of five minute films that didn't work.I've seen plenty of 10 minute films that board me to death. So shorter isn't necessarily better. It's more concise of your story is better. And sometimes that still manifests as a 20, 30, 40 minute film. But if it's a very interesting 20, 30, 40 minutes, that's not gonna matter.BEN: It's such a great point. And for me, when I get to a certain point in the edit, I like to just bring in a couple friends and have them watch it. And then I just sit there and watch them watch it and whatever feedback they're gonna provide afterwards. 95% of what I need, I can just tell from Body Language as they're watching the film.RUDI: Yep.BEN: You come fromRUDI: theBEN: Go ahead.RUDI: Oh I was just gonna piggyback off that and just say, audience feedback is worth its weight and goal.BEN: Yeah.RUDI: And every filmmaker when you hit that fine cut stage, like you said, get your friends and family together, buy everybody some burgers and fries or whatever.Get ‘em all together. Gather ‘em up in a room, watch them, watch your film. That's gonna tell you more than anything else. We'll be able to about the success of your film and where it's strong, where it's weak, where you can still fix things. And I always suggest do it in your fine cut stage because nothing's locked in and you can still move things around and adjust, or whatever it is you need.BEN: Love it. And I think earlier what you are really getting at is telling a good story. Yes. And I'm amazed at, not amazed, but maybe a little disappointed, especially in today's world, the technical side of filmmaking. Even for an amateur, even for an indie filmmaker that you can, things can be d done so well technically, but there's no story.RUDI: Yes. All the time. So when I get onto Reddit, ‘cause you mentioned Reddit earlier if I go onto our filmmakers, right? Yeah. I don't have to look far to see people just geeking out over the newest Camerons. It's, and it's always cameras. Everybody always talks about. This camera is so fancy and it has so many stops above and this lens can do this and blah, blah, blah, blah, blah, blah, blah.It has this big bit rate, whatever. Everybody gets so excited about cameras and I always say to myself, man, if they got this excited about audio, I wouldn't have to reject half the films that we have to reject because the audio is just blah. So if we're gonna talk tech, if we're gonna talk about the quote unquote quality of the filmmaking, I think what filmmakers need to understand is there are so many films out there we're that is just the foundation.It is the base level, it is the bare minimum that the film looks good. It sounds good. It feels good. So for us, festival guys, we see so many of these films. You're super gorgeous cinematography, you're really fancy, VFX, whatever it is that you think really separates your film from the pack. I don't wanna discourage you, I don't wanna sound jaded or anything, but it's not as impressive to us as you might believe it is, simply because we see hundreds and sometimes thousands of films like that.So for us it constantly falls back to originality and the story. Is the story well done? Is it well told? Is it a new and interesting story that we've never seen before? Is it a story that we've seen before but told in a very unique way, from a specific point of view, that is what is going to move us as festival people.‘cause when I put it into the theater and my audience walks in and they pay a ticket. My audience is used to going down to the theater and seeing a hundred million dollar movies. So for them, quality is just a given. It's just assumed they're not going to be thinking about it for them. They go and watch a movie ‘cause they're interested in, and I think if more filmmakers really dialed in on their story, they're going to find more success.BEN: So many great points there and a hundred percent agree with what you were saying about people get excited about the camera. And so I did my MFA at USC and there were three different times where I was on a set that, that I felt was unsafe. Not that I felt it was unsafe, what they were doing. Geez. And I walked off and it was always to get the cool shot.Like no one's ever hanging off a balcony to get room tone. You know what I mean? It's just, it's always to get the cool shot that, again, if you're not telling a good story, it doesn't matter. And to your point, I've always felt good audio is more important than good video.RUDI: Good image.BEN: Yeah.RUDI: Look at the documentary. Look at the nonfiction world. We see verite stuff all the time. We see stuff people recorded on their phone or, security camera footage or whatever, like at the end of the day in the nonfiction world is a great example of the quality of the shot doesn't necessarily matter so much as the quality of the story and how it's being told and how it's being revealed to us.And the audio is always gonna be very clean, very top notch, even if it's quote unquote found footage or. Veritate footage or whatever, the audio is always peak. I saw that Netflix doc recently, it was super heartbreaking. The perfect neighbor. And most of it is police body cam footage, but the audio is clean so we're able to follow the story so no one sits back and thinks of themselves this isn't a good shot.Of course it's not, it's police potty cam footage. Like it doesn't look good and it's not meant to,BEN: but it sounds good. And so you can follow it.RUDI: Yes.BEN: What what are some tropes that you think you've gotten tired of seeing in, especially in short films?RUDI: So every year it's a little bit different.You would be surprised what things pop up and what don't. The one trope that kind of rubs me the wrong way, I, I don't know how to describe it any other way than filmmaker self therapy. Like they, they're definitely going through something at the moment and they're not focused on creating a good story.They're more focused on using their art form to emotionally process whatever it is they're going through, which fine, you are an artist that makes sense to do, but also I can't sell my audience on that. So while I don't wanna discourage someone from making a film that is very near and dear and personal to them, at the end of the day, it might not be a good fit for film festivals.And so I, I would really think twice about whether or not that is a story that an audience, frankly, needs to see. Filmmaker cell therapy is one that when I get it, I'm always eh I don't know what to do with it. I just, I don't know what to do. Some other tropes that we see very commonly are like.Obviously right now, tech and AI and stuff like that gives a lot of people anxiety. So there's a lot of like evil robot takes over or the big reveal at the end of the movie, they were a robot the whole time, or the whole thing was a simulation or whatever. That's being very well tread right now.For me, I'm I am not a political person and anytime some big thing is in the news, we see tons of films on it. So I understand politics do affect people's day to day and their lives, so I understand that manifest. But man, I probably have a hundred immigration films right now and that's a lot. And I'm not gonna screen that many, so I'm only gonna pick like one, maybe two, so that's a tough one to do.Anything that's like a hot button political issue. We always see a big wave of those come in. And then honestly, romance dramas get tough. It isn't evergreen. We do have an audience for it. We usually do have some kind of a selection of them. Romance dramas have existed since the beginning of time.It's always been a thing. But filmmaker broke up with his girlfriend, so now he has a character who breaks up with his girlfriend. It gets it, it doesn't get very original. I, it just it gets exhausted. So those are some of the kind of general tropes I would avoid. I have heard other festival directors talk about like cancer films and Alzheimer's films and stuff like that.This year I'm not seeing so much of those, but I have seen those in the past. So tho those are some other. Tread stories we'll see.BEN: One of the things that I appreciate about. Your series of videos is your transparency, and you have one video where you literally break down. Here are all the films the number of films, Wyoming International Film Festivals received. Here's how it breaks down, here's how many we, we accepted, et cetera, et cetera.You have another one where you literally show the viewer, this is what we see as a programmer on our film freeway portal. Here's the scoring sheet. I think it's a little bit different from the one you guys use internally, but basically here's what the scoring sheet on film freeway looks like. Why is transparency so important to you?RUDI: Because I'm a filmmaker, because I've been to so many festivals where I have no idea what the hell's going on. I've been to festivals where I think my film is gonna be a good fit. I think based on what I've been able to investigate on my own, digging through their website, digging through their archive.Seen what they've programmed before. I think I'm a good fit, but I don't actually know. And I've submitted to festivals where later on, I see what they programmed or I got rejected or even accepted and then gone to the festival itself and have been a little disappointed when was like I this festival didn't fit my goals the way that I thought it would, or, this festival wasn't going to do the things for me.Or this festival, like really promoted themselves very heavily as this big event. And then you get there and then it's not, and that's a little bothersome. So when I stepped into my role at the Wyoming International Film Festival, I made a whole bunch of changes. But one of the changes that I made was, we are going to be transparent.I don't ever want a filmmaker to submit to our festival, get in, get accepted to the festival, drive all the way out to Wyoming and be disappointed. I don't want them to do that. That's not good for them. It's not good for us. It's not good for the community. It's not good for indie film at large.What's better is if we just be what we are in Wyoming, we're straight shooters. We just say it as it is. So I'm going to tell you exactly how many films were submitted, which films we accepted, what the percentage rates are, how many shorts versus features, how many docs versus narratives, how many music videos, all of this stuff.And we've been releasing the data for the past couple of years. This year, like we went all out with the data it was much more thorough than what we've done in years past. And even me, the director of the festival, I sit back, I look at the data and I can see some weak spots in it. I can see where we need to improve as a festival, where we need to start, bringing in a certain type of film or where other films might be overrepresented or how we can give more of an experience to our filmmakers.Just by boiling it down to numbers and looking at it. I can start seeing some of our weak spots and I want to improve on that ‘cause I want to have a good festival. And I think if more festivals were to do that, I think the filmmaking community at large would be much more appreciative. And I think film festivals need to understand.That if you have fewer submissions, that's not a bad thing because the submissions that you are going to get are filmmakers that really want to be in your festival and that's good for the health of your festival, the community, the filmmakers, everything. So I, I think the only way we get there is by being transparent.And thankfully there are other festivals that are publishing their data, which is great. And that makes me very happy to see. And I hope that trend continues and I hope even more festivals start publishing more of their data and showing how they review films, what their scorecards look like, what they're looking for.‘cause ultimately I genuinely believe that just serves the filmmakers better and ultimately makes everybody have a better experience on the film festival circuit, including the festivals themselves.BEN: When you took over as directorWhat were the biggest challenges?RUDI: So our biggest challenge to this day is our venue.So there's only one movie theater in Cheyenne, Wyoming. It is owned by a company outta Casper, Wyoming. They own pretty much a monopoly of movie theaters across the state, like most of them. And they don't allow anybody into their theaters at all. They don't allow her private screenings or corporate events or, in individuals who wanna screen their film or film festivals.I'm not the only film festival in Wyoming. I talk with other festival directors. They can't get in either. It's funny, the film commissioner of the state can't even get in. You would think the movie theater would at least want to partner with the state film Commission, but no. So for us, the challenge has been a venue and luckily our partners over at Laramie County Community College.Have graciously allowed us to use their facilities for the last couple years. They have a beautiful auditorium that we do some of our screenings in, but we also have screening rooms in a black box theater that they have as well as a conference room. And when I say conference room, most filmmakers like their heart drops a little bit.They're like, oh man, I'm just, I'm going into a conference room. It's not a proper movie theater. And that's fine. We publish that data on our film freeway page on hike. We are transparent about that. So when you submit, you might be in the conference room. But ironically, I think it has some of the best audio and it has some of the best projection.So even though it's the quote unquote least movie theater, like I actually think it has some of the best projection, best color. But venue is probably one of our biggest challenges and we continue to develop that. We continue to. Trying to innovate. We're trying to build our own screening room there on the campus.Like we're trying to use one of their big classrooms for it. And what we wanna do is we wanna turn it into a lounge. We wanna bring in like couches and sofas and comfy chairs where it's like much more of a chill environment in there. And that's the type of film we wanna screen in. There's some you can literally sit back, settle in and relax.So there's things that we're doing to create a better environment for our filmmakers and of course our audience, our guests at the festival.BEN: I love it. What's been the biggest reward?RUDI: The, I get to meet you. That's what the biggest reward is. I get to meet so many filmmakers. I get to hear their stories.I get to be inspired. I get to learn stuff. I was talking with a festival director a couple of days ago. Who asked me about how we do our audience award scores and how we process that and what they do. And I just like I lit up, I'm like, oh my God. It's such a better way, it's more efficient, it's easier on the staff.It's more representative of how the audience actually feels about the film, the way the scores are aggregated and counted. It's so great. I get to meet so many people in this world of film and every single day it's like a new, whole new world is opened up to me and I get to hear so many fantastic points of view.I get to see so many awesome films, like just how many great movies are out there is a cinephile. It's like the most rewarding thing in the world. I'm an addict. I'm totally addicted to it. It's so great.BEN: I love it. I remember I used to coach basketball in my first year as a head coach. I was like, yeah, everybody's gonna be pretty competitive, other coaches and so forth.And they were, and I was. But at the same time, when coaches would get together, it was just so supportive. And people are sharing, this is what I'm doing in practice. I'm looking at this offense, this defense. And I imagine it's the same with other film festival directors and programmers. Oh, yeah. Just a supportive environment comparing notes.RUDI: It is. And the more that I meet, the more I truly do understand. 99% of festival directors out there are programmers, people who work in it. They have some tie to cinema. Most of them are filmmakers. Those who aren't, have a deep passion and love for cinema and for storytelling, and.Everybody's a volunteer. Everybody has a day job. Nobody makes money on this. They do it from the love of their heart. They truly do. And the way that they serve their communities, the way that they serve their filmmakers, some of the cool ideas they come up with there's some really neat festivals out there with like very interesting hooks or events or whatever.And I think it is such an incredible ecosystem and I think I'm truly privileged to be part of it.BEN: What are some lesser known or maybe mid-tier festivals or local festivals that you love to attend?RUDI: Okay, so one of my favorite festivals I guess you said lesser known. This one is not lesser known, but Film Quest over in Provo, Utah, damn man, pe like festival people talk about building community. They're on a different level. They've built a family. Like everybody who goes to that festival is just so tight knit there. There's no other festival like Provo or sorry, film Quest in Provo. It is just, it's on another level. And how well they treat their filmmakers is fantastic.Some years ago I was invited to be a jury member at the Fair Film Festival, which is in Ferazi Kosovo. So that is in southeastern Europe. It's a landlocked country, just a little bit above Greece, a little bit north of Greece and north of Macedonia. And Fari is a small town. And I went to that festival and first off, wow.What a great festival. I strongly suggest you submit your film to fair film. It's so good. But the cool part of being in this European festival, and frankly a small European country, most of the films are international, obviously. And so there's filmmakers coming in from like Jordan and Spain and Germany and Slovakia and Slovenia and like all over the place, Greece, Turkey, you name it.And how interesting it is to have this incredible cross section of languages and cultures and peoples, but we're all united by this one singular thing. And that's our love for storytelling and our love for movies. It had to be one of the most incredible experiences of my life. And the next movie I make, taking it back to cosBEN: Fantastic.Just had a question. What was it? Oh okay. So with the huge caveat of besides making. A good film, a film that tells a story. Besides that, are there any tips or tricks, things on the margins that filmmakers can do when they're applying to festivals to be aware of? Sometimes festivals. Ask for a cover letter orRUDI: Yes.BEN: Press kit, things like that. Okay.RUDI: So with, sorry, my phone is loud. I should turn that down. So obviously with a huge caveat of make a good film or whatever, what's the easiest way to get it? All of the stuff on film Freeway, and I do have a video on this, on my YouTube page if you wanna check it out, where I give you a tour of film, freeway from the festival side of things like what the festival can see and how we see it and how we navigate it.On the festival end of things. We can see your cover letter, your screenings and awards your. Cast and crew information, your director's bio, your director's statement, your photographs, your EPK, that's your electronic press kit your trailer, all of that. All of that. As much of that as you can possibly make, you should make it.It's very important. And you never know which piece is gonna be more important to a particular film festival. For instance, here's something crazy. I was meeting with some of my programmers last night. They had a whole bunch of films that they wanted to recommend to go to the next level programming.And we require films. Tell us where in the world or where in the United States the film was made. And every single one of ‘em was California. California. California. California. California. Which fine, whatever. California has a big film industry. That's, it's a very big state, population wise. Makes sense, right?But I am sitting back thinking, okay. I don't want it just to be a bunch of California movies. We have a big country here. I would like to see something else. And something caught my attention. One of the filmmakers, their address was in Birmingham, Alabama, but the film was shot in California, so I am suspicious.I haven't dug into it myself. I'm suspicious either that filmmaker's from Alabama and they have moved to California, or that filmmaker lives in Alabama and they shot their film in California. So they're answering where it was shot correctly. But for me, I'm like, there you go. When everybody's from California.I want that unique perspective. I wanna see someone's from Alabama and what their perspective is now. I haven't watched the film yet. I don't know if it's what we're looking for. Obviously it's a good film if my programming team has recommended it, there's no doubt in my mind it's good film. Now there's other considerations we're gonna have, but.That alone was something, even my, like I myself did not know that I would be looking for. So filling out all of that data on film, freeway, all of your information that you possibly can, your cover letters your screenings, your awards, whatever it is, the more information you give us as a festival, the more we have to make our selections.And it only benefits you. It only helps you out. So filmmakers don't get lazy. Fill out all of that information. We need it. We use it. It's important. Just do it.BEN: You mentioned a meeting with your programmers last night. Take us inside that conversation. What does that look like? What do you discuss, et cetera.RUDI: So there's. There's a big programming team and it's divided up into two different groups. There's our kind of first round screeners and then there's our senior programmers and the senior programmers pretty much review the films that have gone through that first round of screening that are getting recommended to go onto the next one.So typically when I'm talking with my screeners and everything, it's a very different conversation on the bottom end of it where they're just sorting through all of the submissions versus a different conversation I have with the senior programmers who are on the top end of it. We're now trying to decide how to block films together, how we're gonna organize it, what's the schedule maybe look like, what's the overall tone and vibe of the festival going to be, okay.If we wanna have a sci-fi block, do we even have enough sci-fi films? If we don't. Where else can we find homes for ‘em? Stuff like that. So those conversations are a little bit more high end, if you will. And it tends to be less about the story of the film itself and more about how that film is going to fit into the festival.Whereas when I'm talking with the screeners, it's much more on the story end. Like what about the story did you like or you didn't like? Or what was the unique point of view? Or whatever. So depending on which group I'm talking to it, it's gonna be different. And then of course that divides out further on features and shorts and documentaries and narratives and music videos.So like obviously my conversation with the music video people are gonna be much different than my like short documentary people.BEN: Shout out to short documentary people as a documentarian primarily makes shorts I'll ask a question for us folks. In one of the videos, as I mentioned, you literally show here's what the scoring sheet looks like.Yes. And that was for narrative with, I think one of the categories was acting and so forth. So for a documentary or documentary shorts, what does that scoring sheet look like? What do those discussions entail?RUDI: Film freeway does not allow us to have more than one scoring sheet.So unfortunately, there's just this one scoring sheet that's for everything. What I tell my screening team, and we definitely double check everything, like there's multiple people who look at something. So it's not just one person's opinion. You have at least two, oftentimes three, pretty often four.So for something like documentary they skip over that. That's what they do. So if there's no acting in the film, they skip over that. They don't rate acting if there is no acting. But you'd be surprised. There are documentaries that have acting in ‘em. There are like docudramas or documentaries with recreation In the recreation is like actual scenes and performances and stuff like that.So in those cases, even though it's a nonfiction and a documentary, yeah, we'll still judge it for the acting ‘cause that's what it has. I get the question. I'm gonna hijack your question for a second, but it is applicable. I get the question, do we accept AI in our film festival, we do not have any official policy for or against ai, which scares some filmmakers.But we do rate AI on the same standards as we would anybody else. So when it comes to creativity and originality, guess what, you're getting a nothing. ‘cause AI didn't create it. AI is not original. AI just mashes together a bunch of information from other people. So that's no creativity and originality.Same thing for something like, I don't know, art design. If you have a AI character walking through a scene or whatever you're getting zero on your art design. Nobody built those sets. Nobody costumed that actor. Nobody was the makeup artist or the hair or whatever other art deck or, PD or anything on the set.So we will accept ai. We have accepted one single AI film so far because despite all of its quote unquote handicaps, and it was a music video. It still was successful in other categories that had a good enough score. We as a team sat down, said Yes, that it still is a good film. The audience is still gonna enjoy it.The filmmaker definitely had a vision with it. They wrote out a whole thing on like why they chose to use ai. ‘cause they're also an experimental filmmaker, so it made sense for them and everything. So we were like, you know what? That's legit. Let's put it in. But other AI submissions, like I got an AI children's animation the other day and I'm like they didn't animate it themselves.They didn't voice act it themselves. It's not getting good scores on any of these. So we'll see. We'll see. We'll see if it gets through or not, but already you're shooting yourself in the foot. So don't do ai.BEN: Okay. Couple little. I don't know, around the edges or micro questions. One of the things that you talked about in one of your recent videos was having a good poster and you talked about designing your poster for your film prudence.RUDI: Yeah.BEN: Talk, talk to me about,RUDI: I specifically gave my posters an example, not a great poster,BEN: But talk to me about that.For the no budget or low budget filmmaker that can't afford to hire a a designer to make a poster. Talk to me about poster design and how that impacts the presentation of the film for festivals.RUDI: So I strongly believe that a big part of filmmaking and marketing and packaging your film together, all of that is psychology.And as much as we want to sit back and say, Hey, don't judge a book by its, cover it, that literally goes against human psychology. People are not hardwired to do that. It, it is. In our DNA, it's not just a bad habit, it is literally a survival mechanism. So if you want to stand out, you do need to have everything put together.Your cover letter, your synopsis, your photographs, all of that, and of course all of your key art. That's your poster. That's any banners that you have, that's how you're going to be promoting the film. And you have to understand it's not just about making your film look pretty to get filmmakers to go, or sorry your programmers go, Ooh, and ah, it's a pretty film.We are looking at that as a mechanism for us to advertise the festival. You gotta understand if I have 150 films in the festival, I have to get an audience for those films. And the easiest way for me to do that is through your marketing materials. We don't have the capacity. To design marketing materials for 150 different films.We are relying on the filmmakers to do that so we can go out and promote the festival. So people show up to your screening, which I would presume is what you want if you're going to a film festival. So anything you're trailer, any photographs that you can provide, which some filmmakers only provide BTS photographs, BTS is fine.It's great. Give me some good key art I can also use, please. That's what newspapers, that's what the local news that's what podcasters, whatever, that's what they want to see. So that's what I can provide. And of course, your poster. Now, there are a lot of online tools to help in poster design, frankly, I don't have an excuse for making a bad poster like I did, which is one of the reasons I use it as an example is I am shaming myself being like, this could be better and it should be. But there's a lot of online resources that can help with poster design. And also for filmmakers who are a little bit strapped for cash, you would be surprised what people will do for in kind, service for service.So if you have a friend or if there's someone that you can find that's Hey, they'll design your poster if you can design whatever their website or whatever it is that your skills might be there, there's a lot of exchange that you can do on that part. So yeah your marketing, your packaging, all of that together is actually quite important.BEN: Such a great point. And I've written and published a memoir and through that, I've worked with other authors on, on. Both writing and marketing their books, editing and marketing their books. And I tell people the exact same thing. People judge a book by its cover all the time. And in this day and age, they judge it for listeners, I'm holding my thumb and forefinger part as a thumbnail on a computer screen.Yeah, that's the size. So even for a programmer or a festival director watching it on film freeway through their platform, they're not gonna see the poster like we see it in the movie theater. They're gonna see it as a thumbnail image. Yeah. So it has to work as a thumbnail image. And if you can't read the title as a thumbnail or can't make out what's on the image, what's on the poster as a thumbnail, then you've failed that part of the process.RUDI: One, one of the things that like really clued me into how important a poster is, I went to a film festival, I believe it was Kansas City Film Festival. Some years ago, and they had a bunch of posters of films out, but there was one that was like bright pink. It was like super bright pink and had like very eye popping design and everything on it.And it was like in a whole field of like dark drama posters that are all like gritty and everything. And I'm like that stands out. That really drew my eye to it. And I think that was like my big light bulb moment of like how important this stuff actually is. And one of the things that I've been saying for some years, I've said it on the channel, I think, I don't know, some, sometimes I record things and edit out.So I don't know what I've said on the channel sometimes but one of the things that I say is making a film is half of film making. The other half is marketing, the other half is getting butts in the seats. The other half is getting eyeballs on your movie. The other half is selling your film to an audience or a film festival or a distributor or a programmer or whatever you're trying to do with it.It's getting it out there. So making a film is half a filmmaking. The other half marketing, that's what it is.BEN: I'm just nodding along with everything you're saying and I've always felt both with films and with books, with art in general, you're trying to make an emotional connection from what's in your head and your heart to the audience.And if you don't do your job, getting your film out there and helping an audience come and see your film. Then you're not helping that connection. You're missing sort of the point of making this, unless it's just for yourself. It's for, it's to connect with other people and for other people to connect with your work.And that is marketing.RUDI: It's valid. If you're just making a film for yourself, that's absolutely valid. It's in art form. You can make a film for yourself, but if you're sending it to me at a film festival, you're not you're literally trying to find an audience. So these are the things you need to consider.BEN: I love it. I got two more just in the weeds detail questions.RUDI: Alright, let's do it.BEN: Let's talk description. And what I've seen ‘cause I'm in the middle of applying to festivals. And by the way just for. Listeners, this might interest you. So I discovered Rudi's YouTube page and I was like, this is so helpful.And then I went to the Wyoming International Film Festival page and all the transparency and statistics that, that Rudi puts out, that the festival puts out. And I realized, okay, so the short documentary I have is not a good fit for this festival. Exactly what Rudi's saying. So just for anybody listening, thank you for doing research.RUDI: Thank you. That's good. That's not a bad thing, right? That means it saves you time, it saves you money, it saves you heartbreak. It's so good. Do research before you submit. I'm sorry, but I, it's in, in almost every single one of my videos, I tell filmmakers, do your research before you submit. Find the festivals that gel with your film.And if it, if they don't screen the type of movie that you have, don't submit to ‘em. You're wasting your time, you're wasting your money. And the festival, like the programmer behind the screen, might love your film. They truly might love your film, but they're programming for a very specific audience and they know what that audience's taste is.So that's why they're driving specific films to that audience. So even if they love it, they might not include it, which is why you should always do your homework and do your research before you submit. I'm sorry to interrupt, but it's so importantBEN: And yes. And the flip side of that coin is now I also know what the Wyoming International Film Festival looks for.So in the future, if I have a doc or a film, I'm like, oh, this would be a great fit for this festival.RUDI: Yes.BEN: It helps both ways.RUDI: It does. And it helps you dial in. Which festivals you should target, which festivals are gonna help you with your specific goals. Whatever your goals are with the film it's gonna help you with your budgeting and your travel plans and your own personal calendar.It's gonna help with your mental health. It just, it helps on so many different aspects. And on the film festival side of things, I appreciate it when I hear from filmmakers say, Hey man, I looked into your festival looks good, but you don't have the kind of film that I have. And I'm like, not a problem man.Maybe I can point you in the right direction. Maybe I know some film festival programmers, I can make a recommendation, on your behalf too, that's not a bad thing. We love movies and we want to see them successful, but not every single fest or film and story is going to be successful in every single market.So it's very important to find your audience. And believe me, we are going to be cheering you the whole way.BEN: I want get back to my kind of in the weeds questions, but you've mentioned something that is big picture, that's so important. I feel like I've buried the lead here. And you mentioned this you've mentioned this multiple times in your videos.Is that a Phil, it's key. Maybe the most important part of this process is of the film festival submission process is a filmmaker needs to understand what are their goals in applying to a festival. Yes. So can you just talk a little bit about that?RUDI: So film festivals are a tool. And they can be a tool for many different things, but they are a tool.And just every single tool is not right for every single job, every film festival is not gonna be right for every film and vice versa. So before you go out to film festivals, you just need to ask yourself why? Why am I going out to film festivals? Why am I spending the money, the time, the energy, the effort?What do I want out of film festivals? And that's where you need to identify your goal. And the more specific you can be with the goal, the better it's going to be you going on your film festival journey. So for many filmmakers, a common reason they go out to film festivals is networking. So I'm gonna use that as an example.So let's say your goal is I want to network, I want to meet other. Filmmakers, I wanna meet, directors of photography and producers and other people that I can hire for my projects, or they're gonna hire me for their projects, and I want to build that network and I want to meet more filmmakers.Fantastic. Great. That's your goal. So the first thing that you need to do is you need to be looking at festivals that have networking events. And in this particular instance, you need to ask yourself two things. One, does it have networking? Is there in-person networking parties or networking events?And two, do the types of people that I want to meet actually attend those networking events. So us at the Wyoming International Film Festival, we have a pretty broad spectrum. We have filmmakers that are just beginning their journey. They're totally new, wet behind the ears. They're green they're just starting their journey.That's great. All the way up to every year we have multi Emmy award-winning filmmakers. Like people who do this professionally they're in unions or professional organizations, or they're a member of the academy, motion picture Arts and sciences or the TV Academy or sometimes like the Grammys and stuff like that.I, myself, I'm a professional editor, so there's people like me who professionally work, but they're like below the line. They're cinematographers editors, gaffers, what have you. So if your goal is to meet some like high-end producer that's gonna throw, a million dollars at your movie our festival is not the festival that's gonna help you with your goal.So you should skip over us because we don't have that kind of person in attendance. But if your goal is to meet other filmmakers at your level that you can collaborate with or get hired by or whatever. We're a great festival. We have tons of networking, and we bring in a ton of those filmmakers.We're a great event for you. So when you identify what your goal is and you're very specific about it, it's easier to identify which festivals you should start targeting. I take that one step further, and then once you've narrowed down which festivals are gonna help you with your goal, then you look into their history and see which of them have screened movies like yours in the past.So if you have a, you know I use the example, if you have a seven minute comedy coming of the age film, now you know which festivals have good networking, which festivals have the kinds of people you want to network with. Now you look at which ones have screened short coming of age comedy films in the past, and have a history of doing that.So that's gonna help you filter it even further. And by doing that, you're gonna really start to develop your film festival strategy. Now I do have some exciting news. There is something coming now, it's called Hike, H-I-I-K-E. It's hike with two I. And what Hy is doing, it's a submission platform similar to film Freeway, but among many of the tools that they're giving filmmakers, they're giving filmmakers customized festival strategies and they're scraping all of that data from film festivals, what they've programmed in the past.And when you as a filmmaker, join Hike, you take a little quiz, you tell them what your goals are, what your film is, you know how long it is, what the genre is, tell them about yourself. And they literally have. Data scientist who's built this like machine learning algorithm that pairs the data from the film festival to what the filmmaker provides.That literally gives you a compatibility score. So it's, it comes out and tells you, if you want to network with, professional filmmakers but not mega producers and you have a short comedy coming of age film Wyoming International Film Festival has that crowd screens those types of films and you would have a 90% compatibility.So it actually helps you develop your festival strategy for you.BEN: It's so needed. And Rudi has a great video on how to spot scam film festivals. Yes. That's something that is just prevalent these days. So for filmmakers who are getting ready to submit, I encourage you to watch that video. I'll link to it in the show.I'll link to everything that we're discussing in the show notes. The. So Rudi talked about one goal a filmmaker can have is to network other goals at various points in my, film festival my limited film festival career I've applied to festivals ‘cause I wanted to go to that city, new Orleans Fest, new Orleans Film Festival.TravelingRUDI: is totally legitimate reason to go.BEN: People apply because they want distribute, they wanna meet distributors or financiers for the next film. Although, that's what everybody wants. SoRUDI: you, you would be surprised. So in, in 2018, I had a feature film and my, my goal like most feature films was to land a distribution deal.But I was like, that's not specific enough. There are many steps to land a distribution deal. So what I need is I need good press on my film. So that was a goal. So I wanted to target festivals that had press. I wanted laurels. I wanted to win some awards with it, but I also knew my film was. Small and kind of small scale.So it wasn't gonna win laurels at big festivals. So I was like, okay, I need festivals with press. I need festivals that are legitimate and above board, but also small enough where I'm gonna be competitive. And then I wanted to actually meet distributors. And I know they only go to big festivals, so I actually had to target three different kinds of festivals.‘cause I had three, let's call ‘em conflicting goals with my own film. So that's what I did. I did a split strategy. I targeted festivals where I was gonna be this tiny little fish in a very big pond. And no one's really gonna notice me, but I'm just happy to be there. I targeted festivals where I know that I was going to get very good press and very good reviews on the film.And I targeted festivals that were small, still legitimate, but I was gonna be competitive and maybe bring home some trophies. And so that was my strategy and it worked, and I landed a distribution deal.BEN: That's so great. I, I'd love to do a part two at some point we can talk distribution deals and all of the, yeah.Things like that. But I think for people listening, the big takeaway is even with this multi-pronged goal, three different goals connected to each other. Once you identify what your goals are, then you work backwards and you create your strategy to Yes, to achieve those. Okay. Back to the two in the weeds.Two more in the weeds questions. Yeah. So description, and as I'm looking at other film descriptions, and I saw this at USC all the time as well, and we talked about earlier, filmmakers wanting to sit in emotion or sit in something traumatic and have the audience experience that I notice a lot of times in descriptions of short films.Can so and so come to terms with this? Can, and just as someone who has a little bit of experience marketing stories, where's the action? What's the active what's this person actively trying to accomplish, rather than can they just come to terms with something? Can you talk a little bit about film description, just three or four lines.What pops?RUDI: So just like your poster, just like your marketing and everything, a film description is your way to reach through the screen, grab the audience, grab the programmer, and pull them into your movie. Keep in mind, your whole entire goal is to get people to watch your film, get them excited about your film.And so if you just have a very drab, like description that's just yeah, has to face consequences for a decision they made or come to terms with something when I, that's a good V one, that's a good place to start, but that's not going to get an audience excited about your film.I saw film, I don't know if it was at my festival. It wasn't at my festival. We didn't screen it, but I'm saying, I don't know if it was submitted to my festival or if I saw it at another festival, but I remember one of the descriptions it was great. It was whatever the two character names were, John and Jane, I forget what the characters are, but like John and Jane are on a date, there's a bomb in the other room.I I hope the date goes well, or something like that. Let's hope the date goes well. And I'm like, what is this movie? That gets you really excited for it. You're. It, it creates so much mystery. And also just the cavalier way that it was written immediately tells me this is gonna be a comedy, or it's not taking itself too seriously.It's not some like gritty, dive into the underworld or whatever. Like just how blunt it was about the dis of the film and just that like small little description. I know I'm paraphrasing what it was, but it stuck with me for years at this point. ‘cause I'm like, that is how you write a description for a film.That is how you get someone excited to see what is this movie about? Let's jump in. Piggybacking off a description. Titles are another great way to do that. In, in my own repertoire of films I've had film called Prudence. Okay, fine, whatever. Prudence doesn't really tell you much about that film.I had a film that I'm very proud of. It's artsy, it's a little bit magical realism and it's called in this gray place, and it has that artsy mystique around it in this gray place. And I love that title. I did it, I did a film back in film school. It's terrible, but the title's great.It's called Back to Fort Russell. It was a Western and I, to this day, it's one of my favorite titles that I've ever had. But it tells you something. It clues you into what this film is going to be, what the journey of this movie is going to be. And some films do that better than others. And some films, yeah, it's not necessary.But I, I get more excited when I hear something like the Texas Chainsaw Massacre than I do something that's just like love. Or mom or something.BEN: I think this is the last question. So again, with all these little details, cover letter, talk to me about cover letters.RUDI: It's so interesting you asked me that question ‘cause hearing about four or five days, I'm posting a video on the YouTube channel about cover letters. It's short, it's only four or five minutes long, but cover letters are so important.Should absolutely write a cover letter. And a couple of days ago I was talking with programmers at dances with films, and if you don't know dances with films, look ‘em up. They are an incredible film festival. They are in the big leagues for sure. And I was talking with a couple of programmers and I asked them about covert letters and they said, it's so important it.How the filmmaker is going to put an audience in the theater is very important for their festival. How they're going to get people to attend is very important for them and they're like, a good indication in a cover letter is when they, the filmmaker indicates how they're going to market their film and they use the example of football.Let's say it's a movie about football. They're like, if it's a movie about football and you tell me in the cover letter that you're part of several like football organizations, or you're gonna be reaching out to sports organizations or youth organizations for sports or something like that, to attend the film.That's a very good indication for them in the cover letter. For me, I think a cover letter is very important in that it shows. You're going the extra mile to show the festival you care. You're not just submit and quit. We're not just one festival on a list of 50 that you're submitting to. There is a reason you want to screen with us, and that's a specific reason.Either you feel that your film is good fit for our audience, or there's something that you want to connect with. In Wyoming, I had one cover letter and we did accept this film and it was really funny. They put in their cover letter like their film was a comedy, so their cover letter was also very comedic, but they're like, honestly, we're just gonna go up to Yellowstone around that time and we would love to swing by and show the movie.And I laughed. I laughed so hard at that and I'm like. But that shows me they care. Like they want to be there. And the film was good and it was funny and we screamed it and they were there. So it's a way to show a film festival enthusiasm and it's way to inform the festival about yourself, about your film, and how that's gonna gel with their particular event and their audience.BEN: I love it. And that reminds me, I got one more, I got a bonus question. Yeah. Can you talk about applying early?RUDI: Yes. Statistically, when I look at our own data, statistically, it does seem to be that the earlier you apply, the better chance that you have. And so I don't want to give the impression that if you applied late.You have no chance. I think in the video where I literally broke down the data and the statistics, I think at our festival we had a one in five chance of getting in on the late deadline, which is about a 20% acceptance rate. But it was much higher the earlier it came in. So just with the raw data taking out my opinions, my emotions on it, whatever, just the data itself shows earlier is better.Now, here's where my opinions and my feelings towards it come from. I think it's a couple of things. One, when you get in early, you set the pace for the rest of the festival, you're telling us, okay, it's a drama. We're gonna compare your film against others. Like you have now become the benchmark that we're gonna compare other films to when it comes to like dramas or whatever.What it also does. It's something I'm going to discuss in my video and cover letters, but it also engages something, what's called mere exposure effect in psychology, which is essentially the more that you are exposed to something, the more preference you have towards it. Which means if you get in early, you are exposing yourself, your film, and your story to the programmers more often and more readily than late submissions are.So it's more likely that the programmers form some attachment to your film, and that's just human nature, that's just psychology. There's some practical reasons for it as well. Obviously, earlier submissions, earlier deadlines are cheaper, so it's better to get in. It's just gonna cost you less money to do and then lastly, there are many festivals that are developing their program as they go. So as films are coming in, they're shaping. We got a ton of dramas. Maybe we need two drama blocks, or, we, we don't have enough sci-fi for a sci-fi blocks, we gotta spread it out or whatever. So if you come in late, you're now trying to elbow some other film out of the way in order to find your screening slot.Which don't get me wrong, there are plenty of programmers that are absolutely gonna go to bat for you. They're gonna fight hard to get you in. Doesn't matter if you come in early or late or whatever, but the chances are just better. And the data shows that if you get in early. All that said, a couple of years ago, the very last film that came in with only two hours left in our deadline, we ended up programming it.So it, it is possible.BEN: Rudi, I cannot thank you enough. I can't tell you how helpful this has been. There's so much great information for filmmakers. Filmmakers submitted to festivals, people just interested in going to festivals. So thank you so much for taking the time.RUDI: Hey it's always a pleasure.I always love talking film festivals and for any filmmakers out there, head on over to YouTube hit up the Film Festival Guide. That's my YouTube page. I'm coming out with videos every two or three weeks. That's about what I put ‘em out there for. So if you need any guidance or any, I don't know, insight for film festivals that's where I am.BEN: Film Festival Guide. I'm a subscriber. I can't recommend it enough. Any other social media where people can find you?RUDI: Oh no, I'm terrible on social media. YouTube's enough for me right now.BEN: So Film Fest.RUDI: I will probably expand in the future and I'll probably make some announcement on the YouTube channel.Got it. But for right now, I'm just trying to get good information out there to as many filmmakers as possible.BEN: Thank you so much for doing that. It's such a huge benefit for film.RUDI: Thank you very much for the support and thank you very much for having me on. I enjoyed this. This was a lot of fun.BEN: Me too. This was great. Thank you. And that was my interview with Rudy Womack, director of the Wyoming International Film Festival and creator of the great YouTube page, the Film Festival Guide. Hope you enjoyed this episode. If you did, please forward it to one person. Thank you and have a great day. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit benbo.substack.com

Welcome to The Cluttered Desk! In this episode, Andrew and Colin discuss Andrew's recent conference presentation on Frank X Walker's poem "Amazin' Grace." Enjoy! *** Coda: MI P1LSNER (Andrew) La Croix Limoncello (Colin) *** Andrew's recommendation: The Texas Chainsaw Massacre (1974) Colin's recommendation: Three Days of Condor (1975) and Taylor Lorenz on Taylor Swift's potential conservative turn  ***  Please contact us at any of these locations: Website: www.thecdpodcast.com Email: thecluttereddeskpodcast@gmail.com Twitter: @TheCDPodcast Facebook: www.facebook.com/thecdpodcast Andrew is on Twitter @AndrewPatrickH1 (Twitter non grata) Colin is on Twitter @ColinAshleyCox *** If you need podcast editing help, consider contacting our new editor, Zach! You can find him on Twitter @Pruettisms Also, find Zach's podcast work here: @satnightdivepod, @youcantdisappod, and @timeknifepod *** We want to thank Test Dream for supplying The Cluttered Desk's theme music. You can find Test Dream at any of these locations: Website: testdream.bandcamp.com Facebook: www.facebook.com/testdream Twitter: @testdream *** Our entire catalogue is available through iTunes and Spotify.

We're tantalizing ALL of your senses with our newest theme – RAW and Un-SENSE-ored: Horror Movies about the Senses – brought to you by Lucas! His first pick… maybe stretches the boundaries of the horror realm but we have a good time anyway tickling our olfactories with a discussion on PERFUME: STORY OF A MURDERER!   Go to patreon.com/SHUDcast where you can sign up for all kinds of extra goodies! 00:00 - 9:40ish -  Intros: Lucas went on an odyssey, Tron: Ares, Good Morning America   9:40ish - 1:08:00ish - The other stuff we watched this time!   Lucas - Skinamarink, Christmas Bloody Christmas, One Battle After Another, Perfect Neighbor, LOTR: The Two Towers, Uncut Gems   Cody - One Battle After Another, Sleepy Hollow, Primate, Exhuma, Here for Blood, Night of the Reaper, Bone Lake, Dust Bunny, Deathstalker, Death of a Unicorn, Frankenweenie, This Night I'll Possess Your Corpse, The Devil's Rejects, The Strange World of Coffin Joe, A Nightmare Before Christmas, Freaked!, Scream, Blink, Cape Fear, Ouija: Origin of Evil   Austin - Primate, Dust Bunny, Deathstalker, 28 Years Later, The Boy Behind the Door, Black Phone 2, K-Pop Demon Hunters, Presence, VHS Halloween, The Monkey, Sinners   Curtis - One Battle After Another, Primate, Dust Bunny, Deathstalker, Black Phone 2, Presence, VHS Halloween, No Other Choice, Chungking Express, The Furious, A Bittersweet Life, Pumpkinhead, At the Drive-In, Gonjiam: Haunted Asylum, Ernest Scared Stupid, Cronos, The Devil's Backbone, Mimic, 10 Cloverfield Lane, Lake Mungo, The Descent, Frailty, The Texas Chain Saw Massacre   1:08:00ish - 1:42:00ish - PERFUME: THE STORY OF A MURDERER - SHUDdown and discussion!   1:42:00ish - End - Movie #2 of “Raw and Un-SENSE-ored: Horror Movies about the Senses” brought to you by Lucas!

Allen Danziger also known as Jerry The Van Driver in the original Texas Chainsaw Massacre brings us The Weedhacker Massacre, a fun romp that features a very unique and unwieldly killing device. The Weedhacker Massacre is streaming everywhere, has won a number of festivals and comes equipped with friend of the podcast Ray Spivey's talented work. We think you'll enjoy!Visit https://www.weedhackermovie.com/ to learn more.

Repligator is the story of what happens when military science goes wrong -- and someone makes a straight to video semi-adult film out of it... DISCLAIMER: Spoilers and Language!REPLIGATORdir. Bret McCormickstarring: Gunnar Hansen; Keith Kjornes; Randy Clower

Grave robber and the real-life inspiration for Norman Bates and Leatherface.Ed Gein, the mild-mannered handyman from Plainfield, Wisconsin, shocked the world when police discovered what lay behind his farmhouse walls: human remains, skin masks, and grisly trophies made from corpses. But beneath the horror lies a deeper psychological question — what drove him to do it? In this episode of The A–Z of Psychopaths, Simon Ford dissects the life and crimes of Ed Gein, the so-called “Butcher of Plainfield.” They explore his twisted devotion to his mother, Augusta, his macabre “projects” inspired by loneliness and delusion, and his lasting influence on horror icons from Psycho to The Texas Chainsaw Massacre.Finally, we use three key traits from the Hare Psychopathy Checklist to examine whether Ed Gein really fits the profile of a psychopath — or whether he was something even more disturbing.The A–Z of Psychopaths is a Psycho Killer production.Special Mention: Laurie Metcalf's extraordinary performance as Augusta Gein in Monster: The Ed Gein Story (Netflix) brings chilling realism to one of the most controlling maternal figures in criminal history. In our view, she deserves an Emmy. What do you think? Let us know in the comments.Become a supporter of this podcast: https://www.spreaker.com/podcast/psycho-killer-shocking-true-crime-stories--5005712/support.

In this bonus episode of The Filmumentaries Podcast, host Jamie Benning, that's me... talks with author and filmmaker John Walsh about his new book The Art and Making of Gladiator II. Walsh discusses how he was approached by Abrams Books and Paramount Pictures to chronicle the creation of Ridley Scott's Gladiator sequel, offering rare insights into the production design, visual effects, and creative collaboration behind one of the most ambitious films of the decade. The conversation explores how Walsh handled the challenge of documenting a still-in-production movie, his access to thousands of behind-the-scenes images, and the process of balancing art direction, photography, and storytelling in an official studio book. We also look ahead to Walsh's next project — a deep dive into The Texas Chain Saw Massacre, and reflect on the enduring value of physical “making-of” books in today's digital film culture.BUY THE BOOK HEREThis podcast is completely independent and made possible by listener support. If you'd like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning Watch more on YouTube:Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentariesAll my links

On this episode we sample the herbal goodness of Underberg while chatting about ghost socks, The Texas Chainsaw Massacre, crossing of the horror movie streams, a bandolier of herbal liqueurs, this is a beverage and not to be sipped or put in a Glencairn....we're doing it anyway, urine problems, slowly nudging up against a good nursing home smell, chewing on raw tree bark, digestive properties, hoping you hate the baked good I made for you, daily ablutions, the morning shower, the perfect shower temp, poppa hot, the reverse Scottish shower, cousin Eddie needs, wearing your shower shorts, and missing our own birthday...again. Support Us On Patreon: https://www.patreon.com/DrepandStone We'd love to hear from you! https://linktr.ee/DrepandStone Don't forget to subscribe! Music by @joakimkarudmusic Episode #319

Sam the Sleeper breaks down Netflix's Monster: The Ed Gein Story — exploring how much of it is real, how Hollywood dramatizes true crime, and why this twisted case still echoes through horror classics like Psycho and The Texas Chainsaw Massacre. A smart, candid take on the blurred line between fact, film, and fascination. Timestamps & Segments 00:00 – Intro: Netflix's Monster Series Opening thoughts on the new Monster season centered on Ed Gein. 00:30 – Casting & First Impressions Charlie Hunnam as Ed Gein and initial reactions to the series setup. 01:00 – Ed Gein's Influence on Horror Icons How Gein inspired Psycho, Texas Chainsaw Massacre, and Silence of the Lambs. 01:36 – The Real Story vs. the Show Comparing Hollywood dramatization with historical facts. 02:00 – The “Based on a True Story” Problem When creative license goes too far in true crime adaptations. 02:46 – Jumping Timelines & Movie Connections How the show jumps between Gein's life, Psycho's production, and pop culture. 03:20 – The Birth of Gore and Shock Horror Discussing how Ed Gein's crimes shaped horror's fascination with mutilation. 03:55 – Fictionalized Violence vs. Reality The show exaggerates Gein's body count — but at what cost? 04:15 – The Morality of Making Real Killers Entertainment Should real people's crimes be dramatized for binge-watching? 04:50 – The Real Ed Gein's Mindset Mental illness, schizophrenia, and how the show handles his psychology. 05:30 – Charlie Hunnam's Portrayal & Tone Debating his “weird but sexy” performance and the show's mood. 05:57 – Tangent: Other Violent Shows & Limits Side talk on Hostel, Game of Thrones, and where each draws the line. 06:12 – Final Thoughts: Watch or Skip? Logan's verdict — sensationalized, scattered, and not enough substance. 06:30 – Lack of Depth & Overstretching the Story The creators try to fill gaps by pulling in other stories. 06:46 – Mindhunter Connection How the series ties into the Mindhunter detectives and shared universe hints. 07:10 – Possible Future Seasons Rumors about Mindhunter's return and hopes for better storytelling. 07:12 – Rating the Show Final score: 2.8 out of 5 — stylish but overblown. Subscribe and Support our Independent Podcast at www.mostlysuperheroes.com.  ©2025 Carrogan Studios

Join screenwriter Stuart Wright as he dives into movies that changed your life with the director of the Texas Chain Saw Massacre documentary CHAIN REACTIONS, Alexandre O. Phillipe, in this engaging episode of 3 Films That Have Impacted Everything In Your Adult Life. Explore Vertigo impact, Bladerunner analysis, and All Tex Avery Cartoons influence on his personal growth and cinema's transformative power. Alexandre O. Phillipe also discusses how he directed CHAIN REACTIONS Movies That Changed Your Life   Find out about the making of the Texas Chain Saw Massacre documentary CHAIN REACTIONS and the lasting impact of cinema with Stuart Wright on his movie podcast.   [1:00] Describe CHAIN REACTIONS [3:00] Texas Chain Saw Massacre is an extraordinary film [5:20] Texas Chain Saw Massacre is pure cinema [7:20] Texas Chain Saw Massacre looks amateurish is part of the charm of the film [9:00] What changes in perception did Alexandre have from making CHAIN REACTIONS? [13:00] Gaining new readings of Texas Chain Saw Massacre from those interviewed. [14:00] 3 Films That Have Impacted Everything In Your Adult Life Vertigo impact  [14:43] Alexandre O. Phillipe describes how Vertigo goes really deep and was his first film memory.  Bladerunner analysis [20:20] Alexandre O. Phillipe shares how Bladerunner was a film he watched in theatres, in Paris, when he was 10. He got the VHS as soon as he could and there was a time in his youth when he watched the film every day of his life. All Tex Avery Cartoons Influence   [26:00] Alexandre O. Phillipe talks about how watching Tex Avery Cartoons were a huge part of his pre-school routine when he was growing up in Switzerland. The absurdity and over the top humour and how Tex Avery could escalate every situation. Alexandre thinks that Tex Avery was the greatest.  Key Take Aways:   - Discover how movies that changed your life shape personal and professional growth. - Learn about how Alexandre O. Philippe decided on the style and format of the Texas Chain Saw Massacre documentary CHAIN REACTIONS Understand cinema's transformative power through Vertigo (1958), Bladerunner (1982), All Tex Avery Cartoons Full show notes and transcript:  About the Guest:   Alexandre O. Philippe is a Swiss American film director. Philippe is also the Creative Director and co-owner of Denver-based Cinema Vertige Fifty years after Tobe Hooper's The Texas Chain Saw Massacre shocked the world, this feature-length documentary charts the film's profound impact and lasting influence on five great artists – Patton Oswalt, Takashi Miike, Alexandra Heller-Nicholas, Stephen King and Karyn Kusama.  Chain Reactions will be available on Digital and Blu-ray from 27th October Subscribe on Apple Podcasts, follow on Spotify or wherever you listen to your podcasts for more movies that impacted your life!  Share your favourite movies that impacted your life on X (@leytonrocks) and leave a 5-star review and tell us which 3 films impacted your adult life. Best ones get read out on the podcast. Credits:   Intro/Outro music: *Rocking The Stew* by Tokyo Dragons (https://www.instagram.com/slomaxster/)  Written, produced, and hosted by Stuart Wright for [Britflicks.com](https://www.britflicks.com/britflicks-podcast/)   Learn more about your ad choices. Visit megaphone.fm/adchoices

The Pod of Dreams looooovvvvesss prime meat! Hook 'Em, Horns, baby! Spotify: https://open.spotify.com/show/46c3C827AUwbjV5oEsrhon?si=c191cad0e73d40ee Apple Podcasts: https://podcasts.apple.com/us/podcast/pod-of-dreams/id1611180213

The world's attention has been gripped by the story of Ed Gein thanks to a confronting and disturbing new Netflix series. When police entered his Wisconsin farmhouse in 1957, they uncovered a scene so grotesque it redefined horror itself. Gein's crimes inspired cinema's darkest characters, from Psycho's Norman Bates to The Texas Chainsaw Massacre's 'Leatherface'. This episode delves into the mind behind the madness and the real monster who changed horror forever. See omnystudio.com/listener for privacy information.

We explore the twisted mind of Ed Gein, whose gruesome killings inspired horror movies Pyscho, The Texas Chainsaw Massacre, and The Silence of the Lambs. Gein was known for years as the local handyman in Plainfield, until it was uncovered in 1957 that he killed two women and robbed the graves of multiple other women. Stay up to date with changes coming to the feed on @serialkillerspodcast! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Horror franchise aficionado Braden Cooley returns to break down all nine films in the decades-spanning saga of Leatherface.Follow Braden on Letterboxd: @bradencollow Johnny on Instagram and Letterboxd: @JohnnyMocny

As the moon falls on an another Halloween, we have one more spooky guest to give…and it's not Burlew in another vampire outfit. Special effects makeup artist, Todd Tucker, tells his story of going from a hair metal band to being a makeup artist on a Steven Spielberg movie. We chat on him founding his makeup studio Illusion Industries, acting and creating looks on horror show and movies like Charmed, Hook, Dracula, and Texas Chainsaw Massacre.  We also talk about the full circle moment with his latest movie, Rockbottom, where Todd had to create an original soundtrack with rock legends from Quiet Riot and Dokken.  Have a listen!   We also learn about another interesting body encounter from Mike, and Scott has quite an interesting experience at a CPR class.  Check it out!

Send us a textWe had on Horror movie FX Legend Mick Strawn, you may know his work from movie franchises of Nightmare on Elm Street and Texas Chainsaw Massacre!! He sat down with us to talk about his storied career in Show Business and enjoy three Brews!!Segment 1 : Fesshole- Talking about people's confessions while drinking Spiced Pecan Hard Cider by Tieton Cider WorksSegment 2: Beer Flights- We hack, saw into, dissect and grill Mick about everything!!! He had Feier by Millpond BrewingSegment 3: Name that Horror Film Trailer!!!- Skyler, Honer and Mick compete to see who can figure out which horror film is playing by just the audio of the trailer!! We had Fluff Said by False Idols Brewing Theme Song by Lost Like Lions Check out Mick's Newest FilmsPIG HILLSOLITUDESupport the show

After contributing to The Pod and the Pendulum's 300th episode on the 25 best horror films of the 21st century, we decided to run through our individual lists for listeners.How did we each approach the task? (hint: thank god for Letterboxd) Which film(s) appear on both lists? And what movies will top our individual lists?! Don't scroll if you don't wanna know!Joe's Top 25 Horror Films of the Century (Ranked)The Invitation (2015)Knife + Heart (2018)Hereditary (2018)Train To Busan (2016)Relic (2020)Saint Maud (2019)The Descent (2005)The Perfection (2018)Inside/A L'Interieur (2007)Raw (2016)Better Watch Out (2016)Under The Skin (2013)Black Swan (2010)Let The Right One In (2007)Stoker (2013)Femme (2023)Annihilation (2018)Blink Twice (2024)The Skin I Live In (2011)The Strangers (2008)The Invisible Man (2020)Hostel Part 2 (2007)Ginger Snaps (2000)The Substance (2024)Midnight (2022)----------Trace's Top 25 Horror Films of the Century (Ranked)The Substance (2024)The Descent (2005)The Den (2013) - Listen to our guest spot on TGIFHereditary (2018)The Invitation (2015)Martyrs (2008)The Perfection (2018)The Texas Chainsaw Massacre (2003)It Follows (2014)The Outwaters (2022)Drag Me To Hell (2009)Grindhouse (2007)Trick 'r Treat (2007)Insidious (2011)The Witch (2018)The Cabin In The Woods (2011)Bug (2006)The Mist (2007)Evil Dead (2013)Green Room (2008)[Rec]² (2009)Doctor Sleep (2019)Don't Breathe (2016)Detention (2011)Zombeavers (2014) Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

The massacre was in Texas, so I pulled out the chainsaw!!! Yessir, it's time to check back in with Leatherface and this... comedy?!? Yeah, if the poster didn't give it away, this sequel pulls an Evil Dead 2 style move and just gets goofy. Cameron joins us very late into the episode and has us laughing at old video games. Episode Link - https://tinyurl.com/5yz5h3z5 Support the show on Patreon - https://www.patreon.com/c/homevideohustle More Movie Reviews on LetterBoxd - https://letterboxd.com/hvhpodcast/ Watch Us On YouTube - https://www.youtube.com/channel/UCfN67zqLBcbJNJw1cHI0Hlw Get HVH Merch - https://www.teepublic.com/user/hvhpodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Happy Halloween, friends!!In a special bonus Halloween episode, Andrew and Scotty grab some candy corn, light some candles, and turn off the lights, as they sit back on a cozy evening and recount some of their favorite horror movie watching experiences ever.After that, they rank what they consider the Big Five Slasher Series: Halloween, A Texas Chain Saw Massacre, Friday the 13th, Child's Play, and A Nightmare on Elm Street, and then tell each other their favorite entries in each series, with the only rule being that they can't pick the first movie in the series they're discussing.So grab some Halloween candy and have some fun... with horror!Feel free to send us a message! What did you think of this movie? Of this episode? Support us on Patreon! - https://www.patreon.com/FunWithHorrorPodcastFollow us on social media:Facebook - https://www.facebook.com/groups/396586601815924Twitter - https://twitter.com/funwhorrorInstagram - https://www.instagram.com/fun_with_horror_podcast/FWH + Fangoria collab:For 20% off at the Fango Shop, just enter FUN_WITH_HORROR_PODCAST at checkout!

Happy Halloween, everyone! @MalloryMovies @CineMythology cinemythologypod@gmail.com

Send us a textVegas isn't just for casinos anymore — it's home to horror. Join Jimmy on the road as he explores Universal Horror Unleashed at AREA15 in Las Vegas, NV.  Inside this 110,000-square-foot warehouse of fear, Jimmy walks through four epic haunted houses (including The Exorcist: Believer, The Texas Chainsaw Massacre, Universal Monsters and an original story, Scarecrow: The Reaping). He also explores themed live-zones, horror-bars and immersive food & beverage venues crafted for the truly braveBecome a backer for Ghost Executioners 3 Starring Anastasia Elfman! https://www.indiegogo.com/projects/ghost-executioners-3-the-final-haunting/x/38704812#/ Ghost Executioners and Halloween Gory Nights Merchandise! https://www.teepublic.com/user/thehorrificnetwork?utm_source=designer&utm_medium=social&utm_campaign=horrificnetwork Follow All Things Horrific Network Here https://linktr.ee/thehorrificnetwork

Horror movies are big business: this year, they've accounted for more ticket sales in the U.S. than comedies and dramas combined, bringing in over a billion dollars at the box office. And the phenomenon goes beyond a hunger for cheap thrills and slasher flicks; artists have been using horror to explore deep-seated communal and personal anxieties for centuries. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz, along with the New Yorker culture editor Alex Barasch, use three contemporary entries—“The Babadook,” “Saint Maud,” and “Weapons”—to illustrate the inventive filmmaking and sharp social commentary that have become hallmarks of modern horror. “In the past, the horror would be something external that's disrupting a previously idyllic town or life. Now there's a lot more of: the bad thing has already happened to you,” Barasch says. “You already have a trauma at the beginning of the film—or even before the film begins—and then that is eating you from the inside, or trying to kill you, and you have to grapple with that.”Read, watch, and listen with the critics:“The Babadook” (2014)“Rosemary's Baby” (1968)“Scream with Me,” by Eleanor Johnson“Hereditary” (2018)“The Substance” (2024)“Saint Maud” (2020)The “Saw” franchise (2004—)“The Exorcist” (1973)“The Case Against the Trauma Plot,” by Parul Sehgal (The New Yorker)“Weapons” (2025)“Barbarian” (2022) “The Texas Chainsaw Massacre” (1974)“Get Out” (2017)“Alien” (1979)“The Blair Witch Project” (1999)“Talk to Me” (2022)New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.Critics at Large is a weekly discussion from The New Yorker that explores the latest trends in books, television, film, and more. Join us every Thursday as we make unexpected connections between classic texts and pop culture.  Learn about your ad choices: dovetail.prx.org/ad-choices

Spooktober is here and we have some old classic movies to talk about, plus a couple new TV shows. The main event this episode is the 1975 horror masterpiece "The Texas Chainsaw Massacre." Happy Halloween!Intro - 0:00Peacemaker, Alien Earth - 4:02Task - 11:30Mr. Scorsese - 15:29Friday the 13th - 24:11Practical Magic, Ringu - 33:35Casper - 35:45Creature from the Black Lagoon, Dracula - 38:26The Texas Chainsaw Massacre - 40:57

Leatherface is always ready. He puts his apron on in the morning and takes it off at night. We watched: The Texas Chainsaw Massacre (1974) The Texas Chainsaw Massacre 2 (1986) Leatherface: The Texas Chainsaw Massacre III (1990) Texas Chainsaw Massacre: The Next Generation (1995)

Michael Cassidy, sales arborist at Davey's West Columbus office, shares his list of scary movies featuring spooky trees, eerie forests and creepy plants just in time for Halloween. In this episode we cover: Doug's favorite horror movie (1:22)Doug and Michael's Halloween traditions (2:40)Scary movies with scary trees and plants  Pumpkinhead (4:34)The Wicker Man (5:01)Ernest Scares Stupid (6:02)Blair Witch Project (7:26)Invasion of the Body Snatchers (8:13)The Texas Chainsaw Massacre (11:39)Color Out of Space (12:06)Moonstruck (12:38)Midsommar (13:14)Jumanji (14:02)Predator (15:01)Alien (15:44)Wrong Turn (16:41)The Watchers (17:02)The Evil Dead series (17:35)Gaia (19:57)The Wizard of Oz (20:27)To find your local Davey office, check out our find a local office page to search by zip code.To learn more about scary trees and plants, read Davey's blog, Zombie Trees: What You Need to Know. Connect with Davey Tree on social media:Twitter: @DaveyTreeFacebook: @DaveyTreeInstagram: @daveytreeYouTube: The Davey Tree Expert CompanyLinkedIn: The Davey Tree Expert Company Connect with Doug Oster at www.dougoster.com. Have topics you'd like us to cover on the podcast? Email us at podcasts@davey.com. We want to hear from you!Click here to send Talking Trees Fan Mail!

This week on Shat the Movies, we're slicing into The Texas Chain Saw Massacre (1974), the gritty, low-budget horror that redefined the genre. Gene and Big D brave the sweltering heat, meat hooks, and chainsaws to figure out how this disturbing, relentless nightmare became a cultural landmark. With Leatherface, Grandpa, and a whole lot of screaming, is it still terrifying in 2025 or just a grimy relic of its time? Tune in as we tackle the madness behind the mask. Movie Plot:When Sally (Marilyn Burns) hears that her grandfather's grave may have been vandalized, she and her paraplegic brother, Franklin (Paul A. Partain), set out with their friends to investigate. After a detour to their family's old farmhouse, they discover a group of crazed, murderous outcasts living next door. As the group is attacked one by one by the chainsaw-wielding Leatherface (Gunnar Hansen), who wears a mask of human skin, the survivors must do everything they can to escape. Commissioned by Eric C. Support the Walk to Save Animals Donation link: http://www.tinyurl.com/shatpod Subscribe Now Android: https://www.shatpod.com/android Apple/iTunes: https://www.shatpod.com/apple Help Support the Podcast Contact Us: https://www.shatpod.com/contact Commission Movie: https://www.shatpod.com/support Support with Paypal: https://www.shatpod.com/paypal Support With Venmo: https://www.shatpod.com/venmo Shop Merchandise: https://www.shatpod.com/shop Theme Song - Die Hard by Guyz Nite: https://www.facebook.com/guyznite

Today on the 5: I've been watching the immensely entertaining movie reviews over at Off The Shelf Reviews lately, and the most recent franchise they've been covering is the Texas Chainsaw Massacre followup films. While most great horror films either never needed sequels or went in wacky directions with them, TCM is one film that felt like it had a natural sequel basically ready made and just never made it.

There aren’t too many independent horror movies that make the British Film Institute’s 250 Best Films Ever Made list – AND – make an appearance in the teen comedy Summer School. That makes sense because there’s no other movie quite like The TCSM.See omnystudio.com/listener for privacy information.

They are three of the most infamous names in true crime history: Ed Gein, Jeffrey Dahmer, and the Menendez Brothers. From Gein's grave robberies and macabre trophies to Dahmer's horrific apartment crimes and the Menendez brothers' shocking family murder, these cases shattered any sense of normalcy and redefined what horror means in real life.Ed Gein's crimes inspired Hollywood's darkest creations, from Psycho to The Texas Chainsaw Massacre, and now he is the subject of a new Netflix series. Jeffrey Dahmer's story blurred the line between human and monster, while the Menendez brothers' trial exposed the disturbing mix of privilege, trauma, and violence that lurked behind a mansion's walls.This is night two of True Crime Recaps' Halloween Week, and the darkness is only getting deeper. We began with Richard Ramirez, but it all leads to our Halloween Day finale.Which case do you think Netflix should tackle next?

Spooktacular 2025 : Episode 368 - Spooktacular 8 aka HELL ON EARTH EDITION. As the world falls apart it's once again that time of year where ghosts, ghouls, and goblins abound. The only remedy? The Normies Like Us Spooktacular! Try not to PSYCH(o) yourself out, get your trick ‘r treating done by DAWN, and if all else fails - do anyTHING you can to survive, only on Normies Like Us!!! Insta: @NormiesLikeUs https://www.instagram.com/normieslikeus/ @jacob https://www.instagram.com/jacob/ @MikeHasInsta https://www.instagram.com/mikehasinsta/ https://letterboxd.com/BabblingBrooksy/ https://letterboxd.com/hobbes72/ https://letterboxd.com/mikejromans/

Fearsome Frank Cifaldi, Ash And Bones Parrish, and Brandon Deathfield mash through FMV horror games, nepo babies, and a surprising Alucard cameo in the spookiest episode of the year. Hosted by Alex Jaffe, with Frank Cifaldi, Ash Parrish, and Brandon Sheffield. Edited by Esper Quinn, original music by Kurt Feldman. Watch episodes with full video on YouTube Discuss this episode in the Insert Credit Forums SHOW NOTES: 1: Colin Spacetwinks asks, what would be the best horror story to turn into an FMV point-and-clock adventure? (01:43) The Blair Witch Project (1993) Silent Hill f Eugene Levy's Dumbass Golf Scary Stories to Tell in the Dark Her Story Plan 9 From Outer Space Journey to the Moon Nosferatu (1922) Frankenstein Night of the Living Dead (1968) Sherlock Holmes: Consulting Detective Dracula Unleashed J Marian Sims The Sims series Contagion (2011) Pandemic (2016) Outbreak (1995) The Conjuring (2013) Bioshock 2: What are the most unintentionally terrifying video games? (09:01) Monster Mash Tomb Raider II Phantasy Star Wizardry Advanced Dungeons & Dragons: Treasure of Tarmin Super Mario Land iMac Neopets 3: Where do you stand on large scale open world traversal in video games? (15:00) Red Dead Redemption II The Legend of Zelda: Breath of the Wild Fallout series Grand Theft Auto series Hollow Knight: Silksong 4: What role does nepotism play in video games? (21:02) Alucard Ubisoft Yves Guillemot Guy Fieri's Tournament of Champions Guy's Grocery Games Luigi Sid Meier Heavy Rain David Cage 5: Which musical artists would you recommend for a triple-A horror game? (28:46) Yasushi Ishii John Carpenter Fabio Frizzi Claudio Simonetti Trent Reznor Tron series What Remains of Edith Finch Halloween (1978) John Carpenter's Toxic Commando Joe Hill Stephen King American Vampire Locke & Key Spooky Scary Skeletons The Golden Girls theme Disasterpiece It Follows (2014) Alf Harry & the Hendersons (1987) 6: What are the most successful instances of rebranding in video games? (35:05) Sega Sammy Atari Infogrames Song DK Rap Snake Eater Sonic R Eiffel 65 - My Console Square Enix Namco Bandai Coleco Sammy Hagar Pete Seeger 7: How do games reach an intended audience? (41:32) Demonschool Tectoy FRIGHTENING ROUND: The Monster Match (48:26) Recommendations and Outro (01:06:51): Brandon: The Hitcher (1986), Night of the Living Dead (1968) Ash: You can just do stuff Frank: Killer Klowns from Outer Space (1988) Jaffe: Bride of Frankenstein (1935), Texas Chainsaw Massacre (1974), Nope (2022) This week's Insert Credit Show is brought to you by patrons like you. Thank you. Subscribe: RSS, YouTube, Apple Podcasts, Spotify, and more!

Fearsome Frank Cifaldi, Ash And Bones Parrish, and Brandon Deathfield mash through FMV horror games, nepo babies, and a surprising Alucard cameo in the spookiest episode of the year. Hosted by Alex Jaffe, with Frank Cifaldi, Ash Parrish, and Brandon Sheffield. Edited by Esper Quinn, original music by Kurt Feldman. Watch episodes with full video on YouTube Discuss this episode in the Insert Credit Forums SHOW NOTES: 1: Colin Spacetwinks asks, what would be the best horror story to turn into an FMV point-and-clock adventure? (01:43) The Blair Witch Project (1993) Silent Hill f Eugene Levy's Dumbass Golf Scary Stories to Tell in the Dark Her Story Plan 9 From Outer Space Journey to the Moon Nosferatu (1922) Frankenstein Night of the Living Dead (1968) Sherlock Holmes: Consulting Detective Dracula Unleashed J Marian Sims The Sims series Contagion (2011) Pandemic (2016) Outbreak (1995) The Conjuring (2013) Bioshock 2: What are the most unintentionally terrifying video games? (09:01) Monster Mash Tomb Raider II Phantasy Star Wizardry Advanced Dungeons & Dragons: Treasure of Tarmin Super Mario Land iMac Neopets 3: Where do you stand on large scale open world traversal in video games? (15:00) Red Dead Redemption II The Legend of Zelda: Breath of the Wild Fallout series Grand Theft Auto series Hollow Knight: Silksong 4: What role does nepotism play in video games? (21:02) Alucard Ubisoft Yves Guillemot Guy Fieri's Tournament of Champions Guy's Grocery Games Luigi Sid Meier Heavy Rain David Cage 5: Which musical artists would you recommend for a triple-A horror game? (28:46) Yasushi Ishii John Carpenter Fabio Frizzi Claudio Simonetti Trent Reznor Tron series What Remains of Edith Finch Halloween (1978) John Carpenter's Toxic Commando Joe Hill Stephen King American Vampire Locke & Key Spooky Scary Skeletons The Golden Girls theme Disasterpiece It Follows (2014) Alf Harry & the Hendersons (1987) 6: What are the most successful instances of rebranding in video games? (35:05) Sega Sammy Atari Infogrames Song DK Rap Snake Eater Sonic R Eiffel 65 - My Console Square Enix Namco Bandai Coleco Sammy Hagar Pete Seeger 7: How do games reach an intended audience? (41:32) Demonschool Tectoy FRIGHTENING ROUND: The Monster Match (48:26) Recommendations and Outro (01:06:51): Brandon: The Hitcher (1986), Night of the Living Dead (1968) Ash: You can just do stuff Frank: Killer Klowns from Outer Space (1988) Jaffe: Bride of Frankenstein (1935), Texas Chainsaw Massacre (1974), Nope (2022) This week's Insert Credit Show is brought to you by patrons like you. Thank you. Subscribe: RSS, YouTube, Apple Podcasts, Spotify, and more!

In November 1957, police in Plainfield, Wisconsin uncovered a crime scene so grotesque it would change America forever. What began as the search for a missing shopkeeper exposed the twisted mind of a lonely recluse whose obsession with his domineering mother drove him to grave robbing, murder, and unspeakable acts of desecration.This is the chilling true story of Ed Gein—the inspiration behind Psycho, The Texas Chainsaw Massacre, and The Silence of the Lambs.00:00 - Start!00:42 - Why Ed Gein still dominates true crime03:15 - Early life & Plainfield, Wisconsin context06:08 - Inside the farmhouse: what police discovered10:22 - “Butcher of Plainfield”: media vs. records14:40 - Mother, isolation, and psychology debates18:05 - Confirmed crimes vs. urban legends22:30 - Evidence, confession, and the investigation27:18 - Trial, commitment, and legal outcome31:04 - From reality to film: Psycho, Texas Chain Saw, Silence35:12 - Netflix's “Monster: The Ed Gein Story” — what it gets right/wrong39:20 - Why the case keeps resurfacing (ethics & impact)42:55 - Lessons, myths busted, and final thoughts45:10 - Thank you to the crowd & what's nextReddit- Our Subreddit: https://www.reddit.com/r/FivesACrowd- Our Account: https://www.reddit.com/user/FivesACrowdPodcastFollow Our Personal AccountsAustin - https://allmylinks.com/austinspomerCam - https://www.instagram.com/effinburch/Chris - https://www.instagram.com/thechrishummel/Tony - https://www.instagram.com/theonlytonyc/Zach - https://www.instagram.com/zvanbeekum/Hashtags#JoinTheCrowd #HitTheBell #PodcastP.O. Box**Please no packages, letters only**Five's A Crowd Podcast1123 N Fairfield Rd #1373 Layton, UT 84041

Case tackles this low-budget horror film from 1974 in front of a live audience in St. Charles. Chicago’s best morning radio show now has a podcast! Don’t forget to rate, review, and subscribe wherever you listen to podcasts and remember that the conversation always lives on the Q101 Facebook page. Brian & Kenzie are live every morning from 6a-10a on Q101. Subscribe to our channel HERE: https://www.youtube.com/@Q101 Like Q101 on Facebook HERE: https://www.facebook.com/q101chicago Follow Q101 on Twitter HERE: https://twitter.com/Q101Chicago Follow Q101 on Instagram HERE: https://www.instagram.com/q101chicago/?hl=en Follow Q101 on TikTok HERE: https://www.tiktok.com/@q101chicago?lang=enSee omnystudio.com/listener for privacy information.

We're finally ready to put the chainsaw back in the shed and let it rest for a bit. No more Texas Chainsaw movies to cover for now, so let's talk about the franchise as a whole and see if our current feelings and rankings match what we said during our coverage throughout::: ::: ::: ::: ::: ::: :::Visit our website for episodes, blogs, reviews, and short stories: https://whatsyourleastfavoritescarymovie.com/ Follow us for daily fun, polls, and calls for reviews: BlueSky (@LeastFavPod)Instagram & Threads (@leastfavoritescarymoviepodcast)Facebook (What's Your (Least) Favorite Scary Movie?)Trav's Instagram for more of his cool art (@groovykami)Talia's Instagram, because you can't have too many puppy pictures in your life (@ill.talia.what)E-mail us:leastfavoritescarymovie@gmail.com Merch:https://www.redbubble.com/people/WYLFSMPod/shop Patreon:⁠https://www.patreon.com/Whatsyourleastfavoritescarymovie⁠

It's a special two-hander where Mark and Lawrence reflect on the appeal of horror and how the new Monster: Ed Gein Netflix show has to contribute, given that it is not merely a (very loose) presentation of real events, and itself a horror drama, but also a commentary on the Hollywood properties influenced by the Ed Gein murders, including Psycho, The Texas Chainsaw Massacre, and Silence of the Lambs. We bring this up to date by including discussion of the Terrifier films as well as the work of Rob Zombie. Get an ad-free experience, plus bonus talking for nearly every episode at patreon.com/prettymuchpop for only the tiniest per-month financial pledge, or you can sign up directly with Apple Podcasts for a subscription for ad-free and bonus material for three of Mark's podcasts together on the Mark Lintertainment Podcasts Channel. Sponsors: Get 50% off Claude AI Pro at Claude.ai/pmp. Go to surfshark.com/pmp or use code pmp at checkout to get 4 extra monthsof Surfshark VPN.

For the next few weeks "Murder Weekly" will be playing select episodes from our sister show "Celebrity Trials". These shows however will feature only the cases involvoing murder! If you enjoy these shows, please check out "Celebrity Trials".Reid Carter concludes the Ed Gheen special with the psychology behind the Butcher of Plainfield. Augusta Gein raised Ed in fanatical religious isolation, teaching him women were sinful and disgusting. After her death in 1945, Ed tried to resurrect her through grave robbing, murder, and wearing a "woman suit" made from real skin. Found incompetent in 1957, eventually ruled not guilty by insanity in 1968, Ed became a model patient and died peacefully in 1984. His crimes inspired Psycho, Texas Chainsaw Massacre, and Silence of the Lambs. Reid examines how we turned Ed Gheen into entertainment and forgot his victims in the process.Unlock an ad-free podcast experience with Caloroga Shark Media! Get all our shows on any player you love, hassle free! For Apple users, hit the banner on your Apple podcasts app. For Spotify or other players, visit caloroga.com/plus. No plug-ins needed!Subscribe now for exclusive shows like 'Palace Intrigue,' and get bonus content from Deep Crown (our exclusive Palace Insider!) Or get 'Daily Comedy News,' and '5 Good News Stories' with no commercials! Plans start at $4.99 per month, or save 20% with a yearly plan at $49.99. Join today and help support the show!We now have Merch!  FREE SHIPPING! Check out all the products like T-shirts, mugs, bags, jackets and more with logos and slogans from your favorite shows! Did we mention there's free shipping? Get 10% off with code NewMerch10 Go to Caloroga.comGet more info from Caloroga Shark Media and if you have any comments, suggestions, or just want to get in touch our email is info@caloroga.com

Chris recaps his trip to europe, the guys debate their BMI's and talk Brendan only sucking on candies because of his teeth pain, the Ed Gein series, which Ryan Murphy films they like the most, an update of Chris' macros and workout routine, Brendan's fascination with military movies and shows, the new panty bush trend, their favorite Texas Chainsaw Massacre movies, favorite horror movies and much more! Get this episode AD FREE + 2 PATREON ONLY episodes/month only at https://patreon.com/thegoldenhourpodcastQuince - Go to https://quince.com/golden for free shipping on your order and 365-day returnsDraftKings - Download the DraftKings Pick6 app now and use code GOLDEN. That's code GOLDEN — play just $5, get $50 in Pick6 bonus picks.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Netflix's Monster: The Ed Gein Story shocked viewers with its disturbing portrayal of America's most infamous grave robber, but how much of it is true?We're joined by Harold Schechter, legendary true crime author of Deviant: The Shocking True Story of the Original Psycho, to uncover the real story behind Ed Gein, the killer who inspired Psycho, The Texas Chainsaw Massacre, and The Silence of the Lambs. Harold Schechter exposes what Netflix got wrong, why Ed Gein wasn't truly a serial killer, and how his twisted obsession with his mother redefined American horror.

On today's episode of the Occult Symbolism and Pop Culture with Isaac Weishaupt podcast we're doing a film analysis of Texas Chainsaw Massacre! We'll talk about the origins and making of the film and walk through the whole story as we reveal symbolism of the elites, astrology, Saturn, blood sacrifice, vampires, energy rituals, voodoo, satanism, Freemasonry, cannibalism and the Illuminati!Links:PAST HALLOWEEN SPECIALS:Halloween Special 2024: Symbolism of the Occult Holiday Samhain! Druids, Satanism, Witchcraft & Sacrifices! https://illuminatiwatcher.com/halloween-special-2024-symbolism-of-the-occult-holiday-samhain-druids-satanism-witchcraft-sacrifices/Halloween 1978 Film Analysis: Michael Myers Alien Theory & Symbolism of the Occult! http://www.illuminatiwatcher.com/halloween-1978-film-analysis-michael-myers-alien-theory-symbolism-of-the-occultHalloween II (1981) Film Analysis- Samhain, 666 and the World's Worst Therapist: Dr Loomis! https://illuminatiwatcher.com/halloween-ii-1981-film-analysis-samhain-666-and-the-worlds-worst-therapist-dr-loomis/Halloween III Season of the Witch Film Analysis: Stonehenge, Samhain Blood Sacrifices & a Twin Peaks Crossover Conspiracy! https://illuminatiwatcher.com/halloween-iii-season-of-the-witch-film-analysis-stonehenge-samhain-blood-sacrifices-a-twin-peaks-crossover-conspiracy/ISAAC'S ONE STOP SHOP- Rumble/YouTube, social media, signed books, audiobooks, shirts & more: AllMyLinks.com/IsaacWShow sponsors- Get discounts while you support the show and do a little self improvement!*CopyMyCrypto.com/Isaac is where you can copy James McMahon's crypto holdings- listeners get access for just $1 WANT MORE?... Check out my UNCENSORED show with my wife, Breaking Social Norms: https://breakingsocialnorms.com/GRIFTER ALLEY- get bonus content AND go commercial free + other perks:*PATREON.com/IlluminatiWatcher : ad free, HUNDREDS of bonus shows, early access AND TWO OF MY BOOKS! (The Dark Path and Kubrick's Code); you can join the conversations with hundreds of other show supporters here: Patreon.com/IlluminatiWatcher (*Patreon is also NOW enabled to connect with Spotify! https://rb.gy/hcq13)*VIP SECTION: Due to the threat of censorship, I set up a Patreon-type system through MY OWN website! IIt's even setup the same: FREE ebooks, Kubrick's Code video! Sign up at: https://illuminatiwatcher.com/members-section/*APPLE PREMIUM: If you're on the Apple Podcasts app- just click the Premium button and you're in! NO more ads, Early Access, EVERY BONUS EPISODE More from Isaac- links and special offers:*BREAKING SOCIAL NORMS podcast, Index of EVERY episode (back to 2014), Signed paperbacks, shirts, & other merch, Substack, YouTube links, appearances & more: https://allmylinks.com/isaacw *STATEMENT: This show is full of Isaac's useless opinions and presented for entertainment purposes. Audio clips used in Fair Use and taken from YouTube videos.

DREAM WITH US, and we'll teach you how to interpret them!⁠⁠The new controversial Netflix series MONSTER: The Ed Gein Story offers a window into the devouring mother archetype, a transformation fantasy gone horribly wrong, and the human capacity for monstrous behavior. Gein's crimes inspired the Hitchcock movie Psycho, The Texas Chainsaw Massacre, and Silence of the Lambs. It challenges the audience to confront its fascination with evil and begs the question, where do the monsters hide in our own Psyche? To help us wrestle with these questions, we're joined by Joey Pollari—actor, musician, director, editor, and the man who plays Anthony Perkins in the show. We'll explore how intimacy with darkness affects a performer, how public persona and private pain intersect, and why we continue watching when the camera reveals what we'd rather not know. Trigger warning: this episode discusses violence, death, criminality, and severe mental illness.Learn More about Joey Pollari:Listen to Joey's new song,⁠ I'll Be Romance⁠⁠ Joey's Music⁠⁠Joey's Directing and Editing Work⁠⁠Joey's Acting Roles⁠⁠READ MORE ABOUT THE EPISODE.⁠LOOK & GROW⁠⁠⁠⁠⁠⁠⁠⁠Join THIS JUNGIAN LIFE DREAM SCHOOL⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Do you have a topic you want us to cover?⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠WE NEED YOUR HELP! Become a patron to keep TJL running.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠We've got totally NEW MERCH!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠We'd like to take a crack interpreting your dream.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠If you've been struggling in the dark, trying to find the keys to unlock your dreams, help has arrived. Order your copy of ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Dream Wise: Unlocking the Meaning of Your Dreams⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ from the hosts of This Jungian Life podcast and open the secret door.

DREAM WITH US, and we'll teach you how to interpret them!⁠The new controversial Netflix series MONSTER: The Ed Gein Story offers a window into the devouring mother archetype, a transformation fantasy gone horribly wrong, and the human capacity for monstrous behavior. Gein's crimes inspired the Hitchcock movie Psycho, The Texas Chainsaw Massacre, and Silence of the Lambs. It challenges the audience to confront its fascination with evil and begs the question, where do the monsters hide in our own Psyche? To help us wrestle with these questions, we're joined by Joey Pollari—actor, musician, director, editor, and the man who plays Anthony Perkins in the show. We'll explore how intimacy with darkness affects a performer, how public persona and private pain intersect, and why we continue watching when the camera reveals what we'd rather not know. Trigger warning: this episode discusses violence, death, criminality, and severe mental illness.Learn More about Joey Pollari:Listen to Joey's new song, I'll Be Romance Joey's MusicJoey's Directing and Editing WorkJoey's Acting RolesREAD MORE ABOUT THE EPISODE.LOOK & GROW⁠⁠⁠⁠⁠⁠⁠Join THIS JUNGIAN LIFE DREAM SCHOOL⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Do you have a topic you want us to cover?⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠WE NEED YOUR HELP! Become a patron to keep TJL running.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠We've got totally NEW MERCH!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠We'd like to take a crack interpreting your dream.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠If you've been struggling in the dark, trying to find the keys to unlock your dreams, help has arrived. Order your copy of ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Dream Wise: Unlocking the Meaning of Your Dreams⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ from the hosts of This Jungian Life podcast and open the secret door.(OLD)

Are you an OBSESSED CRIME JUNKIE like us? We love true crime! Welcome to Get Obsessed, where we go deep, dark, and disturbingly curious. Host Julie Lokun, JD, confesses what millions secretly feel: an unshakable obsession with true crime. This isn't your casual Dateline-before-bed fascination. This is the 2:00 AM rabbit hole of Googling Ed Gein, forensic entomology, and “how did a handyman from Wisconsin become the inspiration for Psycho, Silence of the Lambs, and The Texas Chainsaw Massacre? Julie explores her morbid curiosity through the Netflix phenomenon “Monsters: The Ed Gein Story” and the psychology that keeps us clicking “next episode.” With humor, honesty, and a touch of self-reflection, she delves into her addiction to true crime. In This Episode • Why True Crime is the #1 podcast genre — and why 70% of listeners are women• The eerie pull of The Ed Gein Effect — what it reveals about control, fear, and fascination• How shows like Crime Junkie Podcast and My Favorite Murder build a dark sisterhood of survival• The secret reason our brains crave fear in safety — and why your 5 AM walk feels like FBI training• Why understanding monsters might just make you safer, smarter, and stronger Listener Takeaways • Learn the psychology behind The True Crime Effect — feeling fear while knowing you're safe• Discover how bingeing horror stories is actually a form of rehearsal for danger• Join a sisterhood of women who study murder not out of morbidity, but empowerment About Julie Lokun, JD ( A TRUE CRIME JUNKIE) Julie Lokun is a communications strategist, lawyer, and true crime analyst who explores the intersection between psychology, justice, and curiosity. As the host of Get Obsessed, Julie blends her legal mind with her fascination for human behavior — decoding what drives us to fear, fixate, and find meaning in the macabre. OBSESSED WITH TRUE CRIME We might not be addicted to murder — we're addicted to survival.Get Obsessed. Get curious. And as Julie says — trust no one… except us, the obsessed. SHARE OBSESSED PODCAST Rate, Review, and Subscribe on Apple Podcasts & Spotify.Share this episode with your favorite fellow crime junkie — because if loving true crime is wrong, we don't want to be right. FAQs About This Episode Q1: Where can I watch the Ed Gein documentary featured in this episode?A: Stream Monsters: The Lyle and Ed Gein Story on Netflix. Viewer discretion is advised — it's as dark as it is fascinating. Q2: What is the Crime Junkie Podcast that Julie mentions?A: Crime Junkie Podcast is one of the world's top true crime podcasts hosted by Ashley Flowers. It inspired millions — including Julie — to explore the psychology behind real cases. Q3: Why are so many women drawn to true crime?A: Studies show over 70% of true crime listeners are women, often because true crime content offers a safe space to study danger. It's both thrilling and empowering — a masterclass in intuition and survival. Q4: What is “The True Crime Effect”?A: Julie defines it as feeling fear while knowing you're safe. It's that paradoxical comfort of being terrified under your blanket — knowing the monster can't reach you, but your mind still dances with danger. Q5: Where can I follow Julie Lokun?A: Connect with Julie on Instagram and visit GET OBSESSED to explore our past podcasts, speaking events, and creative projects. MEET JULIE AND MIKA LIVE IN CHICAGO AT CRE8TIVE CON IN FEBRUARY: www.cre8tivecon.com Learn More About Mika's Vegan Bakery: VEGAN MONARCH BAKERY IN WINTER HAVEN FLORIDA Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Spin Docs is our new segment where we scrutinize true crime docuseries and documentaries. Today, we will speak about Netflix's Monster: The Ed Gein Story. This is the third season of Monster, a crime docudrama anthology series from Ryan Murphy and Ian Brennan. We are joined by a very special guest: Harold Schechter. Schechter wrote a definitive book on Gein: Deviant: The Shocking True Story of the Original "Psycho." He told us about some of the blatant inaccuracies in this season of Monster. Learn more about the true story of Ed Gein and get Schechter's book Deviant: The Shocking True Story of the Original "Psycho": https://bookshop.org/p/books/deviant-harold-schechter/89ed8968332485b8?ean=9781668048177&next=tCheck out Schechter's other terrific crime nonfiction books here or wherever you get your books: https://bookshop.org/beta-search?keywords=Harold+SchechterFind discounts for Murder Sheet listeners here: https://murdersheetpodcast.com/discountsCheck out our upcoming book events and get links to buy tickets here: https://murdersheetpodcast.com/eventsOrder our book on Delphi here: https://bookshop.org/p/books/shadow-of-the-bridge-the-delphi-murders-and-the-dark-side-of-the-american-heartland-aine-cain/21866881?ean=9781639369232Or here: https://www.simonandschuster.com/books/Shadow-of-the-Bridge/Aine-Cain/9781639369232Or here: https://www.amazon.com/Shadow-Bridge-Murders-American-Heartland/dp/1639369236Join our Patreon here! https://www.patreon.com/c/murdersheetSupport The Murder Sheet by buying a t-shirt here: https://www.murdersheetshop.com/Check out more inclusive sizing and t-shirt and merchandising options here: https://themurdersheet.dashery.com/Send tips to murdersheet@gmail.com.The Murder Sheet is a production of Mystery Sheet LLC.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week Clint is joined by friends Angelo, Van and Zach for the third annual Halloween special celebrating the spooky season and all things horror. Enjoy nostalgic halloween commercials from the 90's as the boys talk the best horror films of 2025, comfort movies of the past, the most iconic slasher weapon, who would be left standing in the ultimate horror Royal Rumble, memorable theater experiences and familiar horror tropes that still scare us to this day. Movies discussed include:- The Black Phone II (2025)- Final Destination: Bloodlines (2025)- Sinners (2025- Weapons (2025)- Together (2025)- From Beyond (1986)- Rosemary's Baby (1968)- The Shining (1980)- Return of the Living Dead (1985)- The Texas Chainsaw Massacre (1974)- Hereditary (2018)- Dr. Giggles (1992)- Freddy Vs. Jason (2003)- The Ring (2002)- The Exorcist (1973)- Batman (1989)- A Nightmare on Elm Street 5: The Dream Child (1989)- Hannibal (2001)- House of 1000 Corpses (2003)- Sinister (2012)- A Quiet Place (2018)- Event Horizon (1997)- The Innkeepers (2011)- Grave Encounters (2011)- Buried (2010)- When A Stranger Calls Back (1993)- Speak No Evil (2022) If you think Metal Up Your Podcast has value, please consider taking a brief moment to leave a positive review and subscribe on iTunes here:https://podcasts.apple.com/us/podcast/metal-up-your-podcast-all-things-metallica/id1187775077You can further support the show by becoming a patron. All patrons of Metal Up Your Podcast at the $5 level receive volumes 1-4 of our Cover Our World Blackened EP's for free. Additionally, patrons are invited to come on the show to talk about any past Metallica show they've been to and are given access to ask our guests like Ray Burton, Halestorm, Michael Wagener, Jay Weinberg of Slipknot and members of Metallica's crew their very own questions. Be a part of what makes Metal Up Your Podcast special by becoming a PATRON here:http://www.patreon.com/metalupyourpodcastJoin the MUYP Discord Server:https://discord.gg/nBUSwR8tPurchase/Stream Lunar Satan:https://distrokid.com/hyperfollow/lunarsatan/lunar-satanPurchase/Stream VAMPIRE:https://distrokid.com/hyperfollow/clintwells/vampirePurchase/Stream our Cover Our World Blackened Volumes and Quarantine Covers:https://metalupyourpodcast.bandcamp.comFollow us on all social media platforms.Write in at:metalupyourpodcastshow@gmail.com

This week, “Monster: The Ed Gein Story” is the most watched show on Netflix. It's a dramatized retelling of the life of the serial killer who inspired “Psycho” and “The Texas Chainsaw Massacre.” The “Monster” franchise, which includes two earlier seasons about Jeffrey Dahmer and Lyle and Erik Menendez, is one of Netflix's splashiest hits – the Dahmer season is still the fourth-most viewed English language show in the history of the platform. And the true crime obsession only grows each year. On Netflix last year, 15 of the top 20 documentaries were true crime docs, compared to just six in 2020. But what does it mean for the subjects of these documentaries, that Americans endlessly crave stories about murder and bloodshed and terror? John J. Lennon is a contributing editor for Esquire and writes frequently for New York Review of Books and the New York Times. This week, he spoke to host Brooke Gladstone from Sing Sing Correctional Facility, where he's serving his 24th year of his 28-year-to-life sentence for murder, drug sales, and gun possession. They spoke about his new book, The Tragedy of True Crime, what it was like to watch himself get featured in a true crime documentary, and why he wants to upend the typical 'true crime' narratives of good vs. evil.  On the Media is supported by listeners like you. Support OTM by donating today (https://pledge.wnyc.org/support/otm). Follow our show on Instagram, Twitter and Facebook @onthemedia, and share your thoughts with us by emailing onthemedia@wnyc.org.