We got this man. We got this by the ass.

Why doesn't he have to wait a few minutes?

Tonight is Mohawk night. If you had a Mohawk, he would go.

It smells like they're cooking a goddamn cat over there.

Because you say I, for me.

The man goes broke, he can't handle it. The man is on tilt. You want to Because you say, I, for me.

The man goes broke, he can't handle it, the man is on tilt. You want to hear any more?

Two dogs.

Lick it up, baby.

Lick it up.

Hi, I'm John Carpenter.

I'm a movie director, and I compose the scores for most of my films.

For me, the music started everything when my dad was a music teacher and I grew up at an early age with music around the house.

But then I discovered movies and soundtracks.

And I went to film school in the late 60s to study cinema and I carried the love of music with me.

When you're a student filmmaker or a low-budget filmmaker, what you have to do is make the best with no money.

In other words, you have to get by with very little budget.

So I began scoring in student films with my friends' movies that I'd do some music for them.

And then my early low-budget films, I scored my own movies because using a synthesizer, I could sound big.

Major influences on my music have to go back to the classical Hollywood composers. Bernard, Herman, and

Dimitri Tiamkin are two big ones, but even the low-budget composers in the 50s that did

the horror films. I love all those. In terms of electronic music, I have to say, the granddaddy

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