Example: In the original "Terminator" film, Kyle Reese encounters a drunken man in the alley where he appears. This man has two lines that my friends and I love and quote more than any other in the film. "Hey buddy, did you just see a real bright light?" and soon after, "THAT SUMBITCH STOLE MY PANTS!". What are some odd quotes that you enjoy that you feel aren't particularly popular?

Hello, reddit. I'm actor Ron Livingston. Some of my work includes roles in Office Space, Band of Brothers, Swingers, Loudermilk, Adaptation, The Conjuring, Dinner for Schmucks, The Tender Bar, The Featherweight, and other thing.

I'm starring in Christmas at the Kringles alongside a wonderful ensemble cast (Donald Faison, Rob Riggle, Rachel Bilson, Thomas Lennon, Beverly D'Angelo). It's out in theaters this weekend from Briarcliff Entertainment.

Trailer: https://www.youtube.com/watch?v=IsGccGqcNNE

The Severson family move to a suburban neighborhood where their neighbors, the Kringles, celebrate Christmas year-round and harbor sinister intentions to hypnotize and indoctrinate them.

Tickets: https://www.kringlesmovie.com/

AMA! Back at about 11:30 AM ET this morning to answer questions.

I normally watch all of my favorite horror classics: Halloween, The Haunting of Hill House, The Haunting, The Wolfman, The Fog, etc. But I was driving home, and I saw a big jeep decorated with skeletons and stuff, but what stood out was the giant fake spider on the back of his jeep. I laughed and got his attention, and gave him a thumbs-up. After that, I went home, and I watched Tremors, and I was thinking about that jeep and thought of Eight Legged Freaks. And I thought, "Where are the horror comedies like that?"

Tremors

An American Werewolf in London and in Paris

Eight Legged Freaks

Anyone know any other horror comedies as great as these titles? Please tell me. I wanna see them.

The renowned director John Landis broke through in 1978 with Animal House, helping launch John Belushi in the process, and quickly followed up with The Blues Brothers and An American Werewolf in London.

By the time I found myself working with him on a film called Innocent Blood in 1992, he was arguably most famous for directing a fateful Vietnam War stunt sequence in 1983's Twilight Zone: The Movie, in which a low-flying helicopter crashed. The actor Vic Morrow was decapitated and died alongside two young children.

When I signed up to star in Innocent Blood, opposite French actress Anne Parillaud, my first big lead in a Hollywood movie, some of my friends were incredulous.

"How can you work with John Landis? He's got three dead people on his hands."

I hadn't followed the case at all and was very naive, but I didn't think it was a fair position to take, so I pushed back.

"Hang on, we weren't there. I don't know what happened, so I'm not going to judge the guy from the armchair."

This role, of course, was a big deal for me, career-wise, and as far as the law was concerned, John Landis was innocent. He'd been charged with involuntary manslaughter, along with four others who were involved in the deadly stunt, but all were acquitted after a marathon trial in the late 1980s.

Even so, the horrific event cast a very long shadow over the director, as I discovered while sitting in his office in Pittsburgh.

The film was in pre-production, and he wanted to talk about aesthetics, costumes, sets and so forth. After a while, an assistant walked in and handed him two gift-wrapped boxes.

"John, these came for you," she said.

He kept talking about production and special effects as he absentmindedly unwrapped one of these boxes. He was mid-sentence when the package suddenly fell open, and a dozen or so plastic toy helicopters spilled onto his desk.

I don't know what was in the second box of imaginative hate mail because John didn't open it.

He didn't say a word.

The plot of Innocent Blood sees a French vampire come to America and get tangled up with a mob. Essentially, it's a follow-up to An American Werewolf in London.

The female protagonist was played by Miss Parillaud, who'd been earmarked as the next big thing. The previous year, she'd appeared in the indie movie La Femme Nikita, and I thought she was great in it.

There was a lot of hype around her, and I looked forward to working with her.

Anne and I had little to no chemistry, and I didn't find her acting convincing. One day, she confronted me on set.

"You don't like me, do you?" she said coolly.

"Uh, no," I answered honestly.

Apparently lost for words, Anne just stared at me.

"Well, why did you ask?" I said. "I genuinely don't like you."

"Why not?" she replied, stupefied.

"Because you never look anyone in the eye. You mumble everything, and I find it rude."

I know the truth can hurt, and I understand it can be best to bite your tongue sometimes, but I've never been able to bullshit people on that level.

If someone puts me on the spot the way Anne did that day, I will answer honestly. Not out of malice or to belittle, but out of respect for the directness of their approach.

Had she not asked, I would never have said what I did.

Others were happy to play the Anne Parillaud game. One of John's producers was completely infatuated with her. It pained me to watch her faithfully carry all of Anne's accoutrements onto the set.

Bags, clothes, coffee cups, phones.

She dutifully scooted around after her as if she were her PA instead of a producer of the movie.

La Femme Nikita had been one of my favourite movies that year, and Anne's performance was great. I rewatched it after I finished working with her, and I formed the view that director Luc Besson, who she was dating at the time, had conjured her hit performance in the cutting room.

I might have disliked Anne, but I developed a distaste for John Landis that turned into hatred.

On the first day of shooting, he began screaming at everyone, and he didn't let up for the next 14 weeks.

I found it aggressive and condescending, a high-pitched screech like a power drill that never shut off.

It didn't help that we were shooting in Pittsburgh in the middle of winter.

One night, things boiled over.

I was doing a scene with a lovely actor from New York named David Proval. David was well known for playing mobsters and went on to win acclaim for his role in The Sopranos. Although he was a tough guy on screen, David is a very shy, gentle man.

John Landis started going after David and didn't stop. It got to the point where I felt like I had to say something.

"John, you have to fucking stop," I intervened.

"WHAT?" he shot back.

"You need to lay off," I repeated. "He's doing the work, and you're just being a prick."

"YOU JUST CALLED ME A PRICK?" he asked.

"I did."

I guess I'd hoped it would reset John's behaviour, but things only got worse.

Before too long, I couldn't even speak to him. I was so livid at almost every decision he made that I started coming to the set with a pair of headphones on.

I only took them off to shoot my scenes.

After virtually every take, I would hear John shrieking, "CUT! CUT! CUT!"

"What's wrong?" I'd ask.

"I WANT YOU TO DO IT AGAIN."

"OK, so what do you want me to do differently? Tell me and I'll try."

"JUST DO IT BETTER," he'd say.

"Yeah, OK, John, I'll do that," I'd reply, feeling the urge to slap him. "I'll just do it better."

I would do it exactly the same way again, and he'd say he'd loved it.

Eventually, I couldn't even stand to look at the guy, let alone engage thoughtfully with him.

I put my headphones on after every scene and disappeared into Aztec Camera. I'd sit in a chair, insulated, until an assistant director, or AD, would tap me on the shoulder and say, "They're ready for you now."

Two incidents concerned me the most.

One night, he was preparing to film a massive stunt scene in which a truck was to speed out of a tunnel, plough into oncoming traffic, burst into flames and send cars flying in every direction.

There was no CGI back in those days, so it was all real action.

I wasn't in the scene, but I wasn't going to miss seeing such a spectacle.

John and his stunt crew took forever to set up their controlled chaos. The director had ten cameras rolling, which guaranteed he'd get something good on film.

Several cameras were situated on the road surface and placed behind giant concrete barriers.

When a truck slams into a bunch of cars, that's not the end of the story. The cars will start to slide, even pick up speed. And John was worried that out-of-control vehicles might smash into his precious cameras, hence the barriers.

I watched from a safe distance as John screamed, "ACTION!"

I noticed, however, that he remained in front of the concrete blocks when the truck started rolling, and he didn't move.

The lorry hurtled out of the tunnel and barrelled into half a dozen cars.

There was an explosion.

Still, John didn't move.

Next, a crumpled car careened towards the concrete barriers and cameras at a picked-up speed. If it hit John, he would be crushed to death.

I watched in horror as it missed him by less than three feet and crunched into the cement.

He did not move.

He only turned around and screamed, "CUT! CUT! DID WE GET THAT?"

The warnings my friends had tried to give me about working with John came straight to mind.

The other scene that settled my opinion of John also concerned a stunt. This one required a performer to jump from the top of a towering church steeple.

In the movie, it looks as if a vampire leaps from 20 metres up and deftly lands feet-first on the roof of the car that I'm sitting in.

It was a bloody big jump, and even the stunt guys were concerned about it.

They started off using a female stunt performer.

She was extremely nervous because John was insisting that she travel through the air feet-first until impact.

A large airbag was set up beneath the steeple for her to land on.

John yelled, "ACTION!" and everybody held their breath as she dropped off the side of the steeple, sailed silently through the night air and landed safely on the bag below.

That sense of relief was shattered by John.

"CUT! CUT! CUT!" he squealed. "FUCK, WE'VE GOT TO GO AGAIN. WE'RE GOING AGAIN."

"What's the problem, John?" the stunt coordinator asked.

"SHE LIFTED HER FEET BEFORE SHE HIT THE AIRBAG," he growled.

"Ah, yeah, that's right," the stunt guy said. "She has to jackknife. If she doesn't, she'll break her spine."

"WELL CAN'T SHE JACKKNIFE LATER?" John pressed.

Reluctantly, the stunt team agreed to do it again.

The girl went back up the steeple, launched herself feet-first into the darkness, and the same thing happened.

That sent John into a meltdown.

Finally, they asked a diminutive male stunt performer to step in. They dressed him up as a girl vampire, told him to throw himself off the building, but he too jackknifed before landing.

By that stage, we were three or four hours into the thing, and John still hadn't got the shot he wanted.

Just as it looked like John was going to collapse with an aneurysm, his camera operator, Gordon Davis, made a suggestion.

"John, I can move the camera and angle it so that you won't see the jackknife."

"Oh, well, let's do that then," he said in a perfectly calm and polite way.

My living hell of working with him continued. Eventually, it got so cold and miserable in Pittsburgh that I bought an Antarctic survival suit to shelter in on days when we were shooting outside, which was 90% of the movie.

Halfway through the shoot, as tension between John and me kept building, I found myself doing a scene with an actor that I loved, Robert Loggia.

Bob was such a wonderful man and had done so many terrific movies.

He'd also delivered my favourite closing line of all time in Jagged Edge.

In it, Bob plays a private eye who arrives at the scene when Glenn Close's character kills a villain played by Jeff Bridges.

It's the final sequence, and Glenn is looking traumatised.

Bob comforts her with the immortal words, "Fuck him. He was trash."

Now, I was sitting in a car alongside him on Pittsburgh's Allegheny Bridge, freezing my balls off.

It was so cold that in between takes, the crew brought out massive jet-engine heaters, and we still couldn't get warm.

We did our scene in the car, and John, who was standing about 30 metres away, did his regular screaming routine.

Only this time, it was over a two-way radio we had in the car.

"CUT! CUT! CUT! NO, NO, NO! DO IT AGAIN!"

"What do you want exactly, John?" I said into the radio.

There was a static squelching, followed by, "FUCK, JUST DO IT BETTER!."

We ran another take, and he did the same thing.

Finally, I just snapped.

I didn't yell at him over the radio. I just calmly climbed out of the car and walked purposefully through the snow to where he was standing, swaddled in his own Antarctic survival suit like the Michelin Man.

He must have realised that when I got to him, I was going to hurt him, because his eyes were as wide as saucers behind his big, round, wire-rimmed glasses.

When I was a couple of metres away, I saw his weight shift in preparation to run or waddle.

At that moment, a pair of arms grabbed me from behind and pulled me back.

It was Bob Loggia.

"Don't fucking hit him, kid," he breathed into my ear. "You'll never work again if you hit him."

I calmed down, and John backed off for a couple of days.

When filming wrapped, I could not get out of Pittsburgh fast enough.

A cinema here in the Netherlands is actually testing that idea. Apparently viewers can choose between The Matrix, Interstellar, Se7en and La La Land. It got me wondering: if you could pick one movie to experience completely fresh again, what would it be? I wish Fight Club was in there too but I can settle for Interstellar too🙏

Watched this movie tonight as part of my Halloween Marathon, and by the gods this movie is such a classic. All the jokes/comedy work and are timed so perfectly, the pacing is on point, the casting is great, the writing & acting are phenomenal, and everything about the film just works. Not to mention lots of memorable lines. Such a certified classic.

Definitely recommend it to anyone who for some reason has not seen it already.

I'm sure this has been discussed to death here but I need to get this out.

I fucking love The Guest (2014). I'm sure more cultured people than I will offer valid critiques, but I don't care.

The soundtrack is absolute gas for the entire runtime. The plot moves brisk, at no point do you feel it drawing out. No scene over stays its welcome. Action is brutal and sudden. The little background exposition given is exactly enough to understand exactly enough of what's going on. The little things you catch on rewatch just enhance the experience. Dan Stevens turns in the perfect performance. The liminal Halloween decor throughout, leading into the conclusion in the Halloween dance maze.

I'm clearly biased, having watched this movie at least annually for a decade now but... To anyone looking for something for these last few days of spooky season, do yourself a favour and check it out. Please.