Hellraiser Or Hilarious w/ Doug Bradley (Pinhead) | Your Mom's House Ep. 824

Summary

Your Mom's House Ep. 824: "Hellraiser Or Hilarious" w/ Doug Bradley (Pinhead)

Release Date: August 20, 2025
Hosts: Christina Pazsitzky, Tom Segura (remote cameo)
Guest/Co-Host: Doug Bradley (Pinhead, "Hellraiser")

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Overview:

This episode of Your Mom’s House is a fan’s dream for horror nerds and comedy lovers alike, with Christina ("the main mommy") hosting solo in Austin as Tom films a movie in Mexico. Her special co-host is legendary British actor Doug Bradley—the iconic Pinhead from the "Hellraiser" movies. Their conversation is a wild mix of horror history, personal stories, British cultural quirks, monster philosophy, plenty of laughs, and signature YMH banter. Through Doug, listeners get a fascinating peek behind the makeup—how "Pinhead" was born, what makes monsters iconic, the wildness of fandom, and the enduring influence of Clive Barker. Christina also shares personal moments related to her health, wrapping the episode with trademark irreverence.

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Main Themes and Purpose

• Exploring the Persona of Pinhead: Doug Bradley discusses his approach to playing Pinhead, his connection to Clive Barker, and how the character differs from other iconic horror villains.
• Comedy Collides with Horror: Christina and Doug riff on British pop culture, the strangeness of fandom, and the odd intersections of horror and humor.
• Humanity in Monsters: They examine the unique depth of Hellraiser’s characters and what sets that series apart in the horror world.
• Personal Updates: Christina candidly discusses her upcoming surgery with trademark dark humor.

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Key Discussion Points & Insights

1. Doug Bradley Arrives: Pinhead is a "Mommy"?!

• [00:49] Christina introduces Doug Bradley as her co-host and jokes:
  Christina: "I bet you didn’t know Pinhead is a mommy. You do now. Who do you think’s creepier, Pinhead or Garth [Brooks]? Who’s killed more people?"

• Doug launches into quips about his own kill count as Pinhead vs. the absurdities of pop country music and Garth Brooks's infamous “Facebook” video.

  • [03:32] Doug: "I couldn't name really any other Garth Brooks songs... That Facebook clip... so weird in so many ways, not least because he gave the impression that someone had just introduced him to the idea of Facebook and he'd never heard of it before."
  • [04:13] Doug and Christina lampoon the awkward Garth Brooks clip in unison: "I like that. I like that. I like that."

2. Comedy Crossovers and Celebrity Encounters

• [06:18] Christina teases Doug about "Sex and the City," then segues into hilarious discussion about meeting celebrities, notably Doug meeting Ringo Starr in full Pinhead makeup:
  • [18:05] Doug: "He turned around, he looked at me and he said, 'Hey, it’s Pen Ed.' One of the proudest moments of my life."
  • [18:14] This picture ends up on the front of the Hollywood Reporter the next day.

3. How Pinhead Was Made: Makeup, Masks, and Myth

• [21:21] Doug reveals the pain (and poetry) behind applying Pinhead’s legendary makeup, waxing philosophical about the tradition of masks in performance:
  • Makeup took "five or six hours" originally, later settling at "three or four" hours; removal was "much more hated" because "everything is glued to your skin" [21:21–21:43]
  • Doug discusses his book and lecture series on masks, tracing the use of masks through ancient cultures, Greek theater, Japanese Noh, and horror movies:
    • [32:42] Doug: "There’s not any culture anywhere... that did not incorporate masking... to elevate yourself out of the human... you become the thing that the mask presents to the world."

4. The Humanity (and Suffering) of Pinhead

• [39:07] Christina shares her childhood trauma of walking out of "Hellbound: Hellraiser 2" at age 13.

  • [41:05] Doug (as Pinhead): "It is not hands that call us. It is desire."
    [41:14] Christina: "I just got diarrhea having you do that to me right now."

• [42:12] Doug credits Clive Barker’s writing for Pinhead’s unique, philosophical edge:

  • Doug: "'No tears, please, it’s a waste of good suffering.' ...that is all from Clive... The language he employs for Pinhead is completely different from the way that anybody else in the movie speaks."

5. Hellraiser’s Themes: Desire, Humanity, and The Faustian Bargain

• [57:07] Doug explains what makes Hellraiser unique among horror:

  • Pinhead is "not a boogeyman... there’s a whole process here. You have to be somewhere up enough in your head"—the story deliberately echoes the Faust myth, a caution against unchecked desire.
  • [59:30] Doug: "You have to obtain [the Lament Configuration], solve the damn thing with the right motivation. It is not hands that call us."

• Christina and Doug joke about consumer versions of the puzzle box, and the perils of always wanting more—a theme both sublime and, in their hands, hilarious.

  • [61:56] Christina: "It’s the story of, like, it’s never enough. You’ve got to find peace and calm. Nothing is out there. It’s an inside job."

6. Friendship and Origin Stories: Doug & Clive Barker

• [27:35] Doug recounts meeting Clive Barker in high school and being swept up in Barker’s creative orbit]

  • [28:55] Doug: "That was the day that changed my life... I got drawn into that orbit."

• Pinhead's visual origins trace back to an art concept Clive conceived in 1976—his habit of transforming random visual ideas into horror iconography is revealed.

7. Pinhead’s Name, Military Backstory, and Genderfluid Monsters

• [52:53] On the name "Pinhead":
  • The “Pinhead” nickname was created by the makeup crew; his human name—Captain Spencer Elliott, British Army, ca. 1921.
  • The Cenobite designs were gender-ambiguous and prescient about nonbinary representation:
    Christina: "Another reason you guys were so ahead of your time. You had nonbinary Cenobites."

8. Monsters Then and Now—Lon Chaney, Karloff, and the Company of Iconic Creeps

• [36:55–38:59] Doug expounds on the tradition of horror masking and its performance demands, highlighting icons like Karloff (“Frankenstein”) and Lon Chaney.
  • Christina: “Do you realize you’re like an iconic monster?”
  • Doug: “I have to... we… our indelible mark on horror cinema.”

9. The Fandom Experience

• Humorous contrast between the monstrous and the mundane:
  • [30:34] People expect Doug to "be Pinhead" at the grocery store.
  • [32:02] Christina to Doug: "This would be the greatest day ever if Doug Bradley farted into my fart mic," segueing into trademark YMH absurdity.

10. British/Ireland Accents and Football Banter

• [66:33] Christina has Doug "translate" regional UK and Irish accents from famous viral clips, leading to in-depth explanations of Liverpool and North London dialects and soccer banter.
  • [70:04] Doug explains “park the bus” (soccer lingo for ultra-defensive play) and interprets mixed Caribbean/UK slang:
    Doug: “Blood is like, bro.”

11. Personal Updates, Surgery, and Self-Effacing Humor

• [74:00+] Christina riffs about her upcoming DIEP flap reconstructive surgery (after breast cancer), describing the medical process in macabre/hellraiser-esque detail.
  • [83:35] Doug: "I had no idea, no idea this was a thing."
  • [84:56] Doug: "The only white chick in New Jersey with black boobs."

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Notable Quotes & Memorable Moments

On Meeting Ringo Starr

• [18:05] Doug: “He looked at me and he said, ‘Hey, it’s Pen Ed.’ One of the proudest moments of my life.”

On Pinhead’s Persona

• [41:05] Doug (in character): “It is not hands that call us. It is desire.”
• [42:12] Doug (on Clive Barker): "No tears, please. It’s a waste of good suffering. And your suffering will be legendary even in hell."

On the Culture of Masks

• [32:42] Doug: “In the moment of putting a mask on, you cease to be that human being and you become the thing that the mask presents to the world. It’s the image, it’s the persona.”

On the Human Condition

• [61:56] Christina: “It’s the story of, like, it’s never enough… Nothing is out there. It’s an inside job.”

On Pinhead’s Accent

• [45:51] Doug (Scouse-Pinhead): "I’ll tear your soul apart, lads. I’ll tell you now. You’re suffering—it’ll be legendary even in hell."

On Horror, Iconic Monsters, and Legacy

• [38:59] Doug: “We are, we… our indelible mark on horror cinema.”

On Humor, Humanity, and Fart Mics

• [32:02] Christina: “This would be the greatest day ever if Doug Bradley farted into my fart mic... you’d be the first celebrity to fart.”

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Timestamps for Key Segments

• 00:49 – Introduction of Doug Bradley as co-host; "Pinhead is a mommy"
• 03:29–04:41 – Garth Brooks/Facebook video laughter
• 18:05 – Ringo Starr encounter story
• 21:21–22:08 – Pinhead makeup application/removal explained
• 32:42 – Doug on the global history of masks
• 39:07 – Christina on being traumatized by Hellraiser 2 at age 13
• 41:05 – Pinhead’s famous line, performed live by Doug
• 52:53 – Origins of the "Pinhead" moniker and human backstory
• 66:33–77:16 – Christina and Doug decipher UK/Irish dialect clips
• 83:35 – Medical, hellraiser-esque surgery description
• 84:56 – “Only white chick in New Jersey with black boobs”—dark humor
• 86:31 – Tom Segura voices “suffering would be legendary” as Pinhead
• 87:16 – YMH musical/ridiculous poetry closeout (standard YMH surrealism)

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Final Thoughts:

This episode is a masterclass in blending comedy with horror fandom, offering listeners deep (and hilarious) insight into building an iconic movie monster, the power of horror to reflect and absorb human striving, and the weird joys of modern fan culture. Doug Bradley reveals himself as witty, self-effacing, and passionate about his craft, while Christina’s blend of irreverence and vulnerability brings a sharp personal touch. Whether you’re a Hellraiser devotee or a casual YMH fan, you’ll never see Pinhead—or “blood”—the same way again.

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For more:

• DougBradley.com (for "Spine Chillers" audio stories)
• Your Mom’s House on YouTube for the full visual experience
• Christina P. on Instagram for topline surgery updates ("cute little French girl titties")

Transcript

[Christina Pazsitzky]

Mommies, the main mommy needs your help. That's right. I need you to tell me what your favorite moment is ever from your mom's house podcast. That's right, make a video, a short video, a concise video of you telling me what your favorite moment is of ymh. And we may feature you on the podcast.

[Doug Bradley]

Well, welcome.

[Tom Segura]

Welcome to your mom's house.

[Doug Bradley]

Today in McDonaldland news, Mount McDonaldland is experiencing thick volcanic shaped activity. So try the new Mount McDonaldland shake when you order the McDonaldland meal with your very own character souvenir kit.

[Christina Pazsitzky]

A McDonald's. A McDonald Land gets a McDonald Land meal. And McDonaldland. Hi, mommies. Hi, Jeans. It's me, the main mommy. And Tommy Salami is still filming in June, Mexico. He's filming a movie. So I have a co host with me today that I am so stoked. You guys don't even know what. What you're in for. Please welcome Doug Bradley today as my co host.

[Doug Bradley]

Yeah. Hello. Hello.

[Christina Pazsitzky]

Hi.

[Doug Bradley]

It's a great pleasure to be here.

[Christina Pazsitzky]

I love. I. I love you. I'm so thrilled that you and your wife came to Austin just to do this. I really appreciate you.

[Doug Bradley]

Thank you for inviting us. And, you know, it's a pleasure to be here. And as. As a very wise man once said. Oh. Let the conversation begin. Yes. Yes.

[Christina Pazsitzky]

I bet you didn't know Pinhead is a mommy. You do now. Let the conversation begin. Who do you think's creepier, Pinhead or Garth? Who's killed more people?

[Doug Bradley]

Well, Pinhead, well, he. Other than wiping out an entire nightclub.

[Christina Pazsitzky]

Yeah.

[Doug Bradley]

Full of people in Hellraiser 3.

[Christina Pazsitzky]

Yeah.

[Doug Bradley]

His known kill count on. On screen isn't that high, really.

[Christina Pazsitzky]

We'll talk about that. Yeah, I agree. There's a. There. Well, I have so much to get into.

[Doug Bradley]

I mean, I. With. With. With Garth. For me, it was back in the day when. Because I. I get asked quite often at Q and A's, you know, in interviews and fans generally about what music I like and what I listen to. And I always say it's easier to define myself by what I don't like and what I don't listen to. And in trying to make a distinction between being a huge country music fan. But it was at the time that the new corporate Nashville sound was emerging, and I called it big, Big hat country. And Garth was the poster boy of big hat country for me. So I used to say, you know, like Garth Brooks. No. Wow. And I mean, I don't. I don't. What's friends in low places that's him, right?

[Christina Pazsitzky]

Yeah. I've got friends, but I couldn't.

[Doug Bradley]

I couldn't. I couldn't hum it, you know, And I couldn't name really any other Garth Brooks songs. And then I'm not sure of the. I'm not sure of the chronology as to. As to when I got shown the fate. The Facebook clip, which was so weird in so many ways, not least because he gave the impression that someone had just introduced him to the idea of Facebook and he'd never heard of it before.

[Christina Pazsitzky]

Can we. Do we have it? Can we just. And then. And then I'll do the opening clip. I know what you're saying. This phony. This. This faked surprise Facebook.

[Doug Bradley]

What a great idea. Why didn't nobody think of this?

[Christina Pazsitzky]

Let's watch it again, just for all time's sake. So creepy.

[Doug Bradley]

Well, I guess it's official.

[Christina Pazsitzky]

I guess it's official.

[Doug Bradley]

I really wasn't sure about this at the start. Then a friend of mine said something that just made all kinds of sense. She said, think of it more as a conversation. I like that. I like that. I like that.

[Christina Pazsitzky]

I like that. Well, that. That's a. That's amazing here. This is a great segue.

[Doug Bradley]

I really like that.

[Christina Pazsitzky]

Yeah, let's get into the opening clip because I. I really like that, too. Let the conversation.

[Doug Bradley]

Anybody want these old sandals? You can have them if you wanna. I don't want them no more. I plan on getting some more sandals. Oh, and also, they come with a bottle of brisk drink, too. Oh, well, I.

[Tom Segura]

Welcome to your mom's house.

[Christina Pazsitzky]

Nice long intro. No, hold on now.

[Doug Bradley]

I'm disrobing.

[Christina Pazsitzky]

Please, please show us your shirt. It's so beautiful. You must.

[Doug Bradley]

I only wore. I only wore the overshirt for the purposes of the reveal.

[Christina Pazsitzky]

It was such a good reveal, by the way. I had no idea you wore a denim shirt, too. To really pay homage. Now, as you know, Doug, you're a huge fan of Sex in the City. I'm assuming.

[Doug Bradley]

You're sure?

[Christina Pazsitzky]

Clearly a Miranda. But anyway, apparently, you know the guy that plays Mr. Big.

[Doug Bradley]

No.

[Christina Pazsitzky]

Okay. He's so hot.

[Doug Bradley]

Is he?

[Christina Pazsitzky]

You're gonna like him. Well, he's, like, super into me. Yeah. Here. Here it is. He found out that, like, I guess Tom isn't here. He's super cute. Okay, ready? He sent me this video. It's so weird.

[Doug Bradley]

Okay, Christina, you have a podcast. It's called your mom's house.

[Christina Pazsitzky]

Are you doing it well without your husband Tom?

[Doug Bradley]

She's killing it with her goth style. Goth music. The Cure, always a great one, sexy, loves goth music. So let's keep calm, away from it for a while and see what happens. You're going to be doing fine without him.

[Tom Segura]

Cheers.

[Christina Pazsitzky]

Wow. What do you think?

[Doug Bradley]

Well, not nice, I suppose. I don't know, really. I'm very neutral on the subject of Mr. Big and indeed Sex and the City in general. I never watched it.

[Christina Pazsitzky]

Can I. Oh, well, you're missing out. I watch it compulsively. It's. Can I just point out, this is really interesting. This is very interesting. In a celebrity's home, when there's a picture of the celebrity hanging in their home positioned. Very unique choice. Hot choices. Do you have many photographs of yourself in your home?

[Doug Bradley]

I don't have photographs of me. There are lots of images of Pinhead around.

[Christina Pazsitzky]

Let's look at him for a minute.

[Doug Bradley]

I had. I have a sort of. There's steps going down towards the utility room and basement.

[Christina Pazsitzky]

I love this.

[Doug Bradley]

I keep a lot of stuff on. On the walls and. And stuff that fans give me. I call that a museum. So this is. This is bloodline Hellraiser 4. So it's 1994 B, it's late night. I. That is only water. We're filming. I always had a leotard underneath the jacket, so I just really, just dropped it down off the shoulders.

[Christina Pazsitzky]

Oh, that's what that is for a.

[Doug Bradley]

Little decollete moment, dears.

[Christina Pazsitzky]

I was gonna say it's the Cenobites. It's very big.

[Doug Bradley]

Yes.

[Christina Pazsitzky]

So you had a suit, you had a leotard under. Yes, the leather. Heavy. What is it, like an S M kind of outfit, which, by the way, I have to say, like. Let me just fan your skirt up for a moment because, you know, I've been a huge fan of Hellraiser and Clive Barker, Books of Blood, all that stuff since I was a teenager. And I feel like, you know, anybody can kill people, right? Like Freddy Krueger.

[Doug Bradley]

Yeah.

[Christina Pazsitzky]

And Jason. I'm sure you're friends with all these guys.

[Doug Bradley]

I know them. Yes.

[Christina Pazsitzky]

Yeah. You guys hang out and stuff?

[Doug Bradley]

Well, at conventions and say. We sort of hang out. I made a movie with Robert.

[Christina Pazsitzky]

Oh, Robert England.

[Doug Bradley]

Yes.

[Christina Pazsitzky]

The. The. Yeah. How was he?

[Doug Bradley]

Robert's wonderful. I've known Robert for a very long time. We made a movie together in. In the mid-90s called killer tongue.

[Christina Pazsitzky]

Bring that up, please.

[Doug Bradley]

La Lingua Asafina. It. There we are. We shot it in Spain. It's. It's awesome. It's one crazy movie, but a lot of fun. I was playing a convict. And the reason Mindy Clark is in it as well. That's Mindy looking very, very sexy in in her outfit with her killer tongue retracted in her mouth. So Robert was playing the chief screw and I was, oh, I see him. I was a convict on on a chain gang and Mindy and her boyfriend had carried out a bank heist and Mindy is pretending to be a nun and she was hiding out in the convent, very heavily pregnant with her collection of large poodles. And then there's a point in the movie which an asteroid appears and it hits Earth's atmosphere and it breaks into lots of pieces. She's sitting around a table eating soup with her poodles who are all perched on chairs around the table, and fragments of the asteroid fly in through windows and land in the soup. And the magical properties of the asteroid turn all the poodles into drag queens.

[Christina Pazsitzky]

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[Doug Bradley]

So we're in a kind of Priscilla in the Desert kind of kind of thing now. And. And that's only like the first 10 minutes.

[Christina Pazsitzky]

Oh, it sounds. I gotta watch this. When I get home. I'm gonna have surgery tomorrow. I gotta. It's completely time.

[Doug Bradley]

Completely insane.

[Christina Pazsitzky]

Completely insane.

[Doug Bradley]

And there you are talking of completely insane.

[Christina Pazsitzky]

Yeah.

[Doug Bradley]

Yes.

[Christina Pazsitzky]

What? So, but. But my point being is that I love Robert England. I Love Friday the 13th. Jason, let's talk about your. Your other slayers. Night of the Living Dead. What's the one? The Chainsaw. Texas Chainsaw. All these guys are scary as, right? Like, you don't want to meet any of these rows. Now, what I love about Pinhead and Hellraiser is that you brought a humanity to this, you know, this really scary character, which is kind of cool because we got to see that at one point Pinhead was just a person. And there's. It's all these great themes about desire and greed and lust and these wonderful human themes. And I find that to be so relatable. Anyway, I mean, it's a testament to you bringing some kind of human element to this because this is terrifying. There you are with Ringo Starr. Jesus Christ.

[Doug Bradley]

That's. You keep asking me questions, but. So that's. I was doing publicity for the release of Hellraiser 3. So this, I think, is 1992, maybe 92 or 93. And the Merrimacks, in their infinite wisdom, had decided it would be a very cool idea for me to do lots of publicity stuff in makeup and costume, which I didn't think was such a great idea, but they. They agreed to pay me to do them, at which point it seemed like a better idea, of course. So this is. This is the MTV Video Awards when they used to film with. With the David Spade. The. The filmed inserts of celebrities who couldn't get in because they weren't on the list. Oh, and they'd pre film those and then screen them during the, the award ceremony. And that year it was Roseanne, Andrew Dice Clay, Ringo and Pinhead.

[Christina Pazsitzky]

Oh, cool.

[Doug Bradley]

Who couldn't get in because their names weren't on the list. And I'd, I'd, I'd have my makeup and costume applied in my hotel room, which was a trip too, because on the way down from the hotel room to the lobby, we're in, in the elevator going down and it stopped and the doors opened and here's a businessman with, you know, with his, his suit and his briefcase. And he stared at me and I stared back at him. And then he just went, okay, this is some weird shit. And took a step back and the elevator doors and amazing. Down we went. So I arrived in the limo, you know, it's quite an exciting thing to be doing, and get out. The PR girl comes over and says, you know, we're so delighted to have you here. Today was at ucla. We're just going to bring you into the entrance to the auditorium. Eric Clapton and Elton John are rehearsing at the moment. Oh, and Ringo's here. So, you know, I, I was seven, I think, when the world stopped turning for me for a moment when I first heard Love Me do on the radio in 1962. And huge Beatles fan for all of my life from that moment forward. So my legs have gone to jelly a bit and came around the corner into the entrance to the arena and, and Ringo, with this extraordinary turban thing going on, has got his back to me and he's talking to a couple of guys who see me. And then they start in, you know, to Ringo. And he turned around and it's, it's, it's one of the proudest moments of my life. You turn around, he looked at me and he said, hey, it's Pen Ed.

[Christina Pazsitzky]

Oh, that's so cool.

[Doug Bradley]

And, and that picture was on. Was on the front of the Hollywood Reporter the next day.

[Christina Pazsitzky]

Amazing.

[Doug Bradley]

It was great. And I've said often to fans, you know, who say to me, who apologize because they're talking gibberish or, you know, and I, my brain and my tongue, Homer Simpson style, completely disconnect.

[Christina Pazsitzky]

Of course.

[Doug Bradley]

I just, I, I just talked gibberish to him.

[Christina Pazsitzky]

Of course.

[Doug Bradley]

I'm from Liverpool too.

[Christina Pazsitzky]

I do that too.

[Doug Bradley]

I believe I actually did say that while I'm thinking, what are you doing?

[Christina Pazsitzky]

Did you guys talk about Liverpool?

[Doug Bradley]

I, I honestly, the rest is a blur.

[Christina Pazsitzky]

Yeah, he just dissociated.

[Doug Bradley]

Yes.

[Christina Pazsitzky]

Oh, my gosh.

[Doug Bradley]

I think we did. But he's not, he. I'm on A few words.

[Christina Pazsitzky]

Yeah. You know, he's got to be used to being seen as, like, an absolute God. It's. Arguably the most famous people on the planet are the Beatles.

[Doug Bradley]

Right? No, I mean, I was. I was kind of completely.

[Christina Pazsitzky]

Oh, I'd be. I puke on myself if I ever met Peter Murphy. I just puke all over myself. Or like Robert Smith. That's. Those are my Beatles. You know what I mean?

[Doug Bradley]

Right. Yeah.

[Christina Pazsitzky]

So what is it like to be comedians? We're lucky in that when we meet fans, they're pretty happy to see us, I think. People. You know what I mean? Like, you're walking around in this wild costume. What is that like?

[Doug Bradley]

Well, I'm not. When fans meet.

[Christina Pazsitzky]

No, no, no. They meet you as. As me, as human.

[Doug Bradley]

Yeah.

[Christina Pazsitzky]

But like I'm saying, like, even walking around at the MTV Music Awards, that's got to feel weird because you're not really filming a movie.

[Doug Bradley]

It does. That. That does kind of feel weird because you, you know, people aren't relating to me, and I'm not in character because I'm. It's, you know, not doing that. But nobody's relating to me. They're relating to that image and what they see, you know, and all the pinhead jokes come out. You know, the pincushion jokes.

[Christina Pazsitzky]

Let's go.

[Doug Bradley]

Let's hear the dartboard jokes. All of that. So. Yeah. And. And being in sunlight isn't great with the makeup.

[Christina Pazsitzky]

Yeah. Oh. As a. As a goth of, you know, 40 years or so. I know. Oh, I know.

[Doug Bradley]

Well, because the. The foam latex is full of little air bubbles.

[Christina Pazsitzky]

Oh.

[Doug Bradley]

And they heat up slowly, and you don't notice the process until suddenly everything is getting very warm, and then it takes a long time to cool down again. So. Yes. And it was only me and Ringo that day. I didn't. I didn't. I didn't get to encounter Roseanne, which would have been pretty wild, I think.

[Christina Pazsitzky]

But she would have loved it.

[Doug Bradley]

Sure.

[Christina Pazsitzky]

So I'm going to ask you all the basic questions that you get asked 40 million times a year. How long does it take to put on the makeup?

[Doug Bradley]

Doug, it's been a pleasure talking to you. It's the worst. I'm sorry.

[Christina Pazsitzky]

I know. How do you come up with your skits, Christine?

[Doug Bradley]

Well, early days, it was about five or six hours, and then it. Then it comes up to about three or four would be the. The standard time.

[Christina Pazsitzky]

That's. To get into it and then to get out of it at the end of a day.

[Doug Bradley]

30 minutes to an hour.

[Christina Pazsitzky]

You just rip it off? Oh, no, no. They keep it intact because they're using it.

[Doug Bradley]

No, no, neither of those things. And I hated the removal much more than the application. You have to proceed slowly because basically everything is glued to your skin. So you. You can't just rip it off. And in. In particular, in. In my case. Excuse me.

[Christina Pazsitzky]

Oh, my God. Please don't do that.

[Doug Bradley]

What?

[Christina Pazsitzky]

Just kidding.

[Doug Bradley]

They. I. I see your microphone over there. I think clearing my throat is the least of our worries. What was I saying?

[Christina Pazsitzky]

Makeup. Putting it on and taking it off. They got to pay you a lot more for that part. Jesus. Hours.

[Doug Bradley]

They used stuff called Prostate. Prostate Pros Aid, Prosthetic aid. I think is. Is.

[Christina Pazsitzky]

Look at you.

[Doug Bradley]

That's.

[Christina Pazsitzky]

What year is this?

[Doug Bradley]

This is 1994. It's bloodline. This was Movie magic. Filmed this and gave the impression that this is what Pinhead liked to do. He liked to. If you watch carefully, you'll realize that I haven't got a clue how to throw a football. I don't do American football. But. But they gave the impression that this is what Pinhead does when he's relaxing on set. Yeah, he likes to throw a football around in the parking lot.

[Christina Pazsitzky]

This Cenobite.

[Doug Bradley]

No, he doesn't. Who the is that?

[Christina Pazsitzky]

Is that. Is that.

[Doug Bradley]

Oh, that's Jamie, Right? Okay. That's from. That's from the remake. The Hulu remake.

[Christina Pazsitzky]

Oh, okay.

[Doug Bradley]

I haven't seen that picture before.

[Christina Pazsitzky]

So she is a lady. I could never tell what gender that cenobite was, which is another reason you guys were so ahead of your time. You had non binary cenobites in some ways.

[Doug Bradley]

I mean, you said I was wearing.

[Christina Pazsitzky]

A skirt, so cool. It's like an S M thing. I gosh. So I read Clive Barker stuff as a young teenager, and I didn't realize until last year when I reread Books of Blood because I was in a really dark place after, you know, breast cancer stuff. I was like, in the darkest place.

[Doug Bradley]

You turned to the books of blood to change.

[Christina Pazsitzky]

Yeah, I did.

[Doug Bradley]

Cheer yourself up.

[Christina Pazsitzky]

I don't know what it was, but I was like, I have to read something darker than what's in my head to get me to access those. That darkness. Do you know what I'm saying? Like, you have to see something that feels safe to you to be able to deal with those feelings. And so I was reading it and a friend of mine was like, hey, you know Clive Barker, the guy who wrote It's a Gay Man. And I. It totally. You see, it as an adult in a totally different way now.

[Doug Bradley]

This is very recently.

[Christina Pazsitzky]

Yeah, this is like a year ago. I was like, oh, my God, Clive Records again.

[Doug Bradley]

This is like Barry Manilow coming out.

[Christina Pazsitzky]

You're like, duh. Well, now look at it. I'm like, oh, yeah. He was into, like, Leather Bond. That's probably why I liked it, because I was a goth kid and I thought, stylistically, it's so cool.

[Doug Bradley]

Hey, everyone, don't miss my Come Together tour. I've added a late show in West Palm Beach, Florida on Friday, September 19th. I'll also be in Allentown, Pennsylvania on Friday, September 26th, and Poughkeepsie, New York, on Saturday, September 27th. Tickets and all info [e-mail] Tour Mama Papa. You say you'll never join the Navy, Never climb Mount Fuji on a port.

[Christina Pazsitzky]

Visit, or break the sound barrier.

[Doug Bradley]

Joining the Navy sounds crazy. Saying never actually is. Learn [e-mail] America's Navy forged by the sea. You'd read the Books of Blood in.

[Christina Pazsitzky]

High school as a teenager. Yeah.

[Doug Bradley]

So you'd read in the Hills, the Cities.

[Christina Pazsitzky]

I don't know that one. Okay, which one's that? Is that. I've only read the first volume. I don't remember everything. Rawhead, Rex.

[Doug Bradley]

I. I don't remember running order. Yeah, well, you know, Rawhead, Rawhead, Rex. A little bit of a clue in.

[Christina Pazsitzky]

There as well, right? Yes, yes. I didn't put together, like, you know, the eroticism as being gay or whatever. I don't know.

[Doug Bradley]

He's. He's not.

[Christina Pazsitzky]

Is he a Satanist? What I'm trying to ask you is that is Satan. He intersects magic, Satanism.

[Doug Bradley]

Never. Never mind the being homosexual bit. Is he a Satanist?

[Christina Pazsitzky]

Are you a Satanist?

[Doug Bradley]

Am I a Satanist? Do you get asked, are you a Satanist?

[Christina Pazsitzky]

Definitely. I worship the devil daily. There you guys are.

[Doug Bradley]

There we go.

[Christina Pazsitzky]

Oh, he's cute. I've never even seen an image of him.

[Doug Bradley]

I. I think that may be on the set of Lord of Illusions. That was a weird night. I think that may be it. I was doing a night shoot for Hellraiser 4. Clive was doing a night shoot for Lord of Illusions, like, a few blocks away, and they gave me permission in the middle of the night to go and visit, so I did. I don't think Clive was best amused because it kind of brought his entire filming process to a standstill when you.

[Christina Pazsitzky]

Show up in that gear when Pinhead wandered onto set. So you guys have a really interesting past together that I didn't even I was not even aware of. You guys have kind of.

[Doug Bradley]

I didn't answer your question, by the way. No, he's not a Satanist.

[Christina Pazsitzky]

He's not a Satanist. And are you. Do you worship the devil?

[Doug Bradley]

Okay, no, I'm. I'm an atheist. So by definition if I don't believe in God, I can't believe in the devil.

[Christina Pazsitzky]

Good, good reasoning, true story. Okay, so hold on. You and Clive go way back. When did you meet him?

[Doug Bradley]

17:23. 3.

[Christina Pazsitzky]

3 o' clock on 17:23.

[Doug Bradley]

On a Monday afternoon shortly before America was invented. I. I'm not sure the precise year it's going to be. Pardon? For the liquid death. Noises off. Appropriate moment. I got cast in the school play. This. We're at Quarry Bank High School in Liverpool. Were 10 years before that. John Lennon was a pupil. I got cast in the school play, so I'm told to report to rehearsals, which I did and met my fellow cast members which included fella Milad. So. And that's, you know, I've said and it's true really that that was the day that changed my life. Clive was already writing, starring in directing, hand drawing the posters for his own plays at school which the head teacher used to give him permission to take over the school hall and put these plays on. And I got drawn into that orbit.

[Christina Pazsitzky]

But isn't that amazing. Sorry just for a minute that your friends at that age are so seminal to who you become. Like, had you not met Clive and had you not gotten weird with him, we wouldn't be sitting here today, you know, had I not met my weirdo friends at 15 and, and they're like, you should listen to this music or you should read this book or you should go here. And then that's how the Beatles met. Right. Like in high school. A lot of people met in high.

[Doug Bradley]

School back in the day.

[Christina Pazsitzky]

So anyway, continue. So you're with Clive.

[Doug Bradley]

That's where you two formed, right? Adam. Adam Clayton put a. Put a notice on the school notice board. Drummer looking for people to be in the band.

[Christina Pazsitzky]

Wild. Right.

[Doug Bradley]

And the other three were at school with him and they all said, hey, yeah.

[Christina Pazsitzky]

What is it about British school?

[Doug Bradley]

Well, that was an Irish school, but.

[Christina Pazsitzky]

Oh, you were an Irish school?

[Doug Bradley]

Yes. You have to make a sharp distinction.

[Christina Pazsitzky]

Sorry.

[Doug Bradley]

Between I know.

[Christina Pazsitzky]

Oh, I know.

[Doug Bradley]

And the Republic of Ireland or you'll start a war. Oh, that was in 1992 at the unveiling of. At the Hollywood Wax Museum. Okay, so is that not actually me? It may not be actually so weird that may. That may be a wax dummy in me. I thought I looked a bit weird.

[Christina Pazsitzky]

It looks really good, though.

[Doug Bradley]

For 92, the costume doesn't look quite right.

[Christina Pazsitzky]

Oh, what is that like to look at a photograph of yourself and go, that's not.

[Doug Bradley]

Realize it isn't.

[Christina Pazsitzky]

That's just a statue of me in this wacky costume and this absolute banana. So people always assume that you are this guy, right. That you are a torturous demon from hell when they meet you?

[Doug Bradley]

I don't know. That would be for people to answer. Yeah, but people are. You know, there's. It's the fun of the distinction between me and the character. You know, the. That's always there. It's always there. But that's true for any. Any entertainment entertainer.

[Christina Pazsitzky]

Yeah.

[Doug Bradley]

You know, the distinct for. For you when, you know, when you're on stage, of course, with, you know, you're the microphone. You. You are in. In character as Christina P. And. And that's what you're presenting. And then if people see you in the supermarket the next day, you know, it's. It's weird which people. You know, I've had people say to me, you know, what are you doing here?

[Christina Pazsitzky]

They don't have heb. In hell.

[Doug Bradley]

I eat food.

[Christina Pazsitzky]

Yeah.

[Doug Bradley]

You know.

[Christina Pazsitzky]

Yeah, yeah.

[Doug Bradley]

But why are you here?

[Christina Pazsitzky]

I've had people say that to me, too. Like, wait, you carry a backpack? Somebody said that to me once in the airport. They're like, you have a backpack. I'm like, yeah, dude. Like, I'm still an idiot. I'm still just a human.

[Doug Bradley]

But we just shamble around doing everyday.

[Christina Pazsitzky]

Things when farting into microphones, dude. Yes, But I think it's such an important. It's such an important.

[Doug Bradley]

I'm agreeing with you, but that's. I've. I've never knowingly farted into a microphone. It's your first time. What if I feel the need to fart? I'll ask you for the microphone. You have a deal.

[Christina Pazsitzky]

This would be the greatest day ever if Doug Bradley farted into my fart mic. Because then I can show my husband, like, see, celebrities love the fart mic, babe.

[Doug Bradley]

Okay.

[Christina Pazsitzky]

You'd be like the first celebrity to fart.

[Doug Bradley]

Is he appalled by the fart Mike?

[Christina Pazsitzky]

Yeah.

[Doug Bradley]

Yes.

[Christina Pazsitzky]

He doesn't want to give the people what they want. I know what the people want, and I want the fart mic, too.

[Doug Bradley]

Okay.

[Christina Pazsitzky]

Such a bullshit. But I was going to say is it's such an important function that horror has in society, and I think you play a really. All Monsters. And you've even written a book about masks and, and the function and Right. Of say, a little bit about that. I know this book you wrote was based on a talk you gave.

[Doug Bradley]

Yeah, it started. It started as an. As an illustrated lecture, and. And then it was suggested to me that. That it should be a book, which was cool because it was always very, very difficult for me to squeeze all the material down into, you know, an hour for this illustrated lecture, and it was still difficult for me to squeeze everything down into the book. So I. Part of the thing that drew me into playing Pinhead in the interim after. After school and Pinhead, and that's. It's the best part of like 15 years in between. We had done a lot of theater work together and we had done a lot of masking work in. In the theater work. And so there was always a fascination with that process. And as. As soon as I got into horror, it was very much, you know, those performances that were the most intriguing. Boris Karloff in Frankenstein, obviously, and then discovering Lon Chaney Senior and, And. And so on and so forth. So in. In the book, I started by talking a little bit about the cultural. The whole cultural history of masking, because it. It seems as though there's not any culture anywhere, anytime, any place that did not incorporate masking either in a. In. In a context of war or in a context of religion or in some function in. In daily life. And in particular, to elevate yourself out of the human, away from the human. And in the. In the moment of putting a mask on, you cease to be that human being and you. You become the thing that. That the mask, yes. Presents. Yes to the world. It's the image, it's the Persona, and that's what Persona means. And then I talked about how, you know, we tend to talk about theater being born in the sacred groves behind the Acropolis, the groves that were involved in the worship of Dionysus. Theater seems to be born there, and Greek theater grows out of that. In Greek theater, every single actor was masked. No actor in Greek theater ever went on stage as themselves. And these were fixed, rigid masks that presented a Persona, a character. And you would recognize. The audience would recognize immediately from the mask who this person was and what their function was. And it. It. There's also a suggestion they always have very kind of exaggerated mouthpieces like that. And it suggested that this may also have served the function of helping to, you know, like a. Like a loud halo project out into the. Into the amphitheater. I talked about no theater in Japan which is all masked kabuki theater in, in Japan as well. And then I took it into, into horror movies which it seemed to me is where the legacy gets carried forward in the 20th century. Gods and demons and magic and transformation. And so I, I wanted to talk specifically about the actors relationship to the makeup. Lon Chaney Senior. It was like a, it was like a calling for him. You know, he made his own makeups. He applied the makeups himself and no other actor has done that. You, you might not be so cool. He was, I mean look at that. And he did, he all of that. He did himself.

[Christina Pazsitzky]

Are you kidding me?

[Doug Bradley]

All of that. He did himself.

[Christina Pazsitzky]

So iconic, this guy.

[Doug Bradley]

And he wouldn't let any of his secrets away. He wouldn't talk about it and he refused to answer fan mail. Everything went in the bin. Nothing. There are a couple of staged pictures of him with his makeup kit. It's very theatrical. A lot of his makeup because he started in vaudeville and that was where he learned. You see the picture there of him with his, with the makeup box which I think you can see in the Los Angeles County Museum. But that's a stage pick staged picture. Nobody ever got near him when he was, when he was doing his makeups. And then you, you know, you, you have like Charles Lawton playing the Hunchback of Notre Dame who had a very, very bad relationship with his makeup artist and Boris Karloff and Jack Pierce. Very, very close relationship working on Frankenstein and, and also the Mummy. That's Jack Pierce working in his. Looks like a dentist, doesn't he?

[Christina Pazsitzky]

It's amazing.

[Doug Bradley]

Working on, on Karloff. Wow.

[Christina Pazsitzky]

Do you realize you're like an iconic monster?

[Doug Bradley]

Well, I do.

[Christina Pazsitzky]

So great.

[Doug Bradley]

I, I, I, I, I have to, you know, because it's just because it's, it's incontrovertible. We all are all the people we've been talking about. Robert and Kane and Gunnar Hansen, that late Gunner Hansen who played the first Leatherface. So memorably and so brilliantly terrifying. We are, we, we've we our indelible mark on, on horror cinema. I, I mean I, it's very difficult for me to put myself in the same company as, as Boris, but.

[Christina Pazsitzky]

Oh, you are. Let me tell you. I had to walk out of Hellbound Hellraiser 2 when I was 13 years old. I had to leave. That's how traumatized I was.

[Doug Bradley]

Cool.

[Christina Pazsitzky]

So cool. I've never walked out of a film because I was that afraid. My stepsister and I snuck in, you know, we're Too young to be in it.

[Doug Bradley]

Thirteen.

[Christina Pazsitzky]

I was 13 years old. And there was skin. It was 1942, probably. Yeah, it was R. And it's the first time, I think it was Julia coming out of the mattress.

[Doug Bradley]

That's a scene.

[Christina Pazsitzky]

Holy.

[Doug Bradley]

That's full on, that one.

[Christina Pazsitzky]

And I've never seen anything like that before. And then you show up. Oh, Julia. Oh, my God. It still terrifies me.

[Doug Bradley]

It's. It's. It's wild.

[Christina Pazsitzky]

It is wild. There's nothing like this.

[Doug Bradley]

It's all the. The cutting of. Of the arm. Oliver Smith, who played Skinned Frank in Hellraiser. And he's. He's back.

[Christina Pazsitzky]

Yes.

[Doug Bradley]

For that. And you. You've got all of that. And it's. That's quite difficult to deal with. And it's only. It's only a kind of appetizer.

[Christina Pazsitzky]

Yes.

[Doug Bradley]

For. For Julia emerging from the mattress.

[Christina Pazsitzky]

It's.

[Doug Bradley]

It's pretty wild.

[Christina Pazsitzky]

Spoiler alert. If you haven't seen this movie, came out in 1988, we can talk about it, right, Josh? I always get into trouble, but, yeah, it gets way crazier. And I just re. Watched it before you came to Austin just to re. Terrify myself. And it's still, I think, because you have the themes of mental illness and Dr. Chouinard and Ksty. But my. Oh, no, don't even say it. Can I tell you my favorite line? When I really started to love Pinhead and I. I was like, oh, this character's different. This guy's got some humanity. This is deeper than just slash bullshit stuff. You know what I'm saying? Like, is when Tiffany unlocks the box and summons the Cenobites, and then they all come out and you're last, and you go, no. And then the lady with the thing goes, no. And you go, no.

[Doug Bradley]

It is not hands that call us. It is desire.

[Christina Pazsitzky]

I just got diarrhea having you do that to me right now. Yeah. Oh, I got a fart mic. Yeah, I gotta. I could in the mic, man.

[Doug Bradley]

Wow.

[Christina Pazsitzky]

Stressing me out, Doug. Yeah, that's so like. Oh, man.

[Doug Bradley]

What you were saying earlier is. Is very true. Because Leatherface doesn't speak.

[Christina Pazsitzky]

No, he kind of.

[Doug Bradley]

He kind of makes piggy noises. Beautifully. Brilliantly done by Gunner. But he doesn't speak. Michael doesn't speak. Jason doesn't speak. Freddy does. But he just calls everybody a. Yeah.

[Christina Pazsitzky]

You know, he talks some, and he haunts your dreams, which is terrifying.

[Doug Bradley]

And I. I've always said that, you know, Freddie is rock and roll. If Freddie is rock and roll, Pinhead is a requiem mass. That's. That, that's where he belongs. And what you said about what I channel with the character, that's all down to Clive. That's.

[Christina Pazsitzky]

No, don't do that.

[Doug Bradley]

That's. That's. But he, but those ideas of humanity, those, those lines, those resonating lines. No tears, please. It's a waste of good suffering. And your suffering will be legendary even in hell. And we'll tear your soul apart. And all of that, that, that is all from Clive. I mean, I'm not, I'm not engaging in false modesty at all. Yes, that's my performance and, and I did what I did with it and obviously I seem to have done something right. But, but the material comes from Clive. I mean, I changed not one word of what he wrote. And the thing for me was, because obviously I'd also, I, I'd had a front row seat for that 15 years to all of Clive's creativity.

[Christina Pazsitzky]

Oh, how dare you.

[Doug Bradley]

I had a belch moment.

[Christina Pazsitzky]

We need a belch mic.

[Doug Bradley]

Well, this is the belch mic. The, the, the plays, the, the, the, the kind of juvenilia movies that, that he was making. The short stories and the, the endless, endless art, the constant art, the drawing every single day of his life. I saw all of that. And particularly in the writing, as you know, from the Books of Blood, he naturally has, has quite a, quite a high poetic style. It's very easy to read, but it, it, I mean, I would make, make a, a comparison to, to Poe, who, who does the same thing, but that's naturally Clive's writing style. So when I started reading the Hellraiser screenplay, the, the first thing that struck me was how he was kind of almost writing down because he had to. He's kind of writing in movie ease, which is not necessarily the way that he would normally be writing. And I, I was very aware that when, when Pinhead arrived and started to speak, I felt like Clive was going, thank for that. And he was, you know, he was, he was taking the handbrake off and let it rip. Yeah. So the language he employs for, for Pinhead is, is, Is completely different from the way that anybody else in the movie speaks. So I have those lines, that language, that costume, that makeup, you know, what's your.

[Christina Pazsitzky]

I mean, it's haunting. It's truly. But, but you're right, because it is such a scene stealer. You, you just want to watch Pinhead talk. You're like, what's he going to say? What's he going to do? Is he going to kill. What's he going to do? Can I ask you, like, the stupidest question? Like, Chris Farley type.

[Doug Bradley]

Remember when I. When, when, when, when, when. When you were in that band.

[Christina Pazsitzky]

I feel like that's what this interview is.

[Doug Bradley]

That great?

[Christina Pazsitzky]

Yeah, no, it's. It's the. It's the best.

[Doug Bradley]

Go on, you can ask me stupid question.

[Christina Pazsitzky]

So you use. I. What accent does Pinhead have in. In correlation? Like, what part of England is he from, if you have to? Because I. I don't think you're doing, like a Liverpool accent, right, Like Scouse.

[Doug Bradley]

Pinhead. I'll tear your soul apart, lads. I'll tell you now. You're suffering. It'll be legendary even in hell.

[Christina Pazsitzky]

Totally different movie and everybody gets a pint.

[Doug Bradley]

It would be.

[Christina Pazsitzky]

Yeah, yeah, Totally different.

[Doug Bradley]

You know what I mean? Like.

[Christina Pazsitzky]

You know what I mean? Like.

[Doug Bradley]

No, that's.

[Christina Pazsitzky]

Oh, I do. Like Australian, you said.

[Doug Bradley]

Well, you. You go Cockney.

[Christina Pazsitzky]

Not like, oh, oh, yeah.

[Doug Bradley]

Like, like, like, like. You know what I mean, like.

[Christina Pazsitzky]

You know what I mean, like.

[Doug Bradley]

Yeah.

[Christina Pazsitzky]

What, Governor, what's.

[Doug Bradley]

Yeah. Oh, for sake. No tears, please.

[Christina Pazsitzky]

All for Fox.

[Doug Bradley]

Waste of God. Suffering. Come on. Save that suffering for later.

[Christina Pazsitzky]

So cool, man. We just rewrote this.

[Doug Bradley]

Yeah, no, I'm not sure that would have worked.

[Christina Pazsitzky]

No.

[Doug Bradley]

I don't know, it's just. It's just my voice.

[Christina Pazsitzky]

It's your voice and it's special. I want to share.

[Doug Bradley]

I didn't. I wasn't. Well, I mean, by definition, he's countryless, stateless. You know, he has no. He has no social place. He has no. He is. He is. You know, he's kind of in abeyance as a being. So there's no. There's no geographical or cultural location for him. Well, other than Hell.

[Christina Pazsitzky]

Hell, yeah. AKA Hell. His address. H E. Double hockey sticks. I just want to show this photograph. Is this you and Clive as babies. Look at you, too. And your lovely wife Steph sent this to me.

[Doug Bradley]

Right.

[Christina Pazsitzky]

And I thought this was really cool. Can you talk about that a little bit?

[Doug Bradley]

Sure. So it's 1976. We're in Liverpool. So I am. It's. I'm 21. How about that? Me.

[Christina Pazsitzky]

I know.

[Doug Bradley]

So we're almost 50 years on because I turn 71 in a few weeks. And for. For those people who know their Liverpool geography, looking. Looking through the window. We're looking out on Belvedere Road. And was a. It was a point where Clive was kind of ramping up filming on the Forbidden again, which had been. Was A, a thing that was rolling around for a few years and rolled on for a few years beyond that. It started out as an adaptation of Christmas, Christopher Marlowe's Doctor Faustus, the play to make that as an adaptation for a film even by this time it's become something completely different. And we're in a flat. The two, two, two people who were both at Quarry bank and were part of the group that had constellated around Clive. This was their flat and, and they'd agreed to let Clive use a room in, in the flat, as we call them in England apartment. And it was completely painted black and that the circuit, the, the circles on the window. Clive had put that in there because he wanted sunlight to come in through the window into. With those patterns. And we painted the floor. We'd strip the room back to bare floorboards and painted those either white or alternately black and white. What you're seeing on the edge is the nail board, as I call it. And this was purely a visual idea that Clive wanted to explore in the film. So I have to always think this backwards. He's got a piece of wood and he's painted it white and he's put a gridiron pattern on it in black. And then at each intersection he's put in a nail. A big, like a 6 inch, 9 inch nail, big chunky nail. And then just filming it flat on and swinging a light in front of it so that the shadows of the nails moved across the board like a sundial. But then developing it in negative.

[Christina Pazsitzky]

So.

[Doug Bradley]

That now the nails appear as kind of ghostly grey things. The, the shadows are now white shadows on a black background with a white gridiron. And the shadows are white, which shadows ought not to be. And they're moving backwards and forwards on, on the, the nail board. That's it. It's just, it's just a visual idea. It's one of, one of, one of the, one of the keys to the way that Clive, Clive works always worked with his imagination. There are lots of examples of this. Nothing's ever wasted, nothing's ever forgotten. Everything's always in there. So as I say, this is 1976. Nine years later in. No, 10 years later, 1986, we're turning the cameras on Hellraiser and Clive has anthropomorphized the nail board and it's become the character who had no name who became, you know, you know, known as Pinhead.

[Christina Pazsitzky]

It's wild.

[Doug Bradley]

None of the Cenobites have had any name.

[Christina Pazsitzky]

Yeah, right.

[Doug Bradley]

In my, in my own head. They. Pinhead doesn't. It was, it was the special effects makeup crew who gave us the names when they were prepping the film. Because I'm lead Cenobite. And then there's I, you know, was. Chattering. Cenobite?

[Christina Pazsitzky]

Yeah, the Chatterbox. I didn't like that guy either.

[Doug Bradley]

The fat Cenobite and the female Cenobite they needed names for when they were working on the makeups in the, in the workshop. You know. Yeah, I'm. Are you working on the lead Cenobite today? You know, it's a bit. So they gave us the, the names were their nicknames for us.

[Christina Pazsitzky]

That's amazing.

[Doug Bradley]

Pinhead, Butterball, Chatterer. And the female Cenobite was called Deep Throat.

[Christina Pazsitzky]

I didn't know that.

[Doug Bradley]

Which may be the reason why she continued to be credited as the, the female Cenobite. But so in the preparation of the film, they had all been talking about Pinhead and Butterball and Chatterer. And so when we went on set that those were the names that were being used and they just, they, they, they stuck. So that by, by the time certainly Hellbound came out, the press were talking about Pinhead. But, but in, in my mind, he, he, he has no name. Nobody ever called him Pinhead. In the movies he was called a Pinhead. But his human, but that's a different, a different thing.

[Christina Pazsitzky]

What was his name as a human?

[Doug Bradley]

Spencer Elliott. Captain in the. Captain in the British army in the First World War.

[Christina Pazsitzky]

Old timey.

[Doug Bradley]

When we see him, when we see him at the beginning of hellbound, it's probably 1921, he stayed in the British army and he's, he would be the, the reason that we see him in, in tropical uniform is that he's probably now engaged in putting down the Indian mutinies in the early 1920s.

[Christina Pazsitzky]

There it is.

[Doug Bradley]

You get a little clue with the voice on the radio which is talking in. I say Indian. That's ridiculous. There's no such language. But whatever Urdu or Hindi or whatever language it is that you hear, which is just a little clue as, as to where we are.

[Christina Pazsitzky]

Not English. Am I right?

[Doug Bradley]

And there is his peth helmet. And that's why he's got a pith helmet because he's. He's out. In, out in India. And there would have been scenes preceding this of him in an Indian street bazaar making his way looking for the place that he's been told sells Lament configurations, the puzzle box. And then he would have gone in and then you would have had the standard hellraiser Transaction. Yeah, what's it worth? And all, all of that. No, in. Inside. Now. We'd had a big bump up in budget from Hellraiser to Hellbound. But then there was, There was a financial crisis. And as the, as the, the. As the money was being moved from Los Angeles to London, the exchange rates went crazy and wiped about a third off the budget. By the time the money was in London and New World couldn't make up the money, there was even talk about postponing filming until things settled down a bit. But we went ahead and. So those two scenes prior to this moment, which really only so hard to watch.

[Christina Pazsitzky]

I still can't.

[Doug Bradley]

Only because they, you know, they would have required to two sets building their only establishing scenes.

[Christina Pazsitzky]

Yeah, you don't need to do that for installation.

[Doug Bradley]

They went. Which was a shame. It would. That would have been nice.

[Christina Pazsitzky]

But you know, fuck, I forgot it was about him. Oh, I read the novella that that story is based on.

[Doug Bradley]

The Hellbound Heart.

[Christina Pazsitzky]

Yes. And it's. I didn't even realize this before because I was always like, well, why do these people want to go to hell? What the hell is wrong? What's wrong with you? What is that? And in that book, the Hellbound Heart. Right. The thing of it, they're promising him. They kind of trick him. The Cenobites are like, he's assuming he's going to get like lady.

[Doug Bradley]

Well, that's what everybody assumes. That's what, that's what Frank assumes in, in, in Hellraiser.

[Christina Pazsitzky]

Yes.

[Doug Bradley]

And again, the difference to, to the other movies around at the time are. Pinhead is not a boogeyman. He's not, he's not hiding around the corners in the shadows waiting to jump you. There's a whole process here. You have to be somewhere up enough in your head that you, you, you, you become aware of the existence of this thing called the Lament Configuration and the promise that it's going to give you something beyond. And Frank has the line, it's never enough. It's never enough. And for him, that's all about, you know, sex and drugs. No matter how much sex he does, no matter how many quantities of drugs he takes, it's never enough. And the Cenobites, the box seem to promise something beyond. That's Dr. Faustus. That's straight out of, out of Faustus. It's straight out of Marlowe again where he says it's not, it's not sex and drugs and rock and roll with, in, in, in in Elizabethan England. But Faustus is saying, I've he studied everything. He's. He's studied the philosophers, he studied natural history, he studied theology, he studied the. The natural sciences. He studied everything. And it's not enough.

[Christina Pazsitzky]

Is that all there is?

[Doug Bradley]

It's not giving him the answers. And that's when Mephistopheles appears and says, I can help you with that for a price. Your soul. And so that's, that's, you know, that it's a Faustian bargain. But so you have to. You have to have the motivation to want to find a lament configuration. I don't know how you know, you can't just. You know, I don't know whether. Now you could go on Amazon. I've got one of my configurations.

[Christina Pazsitzky]

I got one. I got it on Etsy. It lights up, though.

[Doug Bradley]

And you have to obtain it, work out how to open it, solve the damn thing with the right motivation. It is not hands that call us right. And then, and only then, will you meet the Cenobites. But as you say in the Hellbound Heart, that's what, that's what Frank assumes.

[Christina Pazsitzky]

That it's going to be horny. Good times.

[Doug Bradley]

What. What Clive does so brilliantly in the Hellbound Heart, is that what Frank gets, is he gets everything. He gets everything.

[Christina Pazsitzky]

Yes.

[Doug Bradley]

All at once, all at the same time. You know, he's. He's. He's. He's coming all over the floorboards. He's. He's got every song, every song, every piece of music he's ever heard in his life in his ears all at the same time. Every. All the conversations he's been engaged in and, and every conversation he's overheard, it's all happening to him all at the same time. And he. Clive says, you know, he. He could feel every. Every breath he can feel at the. In his throat, every dust mote on his skin he's aware of. He's hyper aware of, and it's insanity. And he's screaming and begging for it to stop. And then it does. And he's lying on a heap in a heap on the floor, and the female Cenobite is watching him in a very rude kind of way, brilliantly described by Clive in the Hellbound Heart. No, she's just watching him. And she's got. She's got her legs spread, showing everything with these tongues from that Frank has no doubt belong to people that she has killed laid out on her thighs. And she just looks at him and says, so you've. You finished dreaming? Good. Now we can play or time to. Which becomes time to Play in. In the movies. And that's the. That's. That's the kickstart me up.

[Christina Pazsitzky]

Yeah, right. Like, do you just feel up just hearing that? But it's a cautionary tale and it's also about, like, the hedonic treadmill that you can. One can get on instead of just being still and being like. Yeah, you know, it's kind of like, I want to tell my dad, like, there's only so many. You can. There's only so many step moms I can have. Right. You. Right? This is the. This is the story of, like, it's never enough. You've got to find peace and calm. It's not. It's not out there. Nothing is out there. It's an inside job.

[Doug Bradley]

But it's. But it's our curse, isn't it?

[Christina Pazsitzky]

Yeah, of course.

[Doug Bradley]

Never enough sucks that we. We always want to. You know, we see a mountain, we want to climb the mountain. So we climb the mountain and there's another mountain.

[Christina Pazsitzky]

Yeah.

[Doug Bradley]

So now we have to climb. No, the mountain and. Oh, look, there's another mountain. No, here we go.

[Christina Pazsitzky]

You know, I don't know who was it? Who hasn't said that?

[Doug Bradley]

What's up? What's out there?

[Christina Pazsitzky]

Yeah, more.

[Doug Bradley]

I don't. We. We'd better build a rocket and go and find out, hadn't we? We are. We have that. This insatiable cure, you know, Wales, we know, are hugely, hugely intelligent. I just read this thing about, from studying whale song, they've worked out this process that when whales are migrating, they're sometimes not quite sure which way they should go. You know, like us in cars before gps. Do we. Do we. Do we go straight on here or do we make a. Do we. Fred, do you remember last year? Did we go straight? Well, I'm not. I think we turned left. I don't think so. I think we were. And they will keep this conversation going between themselves for long periods of time, and they won't make a decision until every. Every whale in the pod has reached an agreement, which, by the sounds they're making, are kind of coming together. And then they make their decision to go. They're hugely social, hugely intelligent and apparently perfectly content to be whales in the ocean. They come out and breach. So, yeah, they obviously have an awareness that there's this other place up here, but they don't have the desire to, you know, go and build machines to take themselves out to go and explore, you know, there isn't a whale yet. Who said, bob, you know, when we breach when we do that jumping up in the air thing.

[Christina Pazsitzky]

Yeah.

[Doug Bradley]

And all the people on the boats take photographs of us.

[Christina Pazsitzky]

Yeah.

[Doug Bradley]

You want to go and join them? You know, find out what they're up to, see what they're doing.

[Christina Pazsitzky]

I know, I know. It's.

[Doug Bradley]

It's like they don't have that.

[Christina Pazsitzky]

They don't have that. Well, yeah, I know. Someone once said to me, like, you know what the reward is for being a successful comedian? Just more work. The reward is for being successful. You just do more of the same. Do it harder, faster, again and again and again. And yet.

[Doug Bradley]

When's your next special out?

[Christina Pazsitzky]

Oh, who cares? Who cares? Listen, I. I want to do one thing with you, since you're from Liverpool. And by the way, I think we have to thank your son Sage for hooking us up.

[Doug Bradley]

My stepson. Yeah, Steph. Steph, Absolutely. Sage.

[Christina Pazsitzky]

Thank you. Because he made you aware of your mom's house. Well, he made super mommy.

[Doug Bradley]

He made his mom aware of your mom's house. He was. He was. He's hugely into comedy. Massively into comedy. And he's been listening to Joe Rogan for forever, which I think is. I think it's a wonderful thing, because he is of the generation that doesn't read.

[Christina Pazsitzky]

Yeah.

[Doug Bradley]

You know, he. He's of. Is it maybe the first generation of Americans who will not have read Tom Sawyer.

[Christina Pazsitzky]

Yeah.

[Doug Bradley]

Will not have read Huckleberry Finn and probably never will. What. What Rogan has done is he's introduced him to the marketplace of ideas. He's introduced him to this place where people do this.

[Christina Pazsitzky]

Yes.

[Doug Bradley]

And exchange ideas in a civilized manner. So Sage.

[Christina Pazsitzky]

Civilized.

[Doug Bradley]

Sage is hugely into. Into comedy.

[Christina Pazsitzky]

Well, he's got to come out to Austin.

[Doug Bradley]

And also he. He had started listening to ymh and he said. And he said to his mom, you gotta. You gotta watch this. Your mom's house, because the chick is on there.

[Christina Pazsitzky]

Yeah.

[Doug Bradley]

She's kind of like. Kind of a bit like you. So. So Steph started watching, and then from time to time, she'd show me clips, you know, of the craziness.

[Christina Pazsitzky]

Yeah. And that's when we started interacting on Instagram a little bit. And I was like, no way. This guy's crazy. This guy likes us.

[Doug Bradley]

Right.

[Christina Pazsitzky]

I don't think Pinhead had a sense of humor, but he does. Okay, so you're from Liverpool, and I. I need you to help me decipher what's happening here. You think you could translate some of this?

[Doug Bradley]

I'll try sometimes when I go back to Liverpool now, because they. They did this survey recently on regional accents in Britain and they, they, they, they concluded that regional accents are kind of merging, that they're, they're softening, they're losing their edge. You know, it used to be you could go from one village to another village only a few miles down the road and, and the, the language and the dialect would change slightly. You know, in an age when 10 miles was a long way and it, you know, it was a big deal to make a journey from there to there. And this was generally true around the country except in Liverpool where the accent was getting stronger, was getting more severe. So sometimes when I'm back in Liverpool I hear people speaking and I think I have, I have no idea what you're saying.

[Christina Pazsitzky]

Yeah. Oh yeah. Well, listen to this. See if you can help me. Okay.

[Doug Bradley]

I'll do my best. Obviously you don't. How do you reckon.

[Christina Pazsitzky]

So how do I deposit?

[Doug Bradley]

So if you go back to the beginning. I, the, the. They're talking about football.

[Christina Pazsitzky]

Okay.

[Doug Bradley]

Soccer.

[Christina Pazsitzky]

Soccer.

[Doug Bradley]

So I, the, the first bit is, how do you reckon we're going to get on this year, ladies? I think we're gonna go to Wembley again. I think that, I think that's the first two lines and then I, I one more time. Obviously you aren't gonna win. We're gonna beat you. Right. So he's, he's an Evertonian. The guy in the blue supports Everton and the guy in the red supports Liverpool. And he's saying, I think, I think use. Use. And that's use. Are going to draw and get a replay at our ground.

[Christina Pazsitzky]

Show me how to pause it. Hold on. Let, let Tom chastise me a little bit.

[Doug Bradley]

Oh, bellhouse. Bellhouse. Dead.

[Christina Pazsitzky]

Wow. Okay, let's. So we, we're, we know we're talking about football.

[Doug Bradley]

Yeah. So it's. How do you reckon we're going to get on, lad? Is, is, is the first line line? Is he going to go to Wembley again? And then I, I would guess maybe Liverpool and Everton have played an FA cup game knockout game at Anfield. And I, I, so I think the Evertonian is then saying, I think you are going to get a draw and a replay at our ground. But it's very, it's very, very flat and it's very quick. I'm gonna head on Wembley again. I think he's gonna get a draw your ground and then get a replay at our, at our place. You know.

[Christina Pazsitzky]

What makes you say that? Because we done it last game bar two weeks ago. What's ba.

[Doug Bradley]

Ba. I don't know what that is?

[Christina Pazsitzky]

Like about two weeks ago maybe because.

[Doug Bradley]

We'Ve done it because we've done it about two weeks ago might be about. About.

[Christina Pazsitzky]

Okay, let's go to the next clip.

[Doug Bradley]

You didn't park the bus. You played packed the boss. We played football. We played football. Park the bus. Is. That's a. That means you, you were being. You were being very, very defensive. So you're going into the game to protect Nil. Nil. To not concede. So it's. So it. Effectively the idea is you parked. Parked a bus in front of the goal.

[Christina Pazsitzky]

Oh, go God. I got it. So they can't. Because they can't do. Okay, got it.

[Doug Bradley]

You parked. Parked the bus. Celebrating like you just won the World Cup. User celebrating land like usually just won the World Cup.

[Christina Pazsitzky]

You. You nail that, by the way.

[Doug Bradley]

They do. That's the thing with Evertonians. They got a draw, they think they've won. You know, that's the truth of it.

[Christina Pazsitzky]

Okay.

[Doug Bradley]

They did last season. They beat us to. To all at Goodison and they were. No, they, they. It was late on, you know, in our inexorable march to winning the title for the 20th time. We drew two all at Goodison against Everton.

[Christina Pazsitzky]

And then you're speaking. It's like Chinese. The good old and Leviston.

[Doug Bradley]

They were celebrating.

[Christina Pazsitzky]

You're talking.

[Doug Bradley]

So that's what he's saying. Use. Use. Got a draw. And, and use the celebrating like he'd won the World Cup.

[Christina Pazsitzky]

Okay, that was really good. Try this guy. Okay. You did that one really, really well. This one is probably the hardest in YMH history. Here we go. We're here in Killarney because we've been invited by a very special character. I hear he's a local legend.

[Doug Bradley]

He's Irish.

[Christina Pazsitzky]

Look at that. John, how are you? Good, my dear.

[Doug Bradley]

We're here in Killarney today.

[Christina Pazsitzky]

Nice to meet you.

[Doug Bradley]

Are you from Killarney? Born and bred. Born and bred in Killarney. So. So it's a place that we would know as Kalani. I mean, I'm not. It's. This is. I'm. This. I'm out of my depth here. But he's pronouncing Kalani as Kalani.

[Christina Pazsitzky]

Kalani. Okay.

[Doug Bradley]

With not very many teeth in his head, which doesn't help. But I think the guy, the guy interviewing him who is Irish, I think he's struggling a bit.

[Christina Pazsitzky]

Well, they all are. Okay, so let's keep going. What's your favorite thing about Killarney?

[Doug Bradley]

Timmy?

[Christina Pazsitzky]

Carmen. Yeah, yeah.

[Doug Bradley]

Good player, Good player. Somebody's a Good player. He may be called. He may be called o'. Connor. I think I may have caught that.

[Christina Pazsitzky]

But o' Connor, the player is o', Connor.

[Doug Bradley]

Maybe.

[Christina Pazsitzky]

Yeah.

[Doug Bradley]

I wouldn't. I don't. I, I. Otherwise, I have not got a clue. Not a clue.

[Christina Pazsitzky]

Okay, I think this is your regular spot.

[Doug Bradley]

We're in a Connor's bar. Oh, we're in o' Connor's bar. You moved around a lot. He did what? I don't. I don't. I'm not a bit worried about that one.

[Christina Pazsitzky]

This guy's.

[Doug Bradley]

And there's the harsh racing going on in the background.

[Christina Pazsitzky]

Oh, yeah.

[Doug Bradley]

On the television, the house, the horses.

[Christina Pazsitzky]

I hate horses.

[Doug Bradley]

I know you hate horses. They love.

[Christina Pazsitzky]

I hate them.

[Doug Bradley]

They love the horses.

[Christina Pazsitzky]

I wish they would die. I wish they would all get murdered. System.

[Doug Bradley]

That's an awesome thing to say.

[Christina Pazsitzky]

Well, I don't give a.

[Doug Bradley]

What does a horse have a. Dante.

[Christina Pazsitzky]

They've stepped on me. They make bad smells.

[Doug Bradley]

Well, get out of the way.

[Christina Pazsitzky]

I don't like them.

[Doug Bradley]

You have a fart microphone and you're complaining about horses making bad smells.

[Christina Pazsitzky]

Okay, one last. Tell me if you can, like, decipher what the.

[Doug Bradley]

Where I was sitting, that looked to me like a terrible. Okay.

[Christina Pazsitzky]

Okay.

[Doug Bradley]

This is. This is North London. This is actually the area of London that I lived in for 30 years, and it's Arsenal. And the guy interviewing at the beginning, he's saying now, the North London accent has become something very, very specific because it has absorbed an awful lot of influences from waves of immigration. The guy doing the interviewing looks to me as though he may be of British Caribbean background. And the guy that's being interviewed looks as though he may be of Middle Eastern extraction. I'm guessing wildly. The guy in the middle is looks, you know, English. And the. The. The accent has absorbed all those elements. You can hear how cool. He. He has a very. The guy on the right, the scarf around his neck, he's got a very, very pronounced North London accent. And you've also a lot of. A lot of Greeks and then Turkish people coming in and they've. They've all brought their own inflections. Indian, that's Bangladeshis, Pakistanis. And it's become very much a soup. So you're getting. You're getting. Well, it look. Look to me like a basic goalkeeping error.

[Christina Pazsitzky]

Well, you got to hear this.

[Doug Bradley]

And I'm. I can't quite. I. I need my. I'll call my daughter. She understands this lingo a bit better than I do. You understand now? Blood. He Keeps calling him blood. Motivation, blood. Motivation, blood. You hear? Hear how that's almost like a Caribbean note in that. Motivation, blood. What's he doing, blood? So blood is like, bro, what did he do? What did he do, blood? What did he do?

[Christina Pazsitzky]

What are they doing in the board, blood?

[Doug Bradley]

What are they doing? I'm not the only man. Get imaginal, blood. Everyone's mad here, fan, you understand? Come here and waste their money, blood. You understand? Every week, blood.

[Christina Pazsitzky]

You understand?

[Doug Bradley]

The most expensive season ticket, blood. We ain't won a London derby this year, fam. We'll run a London derby this year, blood. That's Arsenal playing Spur or playing other teams from London. Who else we done?

[Christina Pazsitzky]

Who?

[Doug Bradley]

No one, fam. This team is dead.

[Christina Pazsitzky]

No one, fam.

[Doug Bradley]

Who's done who? Who? No one, blood. Come here every week, blood. We come here every week, man. Go home and away, blood. Come on. Go Europe. You see, that's. That's like. That's all. That's like a Jamaican.

[Christina Pazsitzky]

It's rad thing. I love it. It's like a patois, right? Is that the word? I don't even know.

[Doug Bradley]

And it's. It. So it's this. It's this.

[Christina Pazsitzky]

That's great.

[Doug Bradley]

It. It is an unimaginable melting pot.

[Christina Pazsitzky]

Yeah.

[Doug Bradley]

In. In London. And. And all those linguistic elements of. Have fed. Found their way into.

[Christina Pazsitzky]

That's cool.

[Doug Bradley]

Into the accent.

[Christina Pazsitzky]

Yeah. It is becoming way more diverse in London. Wow. Thank you so much for joining. Also, just know that Doug does these conventions where you can actually talk to him, and he's so sweet. You're so kind with your fans and you spend time with people, talking to people, and I think that's lovely. So people can see you at a horror convention.

[Doug Bradley]

Sure. Where. Where am I going to be next in September? I'll be in Albuquerque.

[Christina Pazsitzky]

Oh.

[Doug Bradley]

I don't have my phone on me, so I can't check the dates, to be precise. But in September, I'll be in Albuquerque and also at a convention called Silver Scream, which is in Worcester, Massachusetts.

[Christina Pazsitzky]

Worcester.

[Doug Bradley]

Worcester. Worcester. It's. That's like a. An hour out of Boston. Okay, Worcester. And in October, I will be in Lexington, Kentucky.

[Christina Pazsitzky]

Oh, sexy. Lexington. Also, check him out. Doug does this great thing where he reads Christmas stories.

[Doug Bradley]

Well, at Christmas I do.

[Christina Pazsitzky]

Yeah.

[Doug Bradley]

I love the rest of the year. I don't read.

[Christina Pazsitzky]

I don't think she would all year, though.

[Doug Bradley]

You just want me to read Christmas stories all the time.

[Christina Pazsitzky]

I love to hear your cool accent. Check them out on YouTube. Also, you should join Tick Tock.

[Doug Bradley]

I read classic horror stories. I love that. It's a thing I've always done. Steph, you know, thinks I'm slightly mad because I'm always reading to myself aloud, but I always.

[Christina Pazsitzky]

That's fun.

[Doug Bradley]

I always did that since I was a boy. So it was, you know, kind of a. It's kind of a lockdown thing. And it was Sir Patrick Stewart who gave me the kind of idea for it, because during lockdown he did this great thing of reading a Shakespeare sonnet every day and going through Shakespeare's complete song cycle. And he's just sitting in an armchair. See, there's me reading a Halloween story I love. Not just a Christmas story.

[Christina Pazsitzky]

I love that. I want to. I want you on Tick Tock.

[Doug Bradley]

But the first one is a Christmas story because a pinhead puts his. His Santa hat on for Christmas. So. So those are on there. There's also I. I recorded a huge cycle of classic horror stories called Spine Chillers, which you can buy at the store on my website. So, Doug Bradley.com forward slash store. Ignore the website because it's horribly out of date and I'm faintly embarrassed by it. Just. Just go. Go to the store.

[Christina Pazsitzky]

I like it. You got some. Is that a severed hand and. Yeah, that's cool. Hey, man. I like it. Well, awesome. So they can check out your website and find all that stuff. Thank you so much again for coming to Austin.

[Doug Bradley]

Oh, not at all. Thank you so much. This has been an. It's been. It's beyond a pleasure.

[Christina Pazsitzky]

It's so fun. It's been so fun. And I just want to leave on this.

[Doug Bradley]

Blood, blood, blood, blood, blood, blood. Yeah, yeah, yeah, yeah. Blood, blood, blood. You understand. You also have to understand that these are Arsenal fans. And, you know, I do seriously think that being an Arsenal fan should be classified as a mental disorder. They're not. They're not. They're not.

[Christina Pazsitzky]

They're not normal.

[Doug Bradley]

They're not quite right in the head. They don't. They don't perceive reality quite as you and I do.

[Christina Pazsitzky]

They do not.

[Doug Bradley]

Well, on that note, they're very troubled individuals.

[Christina Pazsitzky]

I'm so sorry if you're an Arsenal fan. Liverpool. Thank you so much. All right, mommies. I, I just a quick note. You won't see me for quite a while. I'm gonna have my top surgery tomorrow. I'm so nervous. They're gonna take the fat from my belly and they're gonna make boobs. And, you know, I've had so many pairs of boobs now I'm. I'm like triple trans. At this point, I don't know what I'm considered, but next time you see me, I'll have a new rack. I'm gonna go for cute little French girl titties because, oh, they still can gain. You can still gain weight because it's your belly fat. Okay, but I'll be out for like, gosh, I don't know, maybe six weeks. I hope so. Next time, what happens? Will I get big black tits? I hope so. What if I wake up?

[Doug Bradley]

Well, only if. Only if you've got a big black belly, presumably.

[Christina Pazsitzky]

What if I'm like, I want big black ones.

[Doug Bradley]

It doesn't mean this.

[Christina Pazsitzky]

Wouldn't that be fun? Or I show her pict. She's like. Because your surgeon's like, what kind of tits do you want? And I actually did find a picture of a black woman and I was like, but, but my surgeon's black too. So I didn't want to sound racist and be like, can I just have the boobs? But not the color?

[Doug Bradley]

Do these come in another color?

[Christina Pazsitzky]

Yeah. Can we do this in a lighter hue? But I really like the shape of these. What?

[Doug Bradley]

But so when you have two sort of conical shaped holes in your belly.

[Christina Pazsitzky]

Oh, no.

[Doug Bradley]

So the boob shape.

[Christina Pazsitzky]

Can we do this real fast? And then we'll get out. You got to see it. It's called the deep flap. D I, E P. I'm sorry. No, don't be. You're gonna throw up. Hey, I get to horrify.

[Doug Bradley]

There you go.

[Christina Pazsitzky]

This is a dream. Okay, so pull up like drawings or images of it. This surgery, first of all, it's going to take two plastic surgeons to do it simultaneously. It's a 10 hour surgery. So they take the fat from my belly because I don't have tits anymore. There's just bags of, you know, it's just implant because I had a double mastectomy. So they'll take the fat from my belly. They cut, they carve it out like that. God, it's so hellraisery. And then they're going to put it in my tit. They're going to rip the skin off of it and put the fat in my boob and then zip it up and then I'll have a few revision surgeries, I guess. And then they give you a tummy tuck. Sorry. Long story short, they'll. So they'll tuck my tummy so I'll have a flat stomach for the first time since I was 12 years old, which is gonna be really exciting for me. And you don't gain weight in your stomach again because they take out all the fat cells, which is cool. I can still gain weight in my boobs because it's belly fat. Yeah. There's the live pictures. Does that gross you out or are you immune to it because you're pinhead when you look at those bloody photos?

[Doug Bradley]

I don't think it's anything to do with being pinhead. I'm not. It's.

[Christina Pazsitzky]

It's.

[Doug Bradley]

It's staggering.

[Christina Pazsitzky]

It really is.

[Doug Bradley]

I'm not grossed out by it, but I. I had no idea, no idea that this was a thing.

[Christina Pazsitzky]

Yeah.

[Doug Bradley]

That's astonishing.

[Christina Pazsitzky]

It's astonishing. And they used. When you had a double mastectomy, they used to just take everything and leave you flat. So now they can spare your nipples, but long story, you don't want to spare your nipple. It's too much of a hassle. They can. So they just put a bag in there and they spared the skin. And then now they can do that because you don't want just an implant with no fat around it. Because that's what I have right now. And it looks so weird. Just looks like droopy. No, it looks like Sopranos tits. Like, you know when you go to the. To his strip club and like. Oh, he knows exactly. Like those hard to early 2000 tits. That's what they have right now.

[Doug Bradley]

The. The. The Bada Bing.

[Christina Pazsitzky]

The Bada Bing. Yeah. It's like I could work at the Bada Bing. My current set of tits. So I'm gonna get some, like, naturals again.

[Doug Bradley]

Well, let me know if you're working at the Bada Bing.

[Christina Pazsitzky]

You got it.

[Doug Bradley]

I'll come and. I'll come and give you some dollar bills. Thank you.

[Christina Pazsitzky]

The oldest stripper with my deep flat cancer tits. How depressing. God, scars and shit.

[Doug Bradley]

The only white chick in New Jersey with black boobs. I think you come and see me.

[Christina Pazsitzky]

The only white girl in New Jersey with black boobs.

[Doug Bradley]

I think you'll do well.

[Christina Pazsitzky]

That'd be so great.

[Doug Bradley]

You and this is tomorrow.

[Christina Pazsitzky]

Yeah. Dude, you're awfully kind of.

[Doug Bradley]

What the.

[Christina Pazsitzky]

Are you blood talking to me, blood? Because, fam, blood. 10 hours, bro. I know, homie. I'm alive.

[Doug Bradley]

What are you thinking?

[Christina Pazsitzky]

Listen, if I'm. If I'm not here talking to you. Might. Might. I'm Australian again. If I'm not. If I'm not here talking to you, I'm home pacing the floors.

[Doug Bradley]

No, I know, and I don't want.

[Christina Pazsitzky]

To do that, bro. I'd rather be Here, trying to be funny and getting out of my own head. And then I'll take some Xanax later.

[Doug Bradley]

I understand that, girl. Yeah.

[Christina Pazsitzky]

Yeah. You're hell is right. Sounds like Irish. Do it again.

[Doug Bradley]

No, I was. I was doing Liverpool. Hell.

[Christina Pazsitzky]

Hell.

[Doug Bradley]

Hell, girl.

[Christina Pazsitzky]

Hell, girl. Yeah. 10 hours. 10 hours, two surgeons and it's a micro surgery. So my.

[Doug Bradley]

Do they want to take over from the other? They can't.

[Christina Pazsitzky]

They tag team, bro.

[Doug Bradley]

They have to.

[Christina Pazsitzky]

They tag team my dick sharing the driving. Yeah. Well, one of them, my top surgeon, she'll do it with like, special, I guess, micro whatever, goggles, so they can. They can connect the blood vessels. It is wild famous. I know. I wanted. I want to start an only fans page. Just so I can show people my deep flap tits.

[Doug Bradley]

The only, the only way, the only way that you would really impress Pinhead, yeah, would be if you were going to be conscious throughout.

[Tom Segura]

Suffering would be legendary.

[Doug Bradley]

Jesus wept. Oh, the pain, the suffering. The sweet, sweet suffering.

[Christina Pazsitzky]

All right, on that note, fam, I love you. You're the best. Shout out to Sage. Shout out to Steph.

[Doug Bradley]

Thank you so much.

[Christina Pazsitzky]

I love you guys. All right, I'll see you next time with my new black tits. Bye, guys.

[Doug Bradley]

Bye.

[Tom Segura]

You did this. Look what you've done. You pushed and pushed and now it's come to this. It's maddening and it's all your fault. You asked for it, so here it is. You deserve it. All the kicks, the screams, the blood. It's all for you. All for you. All for you. All for you. What did you think would happen? Will you walk again? Talk again? We hope not. Will I drop it on your head? Can a knife puncture your side? I have a bat that would like to meet your face. You deserve it all. It's all for you. Your smile doesn't fool us. We watch you flail in the deep water. That's when you grasp for air. We chill, kick and push you. Fighting to live. So we push you under again. I tried to make it work. I listened. Did not give you chances. But you, you wanted something else. I filled with glee as your inside smell. This fist is for you. This plate is for you. Now you do a post. Watch the birds eat away. You go up in flames. You suffer. Finally I did it. Off of you. Off of you. Off of you. Off of you. Off of you. Off of you.

[Christina Pazsitzky]

You can do it.

[Doug Bradley]

You can do it.

[Tom Segura]

You can do it.

[Christina Pazsitzky]

That was so good. I know how hard that was. I'm proud of you. Proud of you.

[Tom Segura]

Sorry, I'm sorry. I'm sorry. Sorry. Lucy and Dusk High cheers My cheeks run wet with tears from my eye My master is upset and I don't know why Is it something I did? Is it something I said? Daily shame, embarrassment, self loathing and dread Sorry, sorry, sorry. Afraid, afraid afraid Afraid to be sorry Sorry to be afraid after seeing it all becomes clear I'm the dumb fucking idiot that's a ball yeah, I put the wrong drops I bonied at my mom those are just two things I do very wrong it's not your fault that you wished I would die I'm just an outside dog who keeps shit inside I'm all out of words Nothing else to do except apologize for being an imbecile I read you sorry Mr. Thomas. My.

[Christina Pazsitzky]

I'm proud of you. Proud of you.

[Tom Segura]

Sam.