Latest / Four Finger Discount (Simpsons Podcast) / Homer Badman (with Ari Harrison, Umbrella Entertainment)

Transcript

Homer Badman (with Ari Harrison, Umbrella Entertainment) · Four Finger Discount (Simpsons Podcast)

• 0:00
  But first, she was a university honor student who devoted her life to kids
• 0:04
  until the night a grossly overweight perport named Homer Simpson gave her a crash course
• 0:09
  in depravity. Babysitter and the beast. Ah crap if somebody had to take
• 0:15
  the babysitter home. Then I noticed she was sitting on her wet Can I
• 0:19
  grab her? We can? Oh, just thinking about her? Can't I
• 0:24
  just wish I had her? Sweet sweet tweet? Can't? To mister Simpson,
• 0:28
  you admit you grabbed her? Can What do you have to say in
• 0:31
  your defense? Mister Simpson, You're a silence will only incriminate you further.
• 0:37
  No, mister Simpson, don't take your anger out on me. Get back,
• 0:39
  Get back, mister Simpson, No drabbitization may not have happened. Four
• 0:45
  finger discounted. Welcome to four for a discount where today we are very excited
• 1:04
  because we have been joined by a man who we hold we say very near
• 1:07
  dear to our heart. Mister Davis, we have a coupley that he runs.
• 1:10
  We certainly do we do. Indeed, we hold him in very high
• 1:12
  esteem. Yes, let's say, yeah, today we are speaking or we're
• 1:15
  joined by Ari Harrison. He is GM, the GM, the head hon
• 1:21
  show at Umbrella Entertainments. There a film distributor home home video producer. If
• 1:26
  you're at Australia, you have seen their logo on many a well going back
• 1:32
  to vhs probably, but yeah, they are really helping well start to corner
• 1:37
  the market on high end boutique home entertainment releases. The releases especially bring out
• 1:42
  a lot of great Austraian material, but also a lot of great international material.
• 1:47
  I think fans of this show will be happy to see that they're bringing
• 1:49
  out like a very very very loaded Super Mario Brothers set. I was very
• 1:55
  excited. I knew it was coming. There's like one hundred bucks and I
• 1:57
  was like and then I saw a picture of on Twitter and I was like,
• 1:59
  oh, that's an obscene mark up for a movie. And then he
• 2:02
  oh no, you're getting at least two books and a poster and cards and
• 2:06
  all this. I'm like about it. They're just throwing like a T shirt
• 2:07
  because you knew he used to get T shirts of videos and stuff, and
• 2:09
  it's like, I'm never gonna wear this T shirt. But all this stuff
• 2:14
  is really great. It's it's a brick as he said, he holds it
• 2:16
  up for us, and it's a brick. Oh, I know why I'm
• 2:20
  paying Yeah, I know why I'm paying a C note for this. This
• 2:23
  is definitely worth it. And yeah, yeah, but no, we're very
• 2:27
  very happy to be joined by Ari and he's talking about an episode that we
• 2:30
  really both like. On them mold it's like I'm a bad man. Yes,
• 2:32
  it's indeed me too between me. Oh, mister Dano, don't take
• 2:38
  your anger out on me. So yeah, we touch on Umbrella, and
• 2:42
  we touch on on the episode as well. Of course we touch on the
• 2:45
  sweet Sweet can we do? Yes? I was sitting there at times.
• 2:46
  I'm just telling Guy once we finished here that there was allan's I was looking
• 2:51
  Guy and Guy was just like a kid in some kind of store. It
• 2:54
  was actually really appropriate episode usage here because yeah, I mean listens the show.
• 3:00
  Not that I am a big movie nerd, I'm a big physical media
• 3:05
  fan. You've got me back on the bandwagon. Yeah, I got Dando
• 3:09
  back on the gear. Yeah, and yeah, Ari and Ari's company,
• 3:13
  Well it's too great taste that tastes great together because yeah, they, like
• 3:15
  we said, bringing out great stuff, continuing to bring out great stuff and
• 3:20
  yeah, a big fan of the Simpsons. We had a really really good
• 3:22
  talk. I was just sitting there smiling the whole time. I was back
• 3:24
  smiling and looking I'm just like guys having so much fun, guys just nerding
• 3:29
  out. So look, we hope you will to enjoy our chat with Ari,
• 3:32
  and which we do cover unbrother for a bit at the start, So
• 3:35
  I'll put time stamps in the description of this podcast. If you want to
• 3:37
  skip straight to like the badman stuff, you can do that, But honestly,
• 3:40
  listen to all the about unbrothers. It's it's fantastic what they're doing.
• 3:44
  Yeah, if you don't want to hear guys smiling all the time, I
• 3:47
  just want to say I love you Ari, really, I want to marry
• 3:53
  him. It was total Chris Farley show. Shit. Really was Like I
• 4:00
  mentioned that, I think I say dream job at least once during the d
• 4:04
  once per sentence, but it was always in my mind. There was a
• 4:09
  couple of things where he's like, oh, we do this, and guys
• 4:11
  like Jim jump, I'm also doing this next week. Yes, I'm interested,
• 4:18
  very interesting or subscripted you. So yeah, look, we're really happy
• 4:26
  with this episode. We're really happy that Ari joined us. If you're a
• 4:28
  movie rdie and I love this one. Yeah, yes, indeed, so
• 4:30
  we hope you enjoy this episode of forming a discount. Oh my god,
• 4:40
  you were coming to us. This is yeah quality audio material. But we're
• 4:44
  talking about giving a description of where you're at coming to us from the coolest
• 4:47
  office. It seems it looks like papered with posters, looking like an awesome
• 4:53
  place to spend your nine to five. Yeah, Unfortunately the room I'm in
• 4:59
  does not have the I DVD and blu ray wall, which many people love
• 5:03
  to see as a background. But yeah, it's I'm at the Umbrella office
• 5:08
  at the moment, and most people seem to be in the office today,
• 5:10
  which is a less good. The sun's out, everybody's happy to be here.
• 5:13
  Do you guys still work from home much? Or is it mostly in
• 5:15
  the office now. It's a bit of a balance. I'd say probably three
• 5:19
  days a week in the office and the other two from home. But most
• 5:25
  people actually love coming in, yeah, which is great they would. If
• 5:29
  you can get that cam a bit mobile, you can take us into that
• 5:32
  special special room. You were telling us about Australia's version of the Criterion closet.
• 5:38
  Yeah, happy to take you a bit later. Absolutely, a few
• 5:42
  people in there at the moment. I think, so, what's it?
• 5:44
  Got a copy of every physical release in there or something or Yeah, it's
• 5:46
  pretty much every release we've ever done. And then there's sort of a whole
• 5:53
  wall of all the latest releases. So anybody that comes into the office,
• 5:57
  you know, any creatives, filmmakers, they can sort of have their pick,
• 6:00
  like the Criterion closet and just take anything that we have left home with
• 6:04
  them. And then there's a sort of wall of stuff that's sort of expired,
• 6:09
  and whether or not we want to renew and continue reproducing DVDs with certain
• 6:14
  titles. It just, yeah, gives us that outlook, and why are
• 6:17
  we doing this remotely? Why did we go under the Because I got to
• 6:23
  say, and we're going to of course talk about The Simpsons, about Homer,
• 6:26
  bad fantastic episode to pick, by the way, but we've got to
• 6:30
  look throw a lot of props Umbrella's way. I mean, I've been a
• 6:32
  fan of the label for a very very long time. You guys are putting
• 6:35
  out world class content. As far as I'm concerned. I've got basically every
• 6:42
  every installment of the Drive In Delirium set, which is that is platinum level
• 6:46
  stuff for film nerds. But you've been putting out great stuff for goodness knows
• 6:53
  how long, but really seem to be upping your game over the last few
• 6:56
  years in terms of putting out just really loaded sets. I saw the Super
• 7:00
  Mario set that you put out on Twitter at the photo and I was like,
• 7:03
  holy ship, that is massive. He's holding up here. Wow,
• 7:08
  wait, look at that monster. They did weigh it. I don't remember
• 7:14
  what they came up with, but it's it's it killing you and shipping.
• 7:18
  Look, it's you know, at the end of the day, we see
• 7:21
  it as just a quality product and if people love it, and the pre
• 7:26
  orders were just super successful with this one, and we we really tailor our
• 7:30
  releases based on, you know, how what the audience you know, are
• 7:34
  coming back with, what the sales are like, and clearly there is love
• 7:39
  for these you know, giant budget you know, game based features, and
• 7:45
  we can see that you know, not necessarily game based, but Masters of
• 7:47
  the Universe, the yeah, similar style. It's like, well, clearly,
• 7:56
  these these style of films are really working. And so we're diving back
• 7:59
  into some of our previous releases and how we can create the collectors edition versions
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  and trying to do everything, trying to do more releases in the four K
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  as that becomes more of a standard. But yeah, it's it's it's growing
• 8:13
  from what we can see, and there is no stopping us at the moment.
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  We had sort of initially planned for sort of two collectors' edition style releases
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  at the vein in the same vein of Super Mario Brothers a month, but
• 8:28
  looking at the schedule, it's like turning to be like five or six a
• 8:33
  month, just because the amount of content that we've got coming in. One
• 8:35
  of the big things for us is, you know, having the option for
• 8:41
  the international stuff like Super Mario Brothers, Master the Universe, Tank Girl,
• 8:45
  but also ensuring that we can you know, respect and restore and remaster the
• 8:50
  Australian content because that's always sort of been our bread and butter, and you
• 8:54
  know, that's how we've started, and we really want to ensure that we're
• 8:58
  you know, supporting the filmmakers that you know, we know and love and
• 9:01
  have been supporting us for so long, so you know, been doing a
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  lot of restorations throughout the years, I think we tend to do about fifteen
• 9:11
  to twenty Australian film restorations a year, and that's yeah, blowing up even
• 9:16
  more lately because the more restorations we do and the more re releases, more
• 9:22
  producers and filmmakers come out and say, oh, can you do my film
• 9:24
  next? And that sort of leads into our new release distribution when because yeah,
• 9:31
  the company works across sort of new release films and library films and physical
• 9:35
  and theatrical and a mixture of everything across Australia and New Zealand, it's like,
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  well a filmmaker wants us to, for example, work on their original
• 9:45
  film, we always check in, oh what's happening, what's what? Are
• 9:48
  you working on anything new and see how we can support them. So we're
• 9:50
  constantly having conversations with the likes of Sean Burn when we did Devil's Candy and
• 9:58
  he's got a new film he's worked looking on and we chatting with Zach Hilditch
• 10:03
  because we've got his new film. He had these final hours seeing what we
• 10:07
  can do with that. So it's an ongoing cycle. Really, it leads
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  it well, you may have addressed only that I wanted to talk about ARI,
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  but I mean it's you're talking to a couple of physical media devotees here.
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  I mean, Dando's got a huge wall of discs and Blue rays.
• 10:22
  My house is essentially made out of discs and Blu rays at this day.
• 10:26
  I mean, having said that, it's kind of tough times for physical media
• 10:30
  in a lot of ways, and I'm wondering if and when Umbrella sort of
• 10:33
  started feeling a shift or a bit of a sea change, and how you
• 10:37
  guys decided to address that. Yeah, well it was pretty clear obviously during
• 10:43
  COVID, I'd say Umbrella. So my dad sat up Umbrella in two thousand
• 10:48
  and one, and I've been sort of working with him since about twenty fifteen
• 10:52
  twenty fourteen, and now he's still around but sort of taking a bit of
• 10:56
  a step back. But it was duringing COVID where we sort of did a
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  bit of an internal restructure at Umbrella, sort of took a step back and
• 11:07
  wanted to focus and realize what do we want to focus on? And at
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  the end that it really came down to focusing on sort of local filmmakers and
• 11:15
  local content. And one strength that we always had was the significant library and
• 11:22
  right now, we represent about I think it's almost fifteen hundred films and TV
• 11:26
  shows that we represent Australian and New Zealand distribution rights for. And what we've
• 11:31
  been growing is acquiring rights for our World Sales catalog and so actually representing the
• 11:39
  world rights for a lot of films, and that catalog's about four hundred Australian
• 11:43
  films and TV shows and so that became a sort of unique proposition that we
• 11:50
  had and something that we wanted to grow. And so when you're seeing you
• 11:54
  know, certain films like Brian Trenchjard Smith's Catalog Man from Hong Kong and things
• 11:58
  like that with distributors in the UK and US, we've facilitated and work with
• 12:03
  those deals dead in driving exactly and so we were, you know, we
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  support that and for us, it's about, you know, while we try
• 12:13
  to do all the things that we can in Australia and New Zealand, it's
• 12:16
  also about getting them out around the world because it's different audiences, different ways,
• 12:20
  and each company, you know, has different ways of operating. And
• 12:24
  although we are sort of direct competitors with companies like Second Site and Arrow and
• 12:33
  Shout Factory and Criterion. We're also all really close with them and we're constantly
• 12:37
  going back and forth and talking to them. Yeah, it's not like we're
• 12:41
  all, you know, fighting each other. We also operate in different ways
• 12:45
  and different territories and try to partner up on different releases, so it is
• 12:50
  something it's quite a bit of a family in the way we sort of operate
• 12:54
  and all chat to each other. It's it's really great, but yeah,
• 12:58
  I mean during COVID there was a a bit of a shift. Obviously,
• 13:01
  everybody was working from home and nobody going to the cinemas, so we had
• 13:05
  this library that became really appealing because no new films are being made, and
• 13:11
  really what we were seeing was a pretty big increase in physical media, which
• 13:16
  was great through the likes of JB Hi Fi and Sanity, but we knew
• 13:18
  that wasn't going to last. That was all going to sort of die off
• 13:20
  after COVID, And what we were noticing is that we wanted to have the
• 13:26
  option to bring more of an audience directly to Umbrella, not having to be
• 13:33
  so reliant on retail stores to sell the DVDs, And that's where we started
• 13:39
  working on what would be a sort of unique proposition that people would have to
• 13:45
  acquire a certain version from Umbrella compared to what would be the standard version in
• 13:50
  retail, and that from there grew on. I mean, I think one
• 13:52
  of the first releases we did was Martyrs. If you guys got your hands
• 13:58
  on that one, yeah, yeah, I had to wash my hands after
• 14:01
  I got my hands on my very very nasty, extreme French horror movie for
• 14:07
  those unaware, Absolutely and like an incredible movie. But that was clear from
• 14:15
  that unique proposition that we put together for that collector's edition that there was an
• 14:20
  audience here that we could sort of target, And so we started trying out
• 14:24
  various other ways to promote them and what we could include in the collectors releases
• 14:30
  and you know, what special features we could put together. And the special
• 14:33
  feature side is something that we've always known and something that we always wanted to
• 14:37
  support and adding more you know, special features to discs, getting interviews,
• 14:41
  whatever it is. But then it was like, all right, how can
• 14:45
  we even broaden this out? Can we add books in there, or you
• 14:48
  know, you know, alternate cuts is always a big one. Can we
• 14:54
  restore and remaster certain things? And with Mario Brothers, we were the we
• 14:58
  found some It was the it's on somewhere there. It was like all the
• 15:03
  hidden it was like a hidden cut and deleted scenes that we'd found from the
• 15:11
  original Blu Ray release and we were the only ones in the world that had
• 15:13
  that, and we knew, okay, there's something more that we can do
• 15:16
  here. So it's a lot of It takes quite a bit of time,
• 15:20
  you know, with my team looking out and just sourcing what's out there that
• 15:22
  might have been missed from previous releases, and how can we make something that's
• 15:28
  unique for the world. And that's really what it came down to. It's
• 15:31
  not just servicing Australian and New Zealand customers, but servicing the world. And
• 15:37
  then it came down to, you know, what are the content that we
• 15:39
  can get and sort of trying out. You know, it started to be
• 15:43
  sort of one release a month, and now, as I said, it's
• 15:46
  about five or six physical releases a month. And now the website and the
• 15:52
  sales that we get through the website are the lead for us, whereas retail
• 15:56
  is second. It used to be sort of servicing retail was the priority and
• 16:00
  the website was second to that. Now it's complete other way around. You
• 16:03
  know, we're servicing customers directly through our website and retails, just sort of
• 16:07
  the cherry on top. What would be your favorite kind of special feature on
• 16:11
  physical media? Yes, I know there is a lot of people who are
• 16:21
  the commentary people. I'm a big fan of the behind the scenes just in
• 16:25
  terms of, you know, if it's done right, a bit of a
• 16:27
  featurette in terms of how it was made. I also love, you know,
• 16:32
  the featurettes where they go back twenty years later, thirty years later to
• 16:36
  revisit. We're currently working on one of them. We've just sort of finalized
• 16:41
  it for Wake and Fright. We're doing a four K restauration Wake and Fright,
• 16:45
  and Yeah, I think the team are going to go the whole nine
• 16:48
  yards in terms of the Collector's edition, you know, putting a lot of
• 16:52
  effort into lots of different promotional items. Yeah. One thing that we've we'd
• 16:56
  love to explore more is like we did with Talk to Me, the actual
• 17:00
  hand that we put together for that release. Trying to actually do physical products
• 17:06
  that can be a bit tough sometimes, but you can't really do it with
• 17:08
  something like Super Mario because Nintendo are just going to chase you. But other
• 17:15
  releases, you know, with the right approvals, we can put together actual
• 17:18
  physical collectors memorabilia sort of thing. We made a little pig for razorback,
• 17:25
  for example, which was a lot of fun, and yeah, keen to
• 17:29
  continue doing more of that. Ari are there any sort of title acquisitions or
• 17:34
  special features that Umbrella has developed that you're proud of solble that maybe sort of
• 17:40
  got really really positive feedback from consumers. I mean Super Mario Brothers was,
• 17:45
  Yeah, one of the big ones. Everybody's super stoked about that, and
• 17:49
  it's we're all super proud of what we've put together. It was such a
• 17:55
  you know, extensive release and so many different hands and people helping us,
• 18:00
  which is just fantastic. But you know, until it actually gets into the
• 18:03
  consumers' hands, you know, there's it's always unsure about how things will be
• 18:10
  taken on board. But we're feeling pretty confident about Super Mario Brothers. But
• 18:14
  I think look from the Australian side of content, that's really where we're most
• 18:18
  proud of. You know, representing the essentially the biggest library of classic Australian
• 18:23
  films and TV shows in the world is something that we're super proud of and
• 18:27
  really we've never gotten any government support for that. It's really been all on
• 18:33
  our own position and how we can support the filmmakers. And really it's filmmakers
• 18:41
  like old you know, directors and producers who haven't seen a dime on their
• 18:44
  films fifty years and now we're getting them a bit of a retirement fund after
• 18:49
  re releasing. So that always brings, you know, a happy smile to
• 18:52
  our face and exploring, all right, well we did this film, what
• 18:56
  other films do you guys own, and what else can we bring to life?
• 19:00
  And especially some of the small hidden gems that are you know, old
• 19:03
  TV movies from the eighties that you know, haven't been even seen since the
• 19:07
  eighties or may have had a VHS release at one point. That's always super
• 19:11
  exciting to us to see what audiences think about those films. Oh god,
• 19:17
  you've just got me thinking. There was I'm showing my age here, but
• 19:19
  there was made for the ABC Sci fi limited series that ran in like nineteen
• 19:26
  eighty called Time Laps, where you know, this guy got cryogenically frozen and
• 19:30
  work up in the Brave New World of like nineteen ninety two. But I
• 19:34
  just remember thinking, oh my god, this is the ship, and I'm
• 19:37
  looking everywhere on the internet for It's like, surely someone's got a yanky VHS
• 19:41
  rip that they put up on YouTube. But no. So I know,
• 19:45
  I'm glad that you guys might be on the case with something like that.
• 19:48
  Yeah, well, we can certainly look into that time lapse nineteen eighty.
• 19:52
  I found it on IMDb. All right, hopefully I can come back to
• 19:56
  you with some good news. Imagine that it just made it happen. I
• 20:00
  just manifested it. We're talking a bit about physical media here, Ari,
• 20:03
  but you guys are of course taking a leap into the brave new world of
• 20:07
  streaming as well. Can you tell us a bit about Brolly, a bit
• 20:11
  about what sets it apart and what kind of programming and I guess what kind
• 20:14
  of maybe other features you would like that to have as well. Yes,
• 20:18
  so Brolly was you conceived also during COVID, you know, realizing that we
• 20:26
  have such an extensive catalog, as I've mentioned, which really wasn't being utilized
• 20:30
  on certain platforms. We deal regularly with Netflix, Stan, ABC, SBS,
• 20:37
  Foxtel whoever it is in Australia and New Zealand, but they're not always
• 20:41
  going to take certain classic Australian films. They you know, look at the
• 20:45
  films that have the stars like Two Hands with Heat Ledger, you know,
• 20:51
  all those ones are consistent sellers, but it's all the small films that don't
• 20:55
  really get touched and also within the library. And so Brolly was just conceives
• 20:59
  our out of that idea where we wanted to make these films widely available for
• 21:03
  an audience. And look, it took a few years to get there,
• 21:06
  but we launched in November and you haven't only did a simple publicity launch and
• 21:11
  already have had to twenty thousand subscribers sign in and start watching. And so
• 21:17
  we're going to start our full paid media campaign in the next I think around
• 21:22
  April to really bring it home. But the idea behind Brawley was really to
• 21:27
  service this giant library that we had and then start externally licensing a bunch of
• 21:33
  content, again focusing on Australian stuff, but also anything genre leaning, anything
• 21:38
  that we felt would work through our curation side. And so we got a
• 21:42
  curator who's been a programmer at various festivals around Australia and the world, he's
• 21:48
  the one putting together the various collections, so allowing the sort of highlight of
• 21:53
  different ideas and concepts into the packages for people to watch. So, you
• 22:00
  know, one of the things we always talk about on the streaming side is
• 22:03
  just the scroll fatigue that you can get where you're not sure what you want
• 22:08
  to watch tonight and not sure what there is to watch tonight. So actually
• 22:11
  having somebody highlight that for you and bring in a reason sort of start a
• 22:17
  conversation is really important. And we're going to have everything sort of directly linked
• 22:21
  to Letterboxed, which was another opportunity that we thought and so working closely with
• 22:26
  Letterboxed in our campaigns is something that we're planning. And then separately to that,
• 22:32
  we set up a podcast called Sunburnt Screens, which is hosted by a
• 22:37
  guy called Lexi Toleopolis, a comedian and an interviewer and he's just a giant
• 22:42
  film whisperer who loves to chat about all things Australian films and he's there talking
• 22:48
  with a lot of the different filmmakers and talking about the films that we have
• 22:52
  on BROLLI. So linking it all together back to umbrella making it available.
• 22:56
  Really just inviting new audiences to come and find and understand that there are these
• 23:03
  hidden gems and films like Road Games with Stacy Keach and Jamie Lee Curtis.
• 23:11
  People would have no idea about that film or that. You know, there's
• 23:17
  what's his name in The Man from Hong Kong where there's two people fighting on
• 23:22
  Ularu. I mean that that's just never going to happen again. It's like
• 23:25
  a martial arts scene on ularus. It's pretty incredible. And yeah, some
• 23:30
  crazy action films that are just not going to be made again, and so
• 23:34
  pairing them up with like a Texas Chainsaw massacre or Reanimator so that there are
• 23:41
  those sort of opposing audiences that can be reinvite, you know, reinvigorated really
• 23:45
  to explore new content. That's that was sort of the idea. That's the
• 23:49
  thing. If you liked Fast five, you might like Midnight Spares. Yeah
• 23:53
  exactly that I mean very different, but yes, they both got cars in
• 23:59
  them. Should we talk about the Simpsons for a while, this is a
• 24:03
  Simpsons team podcast. We probably should, although I could very easily geek out
• 24:07
  about mergers and acquisitions all day. But why Homer bad man, Yeah,
• 24:14
  I think I don't know. I've always had a bit of a love.
• 24:15
  That was just the first when you guys reached out to me. That was
• 24:18
  the first episode that came into my head. So I think that was That's
• 24:22
  the reason why. And I've always had a love for that episode. No,
• 24:26
  Actually, I rewatched it this morning and it's still it's just it's great
• 24:30
  and I'm watching and I'm going, wow, you know, Home is getting
• 24:33
  me tooed here, So it seems like it's still pretty relevant and works really
• 24:40
  well. It's Yeah, I had a lot of fun with that episode.
• 24:42
  I didn't know whether they the approach they took felt like it was written by
• 24:45
  men because they portrayed a lot of it was a pisstake of tabloid meaned,
• 24:51
  but the women were portrayed all that well in this and that they sort of
• 24:52
  just went crazy and then realized, oh, we should have listened first,
• 24:56
  and it's like, oh no, but this it seemed like everyone when crazy
• 25:00
  or everyone you know, it was rock bottom. Yeah, I had an
• 25:03
  opportunity to further their own agenda just by taking shots at Home. And whether
• 25:07
  it's yeah, the guys at rock Bottom or the the Gang of protests outside
• 25:12
  the house. For me, I mean, we'll talk about this a bit
• 25:17
  more when we reviewed the episode down, But for me, this episode really
• 25:21
  just did so many things well that The Simpsons did well or does well when
• 25:26
  it's firing on all cylinders. I mean, it's got really sort of dumb,
• 25:29
  silly humor that everybody could get. It's got like gags where you might
• 25:32
  I might have to hit the encyclopedia. I might have hit Wikipedia for that
• 25:34
  one, just to sort of get the reference or I understand exactly what they're
• 25:37
  talking about, or get the nuance of it. Terrific guest. I just
• 25:41
  love the Dennis Friends of course, would play Homer in a teleymovie. Has
• 25:45
  so many great things about this episode. Yeah, it's just amazing. What
• 25:48
  about you, What are some of your favorite moments ari from this one that
• 25:52
  you can recall. I mean it's like the German guy introducing the gumming stop
• 26:00
  saying gummy exclusively in the medium of gummy. Yeah, and obviously like the
• 26:08
  little action sequence as he smashes the pop rocks with the soda candy boys.
• 26:15
  Yeah. When did this episode? It would have been in about ninety five,
• 26:22
  Okay, Yeah, so it's right in the midst of that cool guy's
• 26:23
  walking away from explosions things as well. Yeah, I think I really enjoyed
• 26:30
  just the rowdy, roddy peeper aspect. I think just rock Bottom in general.
• 26:33
  Yeah, that's got all that whole tabloid aspect. I mean it was
• 26:36
  pretty massive in America definitely back then. I think I take off of Hardcam
• 26:40
  or something hard copy, hard copy, yeah, yeah, yeah, but
• 26:42
  I mean having Harry Shearer do the voice for that guy, he's just he
• 26:45
  was built in a lab to do that kind of thing, to do that,
• 26:48
  to voice that kind of character, that kind of host. I just
• 26:51
  love that this was written by Greg Daniels as well, that's right, Yeah,
• 26:55
  a co creator, a creator of the US remake of the Office,
• 26:57
  so cready, I think the create He also did King of the Hill as
• 27:00
  well. Oh yeah yeah and movies as well. You know, yeah,
• 27:04
  like he's a great dander is an absolute legend. But yeah, you can
• 27:07
  just tell I watched his thinking it might have been a Swartswelder one just felt
• 27:10
  very swar Swoader esque episode. But do you think Homer was a bad man
• 27:12
  in this episode? No, just misunderstood who among us has not reached out
• 27:21
  for a sweet candy tree. Yeah. Actually, I think that's that's one
• 27:26
  aspect. I did really enjoy the fact that it's one of Homer's worst traits
• 27:32
  that gets him in trouble. But yeah, I mean he's still he's a
• 27:36
  bad man in sense of like he's just a glutton. It's bad dad and
• 27:40
  a bad dad in the lottery guards. But I mean Bart and Lisa believe
• 27:42
  him the whole time. They have full trust. Yeah, why did you
• 27:47
  pause there for a second. But no, not a bad man, no,
• 27:51
  no, just yeah, a victim of circumstance, he might say.
• 27:55
  So it starts off with Bart and Lisa picking through the the cereal, picking
• 27:59
  them up shallows that were like that are when you were growing up. I
• 28:00
  mean, how are you in your thirties, twenties, late twenties, late
• 28:06
  twenties, Yes, he's still you were a kid in the nineties, so
• 28:07
  ish, like the early two thousands, so you still had the cereal that
• 28:11
  used to have the mascots and the cards and there and stuff like that.
• 28:12
  I was a big fan of fiended that were you a fan of all that
• 28:15
  kind of stuff? Really? I think I got my first age of vampires
• 28:21
  yeah, good times. Would you what it was you when you were growing
• 28:29
  up? Look, did you have like mascots in the cereal? Usually cricket
• 28:30
  players, right, cricket cards and ship like Yeah, things like jazz musicians,
• 28:36
  World War two veterans. I'm sure I've mentioned on one of our shows
• 28:41
  in the past. There was Peters Burro out this ice cream called Sunday and
• 28:45
  I had these tiny little marshmallows in it, and yeah, much like much
• 28:48
  like Bart with this cereal, I was going through going these marshmallows are so
• 28:51
  I mean, it's surrounded by ice cream, which isn't bad either, but
• 28:53
  I'm like, the marshmallows are the real fine. You know, anyone else
• 28:57
  would go to it and go, why are there no marshmallows and the Sunday
• 29:00
  ice creamed? But then Herber tells me about the trade show and he got
• 29:07
  the on the tickets from the Krusty Clump Bars. This reminded me of the
• 29:11
  one and six Mars Bar promotion from years ago. Remember that you used to
• 29:15
  be able to feel the rapper and tell whether you want to free Mars Bar.
• 29:18
  Did you ever work out that trick? Yeah? I remember there was
• 29:22
  a lot because they had a few different competitions with you know, a lot
• 29:23
  of the chocolate bars, but I do remember there was the Mars Bar one.
• 29:26
  Yeah, but I don't know if we'll I knew about the trick,
• 29:30
  yeah, so you could feel the rapper and see what it said, free
• 29:33
  Mars bar, and not like I'll take this one, so thank you.
• 29:34
  But I remember. So you're literally out there mangling merchandise. But it's weird
• 29:41
  because funny, I've got a funny memory. I just played golf a lot
• 29:42
  of my dad growing up, and he used to play camp on a Saturday
• 29:45
  morning and all the oldies be out there playing camp, and I'd always get
• 29:48
  themselves a Mars bar, and they didn't know about this one and six promotion,
• 29:51
  so that it was like go after the competition and as you get to
• 29:52
  each holders, look at the top of the bin and to be always Mars
• 29:56
  Bar rappers, you'd be like free Mars Bar, free Mars Bar, free
• 29:57
  Mas Bar. And it got to the point where they got the clubhouse,
• 30:00
  was like, you can't claim any more Mars Bars here because I'm not gonna
• 30:03
  have any left. So I stopped rifling through are making the place look like
• 30:07
  red was the hobby. Was the Krusty Klumpbar? Was that? You know?
• 30:12
  Was that in more episodes? I don't think so, it's just just
• 30:17
  for this one. Yeah. I love how they keep putting k's on crusty
• 30:21
  merchandise. I mean, it's what it's a it's a gig that doesn't really
• 30:23
  fly these days. But was it the Krusty Comedy Coat classic? Oh oh,
• 30:32
  that's a bad acronym, so in one of those. Don't call me
• 30:38
  a chick? Chicks huh? Sorry about my unenlightened brother. He will make
• 30:44
  the next few hours a living hell. Oh I don't know, see this
• 30:48
  fart. Disembell are for the game where condemned criminals dig at each other with
• 30:55
  rusty hooks, do a little housework, and you can play for five minutes.
• 31:00
  Way, Yes see, Lisa Nails aren't hard to tame. They all
• 31:07
  follow their video cutuge. She brings out the game Disembowel of four. What
• 31:12
  was your game of choice growing up? Ari? Oh, that's probably Grand
• 31:15
  Theft Aldo Okay, yeah, which one? Though it would have been JDA
• 31:19
  three around that time. Yeah. Excited for the new GTA absolutely, yeah.
• 31:26
  I was a big fan of five, But I think San Andreas has
• 31:29
  a special place in my heart. I think that's the one. Yeah,
• 31:32
  we all sort of have a soft spot for. Are you much of a
• 31:33
  gamer? I'm not here. Yeah, still like on and off, you
• 31:38
  know, with the right sort of things. I used to be playing a
• 31:41
  lot of online games called Judy et cetera, but now it's more single player
• 31:47
  stuff. Did you ever play Simpsons Hit and Run? I did. I
• 31:48
  was a huge fan of a great game, that is. Do you think
• 31:52
  of all the things that gets remastered, how can you not be remastering this
• 31:56
  game or like making a secret at least? Did you see somebody had I
• 32:00
  saw something on YouTube maybe a year ago. Somebody had redesigned the whole of
• 32:06
  Simpsons Hit and Running and like I forgot, Yeah, a new design.
• 32:09
  Yeah, like a high death version of it. Yeah, it's incredible.
• 32:13
  I think you're not getting paid for it, but you know you didn't because
• 32:15
  he's a fan. He loves it. Yeah, that was awesome. I
• 32:17
  remember always trying to get the Homer car. Yes, yeah, ad this
• 32:25
  episode airing in ninety five. I mean, this is right smack in the
• 32:29
  middle of the like more combat e as well? I mean, and like
• 32:31
  growing up when I was playing. It was late late ninety four. Yeah,
• 32:36
  yeah, I mean I'm essentially playing Space Invades and pac Man, which
• 32:38
  are completely sort of bloodless. Then you get to someone where you get to
• 32:43
  rip out someone's heart, We'll set them on fire. It's like, oh
• 32:45
  hot, damn, this is the best video game of all time. But
• 32:50
  I just got here in my notes that this is me but with a Blu
• 32:52
  ray with a good commentary, Like, that's how you get me. What's
• 32:59
  one thing I feel like with streaming now I miss the most is it's the
• 33:01
  special features. Right, So like I for example, the Simpsons, right,
• 33:05
  they got all the Simpsons episodes on Disney Plus. But one of my
• 33:07
  favorite things about the Simpsons DVDs with the commentaries. That's one of the reasons
• 33:10
  why I just brought those DVD's was just for the commentaries. And you think,
• 33:14
  why not put those commentaries on there? Would you know why they would
• 33:16
  not? Is there a legal reason they might be not putting on there on
• 33:20
  the streaming the streaming service? Yeah? Is there something Brollie could do?
• 33:23
  Absolutely with our collections, at least on Brolly, we're trying to add more
• 33:28
  special features and also add the audio options. For a commentary. But I
• 33:32
  think one of the reasons they aren't on certain streaming platforms from a studio perspective
• 33:37
  is that they aren't necessarily they're not directly related to the film, in which
• 33:42
  you've got other people all talking about the film, but the studio might not
• 33:45
  want certain representation through whatever they're talking about because it's That's the only thing I
• 33:52
  can think of, because sometimes there's a disclaimer at the start of commentaries where
• 33:58
  it says, like, the people in this audio commentary and not represented.
• 34:00
  This man does not represent us. Yeah, it's usually when anold Schwartzenek is
• 34:05
  doing a commentary. You'll listen to his ones with I've never heard a Swortsnawr
• 34:12
  commentary ever. I didn't notice he did them. He did one for Total
• 34:15
  Recall, and I think he did one for Conan. Holy shit, I
• 34:16
  have to hear this, and I think the one with the one for Total
• 34:22
  Recalls has as him saying hello, I'm Paul Verhoeven. And if you believe
• 34:27
  that, you believe there are Richard Simmons Junior's running around. It's like Jesus,
• 34:35
  oh it's white. Because I always just thought it would be the easiest
• 34:37
  special feature to put on a streaming service would just be the audio commentary,
• 34:40
  have an alternative tracking the audio track. On one side, you know,
• 34:45
  we're sort of thankful that doesn't happen. Yeah, I mean the Simpsons.
• 34:50
  But otherwise, you know, it gives it that unique proposition for for us
• 34:54
  in terms of creating new commentaries. Yeah, I think we always try to
• 34:59
  low on as many different commentaries as we can, and you know, either
• 35:02
  with where the filmmakers are at now setting up a new commentary, but it
• 35:07
  is it is a bit tough for a lot of people and they're like,
• 35:10
  oh, you know, another commentary. But then new filmmakers sort of dive
• 35:15
  at the opportunity. They can't wait to do a commentary for their film because
• 35:20
  it's you know, it's quite a bit of a lost art chance to revisit
• 35:22
  as well. Then there in creation, Yeah, I imagine you would have
• 35:25
  guys like the Raca Raker boys who probably grew up on commentaries as well,
• 35:30
  and they're like, yeah, we'd love to do something like that and probably
• 35:34
  grew up in the golden age of commentaries too. Yeah, we were almost
• 35:37
  not going to have their commentary on Talk to Me, because I think there
• 35:43
  was so much that had to be cut out because they were just rambling and
• 35:49
  swearing a lot that the producers weren't too happy with it and needed to prim
• 35:52
  it. There was certain things like that where it almost didn't make the deadline,
• 35:57
  but we got got it there in the end. So do you find
• 36:00
  do you prefer to get the filmmakers doing another commentary or just sort of like
• 36:04
  fans given a fan perspective of commentaries, or do you like to a bit
• 36:06
  of both. We always prefer the filmmakers, especially if it's been a long
• 36:10
  time between them having made an initial commentary for the release, but it sometimes
• 36:16
  can be great to have actors or directors paired with an interviewer or some sort
• 36:22
  of scholar or somebody who can represent the film. What we found with you
• 36:28
  know, certain films like Wake and Fright, it's like Scorsese is like a
• 36:32
  huge fan of the film, so trying to see what we can do with
• 36:36
  him and so many other filmmakers. There's a filmmaking doer Justin Benson and Aaron
• 36:40
  moorehead you know really well. They did The Endless and Something in the Dirt
• 36:45
  Synchronic and they just recently did the whole Marvel series Monight, Yeah, Moonnight,
• 36:52
  and so we know them really well and they're huge fans of Waken Fright,
• 36:58
  so you know, seeing how they can support it, whether they would
• 37:00
  do a commentary on Awake in Fright. It's always a cool option to hear
• 37:05
  from different filmmakers and how it even inspired them to their work. Yeah,
• 37:10
  it's a cool addition. You're also finding there's a bit of a rise of
• 37:15
  academics or just super fans who are really articulate when it comes to commentaries as
• 37:21
  well. I mean in Australia, I think we've got Alex Heller, Nicholas
• 37:24
  Good made of my name, O Westwood has done a fair fe I mean
• 37:28
  in the US you got Tim Lucas. In the UK, I got Cat
• 37:30
  Ellinger. I often find that I'll get a commentary or get a disc just
• 37:35
  to hear their commentary. I mean, I may be sort of so so
• 37:37
  on the movie. I'm like, I know they're going to have some really
• 37:39
  valid and interesting things to say about this. No, absolutely, there are
• 37:44
  you know, more coming out, and it's so exciting when we find somebody
• 37:49
  new that can provide a whole nother aspect. And Alex Heller Nicholas is just
• 37:52
  so fantastic at that she's really great and such a supporter of Australian sort of
• 37:58
  films and unknown Australian films. But what we do sort of how we actually
• 38:04
  put it together, is that we get different sort of curators. To an
• 38:07
  extent, we call them sort of blu ray producers, and sort of one
• 38:10
  or two people might be in charge of Super Mario Brothers for example, or
• 38:15
  certain films, and they sort of go off and try to put together and
• 38:20
  put a proposal for what the whole package should look like. And some of
• 38:23
  them have different contexts. And these are not just in house Umbrella people.
• 38:28
  These are people from all over the world. And some of these are programmers
• 38:31
  at Fantastic Versts and south By, you know, people who have worked closely
• 38:37
  with Arrow and Shout. It's all as I said, it's all a bit
• 38:40
  shared and they're working on this Arrow release but our Umbrella release. So yeah,
• 38:45
  it's a lot of back and forth with them, but we sort of
• 38:47
  give them the opportunity to drive it and how they want to see, you
• 38:52
  know, it being curated. And so there are sometimes people who specialize in
• 38:57
  Asian cinema and they'll handle our Korean really is for example, dream Job.
• 39:04
  But enough about that, let's let's go back to the I just want to
• 39:07
  ask, so, with other companies that have rights of films that you may
• 39:09
  want rights to, is there any opportunities where you can go, Look,
• 39:13
  we'll give you the rights of these two if you give us that one.
• 39:15
  Yeah. Absolutely, That's happened a few times, yes, like a draft
• 39:19
  swap. Yeah, yeah, yeah, absolutely, Yeah, it does happen
• 39:23
  a lot. To put it simply, And at the moment, we're also
• 39:27
  working, you know, with because we try to be the first one out
• 39:30
  in the world. That's always like the aim for everyone. So it is
• 39:34
  a bit of like, you know, how can we share and collate and
• 39:37
  work together? I know with The Raid. At the moment we're working on
• 39:42
  a rerelease of The Raid. We're working with Gareth Evans and he's been super
• 39:45
  helpful giving us all this exclusive material. But does the box look like the
• 39:50
  Tower? Yes, because that's just got a four K release. Yeah,
• 39:57
  I'll cut that the four K release in the US or the UK just recently,
• 40:02
  is that right? I got a yeah, four K release in the
• 40:07
  US, I think by one of the studios I think it was Sony,
• 40:08
  so they just did the sort of standard four K release. But where we're
• 40:13
  really going to town on this one, and the box is the is the
• 40:16
  building? Okay, because that's the thing I mean even just buying I mean
• 40:22
  saying getting a new release on four K is good, but it's like you
• 40:25
  could juice it up a bit. Guys. Well, I just find sometimes
• 40:29
  I'm not talking about umbrell, I'm talking about the studios when they the release
• 40:31
  of movie Insto, Like you know, a couple of trailers and things,
• 40:34
  and you're like, there's why aren't you putting shit on there? Because the
• 40:37
  thing is I think that's why physical media kind of died down was that people
• 40:39
  weren't willing to fork out that extra money. If it's just like, well
• 40:43
  I can just subscribe to Disney Plus and get the same thing, what's the
• 40:45
  point in buying the physical media. But that's why I love with what you're
• 40:47
  doing with your release. Is like the Super Mario one, you're holding it
• 40:50
  before this big chunky box. You look at it, and it's you can
• 40:53
  justify dropping money on that. Absolutely, Yeah it is. Yeah, it's
• 40:58
  And the thing is with these title when we I guess people don't really know
• 41:02
  this as well, that when we license it to a Netflix or a Stan
• 41:07
  or a Foxtel or whatever it is, that license usually lasts about one or
• 41:12
  two years and then it has to be renewed, and that can only be
• 41:15
  renewed if they're happy with the audience statistics that we don't get to see at
• 41:20
  all, how many viewers, et cetera. And if it doesn't get those
• 41:23
  views, that it won't go back up on that streaming platform. And then
• 41:28
  also the rights who from the people we've acquired the rights from. It's not
• 41:31
  always the producer of Super Mario Brothers, it's another company, and that company
• 41:37
  may have then not got those sales results that the producer expected, so it
• 41:42
  doesn't end up with them again when it's re licensed, and then it goes
• 41:45
  back to the producer and they need to find and so it's like this whole
• 41:49
  process where films can disappear and they can go off platforms for years and years,
• 41:53
  I mean. And so that's where if you buy this one physical addition,
• 41:59
  you'll have it forever. It is not guaranteed, even if you pay
• 42:02
  for it on iTunes and Google. Unfortunately, if our license runs out,
• 42:07
  we have to take it down off iTunes and Google, and even if you've
• 42:10
  paid for it, I don't think it stays up there. I don't know,
• 42:15
  so your rental as opposed to paying to own it. If you're paying
• 42:17
  for it, I think if it actually gets fully taken down and they remove
• 42:22
  it off the site, I don't think you actually get to keep it.
• 42:24
  See that's a dark future. It's very different for me because I went off
• 42:29
  physical media for a little while. I know, a couple of years ago.
• 42:30
  I'm just kind of like, ah, maybe just kids and money and
• 42:34
  just couldn't afford it. And then because the kids were run into Space Jam
• 42:37
  right and it was on Netflix, and Netflix are like it's going to be
• 42:39
  gone soon. I was like, that's okay, Wait a minute, I
• 42:42
  don't own Space Jam. What am I going to do? And then I
• 42:45
  just realized, wait a minute, that's going to happen to so many movies
• 42:47
  that I love, that they're just going to be taken down and I won't
• 42:50
  be able to watch them anymore. So it's time to start buying again.
• 42:52
  Yeah, and I think I remember Space Jam was like a pretty hot Blu
• 42:55
  ray at the time. I don't know if they did a re release,
• 42:59
  but I remember looking into it a while back because a lot of the time,
• 43:02
  yeah, oh okay, they've done the four K now, But I
• 43:05
  remember a lot of the time for me because I'm a massive collector. I
• 43:07
  have about fifteen hundred Blu rays and four k's myself. But it's like I
• 43:12
  would notice that there are certain titles that I don't have in my collection,
• 43:15
  and I'd look on eBay and it's like they go for four hundred bucks or
• 43:17
  something, and I'd be like, all right, let's just try to license
• 43:21
  the rights for Australia and New Zealand do our release and I can float it
• 43:25
  out my well, are you going to do a special box? Let me
• 43:28
  know I would certainly buy it. Yeah, all right, we'll see what
• 43:30
  we can do. What's what's there's no chance of ever having a Simpsons release,
• 43:35
  is there, even like the Tracy Olman shorts or anything like that,
• 43:37
  because they've never had a physical release. Yeah. I think the thing is
• 43:42
  that Disney one of the toughest to work with. See, sometimes there are
• 43:46
  certain studios that we can license content off, especially physical releases, physical rights,
• 43:53
  but there are some of the studios that just notoriously are impossible, and
• 43:59
  unfortunately The Simpsons is one of the you know, the hottest properties for them
• 44:04
  with Fox and Disney, and I don't think they'll ever externally license it,
• 44:07
  at least of the time being. But you would think at some point they
• 44:10
  would do some giant Simpsons box set. Yeah, I don't understand when they
• 44:15
  never released those the Olmond shorts. Maybe they're embarrassed by them. I have
• 44:19
  no idea. Yeah, I don't know exactly, or it's just hidden in
• 44:22
  some archive where you know, it's just not a priority. Really, that's
• 44:28
  that's at the end of the day, and that's where we see a lot
• 44:30
  of the opportunity come from. It's that while it isn't a priority for so
• 44:35
  many other distributors and companies, at least in Australia and New Zealand, that's
• 44:39
  like such an opportunity for us where they're not doing anything with these rights,
• 44:44
  and you know, we can get them some returns and get the filmmakers happy
• 44:50
  again, getting their films out there, you know, actually giving some life
• 44:53
  to these classic films that remain untouched in a vault in their archive. Essentially,
• 44:59
  what was the hardest to get over the line that you can recall.
• 45:05
  I don't know. I know there's there's a few that were I mean,
• 45:08
  I guess I can say there's a few that we're still always in talks with.
• 45:13
  There are certain films that have just taken years and years and years,
• 45:19
  you know, one of them being Goes to the Civil Dead and if you
• 45:22
  guys know that, yeah, with Nick Cave, that is just like notoriously
• 45:28
  one that so many people have constantly asked for for such a long time,
• 45:32
  and we'd love to do it and we know that owner, but it's just
• 45:36
  it's just impossible to get there. There are others, but I'm too worried
• 45:42
  that if I tell you guys now, somebody else is my idea. Yeah.
• 45:47
  So, but it's a lot of the classic Australian stuff and like the
• 45:52
  really big titles that haven't had the proper blue blu ray release and HD release
• 45:57
  on physical and we're very close to a few may just I mean in a
• 46:00
  general sense, like the hottest of all the titles in my opinion is the
• 46:06
  Peter Jackson Trilogy, the original. Yeah, and they what is original like
• 46:13
  low budget stuff like Bad Taste to meet the Feeble. Bad Taste was in
• 46:15
  my mind. Yeah, yeah, yeah, so those like uh, you
• 46:21
  know, key titles from a lot of everyone in the world wants those titles,
• 46:27
  and luckily for us we have. We just recently hired a new head
• 46:32
  of sales and acquisitions for us in New Zealand and she's quite close with that
• 46:37
  with the Jackson team, so hoping that we can get there, but it
• 46:42
  is a long process and separately, you know, as I said, I'm
• 46:45
  quite close with Second Site and Shout Factory and they've sort of filtered offers through
• 46:51
  me to get to that trilogy for example. So it's a lot of navigating
• 46:55
  how that all operates. But there is a growing side of that library that
• 47:00
  we'd love to explore. Yeah. I remember in the nineties going to the
• 47:05
  video store and there's two covers that it has burned in my mind that does
• 47:07
  always intrigued me, and it was the Bad Taste cover and the Evil Dead
• 47:09
  Too cover with the skull just as the kid going, I have to watch
• 47:14
  these movies one day, and I think, yeah, I mean Peter,
• 47:20
  because Peter Jackson actually took all the rights back for those films, so he
• 47:22
  owns them himself, and obviously he is known for remastering and rescoring content with
• 47:29
  the Beatles get back and they shall not go old. So yeah, he
• 47:34
  runs. He has his own facility in New Zealand and has remastered a lot
• 47:37
  of content New Zealand films. So look, I'm not going to I can't
• 47:42
  say too much, but next year from Umbrella you'll start seeing a lot more
• 47:45
  New Zealand films added to our library, which we're super excited about. It's
• 47:50
  been one of the key strategies for US is to focus on not just Australia
• 47:53
  but New Zealand and sort of you know, representing for them for the world.
• 47:58
  But you may have seen as well, we did a partnership with Vinegars
• 48:00
  Syndrome in the US, so not everything goes through vinegar Syndrome. We're sort
• 48:06
  of selective about how we balance it out, but we want to give them
• 48:08
  more content as well. There's two eighties movies that I want an Australian release
• 48:13
  for and you're gonna laugh at me and I don't care, but it's Short
• 48:15
  Circuit and Mack and Me, the one that Paul rud always puts up on
• 48:20
  the Con O'Brian show. I want Mac and Me and Short circuit. They're
• 48:23
  both with Disney, so shit, really, yes, they have been requested
• 48:29
  many times, we have looked. I believe they're both with Disney. Feel
• 48:34
  free to cut this out down and this is just me geeking out. But
• 48:37
  you talked about Vinegars syndrome. Are you guys going to be releasing cemetry?
• 48:42
  Man? Here, they're the ones who are doing the big They did the
• 48:45
  big release of cemetry. Man, didn't they or was that someone else?
• 48:50
  I don't know, it might have been them. So the way the partnership
• 48:52
  works is actually us giving them content. Actually the other way around at the
• 48:58
  moment, but it is something we exploring. We're ruining his business for him.
• 49:04
  He's like, I can't answer these questions. I'm trying to give you
• 49:08
  stuff without giving too much. I'm trying to see because I've got our upcoming
• 49:14
  slate, and I mean I could probably give you a few juicy stuff of
• 49:19
  some titles that are coming through in the next few months. So we've announced
• 49:22
  Master the Universe, I mean next month. Yeah, like in the next
• 49:27
  week or two weeks, we're going to announce the Raid. We've also got
• 49:30
  Primer an Upstream Color if you know those films. We've got a bit further
• 49:37
  down the line, Harmony Korean's Trash Humpers, which should be a lot of
• 49:42
  fun. That is one dirty movie. What else that we're doing it a
• 49:47
  new release of a new early spell called Late Night with the Devil, which
• 49:52
  they just released the trailer in the US. It looks so fucking dope.
• 49:58
  Well, I'm happy to give you guys some tickets to the premiere if you
• 50:01
  have, get guys down there. Yeah, with that, we couldn't personally,
• 50:13
  so we'd love to. Yeah, with that one, we're planning a
• 50:15
  pretty extensive, full size release, you know, somewhat similar to Talk to
• 50:20
  Me. We're going to go to town with that one. I think,
• 50:22
  what else have we got, like back to some of the Korean stuff,
• 50:28
  Joint Security Area, some other Australian stuff, love and other catastrophes, dating
• 50:35
  the Enemy, and there's a few more I probably can't mention, but yeah,
• 50:39
  it's a it's a mixture of stuff coming through that. Yeah, with
• 50:45
  some studios that kind of just fell by the wayside of went out of business
• 50:47
  or whatever. Is there is there a catalog like a happy hunderground for you
• 50:51
  guys, I mean, or is it just too tied up in red tape
• 50:53
  because I mean, yeah, most of the universe of cannon production. I'm
• 50:58
  wondering if the Canon catalog is like, oh yeah, we could do Runaway
• 51:00
  Train, or we could do he smirked. There. I think it really
• 51:08
  depends. Sometimes when they fall over, they ended up they end up getting
• 51:14
  acquired by another company, and that can be sometimes just like a bank a
• 51:17
  holding company that don't want to do anything with it until they do the company.
• 51:23
  Yeah yeah, So like when that happens, we can't deal with them
• 51:29
  to acquire rights, they won't actually do anything, and so that becomes a
• 51:31
  bit of an issue. But it usually ends up somewhere. It's like,
• 51:37
  comes down to a lot of chasing and negotiating and sometimes, if we're lucky,
• 51:42
  it ends up back with the producers. But it can be pretty rare.
• 51:45
  And there are certain companies as well that buy certain rights and perpetuity,
• 51:50
  usually studios, so it can sit with them for forever in their vaults.
• 51:54
  But you know, one of the big things for US is going you know
• 51:58
  where it negotiations is for a very significant Australian company's library, and that includes
• 52:05
  a lot of international stuff and a lot of Australian films that have never been
• 52:07
  released in HD and really big ones that have just yeah, very surprising they
• 52:14
  haven't, but it's because they just don't have the resources and the time to
• 52:17
  put that as their focus. And so if that happens, I mean,
• 52:22
  alongside the New Zealand side of content, you know, we're going to be
• 52:25
  pretty filled for the coming months and I'm sure there'll be a lot more announcements
• 52:30
  to come. Just just like Unbrothers just sort of just really taking off right
• 52:32
  now. It just feels like now's the moment. Yeah, I mean definitely
• 52:37
  on the physical side, it's just growing. We're seeing is seeing it as
• 52:42
  a growing audience, and it's something that we want to, you know,
• 52:45
  focus on more and more. And the more we do, the more love
• 52:49
  that we seem to be getting for it, and so it's just like all
• 52:51
  right, let's just keep trying. It's kind of akin to like the rebirth
• 52:54
  of Vinyl. I mean, we're recording in dan Do studio here. He's
• 52:58
  got a shit ton of vinyl on the wall here, and yeah, a
• 53:00
  while back it was like I've got on my big brother's records and nothing to
• 53:05
  plan on. I'll just throw them out, But yeah, people are buying
• 53:08
  a lot more violent I'm o CDs last year people and people are going to
• 53:12
  be buying collectors editions and special editions of discs I reckon. I mean,
• 53:15
  if you're if you make it worth the money, if you load it with
• 53:19
  good features and you you know you're good, you do good transfers. Yeah,
• 53:22
  if you build it, they will come. Yeah. No, we
• 53:25
  believe in that wholeheartedly. And I do think there's actually a growing interest in
• 53:30
  physical releases because there are such big supporters of it, whether it's you know,
• 53:36
  Giamo del Toro always talking about physical releases. And the great thing is,
• 53:40
  you know, we are actually in contact with a lot of them and
• 53:44
  just send them just free stuff, just you know, just to have a
• 53:45
  look at and so you know, when the time comes maybe they can help
• 53:49
  support us with whatever releases and just big fans of Umbrella just getting it in
• 53:53
  the right hands. I love that it feels like a community as opposed to
• 53:57
  a corporate kind of thing, and it does feel like I mean, I'm
• 54:01
  sure that at the bottom line is important to you guys, but at the
• 54:05
  same time, it's like you guys calling up Arrow or Share saying hey,
• 54:08
  what do you got We've got this? Yeah, almost brands like, guess
• 54:12
  what we found it is? Yeah, it definitely is a community. And
• 54:17
  look all the companies we're dealing with, all independent companies, you know,
• 54:22
  and everybody sort of all respects each other. It's you know, there's nobody
• 54:28
  really who has has you know, any fighting issues and we all see,
• 54:31
  you know, how how tough it can be and how things can go wrong.
• 54:36
  But it's not all releases will work, and it's about trying new things.
• 54:40
  But it's great to see everybody really exploring new ways to make it work.
• 54:45
  And you know, when a Second Site and Arrow are growing and going
• 54:51
  in different directions, you know, it's it's great to see. It just
• 54:54
  means more audiences. And like for us, we know that we are not
• 54:59
  as well known as Vinegar Syndrome and Second Sight, and for us, that's
• 55:04
  a huge opportunity, you know, for us to take in more of the
• 55:07
  market. That's say, I mean, I've got us film buff friends who
• 55:10
  were like, oh god, I've got to I'm looking up astray and shipping
• 55:15
  rates because I'm buying buying stuff from Australias. I'm getting they're buying stuff from
• 55:20
  Umbrella. Yes, yes, so we're trying to Yeah, well, the
• 55:24
  shipping rate when it is you're shipping a brick. Do you think do you
• 55:30
  think the announcement of Disney pulling out of physical media lit a fire on to
• 55:35
  collector his ass going, well, Disney is doing it, I better start
• 55:37
  getting some start supporting this again. Yeah, I definitely think so. It
• 55:44
  made some significant changes, especially in the sort of warehousing and packaging side that
• 55:51
  people would have no idea about. A lot of the warehousing solutions that we
• 55:55
  used to use have had to change. We've had to find new partners because
• 56:00
  a lot of them were so reliant on Disney and Fox and the studios that
• 56:04
  they've just like, you know, no Disney, no company essentially and they've
• 56:08
  had to disappear. So we're in the midst of actually, you know,
• 56:12
  working out new solutions with new partners to see how we can sort of add
• 56:17
  a bit more Umbrella flair. I would say to our packaging and our postal
• 56:24
  and you know that service and the customer service there, because yeah, it's
• 56:29
  critical to our releases and also to the brand. Do you think that could
• 56:32
  help you guys potentially get some Disney releases down the track and Disney not going
• 56:36
  to make them. You guys can say, look, people really want this
• 56:38
  on physical media. What do you reckon? I mean, I hope.
• 56:43
  So it just depends on who ends up managing the rights for them and how
• 56:50
  that works. But look, I definitely think so at some point in time
• 56:53
  that those doors will open up. And you know, there are certain companies
• 57:00
  where we think, oh, we'll never get that film, and then we
• 57:02
  do and it's like, great, that opportunity came out and they and once
• 57:07
  they start saying that there is a result there and they don't actually have to
• 57:10
  do anything, and you open that door in that relationship, then you sort
• 57:15
  of get the whole thing, the whole opportunity there. So absolutely we'll get
• 57:21
  back to home a badman. Then we probably the Homer is now he's at
• 57:24
  the at the candy fair and he eats the super sour ball and he finds
• 57:28
  the wax slips Man, which I think is hilarious a lot of the fact
• 57:30
  that once the guy's hiding home puts the wax lips sandy pants that's where he's
• 57:35
  storing. But March's no law to eat celer unless she puts some sugar on
• 57:37
  it, and Homer finally finds the Gummy Venus de Milo Gummy Bears, Gommy
• 57:45
  curved heads got me jawbreakers is slimy of them are Gomy Venus Milo carved by
• 58:00
  Gummy, othersans who work exclusively ins and medium of gummy. Will you just
• 58:05
  stop saying gummy so much? I've never been a huge Gummy fan. What
• 58:08
  was your lolly of choice growing up? I've never been a real gummy guy.
• 58:13
  I mean I would say after school, I was probably going down in
• 58:16
  the milk bar. Yeah, it was probably sour coke bottles were probably might
• 58:21
  go to coke bottles. I was so against them. Yeah, I'd say
• 58:28
  our coke bottles or raspberries, yeah, or musk sticks. We occasionally there
• 58:34
  was a couple of milk bar still left in Geelong here, and I just
• 58:36
  love the idea of kids being able to go there and still get the mixed
• 58:37
  bag of lollies for two dollars. Yeah, that's great. It's rare.
• 58:42
  It's really. It's one not near your house, isn't there there is?
• 58:45
  Yeah? I drive past every day and I'm like, I'm going to go
• 58:46
  in there one day, and I never do. Just like the idea that
• 58:51
  it's there though still just still it still looks like a nineteen eighty five milk
• 58:53
  bar at the front. Probably they're probably gazing out the window. One day
• 58:58
  he'll stop. We didn't really have any big candy fairs, though I was
• 59:02
  thinking about it when I watched. It's like, I mean maybe the Royal
• 59:06
  Melbourne Show was like maybe when you could get showbags, but it was not
• 59:09
  like that. No, it's not. This is almost like a toy fair,
• 59:13
  but for candy, isn't it. Yeah, it's awesome. Yes,
• 59:16
  I'd be totally there. Did you see the sign at the front said that
• 59:19
  in the next room or something that's candy shaped? Brat Poisons Convention? Those
• 59:24
  were Marge's coke bursts open. This gives Home with a chance to steal the
• 59:29
  gummy Venus de Milow and see you and how candy boys. It just a
• 59:32
  great action sequence, as he said, very mid nineties, isn't it Ransom
• 59:37
  face off conn Air? I think we always like it when Home is sort
• 59:39
  of competent and something, even when it's just the most impracticable skill, but
• 59:43
  the fact that he's able to improvise an ied out of pop rocks and coke,
• 59:46
  you know, using the old urban legend and turn it into a scene
• 59:51
  out of corn Air or something. I think that's just brilliant. But the
• 59:53
  kids are now having a ball all the candy. The babysit a is still
• 59:57
  wedding in the car, and Home's dropping a home and he says, you
• 1:00:00
  wants to scratch himself in two places at once. She asked him to drop
• 1:00:02
  her off, and it's where he finds the precious venus on her behind.
• 1:00:06
  And yeah, it doesn't work it well for home, it does it?
• 1:00:07
  It does not? One? I mean, yes, one can see how
• 1:00:10
  she would make that mistake given yeah, his choice of words, his tone
• 1:00:15
  of voice, and just the look on his face. Why would anybody want
• 1:00:19
  to touch a girl's butt? That's where coruities come from. Dad, I
• 1:00:22
  don't understand what if she's saying it did well, Lisa, remember that postcard
• 1:00:27
  Grandpa sent us from Florida of that alligator budding that woman's bottom. Oh yeah,
• 1:00:31
  that was brilliant. That's right. We all thought it was hilarious,
• 1:00:36
  But it turns out we were wrong. Dad, alligator was sexually harassing that
• 1:00:39
  woman and the dog of the Copperton ad same deal Dad, it's kind of
• 1:00:44
  a gray area. Now you mentioned this recently, and what was it on
• 1:00:46
  South Like maybe yeah, talking about the Coppertone ad from that, because I
• 1:00:51
  mean goes to the Ambler. We do a South Park podcast as well,
• 1:00:55
  And yeah, I've got a few more years on you, guys, Ari,
• 1:00:59
  but I'm know I grew up in the nineteen seventies and remember that they
• 1:01:01
  used to have the copper tonad with where the dog was pulling down the bikini
• 1:01:06
  bottoms and mentioned that Jodie Foster was actually the model for that. Yeah,
• 1:01:09
  so you see a child's bear behind you, you wouldn't happen. Now,
• 1:01:14
  you certainly would not that you'd be on a watch list. But they build
• 1:01:19
  a shandy town out the front and that is following him everywhere through traffic and
• 1:01:22
  at work and marches. There's nothing she can do, so Homer police to
• 1:01:24
  God help me God, and he gets a phone call from God free Jones,
• 1:01:29
  who is played by Harry Sheer and I just love this whole rock bottom
• 1:01:31
  thing. I feel so over home because he thinks he's, you know,
• 1:01:35
  cleaning his case. So that went really really well. I just love him
• 1:01:38
  trying to insinuate himself with the rock bottom guys I like to report on Saudsquatch.
• 1:01:44
  I thought it was fair and even handed, but it goes terribly.
• 1:01:50
  I love that when he watches it, when it finishes, he doesn't say
• 1:01:52
  anything. He just turns the TV off and then says, all right,
• 1:01:53
  we're moving under the sea. What a great sequence that is, a little
• 1:01:59
  man, it's just full of bangers, though all the friendly crustaceans just end
• 1:02:08
  up getting eaten. But that whole I'm just working up the reworking the footage
• 1:02:15
  to incriminate it. I just think so much you can, but it's essent.
• 1:02:20
  Don't take your ringer ound on me. What about the farm that had
• 1:02:24
  like the brothels, the sex one. Oh, but now the media absolutely
• 1:02:32
  handing Homer. You know, they take photos of him in the shower,
• 1:02:36
  he slips over, he slips Newton oxygen tench gives him. Sexual powers are
• 1:02:39
  very that guess you shared so often in social media now, the sexual powers,
• 1:02:43
  I mean, what was that? What are they talking about there?
• 1:02:45
  What is that in relation to it? Must be I think it's just meant
• 1:02:50
  to be just tabloys going extreme with things, right, or was there actually
• 1:02:52
  there was a thing in the nineties where the National inquir or something like that
• 1:02:55
  got a picture of Michael Jackson sleeping like a hyperbaric chamber. Wow. And
• 1:03:01
  yeah, they sort of took that and ran with It's like gives him god
• 1:03:06
  like sex powers or something, or Basil was just on more whacko Jacko.
• 1:03:10
  This is before you had sort of conclusive proof about other things. We get
• 1:03:17
  the various talk shows here as well, and just the woman who never met
• 1:03:21
  Homer Simpsons and she just breaks down your tears say more than what real evidence
• 1:03:23
  ever could we get? Gentle band, poor gentle bend getting shot well traanked.
• 1:03:29
  Yeah, but it was a great cut though, where he's just falling
• 1:03:30
  back into the crowd reminds me of that that doll, the Krusty he's got
• 1:03:37
  the puppet he kicks into the crowd. One of my favorite moments of all
• 1:03:40
  time is then we get portrait of an ass grabber and home it thinks it
• 1:03:44
  sounds classy, but obviously it's not going to Well, it's got portrait in
• 1:03:46
  the title Loo, come on, it does exactly. The girl threatens the
• 1:03:49
  scream of the video, so he was the adorts his name, that's Dennis
• 1:03:52
  Franz now is the NYPD Blue. Yeah, because he basically cornered the market
• 1:03:57
  playing sleazy guys for god knows how long. Okay uh, and then had
• 1:04:00
  this terrific career rebrand by playing Cipplewits in M Y p D Blue And that's
• 1:04:05
  the others did He were strip with short sleeves and Sipwits. Was initially like
• 1:04:11
  this real, just alcoholic racist cop and he was so much more likable than
• 1:04:16
  David Caruso that he became the hero. But yeah, I mean Dennis Friends.
• 1:04:23
  Yeah, became a sort of a really late in life TV star as
• 1:04:27
  a result of the NYPD Blue. I think he just retired after that.
• 1:04:29
  You don't really see him anymore. I never watched NYPD Blue. It's always
• 1:04:31
  I think it's on Disney Plussible. I think going to reviews, I love
• 1:04:34
  cop shows. Do you like cop shows at all? Ari? I mean,
• 1:04:40
  I guess the Wire would be that's the one. Well, I think
• 1:04:43
  if you're gonna watch that, you're pretty much well yourself. It's good.
• 1:04:47
  I've got the Blue Ay box out of that one, and it's just that's
• 1:04:50
  incredible. Yeah, Yes, now I've got the Blue A box set as
• 1:04:54
  well that was yeah, my first into the Wire. It is incredible.
• 1:04:58
  It's one of those shows where people still don't like it's not known why my
• 1:05:02
  mum wouldn't know what the wire is for example, Right, it's not like
• 1:05:04
  a commercial thing, but like people who know the Wire love the Wire.
• 1:05:09
  They know about the Wire absolutely, and it's yeah, it seems like I
• 1:05:13
  think now I've tried to get a few friends into it, and it seems
• 1:05:16
  like some of them stop at the third episode or third episode. They're like
• 1:05:21
  hooked and they'll watch, you know, smash through the whole thing. But
• 1:05:25
  it is it's quite Yeah, it's a patient watch and you actually have to
• 1:05:29
  be you know, listening in and attentive the whole time. You can't sort
• 1:05:31
  of be your on your phone otherwise you just miss sort of crucial details the
• 1:05:36
  whole time. It's sort of like Sopranos. I guess, yeah, well,
• 1:05:40
  yeah, that's the thing. Now. I feel like they make TV
• 1:05:44
  now. I think it's been proven with the idea of people are going to
• 1:05:46
  have their phones in their hand anyway. Yeah. Yeah, second screen things
• 1:05:49
  are very very real phenomenon. There are certain films that we look at as
• 1:05:54
  well when we're sort of acquiring new release content. It's like, you know,
• 1:05:57
  is this the sort of film where some but he's going to just turn
• 1:06:00
  it on after a hard day, you know, working and they're going to
• 1:06:03
  start cooking in the background, and it's just a bit of you know,
• 1:06:08
  something on the TV and that it's a massive audience. So what's what like
• 1:06:13
  your category? So I thought that's one of them, just like background noise
• 1:06:15
  while you're cooking, Like what do you define that kind of film as?
• 1:06:17
  Also with like comfort feeling or a security blanket, isn't it. Yeah,
• 1:06:20
  it's usually like the trashy, you know, action film that might have you
• 1:06:27
  know, Bruce Willis before he was you know, he's all finished up.
• 1:06:30
  But there was a lot of schlucky Bruce Willis films towards the end. But
• 1:06:34
  you know, some of those ones with like a face or a name that
• 1:06:36
  you might know that sort of thriller or action there they sort of fit that
• 1:06:42
  mold. But for us, we're pretty genre leaning and horror leaning, so
• 1:06:45
  we do a lot of horror stuff in the new release side, but it
• 1:06:50
  changes all the time because we have to sort of work through the appetites of
• 1:06:55
  the streamers and the cinemas, which then also relates back to the audience.
• 1:07:00
  Forgive me, I don't want to. I'm probably gonna ruin the very nice
• 1:07:02
  relationship with bil. Are you guys affiliated with via Vision at all? Or
• 1:07:06
  is that is that competition? Uh? Competition? We are We do know
• 1:07:14
  them well and look, yeah we we We love those guys as well.
• 1:07:17
  There always a pleasure to deal with and we work you know, in in
• 1:07:23
  quite tandem to an extent with them, and so I love, I love
• 1:07:27
  went straight into like pm O there that great work. Yeah, they're good
• 1:07:30
  guys a lot. It's like, yeah, we because we know if we're
• 1:07:38
  if we're looking to acquire content and somebody's just recently acquired it, well it
• 1:07:42
  must be Vibe Vision, it must be them and there's nobody else. But
• 1:07:47
  they do also do you know, they're quite different as well compared to us.
• 1:07:53
  There's a lot of content that we know they won't touch, and they
• 1:07:56
  do a lot of the classic American stuff that we probably don't do. A
• 1:08:00
  lot of the studio releases that they do incredibly well. They also do a
• 1:08:02
  lot of TV stuff that we just don't do any of. So yeah,
• 1:08:08
  there, but there they are. They really genuinely are a great bunch of
• 1:08:12
  dudes to deal with, and but we also end up selling them some of
• 1:08:16
  the extras and stuff of titles that we that they get the rights back to
• 1:08:20
  after we forget to renew them. So I was just thinking, Yeah,
• 1:08:25
  they brought out stuff like say the Ginger Snaps trilogy or you know, Rob
• 1:08:28
  Zombies Halloween movies and put them in a set, and it's like, yeah,
• 1:08:32
  you've got some pretty good features on there, or some of that stuff
• 1:08:34
  seems important from from the US, and it feels like something Umbrella would do,
• 1:08:39
  Yeah, but better, No, Umbrella would do it better, thank
• 1:08:45
  you, thank you. Yeah, but we've got Brock when doing the live
• 1:08:47
  news reports and he sees the put turns on the infrared, he's chewing his
• 1:08:51
  own juices, which is just the chicken in the in the oven, and
• 1:08:55
  the people believe the Homer is guilty. Homeer says, you can't trust the
• 1:08:57
  TV anymore, very unhome alike. But the kids seen the as it walks
• 1:09:00
  off, they give their TV a big hug. Yes, I think we've
• 1:09:03
  all had TV at some point in our lives. Were you were you a
• 1:09:05
  TV kid growing up? Like, were you in front of the TV.
• 1:09:08
  Yeah, I mean definitely for The Simpsons. You know, I think it
• 1:09:12
  was six o'clock, six, six pm week night, channelt Yeah, weeknight,
• 1:09:15
  and then i'd try you know, the Neighbors was not and that was
• 1:09:17
  as soon as that, you know, I didn't watch Neighbors. Once a
• 1:09:21
  Neighbors music started, You're like, it's time to go do something else now,
• 1:09:24
  Yeah, it's starting to go outside and play. Yeah, and then
• 1:09:29
  it was into Fox eight, which you just do reruns and everything. But
• 1:09:32
  yeah, definitely, I'd say The Simpsons was definitely a big influence for me.
• 1:09:38
  Sitting in front of the TV at six o'clock every night just feels like
• 1:09:41
  such like an entire generation of kids were just sitting in front of the TV
• 1:09:44
  watching Fox eight on the weekend mornings because those super Simpsons weekends. You talk
• 1:09:47
  to any fan growing up, like the nineties, it just like, yeah,
• 1:09:49
  Saturday, Sunday mornings, you watch the Simpsons. I think we realized
• 1:09:53
  at the time that everyone was just watching the same thing at the same time.
• 1:09:56
  It doesn't doesn't happen anymore. Yeah, No, you're right, it's
• 1:09:59
  pretty incredible, I think as well, like South Park because South Park wasn't
• 1:10:02
  really maybe it was on SBS Comedy Channel sometimes yeah, but yeah, everything
• 1:10:09
  for me south Park was just through yeah foxtowl just I remember. Yeah,
• 1:10:15
  a big south Park fan. Yeah yeah, massive south Park fan on the
• 1:10:18
  south Park podcast then yeah, definitely like having rewatched south Park a few times
• 1:10:27
  now from beginning to end, which I haven't properly done with Simpsons. I've
• 1:10:30
  sort of gone through it and then stopped. And then there are certain seasons
• 1:10:32
  which I skipped because you know, but also much more of a yeah,
• 1:10:38
  I mean the commitment to the Simpsons side is much bigger obviously, but yeah,
• 1:10:44
  yeah, definitely a big south We're currently season four of south Park.
• 1:10:46
  We went back to the starting movie vis and we just did the chokey hair
• 1:10:49
  tampons and oh nice. Now, as far as this episode goes, you
• 1:10:57
  mentioned have we skipped the part where Homer's watching the stand up comedian on TV?
• 1:11:00
  Because that right now, said Letterman. Then he turns off Letterman and
• 1:11:03
  then puts on the stand up comedian. Just that the fingers my favorite first
• 1:11:08
  of all, my favorite gift to you. I'm not sure, but yeah,
• 1:11:14
  just the give it up, but the whole mister t e et mash
• 1:11:18
  up gag is like, oh no, this is exactly what a stand up
• 1:11:21
  comedian wearing a tie would say. This is where they get the idea.
• 1:11:27
  Lista suggests they do the public access video and it still doesn't go well.
• 1:11:31
  Does it well? He does a good job, but no one watches it
• 1:11:36
  gets too whole, calls yes for none of them being though yes, switchboards
• 1:11:40
  are lighting up. But he also takes the piss out of old Tommy bikes
• 1:11:43
  as well, which pays off a little bit later. The poor old Penny
• 1:11:45
  fas Yeah. Yeah, this is where Willie arrives with the tape to prove
• 1:11:49
  his innocence because he is rowdy roddy peeper. Hum. I love amature video
• 1:11:56
  and your show is the most armaturr video I ever saw. My Hooby is
• 1:12:00
  secretly videotaping couples and girls. I didn't come forward because in this country it
• 1:12:08
  makes you look like a perfect but every single Scottish person does it. Oh
• 1:12:15
  baby, oh yeah, old baby, Oh no, that's mere quimby here
• 1:12:20
  we gosh, thank you. Yeah, this crazy completely. You know,
• 1:12:35
  the courts might not work anymore, but as long as everybody is videotaping everyone
• 1:12:40
  else, justice will be done. I remember this coming on. I'm like,
• 1:12:45
  maybe Fox SAT or Chance whatever, and my mum walking in as Quimby
• 1:12:47
  was gone with that woman in the country, was like, what are you
• 1:12:49
  watching? I was like the Simpsons. It's like, what's going on here?
• 1:12:54
  It's pretty racy with Quimby's going for it. Mby's going downsaids I feel
• 1:13:00
  like that scene would have been cut out of commercial TV, even maybe not
• 1:13:03
  because Fox that used to just play the full episode, but Channel ten we'd
• 1:13:05
  cutch it out occasionally, not exactly six o'clock viewing, but yeah, it's
• 1:13:09
  revealed here. So this is where they show Ashley he's realized that she's realized
• 1:13:13
  that Homer is innocent, and rock Bottom make the correction. There's a big
• 1:13:15
  list of things. I won't go through them here. You can find them
• 1:13:17
  online from the Simpsons archive. And they do the thing on Raddy Roddy people,
• 1:13:21
  and as Homer says that man is sick, listen to the music because
• 1:13:26
  he has learned nothing. And that is the end of the episode. I'm
• 1:13:29
  so glad we revisited this one. This is just chock full of bangers as
• 1:13:32
  far as I'm concerned. Just great, great one. Line is great visual
• 1:13:36
  gags, great character development. I mean not character development, but I mean
• 1:13:42
  it's true to Homer's personality and puts it in a really interesting context. Yeah.
• 1:13:46
  I just had so much fun with this one. Yeah, definitely,
• 1:13:49
  thank you so much for choosing that episode. Absolute delight that one. But
• 1:13:54
  let's talk about Unbrother just one more time before we go. So you've got
• 1:13:57
  exciting things coming up. Let's talk about Brolly one more time. So,
• 1:14:00
  how can people find Brollie's just apps avaiable on TVs? On the Android devices?
• 1:14:02
  Yeah, so it's Brolli dot com dot are you, and you can
• 1:14:08
  check it out on apps as well. It's on iOS and androids so and
• 1:14:14
  also on most TVs on their apps, So lots of different ways to check
• 1:14:18
  it out. If you go to Brolli dot com dot a you, it's
• 1:14:21
  got the whole list of the various apps and you can click through and download
• 1:14:26
  the apps. How extensive was it to make that app? Was it a
• 1:14:29
  long process? Yeah? It took a while. It really. It was
• 1:14:32
  the process of working with the company just to make sure it was ready for
• 1:14:36
  the consumer, just because we could have launched a lot, you know,
• 1:14:40
  sort of earlier but just certain tweaks we wanted to make to make sure it
• 1:14:44
  was really just as easy as possible to get in and start watching, you
• 1:14:49
  know, trying to not push through any sort of classification problems and things like
• 1:14:54
  that. That was another hurdle that we had to deal with the Classification Body
• 1:14:59
  of Australia. But in the end we've just said, like you tick a
• 1:15:02
  box that says you're eighteen or I think from your day at birth. Otherwise
• 1:15:06
  you have to do a pin code or whatever it is. But like,
• 1:15:10
  because there is yeah, we didn't we wanted to launch with RI eighteen content
• 1:15:14
  as well. Like I mean, some of them are a couple you know,
• 1:15:16
  slightly seedy films from their eighties and sexploitation stuff, but anytimes it's yeah,
• 1:15:26
  oxploitation and Umbrella is just a match made in heaven as far as I'm
• 1:15:29
  concerned. I mean, I'm friendly with Mark Hartley and I mean not quite
• 1:15:32
  Hollywood just really sort of feels like a real dam bursting for you guys as
• 1:15:35
  well. I mean, I've still got the DVD sets that have got like
• 1:15:39
  the five osploitation titles in them. I'm never ever giving them up. There
• 1:15:43
  they're just goal as far as I'm concerned. Yeah, No, absolutely.
• 1:15:46
  Look, we work very very closely with Mark. We're very close friends with
• 1:15:50
  him and he's been a huge part of, you know, our focus around
• 1:15:56
  restorations and remastering. He oversees a lot of them. He also curates a
• 1:16:00
  lot of the Blu Ray packages for us, for the classic Australian stuff.
• 1:16:03
  I think at the moment he's working again on a box set that we're about
• 1:16:09
  to announce called Osploitation Rarities and it's Lady Stay Dead, Final Cut and Cross
• 1:16:15
  Talk as a box sort box sets. So yeah, and the aim is
• 1:16:20
  that if that one works, we'll do a few more Osploitation Rarities box sets.
• 1:16:26
  Always going on Osploitation. I love it, yeah, because it is
• 1:16:31
  yeah, and not many people know about it. And Mark Hartley's documentary Not
• 1:16:35
  Kaite Hollywood is just such a great entry point to understanding what the hell happened
• 1:16:42
  because it is crazy. I mean, just as a quick summary for people
• 1:16:45
  who have no idea. In the eighties, there was a sort of tax
• 1:16:48
  rebate for people to make films in Australia because we didn't really have much of
• 1:16:55
  a film industry. And so they essentially the rebate was one hundred and fifty
• 1:16:59
  percent, meaning if you were spending ten million dollars in Australia making a film,
• 1:17:01
  the government would give you fifteen million dollars. So out of that came
• 1:17:06
  over the top, you know, too much money budgeted, you know,
• 1:17:10
  crazy high budget shlock. Essentially, some of it's awesome, some of it's
• 1:17:15
  just insane, but you know, some serious gems came out of that sort
• 1:17:18
  of period, you know, the biggest being sort of Mad Max and Crocodile
• 1:17:21
  Dundee. And it's estimated that Crocodile Dundee brought in like a billion dollars of
• 1:17:28
  tourists, you know, you know money. We're still being told to put
• 1:17:31
  Simps in our barbie when we go to America. Indeed, well it'll never
• 1:17:34
  disappear. So yeah, that's it's a huge part of Australia that that era
• 1:17:41
  and sort of what Australia was represented to oversees it, even though it was
• 1:17:45
  very oka and probably yeah shifted. Now. I'm just amazed that Australia,
• 1:17:50
  the Australian industry never took the Mad Max the time and just ran with it.
• 1:17:55
  I mean, it's like, why didn't we make you know, a
• 1:17:58
  dozen fucking me knockoffs a year? The Italians did it. We didn't do
• 1:18:02
  it. No, I don't know. Yeah, well, I mean I
• 1:18:05
  guess Brian tried. Like dead End Driving has got a bit of Mad Max
• 1:18:10
  feeling to it, and there's a lot of you know, there's a lot
• 1:18:12
  of car stuff, but not necessarily a lot of post apocalyptic stuff. Yeah,
• 1:18:15
  fair enough, but I guess yeah, I mean, I haven't seen
• 1:18:18
  Fury Overse yet, but the new Mad Max it was just incredible. Fury
• 1:18:25
  Road was just what a show. I got very very lucky in that when
• 1:18:30
  I'm acquiring content for Umbrella, I get to go a lot to the international
• 1:18:34
  markets. And I got to go to the the world premiere in can Film
• 1:18:39
  Festival for Fury or Fury Road, and I remember people like cheering in the
• 1:18:45
  audience, like hollering and hooting, and it was Yeah, it was.
• 1:18:49
  It was a lot of fun. They were going nuts. Any festivals lined
• 1:18:53
  up in the new Future, Yeah, we'll be. I'm going to go
• 1:18:57
  back for Canned Film Festival, so it can is usually a massive one,
• 1:19:00
  just because we're dealing with you know, catching up a second start and Shout
• 1:19:03
  Factory and all those people, but also dealing with all the studios understanding what
• 1:19:09
  content they have. Anybody else is working on stuff. It's crazy. Everybody's
• 1:19:13
  you know, remastering their classic library titles to four K and some of them
• 1:19:17
  are just the shittest films getting such deluxe treatment when such great films and not
• 1:19:24
  even released on Blu Ray. But that's just how it happens sometimes. Do
• 1:19:28
  you think four K is it? Do you think because you've gone from Blu
• 1:19:30
  ray to four K, is there going to be another one? Or is
• 1:19:31
  four K where we're going to be resting there forever? Yeah? I think
• 1:19:34
  I think four K is it. There's been a lot of sort of discussion
• 1:19:39
  points around that because I think if you're going any further into eight K,
• 1:19:43
  it's like a bit too grainy and crisp where it doesn't look you know,
• 1:19:47
  right, So I'd say, yeah, four K will sort of bit the
• 1:19:50
  end, which is yeah, I hope. So, yeah, they're trying
• 1:19:56
  to make high frame rate thing a thing for a while. All right,
• 1:20:01
  Well, Ari, it's been absolute pleasure to finally have you on the show.
• 1:20:03
  Thank you for joinings here to talk about how a bad man no problem
• 1:20:06
  at all. It's been an absolute pleasure. Guys, thank you so much
• 1:20:09
  for having me. And we have to get you on going down to South
• 1:20:12
  Park at some point. Yeah, I would love that absolutely, all right,
• 1:20:15
  guys or the best Man, thanks a bunch. Thanks. As we
• 1:20:25
  said you you could hear guy gushing the entire time clean up on All four.
• 1:20:31
  I had to cut out like several times, just like I'm not worthy.
• 1:20:35
  But Aris just what a great dude, and know I love about it.
• 1:20:39
  He clearly has a passion for what he's doing. Absolutely, because there
• 1:20:42
  are many scenarios where you know, dad starts a business, son takes over.
• 1:20:45
  It's it might not necessarily built someone to do, but he does it
• 1:20:47
  because he's Dad started it. No, Ari, He's fucking he wants to
• 1:20:49
  do this. Yes, it's clear that I was the most excited person on
• 1:20:54
  this podcast. Running a close second was because you like talking about the Simmons,
• 1:20:58
  but he also liked talking about what he's doing with the Umbrella. And
• 1:21:00
  if you're a film nerd or a physical media aficionado, you should also be
• 1:21:05
  excited, not just you know, whether you're Australian or not. I mean,
• 1:21:08
  these guys ship all over the world, and deservedly so, because they
• 1:21:12
  make quality content, not unlike your pal's gun and Dan. Check out Brolly
• 1:21:16
  dot com dot au as well. Check out all those the stuffing you can
• 1:21:18
  find available on there. Absolutely yeah, I mean, if you're not a
• 1:21:20
  physical media person, first of all, why Secondly, yeah, get on
• 1:21:25
  the streaming service that these guys have set up. Brolli dot com dot au
• 1:21:29
  chuck full of good stuff. Also, they've got a mass of the universe
• 1:21:31
  that coming out. Holy shit, I cannot wait. I'm so excited.
• 1:21:34
  It's it's gonna be. It's worth it. Just don't do web such just
• 1:21:38
  cheat the mass of the universe. And for people whose taste are a little
• 1:21:42
  stranger, they've got osp flotation up the wazoo. But they're also bringing out
• 1:21:45
  like a cool Rucker Howard Double with Paul Vahoven's Flesh and Blood and the eighties
• 1:21:49
  classic the Hitcher. We've got some exclusives as well, don't we. We
• 1:21:53
  absolutely did. He said it was like, oh crap coming out. So
• 1:21:58
  when you hear when you hear a lot of when you're a lot of redactive,
• 1:22:01
  Yeah, that's the juicy stuff. Too hot for TV, yes or
• 1:22:05
  podcasts. But yeah, guys, don't forget you can't support us by following
• 1:22:09
  our supporters on Patreon, Patreon, dot comp slash fourthing a discount. Find
• 1:22:12
  a link for that in the description of this podcast. As well. We've
• 1:22:15
  got exclusive podcast on there. We've got Talking Sign Foud, We've got Tales
• 1:22:17
  of Futurama, the Movie Guys podcast where we review movies, which works well
• 1:22:20
  with this podcast. It's certainly as well as Speaking of the Hill. But
• 1:22:25
  also I forget check out our other podcast going down to South Park, the
• 1:22:27
  one of our friends, the Office Talk and more. He at the Fourthing
• 1:22:30
  of Discount Network. Thank you so much for listening to the show. Next
• 1:22:31
  week we're gonna be doing another season eighteen review, getting back to the season
• 1:22:34
  eight's justly so much fun to get some guests on the reviews some classic episodes
• 1:22:39
  as well. Really has been Yeah, you'll find this more happening more and
• 1:22:42
  more often. But anyway, guys, think you again for all of your
• 1:22:44
  support. Mister Davison your final words for those amazing listeners out there. It
• 1:22:47
  may sound like I was doing so during this episode, but no, I
• 1:22:50
  am now off to go mangle my merchandise sh