For Carpenter, Escape from New York is the likely apex, though this is a pretty incredible job. — Chris Ryan
Jamie Lee: no; Trading Places is floated before True Lies is agreed as her apex. — Chris Ryan
For Michael Myers, a case could be made for H2O. — Chris Ryan
It is not a haunted-house movie, though it dips into that DNA; for P. J. Soles, Stripes. — Chris Ryan
The film is perpetual Apex Mountain for Halloween the holiday; nobody will steal that corner, and few movies must be watched at a specific time of year. — Chris Ryan
For movie serial killers, "probably yes," with Lecter the only comparison, and a joke that Lecter would get Myers to swallow his tongue. — Chris Ryan
The hosts say Pleasence was the third choice and that Peter Cushing and Christopher Lee both turned it down because the pay was too low; Lee, remembered as Dracula, would have been weird casting. — Bill Simmons
Cushing was coming off Star Wars; Star Wars and Halloween back to back would have been iconic. — Bill Simmons
The hosts describe Pleasence as having peaked as a Bond guy and being in The Great Escape, and say he hosted Saturday Night Live in 1981, is considered one of the weirdest hosts, and kept going through the sequels. — Chris Ryan
The hosts say Carpenter wanted Anne Lockhart, daughter of June Lockhart from Lassie, but she was in other stuff, so they went with Jamie Lee, whose mom was in Psycho. — Chris Ryan
The hosts say Dennis Quaid, then dating P. J. Soles, was supposed to be Bob but was doing another movie, and tell a screening story in which Quaid offers to fight a heckler. — Chris Ryan
The segment opens with a warning of Loomis monologue impressions; some people would pick the five-minute single-shot opening, likened to the Goodfellas shot. — Chris Ryan
The opening is left out of the picks: the older sister never stands up to a six-year-old with a butcher knife, the teenage boyfriend is upstairs only about two and a half minutes, and the parents just stare at Michael holding the bloody knife. — Chris Ryan
Loomis driving to Illinois State Hospital in the rain with the nurse Marion: patients wandering in gowns, no backup, Loomis running ahead to the phone while Myers takes the station wagon, and Loomis partly to blame. — Chris Ryan
The three girls walking home from school carrying books, Myers driving by in the wagon, and the "Speed kills" exchange; the speaker might own a Speed Kills coffee mug. — Chris Ryan
Their banter sets up the archetypes; the speaker's mom called the dialogue bad, while Debra Hill supposedly wrote the girls' scenes, and Annie's meanness to Laurie rings true for a friend group you are stuck with. — Chris Ryan
Laurie's crush on Ben Tramer and the sheriff bumping into her with "Everyone's entitled to one scare" are also liked; the sheriff is a little creepy. — Chris Ryan
Annie's last stretch: stuck in the laundry room, Myers floating in and around, the dog dying (the dog category may need to return), and a weirdly long, disturbing strangling in the car before the knife; the throat slit probably lacked blood because of the low budget. — Chris Ryan
Loomis parked outside the Myers house yells "Hey, Lonnie, get your ass away from there," is delighted with himself, and is then startled by the sheriff. — Chris Ryan
Loomis's monologue in the house about the six-year-old with "the devil's eyes" who was "purely and simply evil" is added as a rewatchable scene; the sheriff's muted response gets mayor-from-Jaws comparisons. — Chris Ryan
Loomis's "Death has come to your little town, sheriff" speech meets Brackett's "More fancy talk"; Brackett seems consumed by petty crimes like the hardware store break-in. — Chris Ryan
Bob going to get a beer and being pinned to the wall leads to the Myers head tilt, called the single scariest moment in probably any horror movie; widescreen and HD now make it visible. — Chris Ryan
Part two: Myers puts on the ghost costume with Bob's glasses, a playful Myers, then kills P. J. Soles's character while she calls Laurie. — Chris Ryan
Laurie's reaction on the phone is not terrified enough; the counterpoint is that she thinks her friends are fooling with her after a day of being told to get over what she saw. — Chris Ryan
The last 12 minutes play as one continuous scene: the long walk across, the Judith Myers tombstone, the mask out of the dark, the stabbing and the fall over the staircase, Myers coming down the stairs with his shoulders not moving, and "You can't kill the boogeyman." — Chris Ryan
The closet is called one of the greatest scenes in horror movie history, up there with anything Hitchcock did: the light, the wire hanger, his arms flailing, the window distraction, and his hands punching through; the reply agrees it is the single best scene in the movie. — Chris Ryan
Jamie Lee Curtis is praised as a great, believable scream queen, overqualified next to the Nightmare on Elm Street lead; the hosts doubt they could fashion a wire hanger into a weapon in 15 seconds. — Bill Simmons
The single best moment: Laurie standing in the doorway with her back turned while, in the wide shot, Myers rises and turns, maybe the single best horror movie moment of all time. — Chris Ryan
A host describes a YouTube clip of 1979 theater audio in which the crowd gasps when he stands up and someone yells "shoot him again!" — Chris Ryan
The last rewatchable scene is the ending: six shots, he is not there, and shots of all the scenes. — Chris Ryan
Asked for a pick: the final Michael chase, especially the closet, with everything in that bedroom named the most rewatchable scene; as a non-horror pick, the three girls walking home busting each other's chops and seeing Michael behind the bush. — Bill Simmons
