Interview: Linnea Quigley + Creepozoids

Interview: Linnea Quigley + Creepozoids

linnea quigley

We were extremely excited to spend some time chatting with scream queen and horror icon Linnea Quigley on today’s episode. Since her debut in 1975, she has racked up more than 160 screen credits and shows no sign of stopping. We were honored to ask her about her experiences working on the low-budget horror features of the 80s and 90s, as well as her work with her personal passions such as animal rescue. Special thanks to Ms. Quigley for taking time out of her busy schedule to join us today!

Also, we talked about Creepozoids.

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Automatic Transcript

Creepozoids + Linnea Quigley Interview

Episode 181, 2 Guys and a Chainsaw

Todd: Hello and welcome to another episode of Two Guys and a Chainsaw. I’m Todd.

Craig: and I’m Craig. 

Todd: Guess what? We have a very special episode for you here today. We’re extremely privileged to have with us a special guest from a number of movies that we’ve done previously on our podcast. Some movies actually that, uh, are some ended up being some of our favorite episodes, and also some of the best responded to episodes from our fans.

And so we’re absolutely delighted to have ms Linnea Quigley here on our show today. Hello Lynnea. How are you? 

Linnea Quigley: I’m doing good home. Boy. 

Craig: It’s so good to hear. 

Todd: It really is. It really is. 

Linnea Quigley: My homeboys do it. Yeah. I’m doing really 

Craig: good. 

Todd: Oh great. We hear you. Are you out in LA right now working on working on a picture?

Linnea Quigley: No. I’m here to stay like a lint on a track. 

Craig: I’m here. Yeah, I know. 

Linnea Quigley: I’m going to stop with that. 

Todd: That’s fine. So the movie that we’re watching today is creep as voids, but of course we’ve had you on. Um, we’ve had the movies Sorority Babes and the Slimeball Bowl-O-Rama, Night of the Demons, Return of the Living Dead.

Some of your most iconic movies turned out to be some of the most iconic movies of the eighties ch Craig and I are both children of the eighties, actually. So we grew up watching your movies and really respecting and admiring your performances in those. So. Yeah. Well, I think that, um, creep has Lloyd’s was maybe one of at least two movies that you’ve done with director David DeCoteau.

And we read online a little quote from him that said that he said he particularly enjoyed working with you on this film. Oh. So you also worked with him on Sorority Babes in the Slimeball Bowl-O-Rama. Do you have any special memories from working on that set? 

Linnea Quigley: Oh yeah, I was, he said I could pick whatever part I wanted.

And you know, of course I picked that part cause it was really cool and it was just weird because we would have to wait, you know, through our budget and we had to wait for the bowling alley closed. So, you know, we could go film, which was like around nine, 10 at night. And then we would go in there, we’d start makeup.

And then we’d be ready to film at family, go in at nine and then at 10 we do that. And Andrea was just a little boy when he did it and coming into maturity. And so it was just really funny. He would cause a lot of habit cause he couldn’t go with the, the older girls, you know, to the bars or anything. And I was, I stayed there.

I didn’t really want to go out. So it was just funny because you know. It’s hormonal to kick in, and he’d come into my room and get under the mattress and flip it over. And, you know, I guess that’s how he said, admiration or something. 

Craig: Well, it sounds like you guys had a lot of fun. Um, you know, as I was watching, this was the first time I had seen Creepozoids I had read some things about it, but it was the first time I’d seen it.

And as I was watching it, I saw the five main actors. You all were all very young, um, and very beautiful. And I thought. These guys must have had a good time. Ms Quigley surely has some good stories she can tell us about working with this crew. 

Linnea Quigley: Oh my gosh. It was wonderful. Cause we always had the same people pretty much working on a crew, you know, the same wardrobe.

A lot of times the same makeup people, same camera and DP, uh, sound producer. So. It was, it was like home. It was like doing something at home. So it was really cool. It was fun. 

Craig: I bet it looked like fun. And that’s what I thought when I was watching this movie. It seemed like you all were having a lot of fun doing it.

I was reading some reviews and some of the reviews were not particularly kinds, but, uh, all of them said, um, if you’re a fan of Linnea Quigley, you’ve got to see this movie. And I agree. I am a big fan. Um, I’ve been a fan of all your work. You know, as Todd said, we were growing up, kids and adolescents in the 1980s and back then, I doubt that I knew your name, but I certainly recognized your face and in a lot of these iconic roles that you played, and you were just always such a joy to watch on screen.

So did the falling into the horror genre just kind of happened naturally? Is it something that you. Intentionally pursued or is that how kind of things worked out? 

Linnea Quigley: It was just how things worked out pretty much. Um, I was a fan of horror films and, and the low budget films, I didn’t know they were a little budget on us watching him as a kid.

It seems right. There was no, it wasn’t like, it was divided like, Oh, this is high budget and this is love. It was just like everything was the same. I didn’t know anything about anything, you know, and filming. And so, um, it was like, I just enjoy the ones that. Happened 

Craig: to be low budget. Well, we certainly do too.

And that’s one of the things that we appreciate about these kinds of movies is the craftsmanship that has to go into them. You know, films today with CGI, we don’t have anything necessarily against CGI or big budget effects, but, uh, we have a lot of admiration for these kinds of practical effects that take so much artistry and creativity.

And so to be around all of that, I can only imagine was a lot of fun for you. 

Linnea Quigley: Oh, it was, it was, it was just so, it was so fun to just make fun of ourselves and the other person and the scripts, or, you know, they were. Silly, but I think they reached a large 

Craig: audience. Oh yeah. And 

Linnea Quigley: you could watch them and people said it got them out of depressions and things too, which is crazy.

But, you know, I guess going into another world and experienced, 

Craig: yeah. Well, it must have touched lots of people because you have a huge fan base. Um, and everything that I’ve read, you know, I’ve, I’ve read. Things where people have talked about meeting you and how kind and gracious you are. And I know that you do a lot of the conventions and things and you’re always willing to greet your fans.

And you know, all of that is evidenced by the fact that you were willing to do this with us, which we are so grateful for. But is that something that. Is fun for you to go out there and really interact with these people who have known you and admired you for so long. 

Linnea Quigley: Yes, it is. It really is. People are really sweet in the horror circuit, believe it or not.

Um, yeah, cause people give it a bad name that I’ve gone to, you know, do these things where you get animals out of shelters. Like when I checked with me to the shelter and we get animals out and they’ll be standing in line with the. They’re animal. They got a dog or cat and they’ll be talking about, Oh, you know, boy, you got it with the chainsaw and there was blood everywhere.

It was great. But you know. They would not. If there was an animal in it, that would be it. They would not watch it. 

Craig: Oh man. Greg is the same way. I talk about that all the time. 

Linnea Quigley: They’re really Dell on that stuff. It’s great. 

Craig: Oh yeah. 

Todd: Well, you’re very active with animal rights organizations, right? PETA, some charities, things like that.

Can you talk a little bit about your work there. And why that’s important to you? 

Craig: Yeah, 

Linnea Quigley: well, right now I got a place that has some land and I’m going to do the paperwork about, Oh God. Um, it’s, I’ve got, uh, a building and I’m going to have the sanctuary. I’ve already got two guests, a dog and a cat. One of the dogs, like the other day when I was coming back from the 

Craig: Egyptian theater at 

Linnea Quigley: like one 30 in the morning was like, you go down this like 

Craig: kind of a 

Linnea Quigley: desolate road and.

There was something in the headlights. I’m like, what is that? A Wolf? And I’m, I get out and it’s this huge Malamute Husky, I think Wolf high bread and I, I got it in the car and you know, it needs a home. So anybody, you know, it really needs a home. It’s so sweet. It’s so sweet. It’s just a doll. It’s 

Craig: like a big Teddy bear.

Yeah. I saw him. I saw him on your Facebook page and I thought that that was really admirable. So yeah, if you’re interested in helping out this dog, you can go to Ms Quigley’s official page and the information is there. Um, and I’m a huge animal lover too, so I appreciate, uh, all your efforts in that capacity.

Linnea Quigley: Oh, thank you. Yeah, it’s like I, and the other day it’s like I was on the, like a freeway type thing and there was a dog that was running and I like ran out into the freeway and I’m like trying to get it and then it ran the other way and I’m like, Oh my God. I was terrified. I was going to hit get to semis are going by.

And I was like so terrified it was going to get hit. I was so terrified. I finally had to scare it. Into another place and I felt horrible. It’s like. I forget what movie it is, where the diet, the kid has the deer and he has to be mean to it to go away. I’m like, get outta here. Go. And I’m like, I mean to be mean, but 

Craig: I had to or it would’ve gotten hit 

Linnea Quigley: bad.

Todd: Well, I’ve been no way. I’ve been eating vegan for the last three or four years now, and I started out doing that just because, just for my health, you know, to see kind of what that would do for my body, how that would kind of clean me out. And it’s really interesting how once you start doing that, it has another effect on you.

Like after a while I thought, yeah, this is really pretty easy. And. Eating meat started to feel a little disgusting, and then I started to kind of question why are we even doing it in the first place? And this wasn’t a road I’d even thought of going down, but it was just a natural consequence of how I was eating.

Linnea Quigley: That’s interesting. That’s really good. 

Craig: That’s great. 

Linnea Quigley: And you’ve been so many things that are good. 

Todd: Oh yeah. Right? Yeah. Especially like, yeah, way better now. Now, have you been a, an animal person your whole life? Have you been eating vegan, vegetarian your whole life, or is this something that, again, there was like a moment or something that that kind of awakened you.

Linnea Quigley: There was a moment, I wish, I wish, I wish I could have started earlier. I didn’t correlate them together when I was growing up. I didn’t correlate, Oh, you know, animals are killed for this. As a kid, you know, you have that stupid chart, you know, grain protein or meat, 

Craig: vegetables and fruits or whatever it is that you 

Linnea Quigley: have, you, they drove into 

Craig: your head.

Linnea Quigley: At least they did. Then. So I grew up with that. But. I think I was around 22 or 23. I went, okay, I’m changing. 

Craig: Well, and you know, uh, Todd and I both grew up in the Midwest, uh, very near where you grew up. In fact, we, uh, both from, we’re both from Missouri, and that’s where we met, is, uh, in my hometown of Kirksville, Missouri, which is, uh, in the very Northeast corner.

So we’re very close to where you grew up and, and so we know how much meat and hunting and those. What types of things are ingrained in the culture. And so it’s kind of difficult to break away from that. But you, uh, when you were fairly young, uh, moved to LA, which is where you were encouraged to begin modeling and acting, um, was that something that you had even considered?

I mean, I know that you had other interests to you. You’re a performer, a singer. I know that you had an interest in law enforcement and at some point, um, when was acting something that you want. Does you do or is it just something that came up and you found your success and just kept going with it? 

Linnea Quigley: I think it just happened because I was so, so shy.

I didn’t, I didn’t think it was even possible. Yeah, like no way would it be possible. It just seemed like so far of a 

Craig: reach 

Linnea Quigley: because growing up in Iowa, it’s like you don’t really, at least I didn’t have any kind of a. Of a thing that, Oh, I’m going to be able to be famous. It was just such a far away thing and I didn’t think I was pretty enough or talented enough, and you know, I couldn’t even make cheerleader.

And so it was like, I just. Didn’t think it was possible. And it’s like when I moved to LA, I kind of came out of my shell and acting as safe because you have a script. 

Craig: Right. And you know 

Linnea Quigley: it’s not going to deviate from them. When you go to a party or something, there’s no 

Craig: scrap. You’re just there. Yeah, I understand that entirely.

It’s funny to me that you say that you were so shy, but I have also read that you’ve said that you much prefer to play roles that are very different than who you are. In your day to day life, hearing from you that you’re shy is a little bit surprising because you know, one of your trademarks is your willingness to, uh, do some nudity, uh, in your films.

And I’ve, I’ve read. Yeah. You know, I’m taking these quotes. I hope I’m not misquoting you, I’m just taking them from your IMDV page. But, um, I, I’ve read that you have said that sometimes in film, nudity can be imposed upon, uh, performers and that sometimes it goes too far, but I also read that you also take it as a compliment that people appreciate.

Your body and, and men and presumably some women, you know, want to see your body has your, um, stance on. Nudity in film, uh, changed at all, uh, over the years. Um, or do you think that the standards of nudity in film have changed over the span of your career? 

Linnea Quigley: Oh, it’s definitely changed because when I was doing movies, the big stars, that was like, and also the little ones.

Would not do nudity. It was like a big, no, no. In fact, most of the actors was like, they told them, if you do nudity, you’ll never work, and they, you know, this and that. And so it was kind of a thing where you had to go, well, I’m going to go against the grain and do it because I want to work. So now it’s like everybody, I think.

Maybe Sharon Stone might’ve broke the, the big actress getting nude and supposedly showing something. I don’t know if she did or not, but, so I think that kind of broke up in the Hollywood stars all start doing nudity too. You know, I could be wrong, but 

Craig: no, I, Todd and I were talking about this. Yeah. Todd and I were talking about this, uh, before we, uh, called you and, um, we just.

I don’t know if we would be sad to think that you ever felt imposed upon. Um, did you feel that way at times or was it always just something that you were willing to do for the craft? 

Linnea Quigley: It was something I was willing to do for the craft. My dad was a 

Craig: doctor, so it 

Linnea Quigley: wasn’t like nudity was like, you know. Uh, and it wasn’t like a religious family or something where they usually is just horrible and disgusting.

So I was lucky about that. 

Craig: A lot of people 

Linnea Quigley: grew up in very uptight households. 

Craig: Sure. 

Todd: And it seems like horror in general, especially like in the eighties and nineties. When you know, some of these movies that we’ve been reviewing have been done. It was almost a given. It was almost a requirement. Yeah.

You’ve got to appeal to that teenage boy crowd, and so there’s going to be a shower scene. You know, there’s going to be a lovemaking scene here, blah, blah, blah. And it seems like as we grow up, you know, these films that are being made nowadays don’t seem to have that same. Standard or is it just what we’re watching?

I’m not sure. What do you, what do you see from work? 

Linnea Quigley: You know what? I don’t know. I still haven’t seen John wick yet, and I want to see it. It’s like a mad, maybe Kanno gets naked. I don’t know. Yeah, but it seems like, well, it definitely was a formula then. There was. The nudity, uh, the shower scene, usually with the nudity that would be worked in there some way.

Lovemaking and then monsters and blood, 

Todd: that kind of thing. 

Linnea Quigley: Yes. Yes. Lingerie, things like that. In fact, I got to do one movie cause one girl. It changed the way they filmed because, uh, they now film nudity first because one girl, like did they filmed with her and then it came down to the Nudie scene and she was like, Oh, I got them now.

They can’t film without me. And she refused to do it, so they just kicked her off. It was on graduation day and got me, cause I had come in and audition. And I was second best. So they gave it to me. 

Craig: Well that’s interesting cause that leads to, uh, we had, um, a gentleman that you’ve worked with. Uh, mr bill over’s jr did, uh, our podcast with us.

In fact, it was he who, uh, recommended you, so you have him to either anger or blame. Uh, because after we finished talking. After we finished talking about his film, um, we continued speaking for a little while off, you know, not recording, and we specifically asked about you because we’re such big fans, and we said, maybe you could put in a good word for us.

And he said, just contact her. She’s lovely. She’ll do it.

So we really appreciate it, 

Linnea Quigley: man. 

Craig: He is. He was very kind guy. Um, but one of the questions that we asked him was, were there any roles that came along that you passed on that you later regretted passing on? Or were there any roles that you took that you later regretted taking? 

Linnea Quigley: Well, you know, there’s always going to be a movie.

You go, Oh God, it’s just terrible. But yeah. I feel like everything happens for a reason, and for some reason that happens that I did that bad film. Maybe it taught me something, maybe it helped me in some way. You know, I met somebody there that was doing another movie, so I think everything happens for a reason.

Craig: Yeah. It’s really regret. 

Linnea Quigley: Yeah, I mean, you gotta do that. I mean, my mood, I just let the wind blow me where I was going to go because I wasn’t sure 

Craig: really, 

Linnea Quigley: and it blew me in a direction that is letting me save animals because I was going to like move closer into Hollywood, but it had me come here. Wow. 

Craig: Well that’s great.


Todd: And you’ve been working and you’ve been working in the horror genre almost exclusively, but you’ve done some other roles out there too. Is horror is something that you’ve just kind of fallen into your comfortable with? Have you, have you wanted to kind of branch out into other roles? Or maybe there’s some non horror roles that you’ve done that or that really stand out to you with some of your famous ones, some of your favorite ones.

Linnea Quigley: lot of them are comedy. That I do. A lot of them are like the comedy horror, so it’s like I’ve done silent night, deadly night, which is a, you know, and chic, kind of like, well, it’s a slasher film. It’s definitely a slasher film. And I’m trying to think, graduation day. So deadly night or strictly 

Craig: in a slasher films, 

Linnea Quigley: but I’ve mainly done ones like how I would change the hookers and sorry, babes that were just.

Craig: Oh gosh. So much. So much serious. Yeah. 

Linnea Quigley: And I love sorority babe, because I got to play the bad ass, and it was just so much fun to do that. 

Craig: Uh, we loved it too, and we just had a great time talking about it. We laughed and laughed, and we’ve gotten such a wonderful response to that episode. Uh. You’re constantly working.

I mean, you were gracious enough to agree to do this with us, but your schedule is so busy that you know, it took some time to arrange. So you’ve been working on a lot of things. Is there anything that you’d like to plug that’s coming up? I saw on your Facebook page that you were, you were promoting a film called death care.

Is there anything going on with that, or are there other projects that you’d like to mention? 

Linnea Quigley: Two is in September. And then Brett Mullins. Is doing a killer babe in the film fiasco or something. That’s something dumped the ask. I get it wrong every time I’ve got to learn 

Craig: it. Like sorority babe. 

Linnea Quigley: Right. And I had it written down.

I can’t find it now, which is usual for me. Oh wait, no, I have it. Killer babe. And the frightening film fiasco 

Craig: sounds great. 

Linnea Quigley: Yes. That’s the name of it, which is a great name, but hard to remember for me. Yeah. And then there’s some other ones that Judy, as my manager has lined up and some convention. Then I get to go to Salem again this year.

I don’t get to go overseas this year, but. You know, obviously in the States and in Salem, so that’s cool. 

Craig: Excellent. 

Linnea Quigley: Just trying to get somebody to help with fixing up Moulin Rouge for the animals so that it’s a better place for them to be in while they’re looking for homes. Yeah. But I’m just lucky it had that building.

Craig: Yeah, absolutely. And you know what the building 

Linnea Quigley: was, but once you know what the building was 

Craig: originally. No, 

Linnea Quigley:

Craig: square dance hall. Oh,

Linnea Quigley: speakers in there. These big old speakers and yeah, it was a square dance all. 

Todd: Wow, that’s great. 

Linnea Quigley: So it’s perfect for Moulin Rouge then. Yeah. You know, the dogs will be doing the CanCan and everything. 

Todd: Well, you have been working so hard and so steadily just over there. The last several decades is there are, is there any idea of calling it quits on the horizon?

Maybe focusing on some of your other pants? 

Linnea Quigley: Oh my God. No, no, no, 

Craig: no, no, no. Never. That’s so good to hear. 

Linnea Quigley: Never. Never. No. Yeah. Why? You know, I don’t see any reason why. 

Craig: Oh, I don’t either. And we, we can’t wait to continue seeing you in things. We, uh, have overstayed our welcome a little bit. Uh, and we apologize.

We want to be very respectful of your time. Uh, again, can’t thank you enough for doing this. You know, we’re just, uh, a couple of guys we met. Uh, in our college town. Um, now Todd is off doing things in Beijing. I’m still back here in the States, and, and we just do this, you know, as fans. Um, and for somebody of your stature to agree to, uh, come and speak with us, um, you have no idea how much that means to us.

Linnea Quigley: Oh, wow. I’m, I’m happy you homeboys. No. That’s like the worst, the worst, like homeboy accent,

like in a gang, I guess. 

Craig: But no, I think own 

Todd: pretty Sarah that, yeah. Yeah. 

Linnea Quigley: I put like a two DOP on, I mean, and rap so. Thank you for having me on. It was a scream and I tell you, 

Craig: thank you so much and best of luck in all your endeavors, including your, your animal, uh, your work with animals. We love you. Thank you so much.

Thank you. 

Linnea Quigley: Thank you. Bye bye. 

Todd: Bye 

Craig: bye.

Todd: That was a trip, wasn’t it? 

Craig: It wasn’t trip. She sounds like a fun lady. 

Todd: So do you want to get started talking about this movie? Oh God, sure. I wish we had picked like Hollywood chainsaw hookers or something. Yeah, 

Craig: I do too, but Oh well. 

Todd: So a creep has voids is a, you know, we’ve done a, some of Linda’s more iconic films.

This was one that was a little higher on the list of low budget films made around that same time, but also a little bit earlier in her career before some of the more breakout hits of night of the demons and whatnot. So. It’s nice here to see David  in one of his earlier films, although it’s pretty typical of his films, which are very low budget, a shot very quickly, clearly for very little money.

But he’s always said, and we mentioned this the last time we had a one of his films on here, is that he makes movies to be seen, right? So he’s, he’s looking for that script or that concept that’s going to get butts into seats and he just tries to make it as entertaining as possible using what little he has.

Effectively as he can on the screen, usually in a very, very short amount of time. I think this movie was shot in like 12 days, 

Craig: so, yeah. Well, and this guy, he’s super prolific too. Like he’s got tons and tons of credits. You know, he’s done several puppet master sequels. Um, he did a series of movies. Called the brotherhood, which were like these homoerotic thrillers, of course, sorority babes, slimeball ball aroma, which we really liked.

And right now he’s working on a whole series of lifetime movies that are being produced by Vivica Fox, and she’s starring in all of them, and there’s like five or six of them in production now. So this guy, you know, he gets around, you can talk about some of the, I don’t know, you could be critical about some of the elements of the lower budget.

Aspects of his movies, but he’s clearly doing something right cause he’s getting a lot of stuff done. 

Todd: Well, it’s kind of like, you know, again, going back to like, um, Linnea Quigley story, you know, you, you get into this and it leads you places, right? You just never know where, where it’s going to go. And horror has been a jumping point for a lot of people, right?

We talk about Roger Corman all the time. We talk about a lot of these names keep popping up because you know, these movies. Especially the earlier ones, they’re so cheap. They use a lot of the same people. They use even some of the same crew, I guess. So this becomes a bit of a community and they all help each other.

So somebody gets a break, somebody ends up using them in their films. And then you get a guy like Jack Nicholson, who starts out in Roger Corman’s shop doing some low budget films and is now super, super mega star, right? There’s so many of these stories, James Cameron, whatnot. So. 

Craig: Didn’t Dick a toe start working with him?

Isn’t that where he got his start too, wasn’t it corpsman? 

Todd: Maybe. Yeah. Yeah, he did. Yeah. So it’s just, yeah. You know, you just can’t knock the genre 

Craig: to my right. And the production company is full moon and isn’t that, is that Charles bans production company? 

Todd: They’re making tons of money 

Craig: and, yeah, and they were pumping out movies too, you know, in, in the era before.

We had hundreds of cable channels. We talked about it a million times, but it was video store culture and they had to keep pumping out these movies to make money. Nerds like you and me were always excited to see. What was going to pop up on on the shelves, especially these movies that didn’t get a lot of public or publicity really.

So unless you subscribed to Fangoria or some other publication like that, you may not have even known that these movies were coming out. They would just appear on the shell. 

Todd: Yeah. Literally on the shelf. They’d never really made it to theaters because you know, most of these movies, the directive video market was huge.

And we’ve talked about that before too, about how, um, you know, you couldn’t make movies fast enough in this golden era where almost any concept would go. If you could shoot at cheap enough, you could get a cool look and covered a nice concept, uh, get a few beautiful girls in there. Kind of follow the formula, have a shower scene.

This movie’s got it too. Right? And, and then it’s on the shelf and, and there it is. And then it gets a second life on cable. And some of these movies have really, even though you might watch them, like, you know, for this film, for example, is not my favorite film. But, uh, you, you watch them, it gets a bit of a cold following.

It just finds its niche audience that for one reason or another, whether it’s ironically or whether it’s, you know, truly out of a love or, or some special memory that they have attached to watching that movie well into adulthood. These movies are still being seen. They’re still making money for the people in them and the people producing them.


Craig: you know, and, and you and I both have favorites from that era that are certainly not. You know, high quality films, but it’s because we did catch them on cable and late at night or on a Saturday afternoon or whatever. And um, they were entertaining. Yeah. This movie is, is not great. You know, I, I know that you said it’s not one of your favorites.

I actually liked it. I thought that it was kind of fun. It definitely, you know, you can be critical of some of the effects and, and possibly some of the acting, even though I thought the acting was. Above the standard of a lot of the things that we watch. That’s true. You know, I really enjoyed Linnea quickly in this film.

You know, if you are a fan of hers, you are getting exactly what you’re signing up for with her. You know, she’s spunky. She’s fun, she’s sexy. You know, it really looked like everybody was having a good time. Um, you’re going to get to see. Her boobs cause you usually do. And that’s, that’s great. Uh, it’s, it’s funny, her take on nudity was interesting to hear about.

Uh, and it was also, I read that in this movie there are only two women in this movie. There’s her and she plays Blanca and another woman who at the time was going by the name Kim McCaney and she plays the role of Kate and the two women were initially. Cast in the opposite roles, but Kim McCaney had reservations about doing the nudity and Linnea quickly didn’t, so they switched roles.

Ironically enough, after this film. Kim McCamy changed her name to Ashlynn gear and became a porn star, 

Todd: like a really famous porn star. 

Craig: Right. So I guess she got over her reservations at some point, and I didn’t get to say it to miss Quigley, and I don’t know, she’ll probably never listened to this. Um, but, uh, I actually have a lot of admiration.

I, you know, I. Backed actors and actresses who say, you know, for whatever reason, I choose not to do this, and I stand for him by that choice. I also have a lot of respect for actors and actresses who are saying, who are willing to say, you know what? If that’s what the role calls for, that’s what the role calls for and whatever insecurities they may have, whatever discomfort they may have at being, you know, seen at their most vulnerable by.

Thousands or millions of people, they do it. I actually find that to be very admirable that she’s somebody who was, was willing to take on those roles when perhaps others weren’t, and she said that, you know, she kind of felt like. She had to, to some extent, if she wanted to get the good roles, but that she was also willing.

And so she, I don’t know, she just seemed like such a cool lady. 

Todd: She did. She really, she really does. Just, just like in the movies. Right? I mean, she just, yeah. That’s what I really enjoy. You know, watching movies with her in it, it’s simply the whole package. She’s spunky. She’s usually tough and in charge.

And even if she’s the victim and she’s kind of running around screaming, she still seems to have this edge to her. I just think she gets cast that way. And uh, and that’s really unique actually. There are not many women in the genre who play roles like she does. She’s a very record. Even if you don’t know her name, just by seeing her characters up on the screen, you’re probably going to recognize her.

You see enough of these like, Oh. It’s that. It’s that woman. 

Craig: Yeah. She has a really unique look. She’s very petite. In fact, they had to buy children’s shoes for her to wear in this because they couldn’t find adult shoes small enough. She’s very petite, very thin. Um, not to be disrespectful, but well endowed, uh, in the chest area.

And, uh, she’s got, you know, a very pretty kind of girl next door kind of look. But another thing that I find so unique about her is she. Has a really unique voice. Her voice is kind of in a lower register. Then you would expect coming from her body, and it just kind of adds a depth to her character. She doesn’t really come across as the bubbly bimbo, whereas she easily could.

With the way that she looked, if she chose to go that way, but she doesn’t, you know, she seems more like a real person that you would know as opposed to just some stereotype, just some pair of boobs jumping around. You know what I mean? 

Todd: Yeah, exactly. No, I get exactly what you mean. Again, that’s the most appealing thing I think about watching movies with her in them, and so a lot of fun.

Linnea Quigley: You know, it’s not the dying. I hate when I ran from the 

Craig: front. It wasn’t because I was 

Linnea Quigley: afraid of dying. 

Craig: It’s the rats, isn’t it? 

Linnea Quigley: There were a hell of a lot of them where I grew up. Thinking get used to it when 

Todd: as we were watching this movie, which is basically an alien knockoff more or less, and it even follows some of the same beats of, of like aliens.

The second one, it’s set in the, in a not so distant future. It’s actually the past for us. 1998 when the whole world had been overrun by war and stuff. And, uh, people are scrambling trying to survive and people are deserving the army and they’re mutants running around everywhere, which we, I thought we were going to get to see more mutants, and I guess we didn’t.

Uh, but then there’s acid rain. Acid rain is what keeps everybody from running around outside too much. And so we just have a group of, I mean, it’s a very small cast. It’s like six characters. A group of people who are kind of walking through the wasteland. This acid rain hit. And so they go inside this, this building that they’ve run across, that’s an underground shelter.

Then they discover that there’s something else down there with them. 

Craig: Yeah, and there are funny parts, you know, this is one of those movies that I don’t think was intentionally funny, but there were, I think it was just bad writing in some places, like the way that they knew that it was going to rain is because one of the actors.

Bursitis acted up like, like you could have just had the thunder, I mean, that would have been indication enough instead of this guy, Oh my bursitis, it’s going to rain. 

Todd: And then these shots of the clouds that we get to see at regular intervals, just to remind us. Oh yeah, there’s still acid rain outside, which by the way, this is stock footage of these clouds rolling it in this thunder.

I had been an, I don’t know how many of these low budget films that we’ve seen, maybe all the full moon productions had them. I know that at least a couple of Roger Corman’s had this exact same stock footage of thunder and lightning. It was 

Craig: very handy, right? The hand drawn animation for lightning. 

Todd: Yeah, it’s pretty, 

Craig: and it’s all set against an eighties synth score, which I actually kind of thought was fun.

I mean, it’s nostalgic. 

Todd: It’s a, it’s a very aggressive score too. I mean, it’s really in your face and it’s clearly trying to make up for the lack of on screen act. It’s trying to get you pumped up. You know, this is another one of those cases, I think where the guy who is doing the score had a lot of work to do to try to make these scenes of crawling through a tunnel very slowly.

So you’d like really exciting. 

Craig: Well, and there were clear limitations and other ways too. I mean, they’re supposed to be in this big facility, obviously is not big at all because they just keep running up and down the same hallways and ending up in the same locations over and over and over again, three rooms.

Right. And, uh, you know. Split off and something will happen to a couple of them and just one of the other people who was away from them just immediately appears like, Oh, what’s going on? 

Todd: Like, because 

Craig: they’re literally just like 10 feet away from each other at all times. But when they get into this bunker, you know, it seems almost too good to be true.

There’s food there. There are, you know, this is supposed to be like a post nuclear. Wasteland, but the electricity works that there’s a computer that’s like online, I don’t know how all 

Todd: this stuff works. Thankfully there’s also a working shower. 

Craig: Yes. Which, which, uh, Blanca finds immediately, it is like, Oh, I’m going to use this here at about five minutes.

Todd: And there it 

Craig: goes. And then they go and eat in the mess hall, which is clearly a nod to, uh, alien. The first one. 

Todd: Yeah. Down to the clothes they’re wearing. Really? 

Craig: Yeah. Yeah. I mean, it’s, it’s clearly a throwback or just a cheap copy, whatever you want to call it. But what happens is there’s a creature in here, the nerdy one who was actually my favorite, Jesse.

He was cute. He was played by Michael Aronda, Alton. Really? These other actors and actresses didn’t do much. Um, the guy who played, um. Ken Abraham, or, excuse me, he played Bush. His name’s Ken Abraham, and he’s like the, the Butch one. Um, he’s a big time reality TV editor now. He does like top model and real Housewives and Jersey shore and the jerseys, chores, spinoffs, like he’s kind of a big deal.

Todd: Well, he’s the one who got to make out with, uh, Linnea Quigley in the shower 

Craig: right after they eat. They immediately go. And that was one of my favorite lines. He follows her and he’s like, I’m gonna stand guard. No, you’re not. 90% of household accidents happen in the bath. I’m standing going, 

Linnea Quigley: no, you’re not.

I’m not. No. You’re going to come. And so backside

Todd: expert, line delivery there, 

Craig: and then boobs, and at some point a pretty gratuitous, uh. Shower sex scene, I was, I was a little bit surprised how gratuitous, frankly, and I always wonder how those things work cause they both looked very naked, 

Todd: close, very naked, pressed up against each other just as far as you can go.

Craig: I would boys have issues 

Todd: with that. I don’t know 

Craig: the, the, you know, the miracle of Hollywood, whatever. But eventually Jesse. Yeah, I don’t know. There’s this whole thing on the computer where like he finds somebody log and it doesn’t really ever amount to anything. I’m not even really sure what it was supposed to be.

Um, but it ended very ominously with like, uh, I haven’t written for a while, but. Yeah, I’ve done it and I’ve covered my tracks and the blood was really hard to clean up. I’m not exactly sure. It seemed like there, like the scientists were going stir crazy or something and they figure out that what they were trying to do was find a way for humans to produce their own amino acids so that they wouldn’t have to.

Eat. And I just thought it was so funny that they kept saying amino acids are the building blocks of life. Like I know I went to junior high too. 

Todd: That’s right. But I think you need more than amino acids. A lot of other nutrients you got to get into your body as well. 

Craig: But eventually Jesse, he crawls through an air shaft cause he hears something and a big monster attacks him.

And then it’s the next morning and I, there was somebody in his bed and they’re like, Oh, they’re going to find his dead body. No. He’s seemingly fine, so they go back to the mess hall and they’re all eating and talking about how good the food is, and somebody’s like, come on Jesse, you have to eat because we need your strength or whatever.

He takes one bite of food and immediately starts like bleeding out of every orifice in his face and 

Todd: turn green. 

Craig: It’s basically the chest burster scene from. Uh, alien, 

Todd: but not as awesome 

Craig: without a chest purser. Right? Not as awesome, but th th the exact same tone, um, is what they were going for. And then they run around a lot.

A lot. And they keep finding reasons to get separated. And like for some reason the monster will, like, it keeps attacking Jake, the leader. It keeps attacking him and just dragging it back to its layer. I have no idea why. 

Todd: Just leaving them there. Like there’s this, well, the layer is, is in a, um. Accessible through some kind of duct work that’s leads right under the desk.

And uh, you know, it’s discovered pretty early on by the young guy. So that’s why he’s, uh, that’s why he’s attacked, crawls through this duct work. And it’s funny the way this is shot because you can kind of tell they didn’t have an actual tunnel. They just had some metal to put up against the wall and on the floor.

And the camera’s coming around and they make, it just seem so labored to crawl through this tunnel that it kind of works against the movie’s favor because when they’ve got a really. Really flied on this tunnel. They’re still crawling at like a snail’s pace, right? Music is like pumping in the background like dah, dah, dah, dah, dah, dah, dah.

And I’m like, dude, this monster totally would have had you by now. 

Craig: I know. And it’s like the monster will kind of keep appearing to. People and not attacking. And then sometimes it will attack and its motives are just completely unclear. 

Todd: Yeah. And it’ll attack them, but then it’ll like do whatever it does to them to make them go through this, that, you know, kind of semi chest bursting thing, but then one person 

Craig: ends up like spits on him or pees on him or something 

Todd: that does something, but I’m not entirely sure what, but it just.

Turns them kind of Blackie and then Linnea Quigley. She’s hurt. She’s the only character actually outright gets killed by the monster. 

Craig: Just picks her up. 

Todd: And Thompson. 

Craig: That’s after. It’s just her and Jake left. And I was really disappointed that she died cause I really liked her character and I thought that she was going to make it.

I was surprised that she died and you didn’t even, it wasn’t even really a great death, you know, like the monster picked her up and then you just saw her feet dangling and blood coming down and that’s it. Like it was pretty unceremonious. 

Todd: And the monster is, um, it’s got these giant pinchers and then these long, slimy teeth.

And you know, with the way it’s filmed at first, you don’t see all of it. You kind of see some of it. And so it’s really kind of does it a little more justice that this thing can kind of lift people up and shop their heads somehow. But you never really see the detail. Like it’s not gratuitously gory in that way.

Again, I think it’s just a budget limitation. They had this big mask and this big outfit, but they didn’t have. You know, a lot of makeup effects to be able to show the effect on the human. And so there’s very little of that. And then later on, the monster turns one girl into a zombie. I guess 

Craig: that was weird.

Like all of a sudden she’s a dead eye and she has a fight with Linnea Quigley. And I wonder, I read that the actual actress didn’t do the scene. They, they used a stunt double, and so they put makeup on her. I wonder if that’s why. She like they had to put some kind of makeup on her because otherwise. We would have recognized that it wasn’t the actress, but it was really strange and unexplained as are most things.

There’s also giant rats running around. And when I say running around, they’re just stuffed animals that like they, somebody off set will like throw at a character and they’ll catch it and then like, pretend to struggle 

Todd: with it. 

Craig: Um, and, and they were, I thought they were cute. They reminded me of the zombie verse kind of.

Todd: Yes, exactly. That’s exactly what I was thinking. Zombie verse. 

Craig: But again, no explanation for why there were giant rats there. They just were and they attacked and it was because one of them bit Kate in the neck. That’s why she apparently turned into a zombie. And then there was a pretty decent fight scene with a Linea and the other actress.

Yeah. Not amazing, but choreographed. Some work went into it. 

Todd: People were flying across the room, hitting the walls and stuff. It ends up down to Jake by the end of it. And, uh, again, I mean, it’s kind of funny to watch, but they’re, they’re really trying hard to give you a lot of tension in this final scene with Jake and this monster who by now.

We’ve been able to see full body, which is clearly a rubber suit. So it’s a little sad 

Craig: when you didn’t think it looks that bad. I mean, yes, it was clearly a rubber suit, but I thought that the design was pretty good. I mean, 

Todd: head up wasn’t bad. 

Craig: I thought that, you know, it was pretty evident that they were kind of at least trying to make it look like the Xenomorph.

Um, but a little bit different, you know, it was a little bit more. Upright, I guess probably cause it had to be, cause it was just a guy in a suit. But, um, and then at the end it seemed bigger. And I read that they did some, you know, crane work with it. And it did, it moved awkwardly. But I thought the design was okay.

I really. I don’t have much terrible to say about this movie. I didn’t love it either, but for, you know, I sat here and watched it in the afternoon and it’s short. It’s only an hour and 12 minutes 

Todd: seemed longer to me. 

Craig: It did. It seemed a little bit longer, but I think that part of that is because in this final act, when it’s just Jake and the monster, I felt like they were stretching for time.

Like it’s just cat and mouse. For. Good 10 minutes, but it’s not 

Todd: even, it’s not really interesting cat and mouse though. That’s the problem and it’s kind of simple symptomatic of why there’s very little tension, I think, in the movie is because we’ll a, as we kind of outlined earlier, there’s no rules established that are clear that we can follow.

So we don’t really. No, the Monster’s abilities, we don’t really know what happens to people. We don’t know how he’s traveling because he just shows up sometimes, like in the corner of a room, suddenly he’s there kind of inexplicably. So we don’t get to see that. And again, like we said earlier, it’s the same three locations and so it all gets quite familiar to us.

And so that even kind of adds to that. And then this final fight scene. I mean, it’s clearly a smaller room than they’re trying to make it seem. It’s supposed to be almost like a library of shelves, you know, just shelves, stretching very far. But then these shelves are all like kind of like wire shelves that you could easily like see through.

And Jake grab some random package off of the. One of the shelves and opens it up and it’s got a syringe and a bunch of chemicals or something into it. And so he starts frantically putting the syringe together, not really knowing what it is, 

Craig: but somehow he believes that if he injects the monster, that will kill it.

And he’s right. 

Todd: Yeah. And then it’s, it’s all just like these closeup shots of the monster walking of the Monster’s feet going and then, and then another shot of Jake, you know, standing up. Quietly against a shelf and then a shot of the Monster’s head moving forward. And then Jake is inching along the shelf and it’s basically like that back and forth.

And then so he injects the them. Finally, after a whole bunch of this, he finally gets up behind the monster in Jackson with this serum and falls back. Triumphantly, like he knew it was going to happen. The monster falls forward and stops moving, and Jake, I guess is nursing his shoulder and he’s nursing his shoulder for a good five minutes, which gives us enough time to see the most bizarre part of this whole movie.

Craig: My favorite part. 

Todd: Oh yeah. Which is I think where most of the budget went right into this puppet thing. Creature baby 

Craig: with felons. Yeah. It made absolutely no sense at all. Comes out again. It’s like the chest burster like it bursts out of this Monster’s head or abdomen or something. I don’t know. And it, it’s kind of like a human baby monster 

Todd: hybrid.

I swear I’ve seen it before. I swear. 

Craig: It looks like the baby from like it lives or. 

Todd: Yeah, it does in the face, but it’s very articulated. I mean, it’s got, it’s got that eighties, you know, animatronic head thing going a hundred percent and I’m like, wow, I did not expect that to show up in this movie. 

Craig: Well, no, 

Todd: certainly not the evil baby with fangs, but then also like, um, it’s the best looking special effect in the whole thing.

Oh, I loved it. Yeah. 

Craig: And then the, the baby keeps attacking him. 

Todd: The baby keeps the tagging, which once again, we talked about this a million times. It’s like. Leaps on him, sort of. Somebody tosses it on him and then he like rolls around with it. Like he couldn’t just Chuck this thing away from him anytime he wanted or step on his head or kick it away.

Uh, it shouldn’t be the threat that it’s being presented at, but you know, I guess his shoulder just really, really hurts. 

Craig: He ends up strangling it with its own umbilical cord. Was really clever and like you said, the animatronic was actually pretty sophisticated. Like I was really impressed with the facial expressions it was making as it was dying.

Like it, it really looked kind of like it was an agony and then you could kind of tell and it started to fade away. I loved it. Oh, I was very B-movie creature. I loved it. 

Todd: It was, and I know that this has shown up in some other movie or, or, or ends up showing up in a future movie because it just looks way too familiar.

Way too familiar, and that’s too expensive of a puppet for, for full moon to not reuse two or three more times. 

Craig: Oh, right, right. And that was the thing again, you know, in the moment. I couldn’t, I didn’t think to ask. But I would have loved to have known. Like if I had been on that set, I definitely would’ve stolen one of those rats 

Todd: cause they were super cute 

Craig: and I’m sure that that baby was too expensive to go missing without there being.

An issue, but, uh, I bet anything that’s sitting in somebody’s storage locker somewhere, it’s so cool. It was such a cool prop. And then that’s, you know, that’s pretty much it. 

Todd: It was a nice cap to a movie. I mean, like, like I said, I, this was not my favorite film. I found it a little bit of a chore to watch at times.

Kind of dragged really slow and there really wasn’t much tension. Like you said, it had its moments that it had some nice characters in it, but it was nice to finally at the end, kind of, it’s like they saved all the goods for the end. So you know, you watch it through long enough and then you know, that’s how you should, that’s how you should do it.

Give everyone kind of a big, a big bang at the end. And that’s how I felt, you know, and ended. So for that. 

Craig: Jake crawls away in the last, the last frame we see is that the baby wakes up. It’s not really dead. And supposedly there was a, they had planned to do a sequel, but it just, it never happened. I would have, it would have been interesting if they, you know, I would love to see where they would go with that.

Creepy baby, but, uh, I don’t know. Without Linea, I don’t know. That would have been worth it. 

Todd: No, probably not. 

Craig: It was also a remade, I guess, in 97 note, excuse me. Uh. Oh, gosh, yeah, 97. It was remade under a different title, hybrid. Um, and I looked that up and it has terrible reviews. And just from the box art, it looks awful.

But there are, and, and as I alluded to in our interview with miss Quigley, you know, I read every single fan review. Uh, on IMD for this movie. And they were, they were pretty harsh. Uh, some of them tongue in cheek. There were a couple of people who appreciated it for the B movie that it is. But for the most part, people were pretty critical.

But there was a lot of love for Linnea Quigley. And I, I understand why, you know. Not many of my friends and family are horror fans, so when I told them, Oh my gosh, we’re interviewing Linda quickly. They’re like, who? But fans of the genre. No, this woman is an icon. I mean, she really is, you know, she’s been labeled America’s scream queen.

Um, she has been called queen of the bees as in queen of the B movies. And, and she really is, uh, she may not have found the same level of fame that some of the other scream Queens of the eighties. Achieved, but within the genre, she is very loved. And now having spoken to her in real life, I can understand why.

She just seems like a lovely person. She seems very down to earth, very charming, and it was incredibly gracious. For her to do this with us, and so we’re very appreciative. 

Todd: Yes, we are. Thank you so much for joining us on the show today. Well, that’s another episode of two guys in a chainsaw. If you enjoyed it, please share it with a friend.

You can find our Facebook page just by searching two guys and a chance on Facebook. We get a lot of comments, questions, and a fan reaction there. You can let us know who else we should have on the shelf or what other movies that you would like us to review. Just leave us a request there. You can also go to our website to 40 where we have all of our back episodes available for streaming, or just find us on your favorite podcast surfing app.

Until next time, I’m Todd 

Craig: and I’m Craig 

Todd: with Two Guys and a Chainsaw.

3 Responses

  1. Gary says:

    Another really enjoyable episode. The interview was awesome, I’m glad you got it to happen, and that Linnea was gracious enough to join you. It inspired me to watch Linnea Quigley in Sorority Babes in the Slimeball Bowl-o-Rama on Shudder. She was definitely the highlight of the movie, as well as the random Bride of Frankenstein girl/ghoul. Now I’m listening to your review of it.

    Have you guys seen the late night movie horror parody, Dude Bro Party Massacre III? I recommend it for your show. It reminds me of Sorority Babes, and other like fodder, and has some fun 80’s throwback commercial parodies. It’s pretty funny, but not for the feint or stomach.

    • toddkuhns says:

      Thank you! No, I haven’t heard of that one before, but I’ll put it down. It sounds like something we would enjoy. The first time I saw Sorority Babes, I was fascinated, but not really that into it. Every subsequent viewing is more and more fun. It’s kind of magical that way. Thanks for listening! -Todd

  2. Ken Abraham says:

    That shower scene in Creepozoids was a trip. The whole movie was a crazy experience.

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