Attack of the Killer Soundtrack: Richard Band

Guess who? It's 10 o'clock. Do you care where your parents are? The following feature has been rated R by the Motion Picture Association of America. It is intended for mature audiences and parental discretion is advised.

The Coast Guard. And the Navy have been. Alerted and are standing by on the eastern seaboard. And it continues to burn out of control. It has been regular.

Every five to ten minutes there has been another convoy of units, fire companies, paramedics. A citywide emergency has been declared. Police officers are still on tactical full alert. 2,000 National Guardsmen are standing by. Air defense warning read.

It's time for Movie Meltdown's Attack of the Killers soundtrack. The live transmission has begun, and we're into the final. Hour of hell. What's up and welcome to Movie Meltdown's Attack of the Killers soundtrack. I'm Brian and thank you once again for joining us as we build a Frankenstein-like soundtrack of our own that is both interesting and eclectic.

That's a bold statement. And to kick things off, I thought I would start with what is definitely one of my favorite segments of the show. And now it's time for some Blaxploitation Appreciation. You're damn right. Now this week's special guest co-host is composer Richard Band.

He's the son of cult film director Albert Band and the brother of director Charles Band. Now obviously they are a very Hollywood-centric family, and I thought we would tie that in with our Blaxploitation Appreciation this week. by finding a blaxploitation movie that is actually set in Los Angeles. Which leads us to our story about a private detective named Mr. T in South Central LA. The movie is Trouble Man.

Now as I got to that, it also clicked in my head, this is a perfect tie-in with another more recent movie. I'm sure many of you out there have seen Captain America The Winter Soldier, in which Steve Rogers becomes friends with a man named Sam Wilson, who aside from having his own ties to the government and S.H.I.E.L.D., also seems to have pretty good taste in music. At one point, he tells Steve that the answers to all the questions that he may have about the course of the 20th and 21st centuries can be found in Marvin Gaye's Troubleman soundtrack. Actually, that's not bad advice. So for those of you that aren't all that familiar with it, let's give you an introduction here to Marvin Gaye's Troubleman. ¶ ¶.

But now I'm cool I didn't make. It, sure I'm playing. By the rules I come up hard, baby But now I'm fine. I'm taking trouble, sure Moving. Down the line I come up hard, baby But that's okay Cause trouble, man Don't get in my way I come up hard, baby I've been for real, baby.

Gonna keep moving. Gonna go to town. I come apart. I come up. Get down.

There's only three things that you show. Taxes, debt, and trouble. There's not no blame. There's not no shame. Yeah, ain't gonna let her sweat me.

Babe Got me singing. Yeah, yeah. Ooh, ooh, ooh. Come upon me i had to fight took care of my deadness. I come up hard, but that's okay Cause trouble men don't get in my way Hey, hey, I.

Know some places and I see some faces. I've got good connections, they dig my directions When people say that's okay, they don't bother me I'm ready to make it, don't care what the weather Don't care if I'm in trouble, got myself together I feel the kind of protection that's. All around I come up hard, baby I've been for real, baby, with the trouble mask I'm moving, going tight I'm coming. Hard, I'm coming getting down There's only. Three things that show Taxes, debt, and trouble Oh, this I know, baby, baby.

This I know, baby. Hang a little sweat in the bay. Whoo! Oh, yeah! Whoo!

Ooh, I've come up hard, but now I'm cool I didn't. Make it, babe, played by the. Rules I've come up hard. But now I'm fine I've taken control of your head Moving down the line. And steal hard he's a healer a fixer my name's t baby wears six hundred dollar suits drives a ten thousand dollar car and he carries two guns one to stop trouble and one to make trouble he was born in the ghetto and raised in the streets he's been a man since he was a kid and trouble is this man's name you're a friend of mr t's you can count on him that's my baby I'm good.

But if you're not, you can count yourself out. I couldn't be gonna damn who owns it or what color. Now you see that baby, I'll come back and see the you. You dig it? If you've got trouble, call T and leave a message.

Service is prompt, efficient, and deadly. We move in on Big's business and the money comes rolling in like waves on the shore. All we gotta do is get rid of Mr. T. T is on the streets right now!

One man, Chuck. He's just one man. Don't make him sound like a goddamn army. He has one edge, and that's his cool, but that's enough, baby, because he's thinking all the time, and if he wants your ass, he gets it. Trouble, man, is mayhem.

Rub him wrong, and he'll blow up in your face before you shoot my man, Abby. I didn't. You and Jimmy got to go away for a couple of days. Where do you want to go? For what?

What for? I got some trouble to have. This is T. Chuck, he's dead. Now I'm coming to get your honky ass.

If you're looking for trouble, look out. Because trouble is here. Trouble Man. You jive him, he'll wash you away. Tweaked Audio.

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Then you'll get 33% off and free shipping. Tweaked Audio. Sounds better. So now we're going to get to this week's special guest co-host. As I said, composer Richard Band.

I recently got to sit down with him, and he's a fascinating guy, and I thought it would be fun to just kind of sit down with him and get his take on how he got into the music business and how he forged his own path in a family like his, and just get a feel for his taste in music as well. So we'll go now to our conversation with Richard Band. Richard Band. All right, so we're here with Richard Band. You come from a musical and Hollywood-related family.

I guess a lot of the others were doing more of the filmmaking side. What led you to music? Well. I was always in love with music from a very early age. In fact, when I was about six years old, I was living in Paris at the time, and every night after school I would come home and we had this big Telefunken record player in the living room, and I would put on either Beethoven's 5th or the 9th, and I'd crawl up on the dining room table and air conduct it, so to speak, from beginning to end.

And we had a maid at the time and she was so taken with this that after about two months she made me a tuxedo and she bought me a baton. So then I'd come home and I'd put my tuxedo on and get my baton and I'd continue doing my air conducting. Did you actually know? Were you actually doing it right or just sort of waving your hand? I don't have a clue.

I was six years old. I didn't know how early you'd picked up on the right way to do it. I don't know. I probably don't even do it right today. Come to think of it, I probably developed a lot of bad habits.

Who knows? So it was that early on you were into classical? Had you crossed over into pop and rock and stuff like that? That came a little bit later. That came in the early 60s.

And crossed over and began to love rock and roll and, you know, be a... early rock, as well as, you know, when the Beatles came out, and even some stuff before the Beatles, and then ever since the Beatles, I was a major lover of that. Kind of music, and it was not that I lost. My interest in classical, but sort of rock took over at. That point, yeah. I guess what was the first instrument you started playing?

The first instrument was guitar. I was on a location shoot with... My father was a producer, director, and writer, as you mentioned, and we were shooting a western in Spain. And my brother and I were... We went on location because it was during the summertime.

We weren't in school. And the first night in Madrid.... We went out to a nice dinner. In fact, I even remember the name of the restaurant called El Chotis, a great restaurant. And across the square after dinner, we went to a flamenco show.

And that's where I fell in love with the guitar. And the next day I went out and bought a guitar and started teaching myself how to play guitar. So at that point, was it just flamenco or were you just starting to get into music overall to like want to play aside from just being a fan of? Yeah, no, at that time I was just teaching myself to play. I loved the flamenco.

It really sort of really did something to me. But I still loved, you know, rock and classical music. So at that point it was just sort of learning the instruments, so to speak. And I guess at what point did it sort of broaden out to wanting to do something bigger and moving into like the orchestrating and working in other instruments and that level? Well, that didn't happen for a while.

Within about 18 months, I got very good on guitar, and I started putting my own bands together at that point. So I toured around Italy with my bands for more than a couple of years, until I was about 17, 17 and a half years old, and then we did a couple of European tours, and So I was a rock and roller back then. It wasn't until I came back to this country in 1970, I can't remember, 70 or 71. I was almost 18. And it wasn't until I started studying music formally a couple years after that that I got really serious about music, different instruments, and so forth.

So I guess that was, getting back to that, what separated you into music? Was it just that general interest, or were you just not wanting to get into the film side, knowing that your father and your brother, was it just you trying to carve out your own identity? It wasn't anything real conscious, because it was something I always loved. I always loved music, and I always, by the way, loved films. So it There was a while, especially after I went to school, music school, for a few years.

Went back in the States, that I. Kind of got tired, I guess, of academia and studying music formally and all that. And I still really love films. But I. I then took some time off from studying music and continuing in music and got into doing some production work on films as first an assistant director and then production manager and then associate producer and, you know, things all on the production side, which I love.

Doing, but it was still... There was a hole in me still and I. Even though I love films and love doing it, something was missing. And that didn't show up until a few years later where I started putting it together. And I had a real dilemma.

I was going, well, what am I going to do with my life, man? Am I going to do films or am I going to do music? Am I going to do films or music? And back and forth and back and forth. And then one day that light bulb went on.

And I said, well, why not. Do music for films, babe? And that's what happened. I took a vacation for several weeks and went back to Europe. And this is when that light bulb came to me.

In fact, I remember to this day sitting on the beach in Monte Carlo on my way from France to Italy. And I was in Monte Carlo. Sitting on the beach and contemplating my life and my navel at the same time. And that's when the light bulb went off. In fact, to this day, visually, I can see in my mind's eye this big rock out in the ocean that I was sort of meditating on.

That moment when it all came together. Well, that's what we've tried to do on the show. To me, it as we started focusing on movies and movies, I was like, well, to me, I started noticing how much they sort of are interwoven and like how much one affects the other. And you get like, you know, the music always, always add something to the movies, but at the same way, I think there's so much influence that film has had as you get into the music, like it's now become one big, you know, organism more or less. So it's, yeah, we, we tried to talk to people about how that happened for them and, and what, you know, what, what that whole process means.

So I guess with you, what was, When you got into writing them, was there one specific piece or specific soundtrack that kind of just, it all fell together and came working like that for you? You mean one of my soundtracks? Oh, definitely the second film that I did, which was The Day Time Ended. That was the first film that I did that was an orchestral film, and I was beyond lucky because I... I managed to be able to record it in England with part of the London Symphony.

And hearing your own music played back by, albeit it wasn't the entire symphony, but it was about 40 pieces, it was something I'll never forget in my life. That was like a major high score. to have that experience. And that's when I knew this is what I'm going to be doing. No question. No ifs, ands, or buts.

So it's got to be amazing in your own creation with that many people involved. Absolutely. Yeah, that's what it was. Yes, you have to admit that's a pretty monumental moment for anyone, specifically an artist who's created this thing and then gets to see it come to life before you. It's pretty amazing.

So I thought with that, we'd take a minute here to listen to the theme from The Day Time Ended. Thank you. Amen. Thank you. This is Roger Corman and you're listening to Movie Meltdown.

It's time for the Kill of Five. We've got to do our segment here where we have people pick out different ones that they've loved or have influenced them in some way. So I guess if you can pick five different pieces of music, or it can be pop music that has worked its way into film, just something that's a song in a film that really kind of works for you. One group that I always listen to. That was a very visual band, if you can think of music as being visual, but for me it sort of was Pink Floyd.

I mean, they did some things, especially in the early days, that really, really stuck with me. If I had to name one, like the song they did called Be Careful With That Axe, Eugene. I actually love that. I'm not a big fan of the Sid Barrett ears, but that may be the best song on that album. I think it probably is, yeah.

And that's definitely one of them. Yes, okay. Pink Floyd. They're a huge name in the music business, obviously. But they're also one of those that you're kind of hit or miss on.

You're either a Pink Floyd fan or a lot of people just kind of don't like them in general. So it's one of those, you kind of have to figure out where you stand on that. But on top of that, if you are a fan, you start to realize that it's not like they're just one band. There's, I mean, there's definitely three distinct periods in Pink Floyd history. And then there's all these little middle areas where things are crossing over and in the process of changing.

And then later you get into like reunion stuff. So it becomes a huge ordeal of trying to figure out where you stand on the Pink Floyd situation, even if you are a fan. But as I said to Richard, I think this may be one of the greatest moments in Pink Floyd history. And it took me a while to realize that. I came on board much later, like the rest of humanity, and you hear Dark Side of the Moon, and I guess you get the wall or whatever.

But to me, as I went into it more and started to look at the whole history of the band and how they worked together and didn't, as the case may be, you get to that point where you realize once you get Sid Barrett out of the way, which is a good thing in my mind. But whatever. I know he has a lot of fans. People love his older stuff sometimes. But for me, you know, the bulk of what becomes Pink Floyd that people know is the Gilmore Waters years.

And you get to that point where you realize, like, to me, I always liked David Gilmore. I think he's an amazing guitarist. I mean, he's phenomenal. But he's also very measured and seemingly kind of level-headed in his approach to music. And then on the opposite end, you have Roger Waters, who is certainly not the best singer ever.

He's hit and miss on his lyrics as time goes on. But he also has this sort of passion and chaos that he brings with it. So you get to things later down the line where it just becomes all about that and it starts to unravel and you get things that nobody cares about, like the final cut. Or you get further out when Waters had left the band and you get mostly Gilmore just kind of running the show and you get a very, as I said, measured, level-headed approach to music. And it's amazing.

And I actually like a lot of that stuff. But listening to it objectively, I'm like, it is very calm and sedate, which sometimes is what you're looking for. But at the same time, to be honest, when they're at their best is when it's a mixture of both of those. Is when you've got this this amazing musician that's sort of holding things down, you know, artistically and is bringing this very distinctive guitar sound into the music. And Gilmore just adds so much musically to it.

But then you've got this edge that Waters brings to it. And he definitely throws something in there to kind of give it that rock and roll feel that it doesn't become a little too sedated. It still just gives it that edge that it needs. And this to me, is one of those moments when they're still kind of in those early hippie years when they were doing psychedelic rock, more so than the more polished stuff that's coming an album or two later. But you get them in the middle of this huge double album, which is completely overdone and overproduced and so experimental that, again, this is all my opinion.

So plenty of people like that album, but I feel like the middle of that album which is so overblown and is so unfocused in so many other songs you get this one moment that it just hits this perfect balance of it's this artistic musical groove that kind of takes over and then you get these weird elements that come in and specifically a couple minutes in when you get to that scream That moment from that point on in the song makes this one of the most amazing points in Pink Floyd history. Settle down, sweetheart. Settle down now. But again, Richard was just sort of talking about them as a band being influential to him musically. But now to bring in the film end of it, this, you know, yes, it appeared on their album beforehand, but shortly thereafter, Careful With That Axe, Eugene, was actually put into a soundtrack and then re-released. an alternate version of it and retitled Come In Number 51, Your Time Is Up.

And it was that version that is featured on Antonioni's 1970 film Zabriskie Point. And it is sort of the big finale song. If you will. So yeah, we're going to go with that. This is actually from that soundtrack, and this is the re-recorded alternate version that is actually still pretty similar to the version they came to do like at the live at Pompeii.

It's a pretty similar version to that, but here's what is probably a lesser known version of Pink Floyd. Thank you. Thank you. Thank you. Thank you.

Bendy Floyd. Before next fall, you're in need of a serious attitude adjustment, young man. You better get your priorities straight. That and, of course, the Beatles were always a huge influence, not with me musically, but just their... their variety and the level of their creativity and how far they would veer off in different musical directions, I always was astounded by. They were phenomenal.

And then on the other side of the coin, also phenomenal, I was always a big Frank Zappa fan. Definitely a genius. He liked to work in a lot of film stuff as well. Absolutely. And he was a very, very schooled composer.

So while lots of people might know him from the Mothers of Invention or crazy stuff like that, or when he toured around with his band and brought on the Turtles guys, you know, were so happy together. The fact is he also did a lot of incredible... call it classical 20th century classical music which was uh really out there but really really cool so he was also a big influence. And that having been said this is very obviously from frank zappa's 1979 movie baby snakes baby snakes. Sure you know what I'm talking about. He can win.

They make the best kind of bed. Baby. Baby. Snakes. I look around and there's a couple right near me.

Baby snakes. Maybe I think they can probably hear me. He can win. I'll take all I can get. Baby.

Baby. Baby. Snakes. Snakes. We live in a ho-ho, a ho-ho-ho.

That is usually empty Usually empty Tiny tube We live by a ho-ho, a ho-ho-ho That is usually empty. Which stands for Sighted motion picture and television engineer. Baby, I think That is what keeps them. Insane I think I'll give them a, give them. A, give them a drink.

Then to veer off of like the five most influential things or close to that, getting back to film music, to Maurice Jarre's music for Dr. Zhivago was something that just opened up a whole other area in my brain and my soul. Oh, my God. Not to mention Lawrence of Arabia. Those two, other than being great, great classic films, the music and the themes were just laser printed into my brain for life.

Thank you. So so. Thank you. He did so much over the years. He just continued to work up until the end.

He got into even more almost new wave kind of stuff towards the 80s and 90s. Absolutely. The guy was just fantastic. He kept going and developing. That's all you can say.

If one manages to do that, that's a pretty damn exemplary career. So he was definitely a big influence. And also, without question, another huge influence was West Side Story. Elmer Bernstein doing that was just beyond belief. Probably the best music put to film ever, in my opinion.

You're the only thing I'll see forever. In my eyes, in my words, and in everything I do, nothing is but you ever. And there's nothing for me but Maria. Every sight that I see is Maria. Tony, Tony.

Tonight, tonight, it all began tonight. I saw you and the world went away. Tonight, tonight, there's only you tonight. What you are, what you do, what you say. Today, all day, I had the feeling a miracle would happen.

I know now I was right. For here you are. And what was just a world is a. Start to life. Tonight, tonight The world is full of.

Light With suns and moons all over. The place. Tonight, tonight The world is wild and bright, going mad, shooting sparks into space. Today the world was just a madness, a place for me to live in, no better than all right. But here you are, and what was just a world is a start.

I cannot stay. Go quickly. I'm not afraid. Please. Please.

Good night. Yes. Yes, hurry. Tony? When will I see you?

Tomorrow. I work at the bridal shop across. The street, Madame Lucia's. I'll come there. At closing time, six o'clock.

Yeah. Good night. Good night. Tony! Shh!

When you come, use the back door. Si. Tony? What does Tony stand for? Anton.

Te adoro, Anton. Te adoro, Maria. Good night, good night. Sleep well. When will dream dream of me?

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He was the wizard of a thousand kings. And I chanced to meet him one night wandering. So as I said, we've been to the Chicago Wizard World before, so they've got quite a few. Since we're hanging out here... They've got a lot.

They're all over the country. That's what I was going to say. Since they're inviting us to hang around here, I thought we would go ahead and give the rundown. That's the difference with this one, is it's not just in one city. It's something they've done kind of everywhere now.

They've sort of taken over, so... You can go to wizardworld.com and find out where they are in the near future. The rundown of the upcoming ones, Minneapolis in May. The end of May into June is Atlanta. You've got Philadelphia after that, San Antonio, back to Chicago, Richmond.

So it's like anywhere in this general part of the country, you know, the United States. Are you stopping at Richmond because we've got more to go? Oh, there's plenty. That's what I'm saying. Nashville, Austin, Ohio.

I thought Ohio was just generalized. You know, that state. But anyway, yes, you can go to wizardworld.com and find out where the next show will be near you. You should definitely go. Come hang out.

That's what we're doing. Definitely check out wizardworld.com for all of your wizard world type needs. I think that's five. Any other major influential? I mean, was there somebody like as far as the in the film music before you really got into that that was just like kind of led you down that road that you were like oh yeah that guy i want to do something other than the one you mentioned.

Yeah well i mean a little bit later on you know of course with like marie char and you know dr safari were talking about the the you know the 60s and same thing with west side story now a little bit later after i started studying music and getting more and more into into film music uh I have to say that Jerry Goldsmith was a huge influence. Also, I knew Jerry because my close friend Joel Goldsmith and I actually did our first score together for a brilliant, crazy movie called Laser Blast. Which we co-wrote. And because of that, I knew Jerry for. Whatever, for 30 odd years, through Joel, and Joel and I collaborated on a lot of different projects over the years, and unfortunately Joel died a couple years ago, a couple years after his.

Dad, in fact. But definitely Jerry was up there. Now with the mention of Jerry Goldsmith, that brings me to a segment that I've actually been planning for quite a while now. It was funny thinking back on all the soundtrack songs when I started to put these episodes together, There was this little sub-genre of music. And the more I thought about it, I was like, I really do need to make a feature out of this.

Just all those weird 80s movies that most of. Them were very manly, action, epic movies. But they had these weird songs that, in a way, I guess fit. They certainly fit the time period, but still seem kind of weird when you think about the type of movies that they are and the type of audience they were appealing to. Sometimes they just get these odd choices for songs that go with them.

And one of the ones that I was thinking of was actually the entire score is written by Jerry Goldsmith. So we're going to kick off this new epic 80s feature with a song entitled It's a Long Road, which is the theme from First Blood. Now, there's actually an instrumental version of this that is completely composed by Jerry Goldsmith. Now, this song is the same basic song still composed by Jerry Goldsmith. but it then had lyrics added to it by Hal Shaper and was then sung by Dan Hill, which you may know if you know your 70s AM rock, the Sometimes When We Touch guy. Yeah, it sounds just like, that's just his style of singing.

So it's even more fun to kind of listen to him try to do this song. It's sort of a different mode, but yeah, it's very familiar in his style of singing. So once again, this is It's a Long Road, the theme from First Blood. with music composed by Jerry Goldsmith. 80s epic. It's a long road.

When you're on your own And it hurts when They tear your dreams apart And every new town Just seems to bring you down Trying to find a peace of mind Can break your heart. It's a real war Right outside your front door I tell ya Out where they'll kill. Ya You could use a friend. Where the road ends That's the place for me. Where I'm me in my own space.

Where I'm free. That's the place I want to be. Because the road is. Long. Each step is only the beginning.

No place just heartaches Oh man, is anybody winning? It's a long road And it's hard as hell. Tell me what. Do you do to survive When they draw. First blood That's just the start of it Day and night.

You gotta fight to keep. Alive Right outside your front door I'll tell you Out where they'll kill you You could use a. Friend Cause the road is long. Yeah. Each step is only the beginning.

No breaks, just heartaches. Oh man, does anybody win? The road is long, yeah. Each step. I don't think you understand.

I didn't come here to rescue Rambo from you. I came here to rescue you from him. And definitely some of John Williams. There's so many wonderful composers. Is there ones working now that you like?

Philip Glass kind of stuff? Or do you like that? Well, I like some of Philip Glass's stuff. Not all of it. Initially, I was kind of bored by it.

But I hadn't been exposed to some of his better stuff. And recently, let's say the last 10 years or so, he's done some other stuff that's. Really, really good. He's gotten a lot more experimental. He's trying new things, it seems.

Yeah, yeah. It used to be sort of the same thing for too long. Let's just put it that way. There are a lot of really good composers today. I mean, you can't escape the fact of the Newman dynasty.

You know, starting back with Alfred Newman, Lionel Newman, Randy Newman, David Newman, Tommy Newman now. I mean, Tommy is a great, really fantastic composer today. Not to take anything away from David. David is a very good composer as well. So the Newmans live on.

That dynasty lives on. There's no question. and there's so many good people today. Maybe too many, but, you. Know, no. There's a lot more working now, probably.

Yeah, no, it's all good. A lot of good people. All right, so with all this talk about the Newman clan, I thought we had to work in something from a Newman. So I thought we would go, I mean, there is a whole lot to work with there if you're going with different people, and And even, I picked Thomas Newman, and actually even he's been doing stuff for years and years, but I thought we would go with something a little more recent. So this is actually from the Skyfall soundtrack, and it's called The Bloody Shot, composed by Thomas Newman.

The Bloody Shot Thank you. Thank you. So so Thank you. Thank you. Thank you.

Hi, I'm Richard Keel, Jaws from the James Bond movies, and you're listening to Movie Meltdown. I was going to see what you had going on. If you had stuff you wanted to tell people in the works or stuff to look for from you or. Um well when i get back uh i'm doing a five-part uh series that's that's going to be streaming and uh in in the genre here uh that's all i can tell you about it right now it'll be it'll be an interesting experiment to see how it flies the business is changing a lot and uh so we'll see if that. Works out all right well thank you for talking with us and uh it's it's really good.

So, yeah, definitely tell people to come check out your work and look for you on future projects. Fantastic, man. Thank you. So we're about wrapping up here, but I wanted to say once again a big thank you to Richard Bann for sitting in with us and giving us some insight on his life, and his, you know, career choices, and some music picks along the way as well. So I thought, once again, we've worked in a little of him along the way, but I thought we would go out with one of his songs, and it's actually from one of the movies that I enjoy quite a bit, obviously because it's one of the ones we've covered on this show previously.

You have to go back several years, but it's when we kicked off the whole Poe section, that whole sub-series of Edgar Allan Poe movies that we were doing, and still are doing technically, we're just It's taking a while to get them all in. There's a lot of Poe movies. But the one that we started all with was 1991's The Pit and the Pendulum, directed by Stuart Gordon, and starring everyone's favorite guy ever, Lance Hendrickson. It really is a very fun movie. There's several layers going on there of who's taking stuff very seriously and who's being kind of campy with it.

It still makes for a really entertaining movie, and I just like it as a film anyway. But in particular, one of the things that's really well done is the score. By, of course, Richard Band. So we're going to go out with the finale and end credits to The Pit in the Pendulum, which I think is one of Richard's more impressive pieces. So we're going to round things out with that, and I will once again remind you, Get a Life will provide the soundtrack.

Thank you. Thank you. Thank you. We'll be right back. Thank you for watching.

Thank you. Thank you. So you basically, did you make the dolls, or did you. No, I don't. My brother's more involved than I am.

This is me, here. I thought the dolls were creepy. The guy with the drill on his head. Yeah, he got right in the bed. The girl with the leeches, the big man.

Oh, yeah. The leech woman. The leech woman. Giant. This episode is a production of Movie Meltdown, produced and edited by The Oddity Studios.

For more on how to sponsor or support the show, email producer at moviemeltdown.com. Talk hard!