Where did the truck driver go? What were Leatherface's next couple of days like? Did this movie end hitchhiking? What happened to Marilyn Burns? Whose death would you want? Were the kids marked for death?
Where did the truck driver go: he just runs off away from his truck, the next 15 minutes with him could be its own movie, and he probably runs to the gas station, the worst possible place.
Leatherface's next couple of days after losing his brother are imagined as tape study with Sean Payton: thicker windows, a second chainsaw, maybe going electric.
The impact on hitchhiking: according to Ed Neal, Texas State Troopers thanked him because there were no more hitchhikers, though statistically it lasted a couple more years.
Read verbatim from the internet: on August 5th, 2014, at 65, Marilyn Burns was found dead by her brother at her home in Houston with no cause of death specified; the question of what happened is handed to Concepcion and Tyler for a deep dive.
Whose death would you want: Kirk's, because he does not see it coming and is dead before the sawing; the wheelchair guy's chainsaw death would be tough.
The least wanted is Pam's: a slow death on the meat hook with a gaping hole in her back, watching somebody else get killed and knowing she is next.
Earlier, one participant's unanswerable question is whether this movie ended hitchhiking.
Were the kids cursed or marked for death by the burning photo and the blood on the van and pushed toward the house, or was it random; one sees some voodoo in the burned picture, another finds it scarier if random.
Filmed mostly at a 1900s farmhouse near Round Rock; art director Robert A. Burns collected the remains; Gunnar Hansen cut Marilyn Burns' finger for real; the gas station is now a horror-themed barbecue attraction; mob and Deep Throat money financed the film and the cast lost its share
They filmed mostly at a 1900s farmhouse near Round Rock, Texas, and the art director who drove around picking up the cattle remains was Robert A. Burns.
In his book Chainsaw Confidential, Gunnar Hansen admitted that after several failed attempts he secretly removed the protective tape from the knife and cut Marilyn Burns' finger for real, which the hosts call an OSHA violation.
The gas station featured in several scenes is now a horror-themed attraction at a Texas barbecue restaurant and motel, closer to Austin, still with the vintage We Slaughter Barbecue sign; a live show there is floated.
Short of money to finish, the production got financing from basically the mob and the company behind Deep Throat, which needed to wash money; the cast was promised a piece, got only half of what was claimed, signed it away, and the owners lied about how much it made.
Nobody from the film slingshot into an acting career, unlike the Obsession argument that you get paid on your next job; the company that owed the money had gone bankrupt and New Line Cinema belatedly gave them some money.
A recurring theme is that nearly everyone involved made no money, was emotionally scarred and stayed bitter, except Gunnar Hansen; they had to make it their crowning achievement, giving interviews in rooms of memorabilia and signing chainsaws at conventions.
Earlier, the hosts read that the finger cut was real and it was her actual blood because they could not pull off the cut with fake blood.
No nude scene despite horror expectations; Sally's 'I'll do whatever you want' plea; only one chainsaw death; the beating the actors took; the sound of the hammer on Kirk's skull
A participant's wife was surprised there was no nude scene shoehorned in as in every horror movie; at the watering hole the hosts expected one, and the family shows no interest in Sally as a pretty young woman, in it for the love of the game.
The victims are not killed because they are having sex but because they go looking for gasoline.
Sally's plea at the dinner table that she will do whatever they want is flagged, though one host counters that she is trying to live.
There is only one chainsaw death, Franklin's, with more hammer than chainsaw, and the actors got beaten up, Marilyn Burns above all, hit in the head with a rubber hammer, landing from windows and running through branches; according to Hooper, everyone hated his guts by the wrap party.
The sound of the hammer hitting Kirk's skull returns whenever the participant cracks a shoulder.
Slaughterhouses as a horror setting; grave robbing as a premise; the graveyard scene; seatless 70s vans; the We Slaughter BBQ sign; chainsaws; the dad and his hitchhiker son; fear of the wrong hitchhiker; the poster; the one-chainsaw budget and 868 edits; its influence on Alien and other filmmakers; Daniel Pearl's cinematography; Marilyn Burns' screams; the helper who turns on you; Leatherface's masks; the film as a rich text
Slaughterhouses make a great horror location, tying human violence to a murderous bent of society, and grave robbing creates dread through the radio report and the opening shot of the statue of bones in the graveyard.
The graveyard scene, with the old drunk and the people leering at the women, is low-key creepy; every stop is meant to be small-town America backbone, a gas station or a graveyard, shown in its most demonic version.
Seventies vans with no seats or seatbelts and everyone piled in the back, and the We Slaughter BBQ sign, which promises the freshest possible barbecue.
Chainsaws are still underrated, Scarface has a great one, and seeing one makes you want to grab it and do the Leatherface.
The dad and his hitchhiker son, with lines like 'come here, you nap-haired idiot'; the fear of picking up the wrong hitchhiker; and the poster.
They had only one chainsaw and one Leatherface outfit for the whole movie, there are 868 edits in an 83-minute movie, and the film inspired Ridley Scott to make Alien.
It was hugely influential, loved by Scorsese, Spielberg, Tarantino and Friedkin; Daniel Pearl's cinematography is called easily the best aspect, a precursor to Paris, Texas vistas mixed with handheld documentary style, looking far better than the shoestring budget allows.
Marilyn Burns' screaming, the trope of the person you think will help turning on you, and the masks: Gunnar Hansen described a killing mask, an old lady mask and a pretty woman mask, the last worn at dinner with a wig and black suit because in Texas you dress up for dinner.
The film is a rich text, with countless books and analysis from gender studies to anthropology about its relevance to Texas and American history in the Nixon era; the best horror says something about its time.
Marilyn Burns is the all-in performer: she screams for the last 30 minutes, does her own stunts, jumps out of two windows and runs through brambles at night, getting real cuts.
She is called the first final girl and maybe the best; what Jamie Lee Curtis goes through at the end of Halloween is mild by comparison, and both the 18-wheeler and Leatherface's chainsaw as she climbs into the pickup look dangerously close.
Introduced as a rare category before the categories; the hosts suspect they picked the same anecdote, given the film was made for $60,000 in 100-degree Texas heat.
After getting the grandfather's old-age makeup, John Dugan would not repeat the five-hour process, so his scenes, mostly the dinner scene, were shot over the next 30 hours in summer heat in a room of dead animals and rotting food with no air conditioning and blackout curtains; the stench made people pass out and go outside to puke.
Edwin Neal, who played the hitchhiker, called filming that scene the worst time of his life, worse than being in Vietnam with people trying to kill him; a host compares being up 24 hours after an early flight back from Boston, and the shoot went six hours past that.
Marilyn Burns was tied up the entire time, screaming while being mocked, and the cast got paid about 150 bucks; the 16 millimeter cameras needed so much light that interior scenes generated extra heat.
