I feed like an old man pees – sometimes all at once, sometimes drop by drop. – Shadow of the Vampire (2000)
Today I had a conversation with Katherine Cornelison about the fantastic film Shadow of the Vampire (2000). This movie tells a fictionalized tale of making the horror film Nosferatu (1922).
Cast and Crew of Shadow of the Vampire (2000)
E. Elias Merhige (Dir.)
John Malkovich – Friedrich Wilhelm Murnau
Willem Dafoe – Max Schreck
Udo Kier – Albin Grau
Cary Elwes – Fritz Arno Wagner
Catherine McCormack – Greta Schröder
Eddie Izzard – Gustav von Wangenheim
Automate Transcript – Shadow of the Vampire (2000)
Speaker 1:
Hello, Katherine.
Speaker 2:
Hi there.
Speaker 1:
I’m here today with Katherine Cornelison and we’re gonna talk about the great 2000 horror movie Shadow of the Vampire (2000) today. So you ready to get going on Shadow of the Vampire (2000)?
New Speaker:
I am. Indeed. Am I your resident vampire expert?
Speaker 1:
You are the resident vampire expert. You’re the only person I know that has a set of fangs.
Speaker 2:
Oh, thanks. Yeah.
Speaker 1:
I really, really like this movie, I watched it a long time ago and we just watched it recently. It holds up pretty well to me it seems.
Speaker 2:
Yeah, this was the first time I’ve seen it. And I mean, I have to say I, yeah, I thought it was really quite good.
Speaker 1:
Okay. So the movie begins it the Bram Stoker estate refuses to sell the rights to make the movie. So the director decides to just steal the story and use a little different setup. He has him going to Germany instead of England and it’s Count Orlock, and he’s not sophisticated, like Dracula (1931), he’s more like,
Speaker 2:
European vampire old vampire
Speaker 1:
Yeah, a very old vampire. I was gonna say the ones that you see when they go to Europe and Interview with the Vampire (1994) they’re mindless. Yes.
Speaker 1:
Yes. So what did you think of that? What did you think of the setup, Katherine?
Speaker 2:
Okay, so I read Dracula (1931) a while back. I mean, I guess the reason I’m the resident vampire expert is because I definitely had a phase and I think, you know, this wasn’t so uncommon for girls my age at this particular early two thousands time period. But, I definitely had a phase where I was reading a lot of vampire fiction, including Dracula (1931) and Interview With the Vampire (1994), and that whole Vampire Chronicles series. I think I read B books of that one. and then just some random one-offs. And then of course Twilight came out and blah, blah, blah. Anyway. So I remember watching Nosferatu totally, unaware of this history with the estate not selling the rights to this film crew. And so as I’m watching it, I’m like, wait a minute, this happened in Dracula (1931), wait a minute. This happened in Dracula (1931). Wait a minute. So, I think that I really like the genre of like, I don’t know what she would call it exactly, but like revisionist history, I guess, or like a mockumentary, I don’t know what you would call it, but it’s taking this true thing and, and adding this fantastical element to it, and making it a very interesting historical fiction. I don’t know what you would call it.
Speaker 1:
What would be the true thing in this case that you’re talking about?
Speaker 2:
Oh, the story of the production, not getting the rights to the Dracula (1931) story. And so just kind of making this knockoff movie version of it, that’s almost beat for beat the same.
Speaker 1:
Right. So I think it’s just it’s not really revisionist history. I think it’s just standard fiction with enough truth in it to make people get sucked into the story.
Speaker 2:
I mean, sure. Cause I don’t know what that actual director was like, but certainly John Malkovich and the writing with the character certainly made him seem like this tortured genius artist, man, who was very well renowned and everything. So
Speaker 1:
Yeah, we could talk about that. You know, John Malkovich does a great job in this movie cause he’s really good at acting crazy, but <laugh> this could almost be a Jeckel and Hyde where the man is, this is all happening in his mind? I don’t think that’s the movie intended. No, I don’t think that’s what the movie intended. But you could read
Speaker 2:
You saying that is a reading of the movie. Sure.
Speaker 1:
Yes. His tortured vision of himself, you know, trying to deal with his inner demons.
Speaker 2:
Sure.
Speaker 1:
Yeah. You know, so, the director, John Malkovich, how do you say Murnau
Speaker 2:
That? Murnau I think, yeah.
Speaker 1:
Is gone to Czechoslovakia, and scouted out locations where he is gonna, where he is gonna shoot the live scenes of the film and they start out when they’re in the studio, you know, what do you think the reason was that everybody was a drug addict in this film?
Speaker 2:
well, I mean, it could have something to do with, the Vampiric Allegory of addiction. <affirmative> where, you know, the vampire is addicted to human blood and they can’t help themselves and that sort of thing. But I think it also is maybe just a setting situation where that was a very popular thing in Europe in the roaring twenties,
Speaker 1:
I guess. So I, I was wondering if it was put in there to make them unsympathetic characters too.
Speaker 2:
I could see that, especially the main actress. I don’t know how I’m right now, but she certainly was not.
New Speaker:
Catherine McCormick playing Greta
Speaker 2:
Greta. Yes. Greta was not a particularly sympathetic character. She was the very stereotypical prima donna type.
Speaker 1:
Right. And then the woman that played actually Greta in Nosferatu (1922) was not a big star though. That’s one, they deviated a little
Speaker 2:
Bit glaring difference. Yeah.
Speaker 1:
So, he Murnau the whole crew, to somewhere in Czechoslovakia, back when Czechoslovakia existed
Speaker 2:
Was one country. Yes.
Speaker 1:
Right. And he says that he has Max Shrek who is played by Willem Dafoe, and he’s gonna stay in character as the Nosferatu the whole time <affirmative> and the people, you know, go along with that, the crew goes along with it at the beginning. The locals are not too happy for them taking down the crosses. And what have you.
New Speaker:
mm-hmm <affirmative>
Speaker 1:
So they had, they had the Nosferatu live or yeah. Nosferatu living in an abbey. Would you like to opine on that a little bit? Cause it offended me.
Speaker 2:
Oh, <laugh> I mean, I guess there is the consideration that one type of, I forget what the, what is it, the actual name is of it. one type of protection against vampires is, you know, Christian symbology Holy Ground symbol, holy ground. Right. And I mean, especially, I know that has, oh, now I, now that you’re putting me on the spot. No, no, no, no, no, no. But now that you’re putting me on the spot, I’m, I’m having a hard time remembering exactly what, but there’s something about that in the Dracula (1931) story, right. Or am I wrong?
New Speaker:
I don’t remember that. I don’t remember that if it’s
Speaker 2:
Oh, okay.
Speaker 1:
Read the book in like the seventh grade. So, you know.
Speaker 2:
Exactly. It’s, a while back now a while <laugh> yeah, I really wish, I don’t think I still have the, the book that I want to reference, but it was a, it’s a book called, called “Vampire Death and Burial.” And it’s all about like, kind of the origin of vampires and these different kinds of rituals and things that people did to, protect themselves against vampires. And it was always kind of just made up stuff where they were like, you know if you just like take this person that you think is a vampire and like take their bones and like grind them up and then like snort it, it’ll cure you of your tuberculosis or whatever it is. Do you know what I mean? Like that, but
Speaker 1:
Be good for your sinuses.
Speaker 2:
No. And in fact you’ll probably die and then you’ll also ????, but Oh yeah, go ahead.
Speaker 1:
Go ahead. I say a consecrated abbey might be great for a Highlander that doesn’t wanna fight, but it wouldn’t work for a vampire. It should be in an old castle ruin or something like that.
Speaker 2:
Right. I did find the setting a little strange too. Yes. Is, this vampire character is definitely, oddest. He’s not your, glamorous, like high life kind of vampire, like Dracula (1931) was, you know, and his ornate castle with his three wives, you know, <laugh>.
New Speaker:
Exactly. I think Anne Rice hit on that pretty good. Cuz when they, they went to, Louis and whoever the other one was, yeah. Lestat went to Europe to find out the origin of vampires. They found them all deteriorated roots like that. And of course, you know, in the first season of “What We Do in the Shadows” television show, they had a Nosferatu that lived in the basement until they killed him off.
Speaker 2:
Mm-hmm <affirmative> so,
Speaker 1:
So, the director has promised that he’ll be able to, that the vampire will be able to feed on Greta at the end of the scene. So, he’s made a deal with the devil and, the devil was supposed to, not feed on his crew, but, would you like to go to how that, how that all works out?
Speaker 2:
Well, kind of like you were bringing up earlier with the thing with, of addiction and stuff. this, this vampire really has a hard time controlling himself. He starts off just at the beginning of the movie. the very first scene that they film with him, is kind of down the hole and the main character kind of like walks down a little bit, but like gets kind of spooked out and like, hightails it out of there, but one of the crew members goes down there and they’re like, Hey Wolf, what’s going on? What are you like, you okay down there. And they, go to find him. And he seems to have been, you know, attacked at some point.
Speaker 1:
So yeah, the, and the, guy is Gustav, which is the, with the guy that went to see Dracula (1931) name, the original guy that traveled over there is as a real estate. Oh, I forget what name is not, it’s not Harker. Right. Is it Harker?
Speaker 2:
I dunno.
Speaker 1:
Well, anyway, when that character is Eddie Izzard the British comedian, which is, just a very unusual choice for the lead in this role. He does a good job, but I was surprised to see him in this, doing that. And, so yeah, he bites of all the people, he bites the photographer, which the cameraman, you know, and that kinda puts a kink in the production a little bit.
Speaker 2:
Yes, very much so.
Speaker 1:
So the director has to fly the guy that’s been bitten a couple of times back to Berlin or wherever their, wherever their base is. Mm-hmm <affirmative> and, bring in, bring in a new cameraman, which he brings back Fritz.
Speaker 2:
The coolest guy ever, you, he comes in and he’s on the little plane. And then he like hops off of it before it’s even like totally landed and you take goggles off and he, you know, makes a quip about how, he is not a doctor, but he is dabbled in pharmaceuticals. And then, he walks up to there and asks, you know, what type of camera it is and if it’s loaded and then he makes another joke about how he’s loaded. And he’s just like the coolest dude whatever. But my goodness, Cary Elwes cannot do a German accent.
Speaker 1:
No, but he can do a British accent. Right. And he, so he can play Robin Hood () better than Kevin Costner. Yeah. His joke. Not mine.
Speaker 2:
Yes. I know. I know. So then he does do, he should have just done a British accent.
Speaker 1:
Yeah. He sure should have nobody would’ve known the difference.
Speaker 2:
No one would’ve cared.
Speaker 1:
So the people are getting, a little freaked out. Right. And the director is Yes.
Speaker 2:
In fact, the director says specifically that it that’s making the crew edgy, and he likes it. He’s, you know, he’s clearly this like kind of person that like production is part of the process. It’s not just the acting he wants to be that person that’s controlling things. A Kubrick-type person of like, you know, very much going to create the environment. And that’s going to cause you more than just saying it’s gonna be reacting.
Speaker 1:
Kinda Stanslov method, acting everybody’s method, acting, doing, Stanislav. what is method acting? I think it’s Stanislav.
Speaker 2:
I don’t know. Do you have any, You have any idea what I’m talking about? Okay. Oh, he’s speeding him, you know, rats and, weasel and stuff like that gave him a Yeah. But you can’t really pacify a vampire and you can’t really control one and their notoriously bad for making deals with. Right. So
Speaker 2:
Yes. It still kinda, he goes to like tell him off, you know, and it’s just like the, not a good idea. Right. You know, his vampire can, he’s like probably stronger than you. He’s lived longer than you, he’s not scared of you. And in fact, he says, tell me how you could harm me, when I don’t even how to harm myself, you know, he’s lived a long time and it’s cost him some kind of agony. Yes, very much so.
Speaker 1:
So, Max Shrek or Nosferatu refuses to travel on a boat. So they have to build a huge ship on site there to film the sea scenes, cuz he’s supposed to go to Hamburg, Germany, or somewhere from wherever he’s from. And so Greta shows up and she is high on opium.
Speaker 2:
And wait, wait, wait, wait, wait, wait. Or you even get to that part. There’s that whole scene with the two crew members who are getting drunk by the fire. That’s an excellent scene.
Speaker 1:
Oh right. Would you, yes. You must
Speaker 2:
Please do.
New Speaker:
So at this point, the casting crew are still under the impression that Count Orlock is just a method, like never breaking character. Right. So, the director had already gone back to Berlin. Fine. okay. So the order, so the director had gone back to Berlin, so the two guys, two, crew members are there, and they’re getting drunk by the fire. It’s nighttime and Count Orlock kind of is stumbling by <laugh>. And they, they under the impression that he is a method actor, they start asking him some like character questions, you know, how old are you? When were you turned? Who turned you that sort of thing? And he’s like, I don’t remember. I don’t remember. I’m very old. I think it was a woman, and they’re like, yeah, dude, this dude is amazing. He’s like, so in character, what an actor, you know? And then at a certain point he just like reaches up and grabs a bat and just like starts eating it. And then he snatches
Speaker 1:
Ozzy Osborn
Speaker 2:
Uhhuh <affirmative> he snatches the bottle of schnapps and just starts like chugging that back. Um <laugh> and, then he just sort of wants the back off after he hands the bottle, back to them actor, then they like take a drink from the bottle after this guy who just ate a bat from the bottle <laugh>.
New Speaker:
Right. <laugh> Yeah. That yeah, I’ve drank after some people. I wouldn’t that I don’t think.
Speaker 2:
No.
Speaker 1:
All right. So then we get a, we got a little off sequence, so Cary Elwes flies in and, everything’s good. And then Greta shows up eventually, right? Mm-hmm <affirmative> the boat is built. The boat set is built and, Greta is, on opium and high as a kite and the director is he goes into his, Laudum stuff and has a confession to the other two actors, you know, which I mean, are the cameraman and the producer mm-hmm <affirmative> would you like to go into that scene?
Speaker 2:
Yeah. Yes. So he is in bed, also, you know, messed up at this point. And he brings them close and he says Count Orlock is not really an actor. He’s a real vampire that I found and I made a deal with him or to act in this movie. And he sees himself as this, great preserver of science. He, he thinks of this as like a science experiment, kind of, this is, this is a thing that he wants for posterity, you know, like, you know, to say he worked with the vampire and I, you know, and was able to preserve it on film. So he’s very obsessed with his own legacy and his own mark that he’s gonna leave on the world.
Speaker 1:
Right. And then I guess to shoot the final scene, they have to go to the island.
Speaker 2:
They’re in some sort of bunker
Speaker 1:
Yeah. That’s on the island because they don’t, they don’t know that they say in there that they can’t get off of this island. How are they gonna get off the island? They don’t have an airplane.
Speaker 2:
That’s right. All their fuel has been depleted up.
Speaker 1:
Yeah. Yeah. And so it it’s Heliogoland or something like that. And it’s clearly a reference to the Sun.
Speaker 2:
Yes. And there was another, Greek reference that we neglect bring up. But that I think is a, a very interesting one. at the beginning of the movie, the director is talking to the actress Greta and he says, you know, think of yourself as a martyr for your art. And we’re like, what is he talking about this weirdo? Right. And as they’re traveling from Berlin to Czechoslovakia, they get on the train. The name of the train is the Charon, which is a reference to the ferryman on the River Styx in Hades.
Speaker 1:
Right. Very, yeah. I forgot about that one. Good one to bring it up. Okay. So they have a set and you say it’s like a bunker you’re right. It’s like a, it’s some kind of military bunker. And they have rigged a trap that when they spring the trap, it lets the sunlight in. So the director thinks he’s outsmarted the vampire and they get Greta together for the scene she’s in the bed and, Fritz or Albin the producer and Cary Elwes the cameraman and the director John Malkovich are all there. They have Greta in the bed and they’ve got the Nosferatu. And then what, why does she freak out?
Speaker 2:
The final scene, which is the scene of the, the movie. and basically he like comes into the her bedroom and like, she’s like sitting there kinda, and he is really creepy on her and she, she like, freaks out, a little bit about that. and then there’s a mirror by the bed and he’s kind of between her in the mirror. And she sees that he’s not casting a reflection. So therefore he is clearly a vampire.
Speaker 1:
And she freaks out, she’s
Speaker 2:
Freaking out. She’s like, oh my God, get me outta here. And then he’s kind of freaking out too, cuz he doesn’t know what to do. So he’s kinda like pacing back and forth. And the fix to this is to inject Greta with, a butt load of morphine. Right. So then
Speaker 1:
Yeah, go
Speaker 2:
Ahead. so then they called back to that part at the beginning of the movie where the director had said that, you know, she, she would be a martyr for her art and then it all makes sense. He had this plan the entire time. He knew that he had promised her to the vampire for his efforts, and so, you know, being sacrificed basically.
Speaker 1:
Yes. And, so she’s high on the she’s high on the drugs and she can, but she’s conscious enough that that’s playing in her mind and she knows she’s gonna die.
Speaker 2:
Yeah. And you can kinda see her hands going and yeah. Yeah. and he had already kind of gotten the scene that he wanted, but he kept, just kept filming and kept filming and kept filming. And then, the other guys on the crew, like try to stop him, try to get him off of her. And no, I’m sorry. No, that’s not what
Speaker 1:
Happened. He, they had, they made him stop before he bite her mm-hmm <affirmative> they, they made him at the scene out of going to bite her or, and then they stopped him and said, okay, well let’s do the death scene. Now that scene of the, I just lost your video.
Speaker 2:
Sorry, that was a button. Can you see me now?
Speaker 1:
Okay. Okay. Yeah, I’m good. And so he, so he made him do the scene and then they went back and finished the shooting of him killing her and so completely feeds on her and they’re just crazily filming all this stuff. Right.
Speaker 2:
Right. So the death scene is that the sun comes up and then this is what happens in the Nosferatu (1922) movie. The sun comes and then he, you know, dies. Yeah. So that was the trick that they had rigged up was that they were gonna like do something more or like the weights like dropped and then like the shutters gonna be the sunlight and then we’re gonna have killed him. but
Speaker 1:
He, but before that happens, right before that happens, Alman tries to he, Cary tries to stop him and he snaps Cary Elwes’ neck throws him away. Right. Am I right? Are you shaking your head at me? No. Yeah.
Speaker 2:
Okay. Good. yeah, yeah, yeah. So they film him, eating her. Then we see the vampire. He’s like, like laying on top of her and he’s snoring with his eyes open and it’s really creepy. Right. <laugh> then he wakes up and then he monologues more about how he could snap their necks and all this stuff. So Cary Elwes is like aahh and pulls out a gun and shoots him a couple of times. And then the vampire just like flies across and breaks his neck. Then the other guy tries to attack and gets strangled. I don’t think he thought. He, yeah,
Speaker 1:
He still,
Speaker 2:
Yes. Then, I mean the whole time as his crewmen are being like attacked and all this stuff, he’s like rolling the camera and all this sort of stuff. And he, he tells that the composition is unworkable
Speaker 1:
Well, so what wake, but what wakes the vampire up when he’s snoring with his eyes open is somebody throws the trap and the chains rattle but it doesn’t, that’s why he wakes up and always jumps in there.
Speaker 2:
Right, right, right.
Speaker 1:
So, yeah. So, yeah. John Malkovich tells him the composition is unworkable. Go ahead.
Speaker 2:
And to return to his mark <laugh> yeah. Reluctantly though, and, continues to feed on a dying Greta.
Speaker 1:
Right. and then, he’s still, Malkovich is still rolling away and still rolling some of the crew or some people from outside burst through the wall and opened the light-up mm-hmm <affirmative>, which is curtains for Max Shrek/Nosferatu and, right. And then just what makes it John Malkovich’s character of Frederick. So insidious, then he calls for like the wounded man to give him a slate to close scene out. Is like, if they’re, they’re not gonna know that’s the end of the scene without a slate.
Speaker 2:
Mm-hmm <affirmative> yes. And then, at the, the end of this movie, he says, this is our very own painting on our very own wall. So he’s very obsessed and he does care about other people’s lives, you know, you know, stepping on other people to get his success. He wants to be remembered. He wants the notoriety. He wants to be.
Speaker 1:
So is, is Frederick, is he, more evil than Nosferatu?
Speaker 2:
I would certainly say so. I mean, trickier he’s a lot sneakier. He does a lot of stuff that, he does it without anybody’s consent or, you know, kind behind people’s backs and stuff in order to, further his own gains. You know what I mean? He, at least the vampires, like I am what I am, I eat what I, you know, <laugh>
Speaker 1:
Exactly. And well, Katherine I wanted to ask you a question now we’ve kind of gone through this. How do you, where do you think this fits in the vampire pantheon of movies? I, I know you told me you weren’t a big Nosferatu (1922) fan
Speaker 2:
When yeah. And I think I would, I would still say that, I don’t think that I am, but I do think that this, I think obviously Nosferatu (1922) had to exist for this movie to exist. Yes. And, I think movie was honestly delightful. I love that this kind of genre works taking that kernel of truth and, transforming it into this kind of logical story. Right. Almost,
Speaker 1:
I don’t know if we talked about this before, but the, the widow of Stoker sued and they, as part of the suit, they were supposed to destroy all the copies of Nosferatu (1922). Yes. So they mostly wiped out copies of this movie. So that’s how it fell into like a legend had a like, oh, that’s a real vampire, you know, there’s this movie, but they had to destroy it cuz it’s a real vampire in it. Even though Max Schreck was in movies before and after.
Speaker 2:
Yes. He just.
New Speaker:
absolutely. And look at the difference between what he looks like as, or lock and what he looks like, you know, in real life they really put prosthetics and makeup and things on him. Like he’s very, doesn’t just look like that. You know what I mean?
Speaker 1:
Yeah. But it made a good rumor cuz you know what if you know, like, oh, I saw this movie one time and all of a sudden vanishes from, from the
Speaker 2:
World. Yeah. And it becomes this like hunt for this thing. It’s a, it’s called lost media right there. I know that there’s this one episode of “Sesame Street” that kind of became a piece of lost media. Not episode, I think it was just like a segment. and it was called like cracks or something like that. And it was like a person in their bedroom and like all these cracks on the walls and they were like seeing visions and stuff in the cracks. and they pulled it because of the crack epidemic. But you know, it became like this, this, thing where, you know, people were searching and trying to find it and like getting in contact with different people who had worked on it and following the chain of people in order to finally answer the question of, was it a real episode or did I just have a fever dream? <laugh>
Speaker 1:
Right, right. Yeah. There’s a couple of shows like that, that I, you know, I watch as a kid and I try to look ’em up and I know they exist, but they just, they just don’t, they’re not out there anywhere, you know, not even still pictures of them. And then it’s kinda like the alien autopsy went missing, you know, this not, I almost called him Shrek. Max Schreck. Well,
Speaker 2:
Yeah. Max Schreck. Yeah.
Speaker 1:
So, do you have, before we, wrap it up here, do you have any more concluding thoughts or anything you’d like to say about this?
Speaker 2:
I would just, I would recommend it. I feel like you don’t even really have to have watched Nosferatu (1922) to like have an idea about what this movie is or to have an enjoyment of it really. So I mean, I was made in 2000, so got some interesting folks in it. I mean, Willem Dafoe knocks it out of the park is a creepy, creepy @@#$% #%$%#(.
Speaker 1:
<laugh> oh, whoa. Family, family-oriented.
Speaker 2:
Oh, do you wanna bleep that? Is it though. Oh, okay. I’m sorry.
Speaker 1:
The podcast, you have to keep em clean or they ban them in India and China and everything else.
Speaker 2:
I see.
Speaker 1:
So yeah, you’re right. He’s creepy. And Malcovich is just insane and over the top. Cary Elwes is larger than life. Greta is the woman that, Braveheart (1995) was so in love with. That’s what she did a lot. She’s done a lot of acting, but she’s not really broken through in anything.
Speaker 2:
Like a main character. Yeah. Oh,
Speaker 1:
Well she was a, I mean she was a main character, but she just didn’t do anything big. And then the odd casting of Eddie Izzard and mm-hmm <affirmative> the, producer was Udo Kier and he a good job, you know, very solid. That’s the guy that was drinking with the actor there in the bat scene.
Speaker 2:
Oh yeah. That, that was interesting. <laugh> yeah. So I guess, I guess that’s really it on that movie. I mean, I really, I thought it was quite so, please think of me the next time you wanna do other vampire flicks.
Speaker 1:
Actually. I’m glad you brought that up because I believe you are committed to Fright Night (1985) and I’m just waiting for you to be ready to do Fright Night (1985) Oh yes. It has Roddey McDowell, Chris Sarandon and some other, well.
New Speaker:
Did you watch the movie?
Speaker 1:
It’s there in my brain there, I already have it. that’s what I was saying. The movie’s in my brain, but yeah. Look, I appreciate you doing this. I look forward to having you back for some more vampire stuff. I know this one’s a 2000, so it’s slightly out of my, 25-year mark, but I think this is important enough to do it. We we’re pretty close. We’re almost at 22. You so, only three years out on this one. And we’ll see you pretty soon, maybe about four to six weeks from now to see, we’ll do, Fright Night (1985) with Roddy McDowell and Chris Sarandon and some other people.
New Speaker:
Appreciate it. We’ll talk to you later. Thank you.
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