Pinocchio Unstrung: An Interview with Robert Englund - Last Interview on the Left

Summary

Last Podcast On The Left

Last Interview on the Left: Pinocchio Unstrung — An Interview with Robert Englund

July 24, 2026

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Episode Overview

In this insightful and lively episode, the hosts of Last Podcast On The Left interview horror icon Robert Englund, best known for his legendary portrayal of Freddy Krueger. The conversation centers on Englund's latest role in the gruesome fairy tale adaptation "Pinocchio Unstrung," exploring the dark history of fairy tales, the art and respect of horror cinema, the evolution of horror's cultural status, and Englund's expansive career. The discussion is friendly, funny, and packed with horror lore, movie hot takes, and cultural observations.

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Key Discussion Points & Insights

The Dark Roots and Return of Fairy Tales

• Englund on Dark Fairy Tales ([03:04] - [05:43])
  • Englund draws connections between classic fairy tales' inherent darkness and their modern horror adaptations.
  • References to the psychological and Freudian readings of stories like Hansel and Gretel and Rumpelstiltskin.
  • Emphasizes that fairy tales became sanitized over time, particularly by Disney, and expresses a desire to revisit their "dark, dark source."

    “After having been Disney-fied for many years and cleaned up … I think what happened is it's almost incumbent upon us to sort of return some of them to their source, their dark, dark source.” — Robert Englund [05:27]

• Discussion of Scaring Children and Modern Cultural Shifts ([05:43] - [08:36])
  • Talks about the societal fear of exposing children to scary content, contrasting it with his own upbringing.
  • Recalls Halloween traditions and a neighborhood's rebellion against “sanitized” holiday celebrations.

Pinocchio Unstrung: Artistic Process & Inspirations

• Getting Involved in the Film ([02:41] - [03:04])
  • Englund credits his colleague Richard Brake (playing Geppetto) and the creative independence of the project.
  • Explicitly points to the modern trend of reimagining children’s stories (e.g., "Winnie the Pooh" horror take).
• Memorable Gore and Practical Effects ([08:36] - [09:01])
  • Hosts and Englund bond over the film’s gory, puppet-driven set-pieces.
  • Englund reflects on the joy and purpose of old-school practical effects in horror.

European vs. American Respect for Horror

• Horror’s Artistic Status Abroad ([10:25] - [14:38])
  • Englund discusses his early European press tours and observes that European audiences and critics elevate horror to the status of Western and noir genres.
  • Mentions directors like Dario Argento and Hammer Film icons, illustrating the European reverence for horror as legitimate art.

  “The stylistic director can really show his stuff when he's working in the world of horror, fantasy and science fiction. … So it's an equivalent. … They knew in Europe that this was a genre that had replaced the western … and it was to be respected.” — Robert Englund [11:30]

• Contrast with Hollywood Attitudes ([14:38] - [15:55])
  • Recalls how horror stars were sometimes marginalized at industry events despite their box office success.
  • Explains the origins of “B movie” status and notes how many classics started as lower-budget secondary features.

Reflections on Horror, Genre, and Industry

• The Value of Low-Budget Horror ([15:09] - [15:56])

  • Englund champions the creativity that arises from limited resources, citing his recent return to “down and dirty and nasty” horror with "Pinocchio Unstrung."
  • Praises the endurance and cinematic craft of mid-century horror and science fiction films.

• Admiration for Del Toro and Others ([17:32] - [19:12])

  • Hosts and Englund enthuse over Guillermo del Toro’s filmography, but Englund expresses a preference for darker takes like "Pinocchio Unstrung" over “highfalutin” adaptations.
  • Recollects the scary elements of the original Disney Pinocchio and the enduring power of those mutations and transformations.

• Disney Anecdotes ([19:19] - [21:10])

  • Englund shares stories about auditioning at Disney Studios, marveling at the terrifying original animation cels for Pinocchio’s "Pleasure Island" and the donkey transformations.

Englund on His Acting Career, Typecasting, and Colleagues

• Roles That Got Away ([21:24] - [23:19])

  • Englund mentions a few major movie roles he missed out on, including in “March or Die” and “The Last Detail.”

• On Andrew Dice Clay and Ford Fairlane ([23:33] - [26:31])

  • Discussion about working with Andrew Dice Clay, whom Englund recognized as an actor playing a crass character.
  • Reflects on SNL controversies and the importance of supporting fellow performers, not wishing failure in the industry.

  “I hate it when any movie bombs, Even if it's a movie I don't like because it's bad for Hollywood, it means there's going to be less movies made. I want everything to be a hit.” — Robert Englund [26:54]

• Horror Icon Status & Typecasting ([27:21] - [28:01])

  • Englund is grateful to have had a diverse acting career before becoming Freddy Krueger but notes that expectations of horror fans are unique.

• Charles Bronson & Old-School Stars ([28:02] - [31:11])

  • Detailed observations about Bronson’s discipline, international appeal, and the loss of distinctive voices and presences in modern acting.

  “You recognize [actors] when you heard them, let alone when you saw them. It was a signature voice. … And we've lost that.” — Robert Englund [30:06]

• The Freddy Laugh & Crafting a New Villain ([31:18] - [32:03])

  • Englund describes how ingrained the Freddy Krueger laugh is, and how he consciously alters it for new roles to prevent typecasting.

Ongoing Projects and Reflections

• Sequels & Cult Films ([32:25] - [33:21])

  • Englund talks about the upcoming sequel to “Behind the Mask: The Rise of Leslie Vernon,” a cult horror favorite, and the challenge of casting after the loss of a colleague.
  • Details the joy of low-budget European genre films and the craft he’s been able to cultivate in diverse roles, including a notable monologue in "Stranger Things."

• Working with J.J. Villard and Offbeat Animation ([35:09] - [36:13])

  • Recounts his participation in irreverent animation ("King Star King"), describing the creative process as piece-by-piece and wonderfully off-kilter.

• Pitching Wild Ideas ([36:13] - [38:41])

  • Englund admires filmmakers with audacious visions, but notes that sometimes even the wildest ideas can get greenlit—or conversely, you wonder how certain mainstream projects happen.

The Future and Vitality of Horror

• Enduring Popularity of Horror ([38:41] - [39:44])

  • Horror and romance films are among the few genres with historical staying power.
  • Englund and hosts recommend deep-diving into streaming services for international and indie action/horror, spotlighting the Finnish film "Sisu" and comparing its director to George Miller.

• Quick Movie Recommendations and Favorite Scenes ([40:13] - [42:31])

  • Energetic exchange of favorite “hidden gems” and directors, especially slow-burn revenge films like "Blue Ruin," "Hold the Dark," and "Rebel Ridge."

  “There are sequences ... the coverage is Orson Welles, Stanley Kubrick, Sam Peckinpah ... brilliant.” — Robert Englund [41:34]

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Notable Lightning Round: Horror Icons ([42:53] – [46:59])

• Rapid-Fire Thoughts on Genre Icons:
  • Praises Richard Brake, Anthony Hopkins, Gary Oldman (favorite Dracula), and particularly David Tennant's performance as Dennis Nilsen in "Des."
  • Laments that outstanding work like "Des" and "Blue Ruin" can fall through the cracks in today's hype-driven distribution landscape.
• Meta Jokes:
  • The hosts jokingly introduce Dick Cheney as a “horror icon”—Englund quips, “Cheney, yes. Shoot Me in the face. Classic film. Roger Corman, right?” [46:38]

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Memorable Quotes & Moments

• “[On fairy tales]: This is all dark shit.” — Robert Englund [04:37]
• “You recognize [classic actors] when you heard them … It was a signature voice. … And we've lost that.” — Robert Englund [30:06]
• “All I tried to do was to avoid the Freddy laugh … because the Freddy laugh is an old class exercise … That was my go-to ... my muscle memory.” — Robert Englund [31:18]

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Timestamps for Key Segments

• 03:04 – 05:43: The Dark Origins of Fairy Tales
• 10:25 – 14:38: European Respect for Horror
• 19:19 – 21:10: Disney’s Darkest Animation
• 24:21 – 26:31: On Andrew Dice Clay and Artist Respect
• 28:02 – 31:11: Charles Bronson, Voice, and Acting Legends
• 31:18 – 32:03: Freddy Krueger Laugh (Typecasting)
• 35:09 – 36:13: Animation and J.J. Villard Process
• 38:41 – 39:44: The Historical Staying Power of Horror
• 42:53 – 46:59: Englund Rapid-Fire Thoughts, Horror Icons

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Tone & Atmosphere

The tone is playful, irreverent, and reverential in equal measure — with deep geek love for horror, plenty of movie references, and personal anecdotes. Englund is game for every subject, bringing wisdom and warmth as both fan and practitioner.

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Closing Thoughts

This episode is a treasure for horror aficionados and cinephiles alike. Englund deftly connects the threads of horror history, personal craft, industry trends, and artistic integrity, all while championing the dark heart of fairy tales and the vital, enduring spirit of horror cinema. There’s a hearty helping of practical insider advice, pop culture hot takes, and infectious enthusiasm for the “nasty bits” that keep horror (and its fans) alive.

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Pinocchio Unstrung is available on VOD and select theaters, with Englund promising,

“We deliver the goods. You’ll like it yourself. A little summer nasty horror fix.” [47:30]

Transcript

[Robert Englund]

Resending us. This is a fun one. Star Trek Strange New Worlds returns with a new season now streaming on Paramount. You are facing the finest crew in Starfleet. Boldly Go. Any of these missions could be unlocked one step closer. What we are about to do cannot be taken back to where it all began. We've seen a lot of strange new worlds, but we'll never see something like this. Star Trek Strange New Worlds new season now streaming exclusively on Paramount.

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[Podcast Host 1]

All right, that's our goal. Mr. Englund, we want to. Our goal is to choke them all out.

[Robert Englund]

Choke them all out.

[Podcast Host 1]

And your job, your, your help today, that's what's going to push us over the edge. We're going to literally attack other podcasts in their dreams. We're gonna kill them one by one at a time.

[Robert Englund]

I like that kind of talk.

[Podcast Host 1]

Yes, very few times are the sacred audio hallways of last podcast and left Grace by true legends. But this time, one is here. I mean, on zoom. Yeah, one's on zoom. And we have truly. This is obviously a pillar of our world, the ultimate man of nightmares. The star of arguably the peak of his career, Pinocchio Unstrung is Robert England. Thank you so much for joining us today.

[Robert Englund]

Well, I don't think I've ever been called sacred before. I kind of like it. I think we have to give a little cred here to the great Richard Brake, who's plays Geppetto in Pinocchio. And strong, because Richard's an old friend of mine and a previous co star of mine in a little film with Robert Patrick and Hal Holbrook that we did together a couple of years ago. And I've just been such a fan of Richard's ever since following him, including his incredible turn on Mayor of Kingstowne with Jeremy Renner, right. Where he plays the white supremacist, you know, in jail.

[Podcast Host 2]

Terrifying in that.

[Robert Englund]

And spoiler alert, the best death scene in a long time. Just amazing. The guy knows how to die.

[Podcast Host 1]

Yeah, he's real. He is. Legitimately. We saw Pinocchio on strong. Honestly, I was surprised at the level of art and care that went into this movie, into this independent production with the puppets and the visual effects. How'd you get involved in this? How they rope you in besides massive piles of cash?

[Robert Englund]

I, I think they I, I wish they were massive. I hope they're not the piles anyway. Getting old. Piles mean something different any. No, you know, I, I knew about the Winnie the Pooh, yes. And my generation, and this isn't horror, but in a kind of MAD magazine, Mad tv, SNL kind of way. We had a sort of beloved experience with a show called Fractured Fairy Tales, which back in the 50s and early 60s was part of the J ward, you know, Rocky and Bullwinkle, all of that stuff with great voice work. Hans Conrad, lots of people were working for those teams back then. So I've always loved the idea of that. And then in college and also during the many years of my, my, my sort of, I'm going to say intellectual interviews regarding horror, especially in Europe, I was reminded of all of the stuff we talked about in school and later on with Bruno Bettelheim and Carl Young and the really source darkness and Freudian sexuality and everything else that's in the actual fairy tales. I mean, my God, Hansel and Gretel is a cautionary tale by the terrible parents to their children. If you don't, if you do not behave, Octun. If you do not behave, you must go into the forest, into the black, dark forest. It's actually called the Black Forest. And what happens when you're starving? There's a famine going on in Germany. What happens when you're starving? What's the first symptom you hallucinate? Pie. A great chocolate cake or perhaps a house with cookie shingles, you know, and made of food. So I mean, this is all dark shit. I mean, also, I mean, Rumpelstiltskin, that's a nasty, nasty story. What's going on there? And so I think that the fairy tales, after having been, and I don't say this as a criticism, just as a fact, but after having been Disney fied for many years and cleaned up, you know, so we don't hurt our children. I think what happened is it's almost incumbent upon us to sort of return some of them to their source, their dark, dark source.

[Podcast Host 1]

Why are we literally so afraid to see scare kids now? I know when I was a little boy, a lot of my favorite media also scared me.

[Robert Englund]

Yeah, well, I, I, I think it, it was, was sort of a reaction to other aspects of the culture that perhaps, you know, put the cart in front of the horse a little too much. I know a couple of blocks from me and this has saved me from being pranked on Halloween where I live, but a couple blocks north of me, Oak Street Nightmare On Oak Street. But all the dads. All the dads who love Halloween and had their helicopter moms, you know, all the beautiful milfs and. And everybody, you know, is a little bit bougie. But, but, but great people and wonderful neighbors. But the dads were headed up to here with the kind of frozen princess Halloween. Yeah, that's dress up. Halloween is monsters.

[Podcast Host 2]

Exactly.

[Robert Englund]

And the day of the dead and vampires and werewolves and Frankensteins and ghosts and skeletons and it's the dark side. And they sort of had it with it going almost into some kind of ridiculous princess cosplay. And they sort of took over their street and made it really dark. All the decorations for Halloween. And you know, I was. When that happened, I was spared a lot of the. The sort of trick or treat traffic. But I remembered back to when I was a kid and there was always a couple of kids that would be popular culture. I think my parents, my liberal parents even dressed me as Fidel Castro one year.

[Podcast Host 1]

Communism is the true fear. Yeah, that is. That is what we're afraid of.

[Robert Englund]

Yeah, he was man of the year, you know, but that was a pulpit popular culture reference. Maybe trying to win a costume contest or something at a neighborhood party. But, but we all wanted to be dark, you know, that was the whole thing back then. And we, you know, and it was always bargaining with your parents about how much fake blood you could put, you know, on your costume and stuff. And the pranks, you know, the sugar in the gas tanks and. And waxing screens, you know, and ringing doorbells and disappearing and all of that, you know, turds and paper bags being set on fire. All that good stuff. Still doing dark night. It was a night of pranks. And I'm not talking about vandalism, but. But good, good. All American fun. And I think it got a little sanitized because some people did take it too far in Detroit and other places. So I think it got a little sanitized and now there was a reaction against that. And I think that also sort of is the. Is the opening for a kind of politically incorrect fractured fairy tale.

[Podcast Host 2]

That's right.

[Podcast Host 1]

It really works. My favorite scene in the entire movie is when Pinocchio removes the guts from the person when he went scooping all the guts out of the guy and then he's just kind of cram all the guts back into his torso. That was one of my favorite because I was like, yeah, that is like he is just trying to be a real boy. Yeah, no, that's how you would be

[Robert Englund]

a real live boy.

[Podcast Host 1]

But can I ask, this is not a criticism at all, but what part of Italy does this movie take place in? The fact that a man is naturally named Geppetto?

[Robert Englund]

Well, I, I think the original, the collode, the original story. I know I've been doing horror movies and publicity in Italy since the very early 80s and I love it. It's my favorite country. But you know, the Pinocchio puppets, you know, are ubiquitous. They're, they're everywhere. Everywhere. Yeah, they celebrate Collodi as an Italian, but I think it's extreme northern Italy. It's all. Which is, which some people call the Tyrol, Tyrolean. So there's, it's that blend of Austrian, Swiss, northern Italy, a little German, the Tyrol, you know, lederhosen. And the food is a little different up there. There's. The mountains have snow on them in the winter. Yeah, it's not the south, you know, it's not the Sofia Loren Naples. It's, it's the north. It's very, you know, Italy's a big country and, and it's very like the United States. Maine is as different from New Orleans as New Orleans is, you know, from, from the coast of the state of Washington or Oregon. They're very different. They're different people, they have different interests, different hobbies. And, and I, and Italy's that way too.

[Podcast Host 1]

Are PR tours easier in Europe than in America? Like when you go over the horror, are they easier, more fun in Italy?

[Robert Englund]

For me, the difference for me was in my first experience in Europe, I'm the luckiest son of a. In the world. I had a back to back science fiction miniseries that was international and a horror movie within a year and a half that was also an international hit. And I was international, meaning people knew my name overnight. And so I was there a lot. And it's, it's an interesting point of view. In my first big astounding, you know, thing that I recognized was the respect for horror as a genre in Europe. It's right up there with gangster movies and film noir and the western. They probably like it even more than the so called romantic comedy they really

[Podcast Host 1]

film, they have art. But horror in those types of genre movies seem to really actually then put butts in seats that.

[Robert Englund]

Well, it's not just that, it's. They recognize that the stylistic director can really show his stuff when he's working in the world of horror, fantasy and science fiction. And that's why, you know, they worship, you know, Dario Argento and the great Spanish vampire directors and, and, and, and some of the English directors in the world of Hammer films with Christopher Lee and Peter Cushing and, and, and everyone, you know, Barbara Steele and everyone. So that world, you know, it has a kind of genre respect and they, they respect it like the graphic novel or as another idiom of film like, like the western, you know, again or something else. So it's an equivalent. It's not in America. When I first started out and you were in horror movies and I had done a fat ten years of, of. Of, you know, a list films, working with the biggest stars of the 70s, Burt Reynolds and yeah. Charles Bronson. People forget how big these people were. And, and Barbra Streisand and a young Jeff Bridges and Sally Field and Susan Sarandon and then Peter Strauss, who was the God of TV movies along with Martin Sheen. Yes, but, but you know, it was this strange thing. Whereas in. They knew in Europe that this was a genre that had replaced the western and replaced the sort of Jimmy Cagney, Edward G. Robinson gangster film. And, and it was to be respected. And you know, it was. I had done the other work, but I remember, I might have been Paramount, but I remember the Friday the 13th guys and, and we're. We're stuck kind of over by the kitchen door, you know, with the porthole and the waiters coming out with the tray, boing, banging in and out the worst seat in the house. And yet it was, you know, a youth movie. Dirty Mary and Crazy Larry, you know, with that nasty Susan St. George and Peter Fonda that I think saved Fox as a summer programmer so that they had enough money to option Star Wars. And I think Friday the 13th really helped fill the coffers after the debacle of King of the Gypsies, you know, the big Paramount flop and. Yeah, and so this is that thing, you know, they. We. The horror wasn't really getting respect, but it, it became a go to moneymaker. And people forget B movie. You know, in the 30s, 40s and 50s and 60s when you went to the movies, you got to see two movies for the price of one double feature. Right. Double bill. And the. This many times the second movie was considered a B movie. But it doesn't mean bad or less than B means budget. Yeah. It just was on it. It fig. It was made on a different budget. Yeah, it's the other side of the other movie. Yeah. But many of those movies have come to be some of our greatest films in the history of Hollywood. Yeah.

[Podcast Host 1]

Oh yeah. Because they cut. They lasted the span of time. We are now running a Movie podcast show. We just now been talking about the idea of those movies hold up way more than the last five years of movies. Not besides Pinocchio Unstrung. Yes, the last five years of movies. Many of these movies are going to kind of be forgotten because of the way they're being made. I actually think that Pinocchio Unstrung, to be frank, is a good indicator of that kind of coming to the other side of people of our generation making movies that love puppets, that love actual

[Robert Englund]

blood, love actual, I mean, you know, blood and gore in action and violence and all of the age is bad. They're part of the recipe. I mean, you know, I mean, I don't want to live in a world that doesn't celebrate the original invasions of the Body Snatchers. Yeah, you know, well, I don't want to live in a world that doesn't celebrate them.

[Podcast Host 2]

Yeah.

[Robert Englund]

You know, the giant movie. It's frightening them is these are great films. These are great films and they, and they were, they had to be made with, with a low budget. And so everybody was constantly on their toes from production design through camera, through direction, through the actors to do a good job. No one set out, you know, to make a cheap looking movie, you know, just because your budget was limited.

[Podcast Host 2]

Yeah.

[Robert Englund]

And you know, I've recently, I, I did, you know, the Midnight man with Lynn Shea, which is sort of a, one of those subset horror movies, you know, the games you shouldn't play. Don't play that game. I did another one, Urban Legend, which I'm very proud of. A lot of fun, glossy, but great film and a terrific performance by Rebecca Gayheart and, and, and everybody's in that. Brad Dorff's in that movie and, and, and wonderful other actors. And then, you know, so, so I, I did one of those and then I did a kind of a, a classic kind of Brian De Palma 70s film called the Last Showing over in England. Yeah. Which I'm really proud of. And I, you know, I, I did a little retro one for last Halloween, you know, Natty Knox for my friend Dwight Little, wonderful director who did me, did my Phantom of the Opera and an old, old friend. But, but you know, I've done different kinds and I realized I hadn't done anything down and dirty and nasty for a while.

[Podcast Host 1]

Yeah.

[Robert Englund]

And I knew, I knew about Winnie the Pooh and I thought, you know, it's about time to, you know, put a little spice into my resume again, you know, so it was wonderful and easy for me to say yes to Pinocchio on strong. Even though we can talk about it like the European critics would, you know, over a glass of wine and a cigarette in a hotel lobby in Madrid, we can talk about the, you know, the, the coming of age story that, that is Pinocchio, you know, but also we got the nasty bits.

[Podcast Host 1]

I tell you what, I, I, let's just say we all, we're huge fans of Guillermo del Toro, right? Huge fans. Huge fans.

[Robert Englund]

Mimics. One of my favorite movies.

[Podcast Host 2]

Love.

[Podcast Host 1]

And I love Kronos. I love all of it. You know, all those, his old movies, Devil's Backbone. He's incredible.

[Robert Englund]

Yeah. With a leg or without it? Are you gonna have her with Lego? Without it?

[Podcast Host 1]

I love it.

[Robert Englund]

That brilliant actor that played the lead. God, so good.

[Podcast Host 2]

Yeah.

[Podcast Host 1]

But I will say my taste runs more towards a Pinocchio unstrung look at the story. Because we've seen the big, fancy Pinocchio a thousand times. We had. What's his name? Was it Roberto Bonini? Remember when he was doing. He did his highfalutin Pinocchio. We've seen highfalutin Pinocchio.

[Robert Englund]

And listen, I understand that because Roberto Benini was doing a salute to Italian culture and how they think of that story, because they do, they celebrate it. It's a national memory of a passage in childhood where for us, for every kid that has frozen as a natural passage of childhood, there's also a kid that had the Exorcist, you know, as a test, a passage of rights. And they're both, they're both to be celebrated. Don't get me wrong. I just don't like it when we have, when we tend to think we have to, like, tone everything down. You know, I think people can handle that. I mean, that's the reason we have ratings.

[Podcast Host 1]

Yeah.

[Podcast Host 2]

You know, in the original Pinocchio from 1941 is terrifying. As far as Disney movies go. I'm gonna call it the scariest one.

[Robert Englund]

There's some mutation stuff going on in that. Well, I mean, I love Night on Bald Mountain from Asia.

[Podcast Host 2]

Yeah.

[Robert Englund]

But I gotta tell you. And then there's that weird necrophilia in Snow White. But I gotta tell you, you know, I used to go for auditions at Disney back in the 70s, and we actors passed around, you know, over a couple of beers at the local pub in Laurel Canyon, we would pass around that. You go, once you got that pass, and you're on the lot for an audition and you park in that crappy lot, you know, in the heat of summer, far away from Everything. You can walk up onto the campus of the original. Well, not the original, but the studios of Walt Disney. Yeah. And you walk right in the animation building, and what our secret was, you walk up the stairs to the second floor, and they had a constantly changing, evolving show of cells from all the Disney movies ever made. And I remember seeing the background cells for the island of Lost Boys from Pinocchio.

[Podcast Host 2]

Yeah. Pleasure Island.

[Podcast Host 1]

Wow.

[Robert Englund]

There was some cool stuff. And later on, about another month later, on a callback or something, I saw all of the mutation cells and original drawings for Pinocchio's transformation, you know. Oh, my. Yeah, just great stuff there. Great, crazy dark stuff. And you'd see ones that weren't used, you know, a dark pencil drawing that wasn't used, that was just a little too. Too hardcore. But still, they, you know, they. There was. They knew where to draw the line or they thought they had to at that time. You know, they were their own. They had their own sort of standards, you know?

[Podcast Host 2]

Yo. Yeah, it's terrifying, that movie. I mean, when that transformation, when Lampwick transforms into the donkey boy.

[Robert Englund]

Yeah.

[Podcast Host 2]

He has a mental breakdown and starts breaking the mirror and, like, bleeding all over that.

[Podcast Host 1]

Yeah. It's like the opening scene of Apocalypse now.

[Robert Englund]

And I rem seeing the pencil drawings of donkey boy, you know, and as a kid, that's terrifying, you know?

[Podcast Host 2]

Yes.

[Robert Englund]

So good.

[Podcast Host 1]

Are there any, like, parts or, like, things that you either went out for or saw that you're like, man, I wish I could have got a shot at that?

[Robert Englund]

Well, no, I mean, you know, we all. All of us, and. And, you know, this is what we thrive on. You know, it's our. Along with adrenaline. It's the ones that got away. I remember being called back several times for a film, and it was, I think, the most expensive film being made in Hollywood that year called March or Die, a French Foreign Legion movie with Gene Hackman. And I didn't get the part, and I'm not. I can't remember the name of the actor that did. He certainly didn't, you know, go on to do a lot of other stuff and nothing.

[Podcast Host 1]

Because you murdered him in.

[Robert Englund]

Nothing against him. But I remember losing sleep over that.

[Podcast Host 1]

Yeah.

[Robert Englund]

And I remember losing sleep. I got called back a couple of times for the great Jack Nicholson film. The Last detail for the young. For the young sailor. The young sailor. The young southern sailor that goes to the brig. And I remember reading the book. And in the book, I could be wrong about this and my memory could be failing me here, but I don't remember him as being big. I remember the boy. He was vulnerable. That's why Jack Nicholson and his MP partner kind of save him because they know he's not going to survive the brig, you know, and I, you know, and, and listen, you know, recent history, you know, notwithstanding, Randy Quaid is a wonderful, brilliant actor. From the Last Picture show to Missouri Breaks and beyond. Randy Quaid is a wonderful actor and he was terrific. He was terrific in that film, but I always thought he was too tall. Just.

[Podcast Host 1]

Did you end up seeing his sex tape?

[Robert Englund]

It looked like he could have, it looked like. Well, it looked like Randy could have taken care of himself. Yeah, yeah, yeah, yeah.

[Podcast Host 2]

For sure, for sure.

[Robert Englund]

In more ways than one.

[Podcast Host 1]

Yeah, yeah.

[Robert Englund]

Whereas little, whereas little Robert England, doing my little, you know, thin Southern boy whose mama might have loved him too much, you know. You know, I, I, you would have worried about me going to the Brick, the marine brig, you know, God can survive.

[Podcast Host 2]

Talking about the past. I have to. One of the major comedy influences, to me, was the Adventures of Ford Fairlane. I love that movie. I thought it was great. You were wonderful. Is Smiley. How surprised are you to see Andrew Dice Clay become this, like, great actor?

[Robert Englund]

Well, here's the thing. And it was always an actor. Us, we actors. When I watched Andrew stand up, act, I could see his recipe. And there was a little bit of Fonzie. Fozzie. A little bit of like if Fonzie cursed. Okay, so that's. So Henry Winkler obviously got it from one of those Long island guys. A little bit of Joey, but a Foucault.

[Podcast Host 1]

Yeah, yeah, yeah, yeah.

[Robert Englund]

And, and that Long island guy, you know, that, that moment of time and the way those guys treated and addressed women and talked about them, which is crass and stupid, but also funny, you know, and that's. He was doing a character, you know, he was doing a character of that guy.

[Podcast Host 2]

Yeah, because he was an impressionist before

[Robert Englund]

that that you could laugh at and with, and it's a performance thing. So when I saw him in his other stuff, I wasn't surprised that Andrew's got some chops. I used to go when I got a big residual to this gourmet market on Sunset Boulevard, and, and I had a lot of adventures in this market. You know, Christmas shopping one year, you know, stoned and things like that. But I, I used to see Andrew there a lot. I think he had, was driving a big Cadillac convertible then, you know, and he would be in the parking lot, you know, shin shining it, you know, and, and, and, and looking good. For the late ladies, you know.

[Podcast Host 2]

Yeah.

[Robert Englund]

You know, all the milks that shop there from. From up in the Hollywood Hills, you know, And I. This is way long before he was, you know, the clay, you know, he was, you know, that. You know, and. And so I. It doesn't surprise me, you know, I remember when he. I think I was in his dressing room talking about something when he signed the contracts for his first home, and he was like a big kid. He was nervous about, you know, that stack you have to sign. You buy a house, you know, and so, you know, it's strange, you know, I mean, I. I liked Nora on snl, but I think her. Her protest against Andrew was a little misguided because that was a character he was playing. You know, I certainly don't think Andrew, you know, hates women or anything like that. And, you know, you know, Andrew went on to do Woody Allen movies and an HBO show and lots of other stuff, and the last thing I saw her in was a toilet bowl commercial. So I'm. And she's a wonderful actress.

[Podcast Host 1]

She's a wonderful actress, too.

[Robert Englund]

But it's like such an unnecessary thing, you know. It's like you've got. Early on, I learned, you know, you can't be envious or jealous or competitive in that kind of. What's the word I'm looking for? You know, Sturm. You know, where. Where you. Where you. Where you seek failure for your fellow artists, you know.

[Podcast Host 1]

Yeah. Living. Live your life.

[Robert Englund]

Failure. You're living for short and fruit. I hate it when any movie bombs, Even if it's a movie I don't like because it's bad for Hollywood, it means there's going to be less movies made. I want everything to be a hit. And when I see actors, you know, make a lot of money, that. That maybe they don't. Maybe they. There's other actors that deserve that more. That doesn't make me hate them, you know, or like them any less just because they hit the jackpot, you know, that's just an unhealthy way to live.

[Podcast Host 1]

Oh, yeah, very much so. And like Andrew Dice Clay, do you think that you. Your Persona as, like, the master of horror also sort of like, paints how people react to you? Like, do you think that, like, you. Do you dis. Do you feel you disappoint people by not being a child murderer?

[Robert Englund]

Well, here's the thing. I had a fat 10 years in Hollywood before I ever did Freddy.

[Podcast Host 1]

Yeah.

[Podcast Host 2]

Yeah.

[Robert Englund]

And in that 10 years, I did a dozen movies and starred in half of them. You know, again, you know, I started with Jeff Ridges and Sally Field and. And Henry Fonda, Jeff Bridges.

[Podcast Host 1]

I do want to ask quickly, what was Charles Bronson like?

[Robert Englund]

Charles had a guy, an assistant who had a little miniature ticker tape with him, and he would be stacking, checking his stock market. And he also. He also would tear out dialogue, you know, and keep it real simple, of course, and parse his lines down to smaller, clean lines of dialogue. And also I watched him and he would reach. He would practice reaching for a prop so he didn't have to look at it when he went to get it. And he'd measure it off. And in a way, he moved and rehearsed his physical stuff like a dancer. He wasn't big, he was compact, but he moved beautifully. Like Lee Marvin moves beautifully or Kevin Bacon moves really well and interesting. They are. Each old John Wayne had that great strange grace in the way he moved and. And I watched him do that. Like, he would measure his grip for a coffee cup so that he could just keep talking to you and reach out of frame and bring that coffee cup in, you know, or that bottle, you know, and switch hands and, you know, he just. He was great that way. He really moved. If you see some of his movies, Cato's Land and that, and watch him move, it's. He's just beautiful to watch. We forget, you know, every. How big Charles Bronson was. Every culture in the world thought he was one of theirs. The Russians thought he was Russians. The Polish thought he was Polish. Well, kind of what, you know, Czechoslovakians thought he was Czechoslovakian sp. Spaniards thought he was Spanish.

[Podcast Host 2]

Yeah.

[Podcast Host 1]

Well, he's also. He had that idiosyncratic way about him that kind of cut through everything. Like, I feel like that's about. Thing about act. Actors we're missing a little bit now is like, you. Anybody can impersonate Charles Bronson. Anybody can impersonate Marlon Brando. You know, the voice so indicatively.

[Robert Englund]

Well, this is one of the things we've lost. If you think about Jimmy Stewart's hesitant delivery.

[Podcast Host 2]

Yeah.

[Robert Englund]

Or Henry Fonda's Midwestern accent. Yeah. Or Brando or John Wayne. You. You recognize them when you heard them, let alone when you saw them. It was a signature voice. And I think that that's something that actors have to realize has. Is part of the component, you know, of. Of an actor. You know, every once in, like, there's certain actresses that have such beautiful, deep, husky voices. You just love hearing them speak, and it makes them just that much more fascinating or sexy. Or, or you know, you just, you like that? Yeah, it's, they come with a full toolbox, you know, so to speak. And we've lost that. I, you know. You know, and I think that people probably thought they could compensate by going to the gym, you know, or something. But you can as long as you're taking your shirt off. But then you also have to sound right when you speak.

[Podcast Host 2]

Well, that's you so important. It's clearly you and Pinocchio on strong. And it was great to hear your curse again by the way.

[Robert Englund]

I mean all I tried to do was to avoid the Freddy laugh as much as I could because the Freddie laugh is an old class exercise from, from, from voice class, you know, that I had and that was my go to thing because it's about the breathing on the diaphragm sustain that laugh. And so I, my muscle memory, I fall into the Freddie laugh pretty automatically. Now I have to consciously pitch it higher and breathe less, you know, to you know, get, get, you know, if I want it. If I'm doing an evil laugh when I'm doing a voiceover, you know, for animation or something now I, I consciously have to pitch it high and bite off the air and turn it more into kind of like a demonic giggle or something. So I don't, so I don't remind everybody that they're listening to Freddy Krueger.

[Podcast Host 1]

Well, you've done many transformative performances. Like your, your work in the Mangler is great. You're just like, you disappear into that guy and I love that movie too. And you've like at this point that's

[Robert Englund]

the great Toby Hooper again too. God, you know, Stephen King loves Toby Hooper. Stephen King loves the way Toby treats the Stephen King canon.

[Podcast Host 1]

Yes. There was something about like so coming back to like the idea of being now like a horror icon. You went through all having all acting career, now you're a horror icon. Are you ever just like, ah, I just want to be in a Dove commercial. But everyone's so frightening. Everybody. Yeah, yeah, yeah. I would love to see how you shower.

[Robert Englund]

Well, you know, it's strange now, you know, I, it, it's, I, I, I'm going to be doing a, a, a, a, a sequel to a wonderful smart, smart horror film I did called behind the Mask. The Rise of Leslie Vernon.

[Podcast Host 1]

Yes.

[Robert Englund]

It's one of those films that's slowly ascending on the cult market. But it, it, it still hasn't been seen enough and I'm really proud of it. And there's a wonderful, wonderful performances in that film. But we had written a sequel for figuring Scott Wilson into it, you know.

[Podcast Host 1]

Yeah.

[Robert Englund]

In a really big way. And. And God love him, Scott passed away, you know, and that's hard. And, yeah, we lost a great, great, great actor that I go way back with. And. And so we. They had. It took him years to figure out another script for that. But I'll be in that doing my sort of homage to Donald Pleasance again. Yeah, yeah. And. And I, you know, I'm lucky. I did a lot, a lot before I did Freddy. So I was established in Hollywood and, you know, a lot of Americans haven't seen them, but, you know, I've done nearly a hundred movies and I've done dozens of movies in Europe. Like, you know, on a level of behind the Mask, the last showing is one, you know, for Phil Hawkins with a wonderful actor in it. Finn Jones just does a great performance, and he was the gay night in Game of Thrones. But. Yeah, but. Yeah, but it's really a good little sort of salute to Brian De Palma. Really immaculate, great, little low budget film. And I've done a lot of that stuff, you know, in Italy, in Spain and England and Russia and all over. So I get to do that, you know, I play the old prince or the old priest or the mad doctor, you know, or the old psychiatrist, you know, and I tell the backstory and I get to play with my skills, you know, doing a monologue. I even got to do the monologue even though I was doing a Robert England makeup role. I got to do a wonderfully written, cadenced monologue that really was a great intercut between this actual event and my telling it in Stranger Things. So I get to do that stuff, you know.

[Podcast Host 1]

You also work with complete madman J.J. vard several times. Oh, yeah, I love that guy. I have done one project with him. I used to work for Adult Swim. Extensively. I love J.J. what's it. What's his. Can you honestly just tell me, Give a little, small, little insight of what his process is like?

[Robert Englund]

But, you know, it's so strange because I saw the anime again. I saw the pencil drawings, because I played a guy. I played a gob of snot. And I think I played one of the three bears. I can't remember. Yeah, it was like. It was like a Goldilocks fractured fairy tale.

[Podcast Host 1]

And then you also did King Star King, which was great.

[Robert Englund]

Yeah, it was the gross out version. You know, it was gross out humor. But it's really off the wall and. And, you know, you get always. You get pieces of it when you're talking to him and, and you get. He said, because you want to be on the same page, but you gotta wait till you see it, you know, and then it all comes together. It's just one of those things. I mean, you know, you imagine, look, I loved sinners. I really loved sinners.

[Podcast Host 2]

Yeah.

[Robert Englund]

But can you imagine the pitch to that now? You had the help of get out being a big hit. Yeah. Which is maybe African folktale, you know, brought into contemporary concepts. So we have a whole new source material we can go after. But imagine trying, you know, even though he was a huge director at the time, still pitching sitters, you know, it's hard. Musicology, the history of American music, you know, vampires, slavery, voodoo, voodoo, African myth, slave myth, all of that. And you're going to make it and you're going to put it all into any one of those statements. Could be an entire movie. But to put them all in one movie and mash them up like that and have that kind of success where you just went on that ride. I remember that, that musical number, which was like the history of American music. And that moving camera, you know, and that dancing and all of a sudden you saw one of the guys from the Funkadelics.

[Podcast Host 2]

Yeah.

[Robert Englund]

You know, out of the corner of your eye and you're like, did I see that?

[Podcast Host 2]

Yeah.

[Robert Englund]

Wasn't that noises to hide it, to blend it in the choreography over here? Later on you got a close up of it. But it was like, did I, did I just. Am I hallucinating? Am I imagining that is this. Is this dance? And, and yet it was. It was all intentional and all choreographed, you know. You know, within an inch of its life. And it just. Brilliant stuff. But that's. That thing, you know, is. Is when you have ideas that wild and you wonder. Part of it is, you know, it's. It's hard to pitch that stuff. And, And I think, you know, with. With, you know, I. I don't understand how when they. When they describe some stuff, it gets. It gets bought. Because I. I wouldn't get it either. I wouldn't get it either, but it does. Then there's other stuff. There's other stuff that you see and you watch it, you go, I don't know how that got made. You know, the flip side of that,

[Podcast Host 1]

you know, every day I say this. Yeah. Every day I scream that into the night.

[Robert Englund]

Well, I mean, you. After you go through your checklist, they made it for money. They made it because it's a sequel. They made it because those are popular characters. They made it because they thought they needed a rom com movie released this June. Whatever, you know, you see that. But once you've exhausted all those checklists, you go, why did they make that movie? You know?

[Podcast Host 1]

Yeah.

[Robert Englund]

Who's the target audience for that movie? I. You know.

[Podcast Host 2]

Yeah. You've mentioned rom coms twice. And I gotta say, being a horror icon that you are, I feel like horror is the only prolific genre over time. Like everything comes and goes. Rom coms are kind of out right now. Regular comedies are kind of.

[Robert Englund]

But I think we do have. We still have romance film films.

[Podcast Host 1]

Yes, yes.

[Robert Englund]

And we, we have horror and we, we have action films. And it's fun, you know, it's so much fun to, you know, you. To go on Apple TV or to go on Netflix or to go on prime video or somewhere and then to deep dive, you know, and, and you find these great little wonderful action movies, you know, that, that are. That with, you know, European stars or low budget. What's. There's one I've seen, but there's two of them now. Can't think of the name. It's. It's a, It's a foreign name, like a Finnish name. It's a director from Finland. And they're revenge movies. They're a guy and he avenges himself on the Sisu.

[Podcast Host 2]

Yes, the Sisu movies are amazing.

[Robert Englund]

That. That guy's up there with George Miller. Yeah, that director. Yeah, I know. Those are incredible stuff. But the second one is almost roadrunner. It almost devolves into Russian Nazi roadrunner.

[Podcast Host 2]

Yeah.

[Robert Englund]

I mean, I watched it on the edge of my couch, but why aren't people talking about those movies? I mean, I'm, I, you know, I'd love to ask Tarantino, you know, we. If we could go to his little movie theater in Hollywood and have a double bill of those, you know?

[Podcast Host 1]

Yeah.

[Robert Englund]

Serve everybody borscht and regret.

[Podcast Host 1]

Have you ever seen the film the Last Circus?

[Robert Englund]

No.

[Podcast Host 1]

It is 2010. I will. I feel like. I cannot believe I'm going to. I'm going to recommend you this movie.

[Robert Englund]

Yeah, I'm gonna look at it.

[Podcast Host 1]

It is.

[Robert Englund]

I got it. Last Circus. Yeah.

[Podcast Host 2]

The director is amazing. He did another movie called Witching and Bitching. That's right on the money.

[Podcast Host 1]

It is amazing. It is a. The only way to describe it, it is fascist clowns left behind in the, in the Spanish Revolution and they have to save their circus.

[Podcast Host 2]

This.

[Podcast Host 1]

By killing everybody. You have to, you have to look at it. You're gonna.

[Podcast Host 2]

I will love this this is right up your alley.

[Podcast Host 1]

Yeah.

[Robert Englund]

Now, it sounds like it has a little bit of Devil's Backbone.

[Podcast Host 1]

It does a little bit.

[Robert Englund]

Yeah. Franco and. Franco and the Regime and all that. No, recently, I've been a big champion of the guy that did Blue Ruin. Oh, yeah. Oh, yeah.

[Podcast Host 2]

No, phenomenal.

[Robert Englund]

And he also did that one with. For me, the best shootout in the history of cinema is in the one with the Skarsgard and Riley Keough and the Native American indigent. They're on the reservation.

[Podcast Host 2]

Yes.

[Robert Englund]

And they surrender their baby up to the cult. The Native American cult. You know, Something dark. Something dark. I think he's dark. Or.

[Podcast Host 1]

It hold the dark.

[Robert Englund]

It holds the dark, right?

[Podcast Host 1]

Yes, that.

[Robert Englund]

Now, here's the third one you put with that is Rebel Ridge. And all those three together are like Slow Burn Revenge. But there are sequences in. In. In that film that are per. That. That shootout with. With the highway patrol on the. On the compound. The Native American compound where he has the.50 caliber up in the barn. The coverage. The coverage is. Is Orson Welles, Stanley Kubrick, Sam Peckinpah. It's, you know, Don Siegel. It's brilliant. I mean, he's got a camera under the wheel of every car there so that you get to watch. You watch people die underneath the cars, let alone what's going on, you know, And. And the. And the. The highway patrol vehicles are slowly deteriorating, you know, in sequence, in continuity, as it. As it progresses, you know, Just amazing.

[Podcast Host 1]

That is going on my list.

[Robert Englund]

Yeah.

[Podcast Host 2]

I love what a fan you are of everything.

[Robert Englund]

I'm a fanboy. I'm a fanboy.

[Podcast Host 2]

We gotta.

[Podcast Host 1]

We're gonna probably let the man go.

[Podcast Host 2]

We gotta let him go to the.

[Robert Englund]

Don't let me go because I gotta. I'll go do a con somewhere, and I'm gonna run up and tell Ron Perlman how much I love him, you know? Yeah.

[Podcast Host 1]

You're gonna attack him.

[Robert Englund]

I'm just a boy like everybody else.

[Podcast Host 1]

Can we do a lightning round with you?

[Podcast Host 2]

Yeah. Because I. Because you being a fanboy, I saw this one great interview with Aretha Franklin, and they were asking her about all the. The. All the other great singers of all time, and she was giving quick reactions to each of them. And. And you are the Aretha Franklin of horror movies, in my opinion.

[Podcast Host 1]

More like I'd actually. Bummy. Say the urethra Franklin. I'm just trying to have fun here. I'm trying to have fun.

[Podcast Host 2]

I'm. Sister.

[Podcast Host 1]

I'm sorry.

[Podcast Host 2]

So if you wouldn't mind, I'd love to get your opinion on other horror icons real fast and rapid fire. Would you mind?

[Robert Englund]

I think, yeah, just start doing it.

[Podcast Host 2]

Yeah, yeah, yeah, yeah.

[Robert Englund]

Well, I think we gotta, I think we have to salute Richard Brake. Geppetto, of course, because Richard's becoming a great face like John Carradine and, and, and I even think there's a bit of Christopher Lee to him.

[Podcast Host 1]

And he's great in 31.

[Robert Englund]

And Richard's, you know, in real life, Richard's tall and so that, that's a great asset. I love Anthony Hopkins.

[Podcast Host 2]

Yes.

[Robert Englund]

You know, I can't get enough of Anthony Hopkins. You know, in horror. I don't have, I don't have a Dracula except for Gary Oldman. Really? Gary Oldman is my Dracula over Christopher Lee? No, Gary Oldman is my Dracula because I gotta, I've gotta use Mind's Eye, you know, I've gotta use Mind's Eye and the sense. His sense of period, you know, So I love that. But I gotta tell you, and I don't know the name of it and maybe it's four, five years old. You're gonna gotta go online and figure it out. David Tennant. Doctor who.

[Podcast Host 1]

Yes.

[Robert Englund]

Broad Church. David Tennant. I saw him on West End. The guy is brilliant. But David Tennant did a serial killer. A chain smoking serial killer.

[Podcast Host 1]

Nielsen.

[Robert Englund]

I don't know what the name of that Dennis Nielsen.

[Podcast Host 1]

It is Hunter.

[Robert Englund]

Yes, yes. Dez.

[Podcast Host 1]

Dez. It's about this, it's, it's. The movie's called DEZ and it's about the ser. Yes, it's about the serial killer, Dennis Nielsen.

[Robert Englund]

Well, he. And, And I'll tell you right now, I love that show. Mindhunter. Yes. There were some performances on Mind Hunter that blew my mind. But that performance by David Tennant is incredible and everybody should see it. These are the things that are falling through the cracks, you know, that we have to get everybody watching, you know, because what happens is they, they see so much hype. And I listen, I'm gonna go see Odyssey this afternoon. I can't wait. 70 millimeter. Do you have an extra ticket with you guys?

[Podcast Host 1]

Do you have any extra tickets? Because there's no tickets.

[Robert Englund]

There's so much hype about other stuff that we get. We, we don't. No one's spending money on these little gems. Yeah, like, like Des or, or, or to tell us about them or to, or, or to, or to hype them or, you know, make him or, you know, After Dark or whatever that was, you know, but, but we got. These movies are great. I I meet. I've never met anybody else except you guys that's seen, you know, Blue Ruin, which is just a perfect film.

[Podcast Host 2]

It's a perfect.

[Robert Englund]

It's a perfect film.

[Podcast Host 2]

Yeah.

[Robert Englund]

Slow Burn revenge movie. Oh, my God. And that actor is brilliant. I've seen him in lots of stuff. Yeah, the guy that played the lead, I think. I'm not sure, but I think all those guys. I think they're all from the North Carolina School of Performing Arts.

[Podcast Host 1]

Yes, they're all from. It's the same guys.

[Robert Englund]

And then they make one movie a year, you know, but they're really good. You know what? I think Angela Bettis, who's in that great movie, may. I think Angela Bettis is one of them. You know, in that crowd, they're just really talented, talented young people.

[Podcast Host 1]

What about the ultimate horror icon, Dick Cheney.

[Robert Englund]

Cheney, yes. Shoot Me in the face. Classic film. Roger Corman, right?

[Podcast Host 2]

Yeah.

[Podcast Host 1]

God, I'd love to see you haunt his dreams. Oh, God, that would be amazing for you to crawl into his nightmares.

[Podcast Host 2]

Have you ever haunted your own nightmares?

[Robert Englund]

I have not. I used to have snake nightmares and I have. I have the actor's nightmare. You know where I still am worried about my lines for Merchant of Venice or something? Yeah, yeah. All the time. And I've hidden the script backstage, but I can't find it.

[Podcast Host 1]

I know. Well, honestly, Pinocchio on strong. It is going to be available for vod.

[Podcast Host 2]

Skip the Odyssey. When you can't get tickets to the Odyssey, go see Pinocchio on strong.

[Podcast Host 1]

Honestly, it's a good way to get you charged up. Get ready to go. You are going to love. Honestly, I think everybody's gonna love the puppets in this.

[Podcast Host 2]

Yes. I can't believe.

[Robert Englund]

It's all practical for all the hardcore horror fans out there. And. And I know I have some. Yeah, Pinocchio. It is Pinocchio, but it's Pinocchio unstrung. We deliver the goods. You'll like it yourself. A little. A little summer nasty horror fix.

[Podcast Host 1]

Go check it out. July 24th.

[Robert Englund]

That is right. That's any day now.

[Podcast Host 1]

Yeah, it is coming out, man. Two days.

[Podcast Host 2]

I. I was like, yeah, it's going to be at the theater in a couple locations. You can check it out or vod just watch it. It's so much fun.

[Podcast Host 1]

It's really fun.

[Robert Englund]

Get a pizza.

[Podcast Host 2]

Yeah.

[Robert Englund]

Crack a beer and watch it.

[Podcast Host 1]

Not joking along. I'm not joking. I've seen basically all of his movies, Reese's movies, and I think it's the best one.

[Podcast Host 2]

It is the best one. It's definitely. Yeah, yeah, no, it's. You can see him really getting a hold of things here, and it's pretty awesome.

[Robert Englund]

Well, they're fun, too. They're fun, too.

[Podcast Host 2]

Yeah, absolutely.

[Robert Englund]

I got to go stand in line. You guys.

[Podcast Host 1]

Go get them. Go get them. Go make your.

[Robert Englund]

I gotta find my shield and my toga.

[Podcast Host 1]

Oh, well, just, you know, you're not wearing pants. What does it matter

[Robert Englund]

with my high heeled sandals?

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[Podcast Host 2]

Yay. Woo.

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[Podcast Host 2]

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