Fantasmas. El esqueleto de la sociedad secreta

Documentales en Español

En este fascinante episodio de "Buscadores de Fantasmas", titulado "The Secret Society Skeleton", te invitamos a sumergirte en un mundo lleno de misterio y exploración paranormal. Durante 44 minutos, nuestro equipo de expertos investigadores se adentra en lugares inquietantes para desvelar la verdad detrás de una antigua sociedad secreta relacionada con lo sobrenatural. Este episodio te enseñará sobre los métodos de investigación en la caza de fantasmas y te brindará información sobre fenómenos inexplicables que han intrigado a la humanidad durante siglos.  A lo largo del video, descubrirás los equipos utilizados en la búsqueda de espíritus, así como las técnicas de comunicación con lo desconocido. Además, aprenderás sobre la historia de la sociedad esquelética y su impacto en la cultura popular y en la creencia en fantasmas. Ya seas un entusiasta de lo paranormal o simplemente tengas curiosidad por el mundo de lo oculto, este episodio es para ti. Prepárate para una experiencia que no solo entretiene, sino que también educa sobre los mitos y realidades que rodean a los fantasmas y las sociedades secretas. No te pierdas esta oportunidad de ampliar tus conocimientos y adentrarte en el enigmático mundo de los buscadores de fantasmas.  #CazaFantasmas, #SociedadEsquelética, #MisteriosParanormales  caza fantasmas, sociedad secreta, fenómenos inexplicables, investigación paranormal, espectros, comunicación con espíritus, mitos y realidades, historias de fantasmas, lugares encantados, cultura paranormal

Transcript

00:00This video is brought to you by S.T.A.R.A.

00:30Human skeletons have played a key role in rituals for thousands of years,

00:58and it's easy to see why.

01:00The human skeleton is a powerful reminder of our own mortality

01:05and proof that our time in this world is often all too short.

01:10Now, since acquiring these skeletons in 2016,

01:13I have seen with my own eyes the powerful effect that they have had on my visitors.

01:19Now, while the organizations who own these skeletons before me

01:23may have used it for harmless initiations,

01:26I've learned that in the past some other much darker societies

01:32have used them for far more sinister purposes.

01:35Some believe they have played a key role in blood sacrifices

01:39or attempts to contact demons or the devil himself.

01:43Now, during my investigations into these matters,

01:46I've also learned that sometimes in an attempt to conceal their actions,

01:51members of these secret societies have hidden these skeletons behind walls.

01:55They've hidden them in attics, basements, and here they've remained,

02:00sometimes for decades until being accidentally discovered.

02:04Now, I began to wonder what horror might such an object inflict on an unsuspecting homeowner

02:12who had no idea that such a presence was in their house.

02:15And it was this question that inspired the film you were about to watch.

02:21To be continued...

02:22To be continued...

02:27To be continued...

03:30Can you get some juice?

03:31You really put a dent in this.

03:56Hey.

03:57Yeah.

03:58Can I be done for the day?

04:01Maybe once you help me with this side?

04:05Back to it.

04:09Yes, ma'am.

04:10Mom?

04:11Yeah.

04:12I think there's something here.

04:18What is it?

04:19I don't know.

04:20What is it?

04:21I don't know.

04:22What is it?

04:23I don't know.

04:24I don't know.

04:25What is it?

04:26I don't know.

04:27I don't know.

04:28I don't know.

04:29I don't know.

04:30I don't know.

04:31What do you think is inside of it?

04:32Who knows?

04:33It could be a time capsule.

04:34I don't know.

04:35I don't know.

04:36I don't know.

04:37I don't know.

04:38I don't know.

04:39I don't know.

04:40I don't know.

04:46What do you think is inside of it?

04:49Who knows?

04:50It could be a time capsule.

04:52Let's go open it.

04:54I don't know.

04:55I don't know.

04:56I don't know.

04:57I don't know.

04:58I don't know.

04:59I don't know.

05:00I don't know.

05:01I don't know.

05:02I don't know.

05:03We're gonna get this loose.

05:04I don't think that's gonna work at all.

05:09Okay.

05:10What is it?

05:13It's an old film can.

05:23It might be moving here.

05:26Can you see anything on it?

05:30I'm not sure.

05:53anything I can help you with?

06:18Anything I can help you with?

06:22Hi. Yes.

06:25I was wondering if you had any film projectors.

06:28Uh, what kind?

06:3016mm.

06:31Ah, follow me.

06:48Oh, my God.

06:50Oh, my God.

06:52Oh, my God.

06:54Oh, my God.

06:56Oh, my God.

06:58Oh, my God.

07:00Oh, my God.

07:02Oh, my God.

07:04Oh, my God.

07:06Oh, my God.

07:08Oh, my God.

07:10Oh, my God.

07:12Oh, my God.

07:14Oh, my God.

08:16You said you and your son found a time capsule?

08:18That's what I thought it was.

08:20It had an old film reel inside,

08:22but I think it might be evidence of a real murder.

08:25A murder?

08:28Just this way.

08:30Mind the mess.

08:46I'm sorry.

08:56This isn't it.

08:57I don't know what's happening.

09:15Thank you for coming out anyway.

09:29I know you're new to town, ma'am,

09:30but we're only a small team out here.

09:33Of course.

09:34Sorry again.

09:35I know you're new to town.

09:37I know you're new to town.

09:38I know you're new to town.

09:39I know you're new to town.

09:40I know you're new to town.

09:41I know you're new to town.

09:42I know you're new to town.

09:43I know you're new to town.

09:44I know you're new to town.

09:45I know you're new to town.

09:46I know you're new to town.

09:47I know you're new to town.

09:48I know you're new to town.

09:49I don't know.

10:19I don't know.

10:49I don't know.

11:19I don't know.

11:49I don't know.

11:51I don't know.

11:59I don't know.

12:01I don't know.

12:03Morning.

12:05Hey.

12:07Did you get up late last night?

12:09What?

12:10No.

12:11Why?

12:12Nothing.

12:13How's your new room?

12:22It's alright.

12:23Just didn't get much sleep last night.

12:25How come?

12:26I just kept on hearing weird noises.

12:28What kind of noises?

12:30I don't know.

12:32I don't know.

12:34Chanting or something?

12:36Chanting?

12:38Yeah, it's probably nothing though.

12:40I think my phone was playing something.

12:46Chanting or something?

12:48Chanting?

12:49Yeah, it's probably nothing though.

12:52I think my phone was playing something.

12:54I don't know.

12:55I don't know.

12:56I think my phone was playing something.

12:58I don't know.

13:28I don't know.

13:58I don't know.

14:28I don't know.

14:58I don't know.

15:00Usually you can tell the date by the symbols printed on the film itself.

15:05Here we go.

15:13It looks like late 1930s.

15:211930s?

15:22That's correct.

15:23Are you certain about the date?

15:26Yes, 100%.

15:27Could it have been developed any later than that?

15:29It would have been developed within a few years of its being manufactured.

15:33Or there would be no images.

15:35Film of this era was quite unstable.

15:37Hope that helps.

15:38Hope that helps.

16:07Hey, watching anything interesting?

16:17Nope.

16:18Well, there's this thing called a TV.

16:20Good idea.

16:27Hey, anything you want to watch?

16:32You choose.

16:32Mom!

16:33Mom!

16:34Mom!

16:35Mom, what's wrong?

16:36Mom!

16:37Did you see that?

16:38See what?

16:39The old film reel.

16:40Mom!

16:41You okay?

16:42I'm fine.

16:43Don't worry.

16:44I think I just need to sleep.

16:45Maybe watch something tomorrow, okay?

16:47Okay.

16:47I'm fine.

16:48I'm fine.

17:01I'm fine.

17:02Time to get up.

17:06Don't worry.

17:07Maybe watch something tomorrow, okay?

17:10There's more.

17:12I'm fine.

17:14No!

17:44No!

18:14No!

18:44No!

19:14No!

19:44No!

20:14No!

20:34The film is cursed.

20:36But once you watch it, they come for you.

20:40They picked it for me.

20:44Meet Sir, You're still concerned about it.

21:02Vsg.

21:05No!

21:10I didn't care myself.

21:14Scientists are so lucky and we're twins.

21:16We've been so lucky.

21:19We've been so lucky to be children.

21:22We're so lucky to be back here.

21:24We have so many neighbors that weHarple.

21:27They have so much to help us.

21:30It's not just a matter of time to play until we got anything for a while,

21:32it's not just a matter of time.

21:36I don't know.

21:38Charger, help me!

21:51Charger, help me!

22:08Mom!

22:10Mom, what are you doing?

22:12Mom, how did you hurt yourself?

22:16I'm tired.

22:18What's going on?

22:20Nothing. Just don't worry.

22:22Just tell me the truth, please.

22:28Mom.

22:30I am worried about you.

22:32Mom, look at me.

22:34I'm worried about you.

22:36I'm worried about you.

22:38Okay?

22:40Please, just...

22:42Just tell me what's going on.

22:48I'm so sorry.

22:56I don't know what's happening to me.

23:02What was on that film?

23:06Take it.

23:08Take it.

23:10Look, whatever it was, you need to get rid of it.

23:12Now.

23:14Please.

23:18It's okay.

23:20It's okay.

23:22It's okay.

23:24It's okay.

23:26No, it's okay.

23:28There's no joke.

23:30Closed on the door.

23:32I'm so sorry.

23:34I'm so sorry.

23:36I'm so sorry.

23:38I'm so sorry.

23:40You're so sorry.

23:41You didn't come with me.

23:42You're sorry.

23:44I don't know.

23:46You just say it.

23:48Oh, my God.

24:18Hey, are you feeling better?

24:22Much.

24:24Um, Bill's going out of town tomorrow,

24:27and I was wondering if I could chill with him tonight?

24:29Yeah, yeah, of course.

24:32If she want me to stay, I can.

24:34No, I'll be fine.

24:36I'll have fun.

24:37Alright, Mom.

24:48I'll be fine.

25:18Secret Society?

25:46Secret Society?

26:08Hi.

26:10Um, I moved in a couple weeks ago.

26:13Next door?

26:14I'm Georgia.

26:15Hi.

26:16Nice to meet you.

26:17Nice for you.

26:18Uh, thank you.

26:20That's...

26:21That's so sweet.

26:23Um, I received a load of letters for the previous owners,

26:29and I'd love to forward them on.

26:31Do you know them?

26:33What, for James?

26:35Yes.

26:36That sounds right.

26:37James.

26:38Uh, James, uh...

26:39Daniels?

26:40Yes.

26:41Yes, that's it.

26:42James Daniels.

26:43Do you know where he moved to?

26:45I think you should throw them away.

26:48He hasn't lived there for a long time.

26:50He hasn't lived there for a long time.

27:10Help me, Georgia!

27:11You are here!

27:12Huh?

27:13Huh?

27:14Huh?

27:15Huh?

27:16It's happened many times before.

27:40The skeleton is the key.

27:43It's in the attic.

27:44Destroy the bones.

27:48Maybe you'll set us free.

27:50Destroy the bones.

27:54Hurry.

27:56They're coming for you.

28:14Let's go.

28:28I don't know.

28:58I don't know.

29:28I don't know.

29:58I don't know.

30:28I don't know.

30:58I don't know.

31:28I don't know.

31:59Hey, everyone.

32:00Welcome to Filmmaker to Filmmaker, the Haunted Museum.

32:03I'm Eli Roth here with our director, Roxy Shee, and we are talking about skeletons and secret

32:09societies and old lost films.

32:13This is your fourth episode, I guess.

32:15Yes.

32:15So, incredible.

32:16So lucky to have you back.

32:18I'm such a fan of your work, going back to Crypt TV.

32:22So, let's talk about the skeleton and secret societies and diving into this project.

32:29I'm curious what information you had, what was based in reality, and what excited you about

32:36shooting this episode?

32:37So, the skeleton wasn't just one skeleton.

32:40It's basically a skeleton society.

32:43So, the amazing writers, Jess Bartlett and Ethan Evans, love them, came to me with this amazing script that they developed based off of that lore.

32:53And I'm such a huge fan of the way that they write because it is so clear.

32:59It's so clean.

33:00Such good writers.

33:01And immediately, you could visualize what it is that is on the page.

33:06It's very elegantly written through the perspective of one person.

33:10And I was so lucky to work with this actress, Deanna Palazzo, who basically gave me everything.

33:17I was so lucky to find her, and we were able to explore this character very much together.

33:22And go through the difficulties of being a single mom, and having to separate what's happening with you and your son, and also the theme of home.

33:31And I feel like that's very apparent, is the space that you're in.

33:34You're looking for a home.

33:35You're looking for a new start.

33:36You're looking for safety.

33:38And at the same time, it turns against you.

33:40And what do you do to protect what you love?

33:44Georgia, help me!

33:52Georgia, help me!

34:06Mom?

34:08Shooting this episode was such a journey.

34:11Like, I...

34:13Everything felt like a lyric, if you understand.

34:15Yeah, it just felt like every shot was designed like poetry.

34:19Which is not easy to do, when you're shooting practically, you know, on a low budget, and you've got to get your shots, and you've got to move fast.

34:26Yes.

34:27You know, sometimes you just have to point to cameras and get the information, rather than doing something elegant and poetic.

34:32Do you shot list?

34:34Do you storyboard?

34:35Do you walk through it with your DP?

34:36How do you prep so that you can get the poetry that you get in your photography?

34:41I'm a little crazy.

34:42So, I used to be a dancer, right?

34:44Really?

34:45Yes.

34:45What kind of dance?

34:46Um, I was a modern dancer and a hip-hop dancer.

34:48I had no idea.

34:49Used to perform at the Clippers halftime shows.

34:51Really?

34:51Yes.

34:52Um...

34:53I had no idea.

34:53Yeah.

34:54So then, um, so then I get really turned on by Tech Scouts.

34:58Wait, what?

34:59Yes, I get...

35:00Tech Scouts are my...

35:01I'm like...

35:01Really?

35:01Why?

35:02Because I go and I feel like I have to do the song and dance, and then it's just a bunch of people talking about where they're going to park the trucks.

35:08Really?

35:08Yeah.

35:09Oh, no, I do my, literally, song and dance when I do my Tech Scout.

35:13You have an audience.

35:13I block through everything.

35:15I already have my blocking done.

35:16I look for a place that inspires me visually, and then I could see it.

35:20And then I could see what is the physical relationship between these characters.

35:25Anybody could do master coverage coverage.

35:27Anyone can do that.

35:28You could, like, do a lot of the filmmaker do that.

35:30But how do you tell it in a way masterfully, right?

35:33So for me, what is the intentional decision behind movement?

35:36What is the intention behind...

35:37Like, you could say so much with so little.

35:40And as I'm getting older, like, the spectacle, I'm, like, stripping away more and more fat.

35:46So the simplicity of it, you know?

35:47Yeah, it's interesting.

35:48You felt like I needed, you know, what I would describe as, like, muscular, macho, camera, like De Palma.

35:54Yeah.

35:54And Carrie at the prom doing all these...

35:57Or, like, Argento going over the house in Tenebrae.

36:01I mean, big fan.

36:01I was always trying to do, like, oh, this is my boogie night shot.

36:05Yeah.

36:05And then I'm, like, no, just put the camera here.

36:07Just leave their face.

36:08Their face is doing the work.

36:09The dialogue's doing the work.

36:11Sometimes you can do it, and sometimes you just stay out of the way and let the camera, let the actor tell the story.

36:16Are you a planner or are you in the moment person?

36:19It depends.

36:19For a kill, I generally need to plan things technically.

36:22Yeah.

36:23But as I sort of went through being an actor for Tarantino...

36:28Yeah.

36:28Watching his process, I was like, oh, no, the best thing that I like to do is go in there with the actors and...

36:34Rehearse it, rehearse it, rehearse it until you have it down like you do in a one act, and then bring in the camera work and start to do it.

36:55So sometimes the location and time just doesn't allow that, but I love, you know, if I'm doing practically, that's my favorite way to shoot now.

37:03Yeah.

37:03You used to be planning on everything, but then, you know, what is your favorite way to do it?

37:07Do you walk in and run it with the actors, or do you have all the shots in your head and you make them go to...

37:11Dude, same as you.

37:14I'm aligning a lot with what you're saying.

37:16I think back when I was a lot younger and more insecure, I'd plan out everything.

37:20I was a lot less...

37:22I was more rigid about things.

37:24But now I trust myself to the point where I'm like, what is the core element of this scene?

37:29What is it that I'm trying to get?

37:31I could do it in a very simple way that is so much better than all the superfluous, like, extra seasoning on the dish.

37:37You know what I'm saying?

37:38The truth is, you know, as you get older and more experienced, you gain mastery.

37:42And that mastery only comes from sitting in the edit room going, you know what?

37:47And you cut that shot.

37:48That beautiful entrance into the club, and this one crosses here.

37:52You're doing your goodfellas copish shot.

37:55You spent 10 hours doing that.

37:56You spent 10 hours doing that.

37:57You're like, look at the producers.

37:59You just go, sorry, guys.

38:01You just need a little bit of salt.

38:02I could have just started on a close-up.

38:04It would have worked.

38:05Just cut right to that.

38:06But that's, you know, you start to know that about yourself, of going, okay, why don't I just focus on, you know, what I want?

38:13So talk about the film within the film.

38:15Oh, my gosh.

38:15So something that I freaking loved about this story was time travel and how a space has so much history and so many things have taken place within these walls.

38:27And they're still here, you know, that magnetic energy of what was here.

38:31That's why we have ghosts and that's why we have entities and that's why we have history and that's why we have stories.

38:36So to come from the perspective of this mom who's, like, starting a new life with her son, it's not in the episode, but we talked about it that, like, the husband recently passed.

38:47So she got, like, this really great opportunity.

38:50Never buy something that's too good to be true, right?

38:52There's always something attached to its history.

38:54And through this discovery process, it's like, oh, yeah, like, she found a film in the backyard.

39:01Oh, it shows, like, a murder, like, in real time at the time.

39:04And then putting the clues together.

39:06Like, Ethan and Jess were so good about planting clues throughout the structure of this script.

39:12These are connecting the dots and nothing was a coincidence.

39:16And then, oh, you're living in this space that has committed these ritualistic crimes.

39:21And then how time and space are starting to sort of cross over.

39:25And shooting in a different time period.

39:27Yes.

39:28And that was amazing, too.

39:30You talk about different colors, different camera language, right?

39:33At what point does everything became locked off and still that you have no ability to make decisions over your movement, right?

39:40Or any time there's a projector, that's when we transcend time.

39:44Help me, Jonathan!

39:47It's fun shooting something that's being shown in a projector because it feels like you can kind of do anything.

39:51It's like that was in Bastards, getting back to Nation's Pride, the Nazi propaganda.

39:56Quentin had me shoot that.

39:57And it was just so freeing.

39:59It's almost like there's no rules.

40:01It's just got to be this black and white movie.

40:03So talk about shooting what's in the projector.

40:07Oh, my God.

40:08Oh, my God.

40:08It felt like we were doing two different movies.

40:10And that was so great because you really get to challenge yourself.

40:26It's a ritual, right?

40:30So then as a choreographer, I'm thinking, you know, like not Busby Berkeley entirely, but you're just thinking about the movement of these ritual, you know, these cultists.

40:40When they go down, what are they what do they want?

40:43You know, what are they doing?

40:44What is it for and how the movement informs that?

40:47And then also like working with Oliver, who was the sacrifice, like he had to be so physical.

40:53I push these actors like crazy.

40:56I'm just like, you got to let me know when to stop.

40:59You need to let me know your boundary because I'm going to make you go there.

41:02You know what I'm saying?

41:02And so it's like the brutality of it.

41:05Like what I love about horror is that it just gives you a shortcut.

41:09And maybe it's because I'm afraid of a lot of things.

41:13So I get to make horror films as a way to control.

41:16Yeah, of course.

41:16That's why we all do it.

41:18Yeah.

41:19Dealing with fear of the world and of death and things that would be under control.

41:22So how did your brain work?

41:24You're like, OK, today we're shooting this time period.

41:26Today we're shooting this time period.

41:27Or was it like a break?

41:29Was it like, oh, this is fun.

41:30I get to go like was it was it stressful or was it freeing or was it inspiring to sort of bounce between?

41:35It's I'm always excited, Eli.

41:38Like nothing scares me.

41:39Like I come from micro budget.

41:41So I think limitations are freeing.

41:44And so with doing the 1930s stuff, we did, you know, 4-3, right?

41:49So then we made sure everything was blocked within a 4-3 aspect ratio.

41:52Everything was shot from that static perspective.

41:54Isn't it fun shooting that way?

41:55It's so great.

41:57It's so great.

41:58I just I just love how your mind expands even with a choice like that, you know?

42:04And and I'm always doing learning something new.

42:06I feel very humbled because like as a filmmaker, you get to be a student for life.

42:11Sure.

42:11You know, so it's like and oh, what would they shoot?

42:14Would it be more home cammy?

42:16Would it wouldn't be so elegantly cut together like that's not how it would be?

42:19And like honoring the authentic way of how it would be done.

42:21Yeah, it would be like bad filmmaking.

42:23Yes.

42:24It wouldn't be what we consider great filmmaking, but it has to be authentic.

42:26Yes.

42:27Because why would they if suddenly then it's you showing off not being true to the material.

42:33And let me ask you this for people that are kind of learning about you from, you know, from the haunted museum.

42:40Is horror your passion?

42:42Is that your main thing?

42:42Because you also did Hallmark movie.

42:44You've done other things.

42:45What do you like to do?

42:47Do you have like one particular thing you want to do or do you enjoy doing everything?

42:51It's so interesting.

42:52I never grew up watching horror movies.

42:54I've always been a really big scaredy cat.

42:56And then I did my first feature, a micro budget feature called The Tribe.

43:00I made for $100,000 a few years ago.

43:02And ever since then, the industry has branded me as a genre filmmaker.

43:08And I felt like I was just afraid of myself because the more like filmmaking has been such a healing journey for me.

43:16And genre specifically is a space that I feel very safe in.

43:21And it just allows me to go even deeper into the subject matter that I want to explore.

43:25Right now, I'm very interested in female perspectives and experiences in the 40s and 50s with older women and their stories.

43:34I'm also interested in fetishizations about Asian female bodies.

43:39I want to bring back erotic thrillers.

43:41And also...

43:42Knock, knock.

43:43I was trying to do the same thing.

43:44I loved it.

43:44Yeah, it was amazing though.

43:46Come on.

43:47I wasn't fishing, but I'll take it.

43:48But yeah, no, but I love it.

43:49I love those movies.

43:50The Verhoeven, I'll take it.

43:52All right, well, I just want to say thank you so much for doing the episodes.

44:00I'm such a fan of you as a director, as a writer, as a filmmaker, and as a human being.

44:05And I really cannot wait to see what you do next, whatever it is.

44:08Thank you, Eli.

44:09Same here.

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