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Remember when David Lynch used to do weather reports on the Internet?
08:57 am



A few days ago the BBC released its list of the top 100 movies since the year 2000, representing the consensus view of a whopping 177 (!) working film critics. Such lists are made for carping, and I’m not going to do that here, but a point of primary interest here is, What finished first? And the answer to that is David Lynch’s Mulholland Drive, which came out in 2003. Not bad for a movie that the director openly admits was two entirely separate project yoked together for no good reason…....

Be that as it may, let’s stick with David Lynch here. I’ve never lived in Los Angeles but I’ve heard multiple times over the years that you used to be able to get David Lynch’s weather report on the radio there every day or most days or something. I did a little poking around and it seems that Indie 103.1 was the station that presented this. Can anyone confirm? Was it really every day? How often was it? Please do chime in with your reminiscences.

On his website in the mid- to late 2000s, Lynch used to present an occasional video weather report for Los Angeles, which is quite hilarious if you stop to think about it. Few would dispute that weather reports are useful things to have—even Angelenos with their samey weather—and yet the utility value of a weather report delivered on the Internet for a specific location and updated irregularly—that’s pretty near useless and obviously part of Lynch’s whole Eagle Scout deadpan dada shtick.

All of the videos were shot in some workspace used by Lynch. A video would start with Lynch intoning the date and then looking out the window and describing whatever was there to observe in a meteorological sense, after which he would sometimes deliver the temperature in Fahrenheit and Celsius as well. They’re all well under a minute long.

The mini-project gave Lynch an opportunity to engage in a blockheaded poetry of sorts. Here, for instance, was the weather report for March 12, 2009: “Mostly blue skies, some white clouds floating by, muted golden sunshine, very still, 52 degrees Fahrenheit, 11 Celsius.”

There were occasional variations. In one early instantiation of the form, Laura Dern is sitting next to him holding a piece of paper that reads “FEB 1”—for that was the date—but you can tell that Lynch hadn’t quite gotten the kinks worked out yet.

No dummy he, Lynch himself made fun of the fact that he was doing this, as evidenced in this tweet from 2010:

Several of Lynch’s video weather reports, after the jump…....

Posted by Martin Schneider | Leave a comment
‘Baba Yaga’: The best ultra-stylish, sexy mid 70s lesbian witch cult film you’ve never seen
02:39 pm



If you find yourself endlessly clicking through the entertainment fare being piped into your home by Netflix, Hulu Plus and HBO Now before ultimately deciding that—to paraphrase something Bruce Springsteen once sang—there’s 57,000 channels and nothin’s on, have I got an amazing, little-heralded practically unknown cult film for you!

1973’s stylish Italo-French quasi-giallo Baba Yaga—there’s very little blood or violence so let’s call it instead a “supernatural erotic thriller”—stars American actress Carroll Baker (best known for her younger roles in Giant and Baby Doll) as the oddly named Baba Yaga, a sexy lesbian witch who wants to take control of Valentina (Isabelle De Funès), a Milan-based Marxist fashion photographer and photojournalist, both body and soul. Their apparently fated meeting occurs when Valentina, walking home alone late one night after a party with some left wing intellectuals, saves a stray dog from being hit by Baba Yaga’s Rolls Royce. When Baker—who was then still an absolutely stunning 43-year-old beauty—steps out of her car and the camera pans up from her boots to her incredible pasty white face, well, it’s quite an entrance.

The plot, which comes from Guido Crepax’s “Valentina” fumetti—one of the first instances of the modern graphic novel—has been called confusing, but I don’t think that’s true at all. There are some weird artsy avant garde dream sequences throughout (complete with naked chicks in leather bondage gear and Nazis) intended to indicate how Baba Yaga was haunting Valentina’s dreams with images of sadomasochism and perversion, but other than that it’s pretty straightforward stuff, scarcely more complicated than an episode of Scooby-Doo or a story on Night Gallery. Basically Baker’s eerie sapphic sorceress casts a murderous spell on Valentina’s Rolleiflex camera so that wherever she points it, bad things happen. There’s also an amazing doll that’s dressed in something like Cosey Fanni Tutti might’ve worn in 1973, but I don’t want to spoil that bit for anyone.

Aside from Baker’s unique female villain and commanding onscreen presence—-there are many, many reasons to recommend Baba Yaga (aka Kiss Me, Kill Me as it was retitled for VHS video release in the US). First off, it looks freaking amazing. Gorgeous eye-candy from the first frame to the last. The director, Corrado Farina—who died last month at 77—had previously made a documentary on the “Valentina” comics and used not only comic panels drawn by Guido Crepax but also “animated” black and white still photos to keep his adaptation very much in sync with Crepax’s highly stylized vision of Valentina’s fashionable world. Isabelle De Funès, a French singer and actress, is large-eyed and totally foxy, not unlike a young Liza Minnelli and her goofy but memorable hairstyle comes straight from the comic character’s coif (which was based on Louisa Brooks). She’s the perfect “Valentina” in the flesh (and we see a lot of hers in it).

Farina really knew how to move a camera and his framing (and fantastic use of color) recalls Jean-Luc Godard; the claustrophobic interiors remind one of Nic Roeg and Donald Cammell’s moody Performance; and the overall “mod” production design puts it closer to a film like Danger: Diabolik or Modesty Blaise—even the Batman TV series—than a Dario Argento film, but fans of his movies would most certainly enjoy Baba Yaga, too. Another way to describe it is like Antonioni’s Blow-Up meets Hammer’s The Vampire Lovers. Baba Yaga straddles quite a few genres nimbly, and for this reason I’d rate it a “crowd pleaser” (among certain very specific crowds, I suppose).

Baba Yaga is not a particularly erotic (or violent) film but it’s tres creepy, extremely atmospheric and genuinely gripping. The film wasn’t a success upon its initial release—the production company went bankrupt—and was simply dumped on the VHS market at some point in the 1980s under various titles. I can’t imagine such a visually appealing film coming across that great with a VHS “pan and scan” cropping on an old TV set, but lemme tell ya, on Blu-ray and a large flat screen, Baba Yaga is pretty spectacular (and big fun). And the soundtrack! The ultra “modern”-sounding jazz soundtrack (heavy on the Hammond organ) was a product of the remarkable Italian composer Piero Umiliani (best known for writing “Mah Nà Mah Nà”) and adds much to the proceedings.

It’s been said of Carroll Baker that she was simply just too sexy for her own good and that this held her career back in the US forcing her to base herself in Europe if she wanted to work. Make no mistake about it… how do I put this tastefully: she is inspiring in this role. The biggest let-down about Baba Yaga to my mind is that Baker—who got naked quite a lot in her films—doesn’t get naked in a film full of gratuitous nudity (although they did shoot a full frontal nude scene with her, it was sadly cut from the final edit).
More after the jump…

Posted by Richard Metzger | Leave a comment
Golden girl: Racy images from the famous ‘Goldfinger’ title sequence
12:15 pm



Golden girl Margaret Nolan covered in gold paint on the set of ‘Goldfinger.’
Pin-up model and aspiring the dangerously curvy actress Margaret Nolan was only twenty-years-old when she landed a the gig of the girl that the Bond visual and graphic artist Robert Brownjohn got to cover in gold paint for the racy opening title sequence in the 1964 film, Goldfinger.

Margaret Nolan being used as a canvas for a projector for the title sequence of ‘Goldfinger.’
Earlier this week I posted about the title sequences from many of the Bond films (sans credits) that both Brownjohn and the primary title sequence artist behind the rest of the Bond films up unitl 1989, Maurice Binder, created, and got caught up in the various folklore associated with the franchise. Specifically when it came to Brownjohn’s work on Goldfinger. His subject matter for the title sequences to Goldfinger seemed so suggestive the it was the first title sequence in the history of film to require an thumbs-up from a film censor. Clad in a gold leather bikini Nolan says that in all that the shoot took two to three weeks to complete. As part of her agreement to pose for the risqué segment she received a part in the film playing a brief role as “Dink,” a masseuse. Since I’m sure you’re curious Nolan said that while she found Sean Connery “lovely” he was more interested in getting busy with her identical twin sister. Because that’s how James Bond rolls. (Why not try to shag both of them, Bondy?)

The actual “golden girl” in the movie, “Jill Masterson” was played by actress Shirley Eaton who appeared on the cover of LIFE magazine painted gold. Her character’s death—caused by skin suffocation from being painted head to toe in gold pain—led to the “urban myth” that the actress herself had died during the filming. Eaton appeared in an episode of MythBusters to disprove the rumour.

The Goldfinger title sequence cost approximately $6,500 and the hard-partying Brownjohn used every last penny to create one of the most memorable moments in cinema history. The images you are about to see (some of which are slightly NSFW) were taken on the set by Herbert Spencer (the founding editor of pioneering graphic design journal Typographica) and were shown back in 2013 at MoMA as a part of the exhibition Goldfinger: The Design of an Iconic Film Title. As I mentioned previously I’m a huge James Bond film junkie and I had never seen any of the images in this post until just recently and they are utterly impossible to look away from. Unless you find the image of a beautiful woman painted gold in a barely-there bikini unappealing of course—which seems highly unlikely.


More of the golden girl who “knows when he’s kissed her….” after the jump…

Posted by Cherrybomb | Leave a comment
Nico stars in gloomy, depressing 1976 French art flick ‘Le berceau de cristal’
09:17 am



Dark, dark, dark. Stéphane Delorme, currently the chief editor of Cahiers du Cinéma, writes of Nico’s face in this movie: “If it does catch the light it’s only to give it back to the darkness.”

Le berceau de cristal (Crystal Cradle, 1976) is director Philippe Garrel’s fifth or sixth consecutive film starring Nico, his compagne during the 70s. None of their collaborations are what you’d call pulse-pounding thrillers; they tend to unfold at the pace of a dream, or a ritual, or a junkie tying his shoes. But this is a special case. Making it to the end of this picture requires a kind of yogic discipline, like slowing your heart rate or raising your body temperature at will. Yet, if you can master your animal nature long enough to dig its glacial pace and scry its black mirror, you’ll discover that Le berceau de cristal is really a completely empty and depressing experience.

Dominique Sanda in Le berceau de cristal
As background for your fantasy goth or junkie death trip, however, it’s great. Dude: Nico’s in it. Some parts are even set to a gorgeous soundtrack by Ash Ra Tempel—Manuel Göttsching says Garrel asked him for “music to make you dream”—though much of it is as silent as the grave. When Nico’s voice finally does appear on the soundtrack, deadpanning an interior monologue that turns out to consist of the lyrics to “Purple Lips” and other songs from Drama of Exile, it’s been run through a reverb box set to “stony crypt.” French actress Dominique Sanda is also “in” it. So is Rolling Stones consort Anita Pallenberg, who is seen shooting up on camera.

Watch ‘Le berceau de cristal’ (for as long as you can stand to) after the jump…

Posted by Oliver Hall | Leave a comment
‘How Much Wood Would a Woodchuck Chuck’: Herzog’s doc on auctioneers & ‘the poetry of capitalism’
04:36 pm



Recently a massively pretentious man-baby posing as the world’s One True Cinephile expressed his concern over the fact that people are amused by Werner Herzog. The bulkily titled National Post article, “The memeification of Werner Herzog: Why the respected director should be respected for his genius, not regarded as a joke,” bemoaned the fact that Herzog’s voice and name are not only incredibly well-known, but are sometimes imitated or referenced for comedic effect—never mind the fact that Herzog has had some hilarious cameos on comedies like Parks and Recreation and Rick and Morty. Calum Marsh, the very serious author of the piece (who nonetheless unironically wears pocket squares), had this to say:

Of course, reduced to meme form Herzog seems comical in a way that doesn’t serve him. Oh, yes, it’s very amusing to hear him talk about Pokémon Go, or whatever other trending topic hack journalists see fit to ask him for his opinion on; that’s how Q&As go viral. On the other hand, it’s a fairly abhorrent way of treating one of our major living filmmakers. Werner Herzog isn’t Christopher Walken. He ought to be valued for his genius, not regarded as a joke. My advice: plunge into the retrospective and enjoy the films qua films.

Aguirre and Fitzcarraldo are great enough to transcend any memeified punchlines.

Now I do not at all agree with the utterly humorless Mister Marsh on a number of things. I don’t think asking Herzog about Pokémon Go makes a journalist a hack—especially when it elicited such an interesting answer. I don’t think good interviews with legendary artists should simply be a series of ass-kissing softball questions, either. I also don’t think that anyone laughing about Herzog regards him as a joke—and I believe his genius isn’t really in question when he is made a figure of fun.

I do agree that everyone could stand to watch a little more Herzog though, so instead of whining in Latin about how no one sees his films, I present to you, How Much Wood Would a Woodchuck Chuck, Herzog’s brief but charming 1976 documentary on auctioneers—you know, the ones that talk really fast. The German title of the film translated to Observations of a New Language, as Herzog had a great deal of respect for the auctioneers and their “beautiful” but “frightening” language, referring to auctioneering as “the last poetry possible, the poetry of capitalism.” I assure you, there are parts where you might laugh, and that is absolutely okay.
Watch the film, after the jump…

Posted by Amber Frost | Leave a comment
‘Divine decadence, darling’: Photos from behind the scenes of Bob Fosse’s ‘Cabaret’
09:41 am



In the right circumstances of time, place and imagination—it is possible to time travel. This was firmly impressed upon me in my teens while reading Christopher Isherwood’s Goodbye to Berlin. I had just moved to Glasgow as a student and was renting a room in an apartment owned by a birdlike lady who whistled music hall songs and sniffed pecks of snuff from the back of her hand. She was retired. Renting a room supplemented her meagre state pension. Now here’s the connection: she had once been a furrier in Berlin during the 1930s and had witnessed at first hand the rise of Adolf Hitler and the Nazis. She had seen the Jewish shops vandalized and some of her Jewish friends disappear to who knew where?

It wasn’t just the fact this dear old lady had an experience of the events which I was reading in Mr. Isherwood’s book—but the flat in which I was a lodger had been untouched since the 1930s. The whole interior decoration, the heavy furniture, the coal fire, the carpeting and rugs, the cast iron bed, the wooden mantlepiece, the dressing table with vanity mirror—everything in the apartment was as it had been in the days before the Second World War.

Only in the kitchen was there any capitulation to modern technology. A 1950s fridge and an electric cooker unused—still wrapped in its protective polythene. I cooked simple meals off a bunsen burner gas ring—a blackout cooker as my landlady called it. It was winter. The apartment was cold. At night I could hear, like Isherwood’s central character, the men outside whistling in the dark. Except these men were not calling to their lovers to come to the windows but to their dogs in the small misty park nearby. In such circumstances of place and time and imagination, it was all too easy to find myself transported to the decade of Goodbye to Berlin.

That snowbound Christmas I watched Cabaret on television. A multi-award-winning film version of the musical inspired by Isherwood’s Berlin novels. I must have seen that film about thirty times since. It is an almost perfect movie—story, character, sex, politics, and a powerful overarching narrative. Not to mention Liza—with a “Z”—Minnelli at the very height of her talents. Based mainly on the short story “Sally Bowles” from Goodbye to Berlin and John Van Druten’s adapted play of the book I Am a Camera, Bob Fosse’s film Cabaret captured the mood of Isherwood’s writing.

The film starred Michael York as Isherwood’s alter ego—named here Brian Roberts, Liza Minnelli as night club singer Sally Bowles, Helmut Griem as rich playboy Maximilian von Heune and the incomparable Joel Grey as the Master of Ceremonies at the Kit Kat Klub.

Apparently director Bob Fosse wanted to play the MC himself but the studio insisted on Grey. The film was shot at the Bavaria Film Studios in Germany—well out of Hollywood’s reach. One day the studios cabled Fosse to say he was spending too much money on smoke for the nightclub scenes. Fosse read the telegram out to the assembled cast. Then he ripped it up and threw it over his shoulder. That was the end of Hollywood’s involvement. Fosse had been considered a risky choice as director. His previous film Sweet Charity had flopped disastrously. Away from the studio’s interference, Fosse was able to achieve what he wanted. Cabaret swept eight Academy Awards from ten nominations.
Joel Grey as the Master of Ceremonies.
More photos from the making of ‘Cabaret,’ after the jump…

Posted by Paul Gallagher | Leave a comment
‘Girls Bite Back’: An early nod to women in rock with the Slits, Nina Hagen, Siouxsie and Girlschool
04:46 pm



VHS Cover
The VHS box cover art

Girls Bite Back (aka Women in Rock, 1980) is an ahead of its time document acknowledging female rock musicians. Directed by Wolfgang Büld (who also directed Punk in London, British Rock and Lovesick) the movie opens with a photo slideshow of many pioneer musical greats including Bessie Smith, Debbie Harry, Joan Baez, Cher, Dolly Parton, Grace Slick, Janis Joplin, Linda Ronstadt, Cass Elliott, Wendy O Williams and many others while Nina Hagen performs. After this we see a segment of interviews by some of the featured performers (Siouxsie & The Banshees, The Slits, Girlschool, Lilliput, Zaza and Mania D.) and I’m amazed at how relevant their answers still are today. The women are asked what it’s like being female musicians, their overall answer is that they’re just musicians. Being female is not the important thing about what they’re doing. A young Viv Albertine is quoted saying, “We are fucking women making music—that’s all there is to say about it.” Unfortunately even with that badass mentality, 36 years later there is still a need for Viv Albertine to deface a punk exhibit for not acknowledging these important women and their impact on music.

The Slits

The most relatable thing about the women in this movie (at least for me) is a segment where they discuss their desire to be recognized as musicians and how they don’t want to be categorized as feminists or anti-male. It’s become a strange world where feminism is sometimes taken too far, as if it means hating men and wanting to be the superior gender, when really it’s all about equality. Girls Bite Back really captures this idea.

An indifferent Siouxsie Sioux is interviewed saying that if it was four years earlier she wouldn’t be playing in a band. She says, “It’s too easy. It’s the thing to do if you’re bored. It used to be more of a risk.” Siouxsie actually seems quite depressed in this footage. That’s probably the saddest thing about the film, as she seems entirely over her music career almost as it was beginning. However, she builds up more enthusiasm by their third live song “Jigsaw Feeling.”
Hard rockers Girlschool

Wolfgang Büld did a great job of picking out the bands featured in the film, I mean really his band choices were on point. It’s an awesome range of bands with rare footage of live shows and intimate interviews. There is something nicely raw about it as well, no captions to tell you who each band is, no subtitles when Mania D. is interviewed (they speak German). These imperfections, while a bit frustrating because you want to know what they are saying, make the film feel low budget in a labor of love, intimate kind of way. If you’re a die-hard Nina Hagen fan, you will be disappointed. She’s only in the very beginning and end, no interviews. However, the concert footage of her is pretty rad.

Girls Bite Back is a film female musicians should see. It’s poignant, witty and a great little rockumentary. If nothing else, it’s worth it alone to watch see the live performances by Girlschool and The Slits’ interview segments—they’re so fucking cool.

Posted by Izzi Krombholz | Leave a comment
Gorgeous images from the opening sequences of James Bond films (without the text)
12:38 pm



A shot from the opening sequence for the 1964 film, ‘Goldfinger.’
Back in 1961 visual artist Maurice Binder (who got his start creating department store ads for retail giant Macy’s) presented an idea to Harry Saltzman and Albert Broccoli that would become an intrinsic part of their James Bond movie franchise—the famous title sequence that featured naked girls, guns and of course Mr. Bond caught in the sights of a gun barrell.

The famous ‘gun barrel’ shot originally conceived by Maurice Binder. This one taken from 1969’s ‘On Her Majesty’s Secret Service’ starring George Lazenby.
According to Binder his pitch to Saltzman and Broccoli was put together on the fly after he had been contacted by the studio when his title sequence for the 1961 film The Grass is Greener caught their attention. Binder was asked to adapt some similar ideas for the opening sequence for Dr. No. The storyboard that Binder brought to the fateful meeting was cobbled together with white price tag stickers that served as a means to convey gunshots floating across the screen. Needless to say Saltzman and Broccoli dug his pitch and Binder’s overall original concept—that included the image of a Bond viewed through the scope of a gun—became an important part of the films’ success.

When it comes to how later Bond titles sequences would come to be realized, we have Robert Brownjohn to thank. As a student at the Institute of Design in Chicago Brownjohn studied under the tutelage of Hungarian-born artist, painter and photographer László Moholy-Nagy. Moholy-Nagy, a former professor of the Bauhaus School helped influence a technique used by Brownjohn of projecting in-motion footage onto the bodies of his subjects (which Moholy-Nagy used in his early films in the 1920s) when he created the title sequences for From Russia with Love in 1963 and perhaps the most memorable Bond title sequence in the franchise’s history, 1964’s Goldfinger. Brownjohn was also the brainchild behind covering model Margaret Nolan in gold paint. Shortly after Goldfinger’s success the artist’s relationship with Saltzman and Broccoli became contentious and Binder returned and would go on to create every Bond film title sequence until 1989’s Licence To Kill. He too often used the technique of projecting films onto the models.

I can’t lie—I’m a sucker for the Bond franchise especially the ones that star Sean Connery (and the dashing George Lazenby who briefly took over for Connery for 1969’s On Her Majesty’s Secret Service). When I was recently watching yet another James Bond marathon I became focused on the opening sequences. What struck me was the gorgeous placidity of the images when you got to gaze at them for a moment without the credits popping up. Which sent me off in search of finding said images sans credits—and I wasn’t disappointed. And I’m sure you won’t be either. Check them out below and a video of what the opening sequence looks like without the help of text for A View to a Kill.

‘The Spy Who Loved Me,’ 1977.

‘Licence to Kill,’ 1989.
More after the jump…

Posted by Cherrybomb | Leave a comment
The owls are not what they seem: Intimate photos taken on the set of the original ‘Twin Peaks’
10:58 am

Pop Culture


Agent Dale Cooper (played by Kyle MacLachlan) having fun smashing glass with his head on the set of ‘Twin Peaks.’

I have no idea where this will lead us, but I have a definite feeling it will be a place both wonderful and strange.
Agent Dale Cooper

Many of the photos in this post captured while the cameras weren’t rolling on the set of Twin Peaks were taken by actor Richard Beymer (who played ‘Benjamin Horne’ in the series) after the photographer hired to take promotional shots for the film quit (you can still buy a few of Beymer’s beautiful photos here). Others are what appear to be candid photos including an amusing polaroid of director David Lynch yelling into the ear of actress Grace Zabriskie (who played Laura Palmer’s mother Sarah in the original series) with a megaphone.

Deputy ‘Tommy Hawk Hill’ (played by actor Michael Horse) hanging out with a deer head.
As pretty much everyone on the face of the earth has been following along with the drama that has surrounded the return of Twin Peaks to TV (predicted to occur sometime in 2017) after Lynch said sayonara to the folks at Showtime via a series of Tweets to his “Twitter Friends” noting that he had himself began to notify the cast that he was no longer attached to the shows revival. Thankfully for lovers of the Log Lady about a month later the one-of-a-kind master of cult films decided to come back as did pretty much every one of the members of the original cast. And if that’s not enough for you to get excited about the fact that television is about to get really fucking weird again the show will start shooting scenes in location around Washington State specifically North Bend—the home of Twede’s Cafe that still serves up “Twin Peaks” signature cherry pie and of course “a damn fine cup o’ coffee.”

Loads of cool behind-the-scenes shots from 1990 series follow.

Actress Grace Zabriskie (Sarah Palmer) and David Lynch on the set filming one of the last episodes of ‘Twin Peaks’ on March 13th, 1991.

‘Caroline Powell Earle’ (played by Brenda Mathers), David Lynch and ‘Annie Blackburn’ (played by Heather Graham).
More after the jump…

Posted by Cherrybomb | Leave a comment
Like a demonic Stephen Hawking: Cenobites scene from ‘Hellraiser’ performed by speech synthesizers
09:45 am



DECtalk was a text-to-voice speech synthesizer popular in the 1980s. This nifty little piece of technology came with a variety of built-in voices which enabled people who had lost the power of speech to communicate. Its best known user is Stephen Hawking who communicated with the voice “Perfect Paul” (DTC 01).

The DECtalk was also famously the voice of the US National Weather Service on radio and supplied the message to many a telephone answer machine.

In 1939 the Voder was the first attempt at synthesizing human speech by breaking down words into acoustic components. It was the “first device that could generate continuous human speech.”

All well and good, but the one that tickles my fancy was the first time a speech synthesizer was successfully used over a phone to order pizza. This happened at the Artificial Intelligence Laboratory, Michigan State University in 1974, when Donald Sherman who suffered from Möbius syndrome—a facial paralysis—made his order using a Votrax voice synthesizer and a mainframe computer.

Now you may have seen the recent clip of Monty Python’s argument sketch recreated with speech synthesizers by Per Kristian Risvik. Well here’s another little film he’s made using speech synthesizers to recreate a classic scene from Clive Barker’s Hellraiser. It’s a perfect fit and far, far more creepier.

Here’s the dialog as performed:

Lead Cenobite: The box… you opened it, we came.
Kirsty Cotton: It’s just a puzzle box!
Lead Cenobite: Oh no, it is a means to summon us.
Kirsty Cotton: Who are you?
Lead Cenobite: Explorers… in the further regions of experience. Demons to some, angels to others.
Kirsty Cotton: It was a mistake! I didn’t… I didn’t mean to open it! It was a mistake! You can… GO TO HELL!
Female Cenobite: We can’t. Not alone.
Lead Cenobite: You solved the box, we came. Now you must come with us, taste our pleasures.
Kirsty Cotton: Please! Go away and leave me alone!
Lead Cenobite: Oh, no tears please. It’s a waste of good suffering!
Kirsty Cotton: Wait! Wait! Please, please wait!
Lead Cenobite: No time for argument.
Kirsty Cotton: You’ve done this before, right?
Lead Cenobite: Many, many times.
Kirsty Cotton: To… to a man called Frank Cotton?
Female Cenobite: Oh, yes.
Kirsty Cotton: He escaped you!
Lead Cenobite: Nobody escapes us!
Kirsty Cotton: He did! I’ve seen him, I’ve seen him!
Female Cenobite: Impossible.
Kirsty Cotton: He’s alive!
Lead Cenobite: Supposing he had escaped us, what has that to do with you?
Kirsty Cotton: I… I can… I can lead you to him and you… you can take him back instead of me!
Female Cenobite: Perhaps we prefer YOU!
Lead Cenobite: I want to hear him confess, himself. Then maybe… maybe…
Female Cenobite: But if you cheat us…
Lead Cenobite: We’ll tear your soul apart!
Asian Merchant: What is your pleasure, sir?
Lead Cenobite: We have such sights to show you.

Risvik used a DECtalk Express for the central character Kirsty (“Rough Rita modified for higher stress level”). A Dolphin Apollo 2 for the voices of Pinhead and the female Cenobite (“Heavily altered versions of voice 2/3”). And an Intex Talker (Votrax SC-01A) for the Asian Merchant.
Listen to eerie sound of the Cenobites via a speech synthesizer, after the jump…

Posted by Paul Gallagher | Leave a comment
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