Latest / Beyond The Blood: A Horror Movie Commentary Podcast / Adam Marcus Interview ft. The Movie Den!

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Adam Marcus Interview ft. The Movie Den! · Beyond The Blood: A Horror Movie Commentary Podcast

• 0:01
  Speaker 1: You are now listening to the Someone's Favorite Productions Podcast Network.
• 0:12
  Speaker 2: Hello Filthy movie lovers. My name is Gentry Austin.
• 0:16
  Speaker 1: Now in Casey Scott, and we're.
• 0:18
  Speaker 2: The hosts of the Sin Syndicate Film podcast. For Something
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  Speaker 2: theaters in sticky floored cinemas of the golden age of sexploitation,
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  Speaker 2: when the morals were loose, the laws were murky, and
• 0:41
  Speaker 2: the intercourse was all simulated. Find us now on the
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  Speaker 2: Someone's Favorite Productions Podcast Network.
• 1:07
  Speaker 1: Anything for a good cause. I'm a security goude. I
• 1:12
  Speaker 1: kill people every fucking day.
• 1:14
  Speaker 2: That's right.
• 1:16
  Speaker 1: When I was growing up in Bakersfield, my favorite thing
• 1:18
  Speaker 1: in all the world was to go to the movies
• 1:20
  Speaker 1: on Saturday afternoons for the chapter plays.
• 1:23
  Speaker 3: I know that, mister man.
• 1:25
  Speaker 1: They also call them cereals. I'm not stupid, you know.
• 1:29
  Speaker 4: I am the devil, and I am here to do
• 1:31
  Speaker 4: the devil's work.
• 1:44
  Speaker 5: Welcome back, everyone officially to the Beyond the Blood Podcast
• 1:49
  Speaker 5: and we're kicking off season two on a highdoe here
• 1:52
  Speaker 5: one that I'm very, very very excited to show everyone
• 1:56
  Speaker 5: for you to listen to. My name is Chris Siggins.
• 1:59
  Speaker 5: I am one of your hosts here on the podcast,
• 2:02
  Speaker 5: and we have a very special way to kick off
• 2:05
  Speaker 5: season two. What we have here is our interview with
• 2:08
  Speaker 5: Adam Marcus, most famously the director for Jason Goes to
• 2:12
  Speaker 5: Hell the Final Friday. We did not record this specifically
• 2:17
  Speaker 5: for the podcast. This was actually part of a live
• 2:20
  Speaker 5: stream that Steve and I did with our buddy Jordan
• 2:24
  Speaker 5: over at the Movie Den. We did a live YouTube
• 2:27
  Speaker 5: stream of this interview, an interview that was really only
• 2:30
  Speaker 5: meant to be an hour, maybe an hour and a half,
• 2:33
  Speaker 5: that turned into three hours. Adam is an incredible person,
• 2:39
  Speaker 5: a beautiful soul, fantastic director. We had an incredible time
• 2:43
  Speaker 5: with him. We cannot thank him enough for his time.
• 2:46
  Speaker 5: So I hope you enjoy everything we're bringing your way
• 2:49
  Speaker 5: this second season of the Beyond the Blood Podcast, and
• 2:52
  Speaker 5: we hope you enjoy this interview with director Adam Marcus.
• 2:57
  Speaker 5: Welcome to the Beyond the Blood Podcast.
• 3:00
  Speaker 1: Can you okay? Cool? All right? Awesome?
• 3:04
  Speaker 6: Well everyone, thank you everyone out there, thank you for
• 3:09
  Speaker 6: coming over here. And uh we're we're really excited about this,
• 3:13
  Speaker 6: and of course Chris and Steven, thank you. I know
• 3:16
  Speaker 6: we've been talking about this for a bit and kind
• 3:18
  Speaker 6: of a mix of all.
• 3:20
  Speaker 1: Of our brain childs.
• 3:21
  Speaker 6: So we're really really happy you guys agreed to come
• 3:25
  Speaker 6: on here with me for this.
• 3:26
  Speaker 5: Yeah, thank you.
• 3:27
  Speaker 1: Man.
• 3:27
  Speaker 5: I do want to say, I don't know if you're
• 3:28
  Speaker 5: noticing it. You are like a touch behind, there's like
• 3:31
  Speaker 5: a second delay. I don't know if you're seeing it
• 3:33
  Speaker 5: with us.
• 3:35
  Speaker 6: No, is it like the audio to my video delay?
• 3:39
  Speaker 1: Yeah? Okay, okay, I thank.
• 3:46
  Speaker 5: You, No, it's better now, okay, cool, all right, awesome, Well,
• 3:51
  Speaker 5: well again, thank you.
• 3:52
  Speaker 1: And then to everyone out there, what.
• 3:54
  Speaker 6: We're going to be doing is we want to be
• 3:57
  Speaker 6: very respectful of Adam's time with us. So if you
• 4:01
  Speaker 6: guys have any like questions you want to ask, we're
• 4:03
  Speaker 6: going to say that till the end of the video,
• 4:06
  Speaker 6: so and we'll let you know of course at that point,
• 4:10
  Speaker 6: and then you can go ahead and bring your questions
• 4:11
  Speaker 6: in and stuff. But if you guys want to comment,
• 4:13
  Speaker 6: if it's you know, pertinent to the topic we're on,
• 4:15
  Speaker 6: definitely go ahead and uh.
• 4:18
  Speaker 5: Throw that in the chat.
• 4:19
  Speaker 6: And like I said, if it's you know, if it's
• 4:22
  Speaker 6: pertinent to what we're talking about, I'll display it. So anyways,
• 4:25
  Speaker 6: without further ado, let's bring on the man, the myth,
• 4:28
  Speaker 6: the legend, mister Adam Marcus.
• 4:32
  Speaker 1: Hey, guys, what's going on? Dude? Good, I'm good. I
• 4:37
  Speaker 1: liked that. That intro is quite something.
• 4:40
  Speaker 3: We have to build up.
• 4:41
  Speaker 1: I hope I live up to any of that. And
• 4:44
  Speaker 1: by the way, just so that you now listen, I'm here.
• 4:47
  Speaker 1: It's Sunday. I'm happy to hang out with you guys,
• 4:49
  Speaker 1: So don't worry, don't worry about being respectful of my time.
• 4:52
  Speaker 1: I'm giving it free. Lead you guys, I really appreciate it.
• 4:56
  Speaker 5: But all right, incoming, let's open the door now.
• 5:01
  Speaker 1: And I was literally on the when we recorded the documentary.
• 5:05
  Speaker 1: The director tells this story a lot. He says, you
• 5:08
  Speaker 1: can literally see on my interviews. You can see the
• 5:12
  Speaker 1: sun come up and go down during my interview.
• 5:18
  Speaker 5: I you know what's funny you say that? So I
• 5:20
  Speaker 5: was listening to the commentary on Jason Goes to Hell
• 5:23
  Speaker 5: with you and Peter Brack and you guys are talking
• 5:25
  Speaker 5: about how you recorded the first commentary at that Margaret
• 5:28
  Speaker 5: what's it called Margarita mix?
• 5:29
  Speaker 1: Margaite Mix, Yeah, Dean Loree and I yep.
• 5:31
  Speaker 5: And the whole time I was just thinking, So Steve
• 5:33
  Speaker 5: and I we host a podcast where we discuss movies
• 5:36
  Speaker 5: based on their audio commentaries, and I was like, man,
• 5:40
  Speaker 5: how cool would it be to have a place like
• 5:42
  Speaker 5: that to go and record that.
• 5:44
  Speaker 1: Well, what's awesome is that? I mean, for those who
• 5:47
  Speaker 1: don't know, Margarita Mix was a mixing stage in La
• 5:51
  Speaker 1: just for commentary tracks. That's literally what they what they
• 5:53
  Speaker 1: made it for, and the concept behind it was they
• 5:56
  Speaker 1: would serve you margariteas while you were doing the commentary track.
• 6:00
  Speaker 1: Here's the thing. I have never had a sip of
• 6:02
  Speaker 1: alcohol in my life. I know, I know, you just
• 6:04
  Speaker 1: lost half your audience. But and so I've never done
• 6:10
  Speaker 1: drugs and never I've never I've never been nebriated anyway.
• 6:13
  Speaker 1: But my roommate at that time, in our early twenties,
• 6:17
  Speaker 1: my roommate and writing partner, Gean Laurie. I mean, he
• 6:20
  Speaker 1: he would snort peanut butter if you told him and
• 6:22
  Speaker 1: got him high, and he was drinking Margarita's like they
• 6:26
  Speaker 1: were going out of style. And I'm telling you, he
• 6:28
  Speaker 1: got slowly schnockered while I stayed completely sober, and it
• 6:33
  Speaker 1: became so much more fun for me because I could
• 6:36
  Speaker 1: just bunk with him while we were doing to The
• 6:37
  Speaker 1: commentary track was amazing, amazing.
• 6:40
  Speaker 5: I wish I could like get a list of all
• 6:43
  Speaker 5: the commentary tracks recorded there from them so then we
• 6:45
  Speaker 5: can reference that.
• 6:46
  Speaker 1: That would be like I can tell you I got
• 6:48
  Speaker 1: a note. And we were halfway through my track and
• 6:52
  Speaker 1: they paused us for a moment, so we could, you know,
• 6:54
  Speaker 1: get a drink of water and what. And while they're
• 6:57
  Speaker 1: doing that that the mixer came over me and said, hey,
• 6:59
  Speaker 1: I have a note from you from next door And
• 7:02
  Speaker 1: I was like, oh cool. From who? They said, well,
• 7:05
  Speaker 1: the director of the movie we're doing next Door. I
• 7:07
  Speaker 1: said who is it? He said you should just take
• 7:08
  Speaker 1: a look at it. I was like okay, and I
• 7:11
  Speaker 1: opened up the note and it said, hey, Adam, I
• 7:13
  Speaker 1: love you movie. Penny Marshall. They were doing a league
• 7:17
  Speaker 1: of their own next tour Man and a drunk Penny
• 7:21
  Speaker 1: Marshall wrote me a note to tell me how much
• 7:23
  Speaker 1: she loves Jason Goes to Have. I was like, wait
• 7:26
  Speaker 1: a minute, what Laverne loves Jason Goes to Hell? That
• 7:30
  Speaker 1: is badass. I don't think I ever felt more like
• 7:33
  Speaker 1: a rock star than in that moment. I was like,
• 7:35
  Speaker 1: that's so fucking cool. I'm the fawns.
• 7:37
  Speaker 5: All of a sudden, Well now we have to now
• 7:39
  Speaker 5: we have to do an episode of the podcast on
• 7:41
  Speaker 5: League of their Own wet.
• 7:44
  Speaker 1: She's a badass and she was a horror fan, so
• 7:46
  Speaker 1: that's pretty cool. That's so cool. Wow, well, very cool.
• 7:50
  Speaker 6: I can't well, thank you, thank you so much for
• 7:52
  Speaker 6: coming on. Really appreciate it. Where you know, we're excited,
• 7:56
  Speaker 6: uh excited for you know, this documentary that you know
• 7:58
  Speaker 6: has been teased and now it seems like it's here.
• 8:01
  Speaker 1: So it is about that, Yeah, it is. It is
• 8:05
  Speaker 1: so the documentary that took, you know, twice as long
• 8:08
  Speaker 1: as to do as the movie took. So look, here's
• 8:13
  Speaker 1: the thing. You know, when I did not want to
• 8:15
  Speaker 1: do a documentary, I had been asked for decades now
• 8:18
  Speaker 1: to do a documentary about Jason Goes to Hell, and
• 8:20
  Speaker 1: for my money, I was like, uh, for fox sake, Like,
• 8:24
  Speaker 1: here's the thing. I know that on my headstone it
• 8:27
  Speaker 1: will be Adam Jason Goes to Hellmarcus like I know.
• 8:30
  Speaker 1: I mean, I've done a lot of shit from since then,
• 8:33
  Speaker 1: and I've won a lot of awards and I'm a
• 8:35
  Speaker 1: sun Dance filmmaker and all this stuff, and I am
• 8:38
  Speaker 1: still Adam. Jason goes to Helmarcus, you know what, I'll
• 8:41
  Speaker 1: take it like I'll take it, you know that said,
• 8:44
  Speaker 1: I was like, do people really want to hear more
• 8:46
  Speaker 1: about this movie? Do they really like? You know? And
• 8:48
  Speaker 1: at the time, I was feeling pretty low about the film,
• 8:51
  Speaker 1: because not that I don't love the movie. I love
• 8:52
  Speaker 1: the movie and I'm very proud of what we did
• 8:54
  Speaker 1: and I never apologize for that film, but you know,
• 8:58
  Speaker 1: the fans had been less than kind to us in
• 9:01
  Speaker 1: the in the thoughts. And it's funny because everybody thinks
• 9:05
  Speaker 1: that the movie got shit talked to the beginning. It's
• 9:07
  Speaker 1: not true. It's not true. There was a divided audience
• 9:10
  Speaker 1: with that of that there were people who were pissed.
• 9:11
  Speaker 1: But I will tell you something like I went to
• 9:14
  Speaker 1: many screenings of that movie when I first came out
• 9:17
  Speaker 1: in ninety three. There was not one theater where by
• 9:19
  Speaker 1: the end of the movie people weren't up on their
• 9:21
  Speaker 1: feet cheering for the movie like it was crazy. And
• 9:24
  Speaker 1: we got great reviews. We were one of the only
• 9:26
  Speaker 1: Friday Thirteenth movies to get any good reviews. The New
• 9:29
  Speaker 1: York Times liked our film. The New York Times that
• 9:32
  Speaker 1: did not happen for Friday Thirteenth movie, right praise, It
• 9:36
  Speaker 1: just didn't. It just didn't, you know. The Wall Street
• 9:38
  Speaker 1: Journal called Us a call to morality because of the
• 9:41
  Speaker 1: sex the unsaved sex equals death scene in the movie.
• 9:44
  Speaker 1: So like there was all these like it was really
• 9:46
  Speaker 1: cool right by the way, when the movie came out,
• 9:49
  Speaker 1: my first two interviews the Monday after Jason Goztel came out.
• 9:53
  Speaker 1: My first interview was with Francis Ford Coppola, who pitched
• 9:57
  Speaker 1: me a a a zombie ninja movie, uh that I
• 10:02
  Speaker 1: was doing for zoatrop that I ended up working on
• 10:04
  Speaker 1: for zoa trope that didn't happen because the company went
• 10:07
  Speaker 1: went belly up. And then the fight. The next Friday night,
• 10:11
  Speaker 1: I was flown to New York to meet with Robert
• 10:13
  Speaker 1: de Niro, who had seen the film and loved it.
• 10:14
  Speaker 1: So the movie got a lot of love in the beginning, right,
• 10:17
  Speaker 1: it was right okay, And then the fucking Internet happened.
• 10:24
  Speaker 5: It is the worst thing to ever happened, Like.
• 10:28
  Speaker 1: The most powerful learning machine ever created the most incredibly
• 10:32
  Speaker 1: powerful political uh uh, knowledge based, amazing thing and all
• 10:38
  Speaker 1: the porn you could ever want, and we have turned
• 10:41
  Speaker 1: it into a place for guys who sit in mom's
• 10:44
  Speaker 1: basement to type and be pissed off that somebody else
• 10:48
  Speaker 1: does something that they wish they could do but they
• 10:50
  Speaker 1: don't do. Right, I mean, let's let's let's call it
• 10:54
  Speaker 1: what it is. By the way, a critic who goes
• 10:57
  Speaker 1: to you know, goes to school to become a critic.
• 10:59
  Speaker 1: A critic who's a great writer, you know, Roger Ebert,
• 11:02
  Speaker 1: I will tell you this. Do you guys know who
• 11:04
  Speaker 1: David Wayne is?
• 11:06
  Speaker 5: Off hand?
• 11:07
  Speaker 1: No? Okay, he's the director of things like role Models.
• 11:09
  Speaker 1: He did Wet Hot American Summer. Okay, yeah, part of
• 11:12
  Speaker 1: the State, the State I went to college with David
• 11:15
  Speaker 1: friend since and in fact, two of the guys from
• 11:18
  Speaker 1: the State, Joela true Leo from Brooklyn nine nine and
• 11:21
  Speaker 1: Tom Lennon from Reno nine to one one. Those two
• 11:25
  Speaker 1: guys were the stars of my student film that got
• 11:27
  Speaker 1: me my career. Well, David Wayne was part of this group,
• 11:30
  Speaker 1: David when he made Wet Hot American Summer. Roger Ebert
• 11:34
  Speaker 1: wrote a review of the movie, right, and it was
• 11:37
  Speaker 1: It's in his book, I really really really hated your movie. Okay.
• 11:42
  Speaker 1: David has it on his wall, framed on his wall
• 11:45
  Speaker 1: because what Roger Ebert did was he took the old
• 11:47
  Speaker 1: camp song Hello Mada, Hello Fada, and he wrote his
• 11:51
  Speaker 1: review to that piece of music. So he weird Al
• 11:55
  Speaker 1: Yankovic the review, okay, and the review is nothing but
• 11:59
  Speaker 1: tearing the movie to peas and shitting all over the movie.
• 12:02
  Speaker 1: And David is like, that is the most proud thing
• 12:04
  Speaker 1: I have on my wall because Roger Ebert took that
• 12:09
  Speaker 1: much time to hate my movie. So so a great critic,
• 12:14
  Speaker 1: I'm all for man slam me. I'm good, Like, let's
• 12:17
  Speaker 1: do it when you got some guys like no, no,
• 12:20
  Speaker 1: Jason fucking sucks the movies a piece of shit? Okay,
• 12:23
  Speaker 1: all right, all right, you got anything else to say, like, let's.
• 12:27
  Speaker 5: Talk the art of the art of the critic is
• 12:29
  Speaker 5: gone though, Like on I think I say this all
• 12:33
  Speaker 5: the time, like half of the even like the YouTube
• 12:35
  Speaker 5: crowd that does, like I'll watch a review for a
• 12:37
  Speaker 5: movie I've already seen and I'm just like, I don't
• 12:39
  Speaker 5: know where they're getting a well, the reason for hate
• 12:44
  Speaker 5: is always, like, I think, a good critic you have
• 12:47
  Speaker 5: to be like constructive in your criticism, right, Like have
• 12:50
  Speaker 5: have justification for what you're doing. People don't have that anywhere.
• 12:53
  Speaker 5: They just go, uh, that that didn't work. I don't
• 12:56
  Speaker 5: like that, and that's why this movie sucks. They can't
• 12:58
  Speaker 5: say like, oh, this is why I feel that way
• 13:01
  Speaker 5: because of the structure, because of this or whatever. They don't.
• 13:03
  Speaker 5: They're just like, yeah, I hate that. And now it's
• 13:06
  Speaker 5: like all about the clicks. So it's like, if movie
• 13:09
  Speaker 5: A is getting, you know, nine great reviews, you have
• 13:12
  Speaker 5: the one person that's like, yeah, this shit sucks because
• 13:14
  Speaker 5: they know they're gonna get more clicks.
• 13:15
  Speaker 1: By the way, there are movies that I am not
• 13:17
  Speaker 1: a fan of, right that. There are films that I'm
• 13:19
  Speaker 1: not crazy about right a lot. But but I will
• 13:24
  Speaker 1: always give the devil their due about what's great about
• 13:27
  Speaker 1: the movie, about what works about the movie, you know,
• 13:29
  Speaker 1: And that's one of those things that I just feel
• 13:32
  Speaker 1: has been lost in this idea of most movies. Most
• 13:37
  Speaker 1: films are made are somewhere between a B and a D. Okay,
• 13:43
  Speaker 1: there's a few a's, like a very tiny tiny amount
• 13:47
  Speaker 1: of a's, and then only a few real f's in
• 13:51
  Speaker 1: the middle is where most movies are. By the way,
• 13:54
  Speaker 1: look the movie in Nora. How about have any of you
• 13:56
  Speaker 1: guys seen it?
• 13:57
  Speaker 3: Yep?
• 13:58
  Speaker 1: Okay, right, that's a real good movie, right, I mean,
• 14:01
  Speaker 1: that's a really really good movie. Is it an Academy
• 14:04
  Speaker 1: Award winning Best Picture? No? No. But by the way,
• 14:10
  Speaker 1: if you say that, it's like you're denigrating the movie.
• 14:13
  Speaker 1: I'm like, no, that movie is a great B movie.
• 14:15
  Speaker 1: That's a B. That's a that's a solid eighty five
• 14:19
  Speaker 1: percent on the scale, which is an amazing thing to
• 14:22
  Speaker 1: pull off for any movie. That's extraordant. And I love
• 14:24
  Speaker 1: Sean Baker. I'm a huge Sean Baker fan. But I go, like,
• 14:27
  Speaker 1: the film is really good. It's not that good. It's good,
• 14:33
  Speaker 1: and we've lost the idea of in the middle. We
• 14:36
  Speaker 1: lost this idea of like most things live somewhere in
• 14:39
  Speaker 1: the middle. Because of clicks, You're one hundred percent right,
• 14:44
  Speaker 1: everything is either the best thing someone's seen or a
• 14:46
  Speaker 1: total piece of garbage. And that's heartbreaking. So but to
• 14:51
  Speaker 1: get back to your question, I did not want to
• 14:53
  Speaker 1: do a documentary because I was like, I've had it.
• 14:56
  Speaker 1: I get beat up about this movie. All the time,
• 14:58
  Speaker 1: I've had people wish me ask cam answer about this movie,
• 15:02
  Speaker 1: and I'm literally like, hey, listen, okay, I understand you
• 15:05
  Speaker 1: don't like the film. Who touched you when you were
• 15:08
  Speaker 1: a child? Ye? What happened? Because like, show me on
• 15:13
  Speaker 1: the doll because there's something wrong, something something horrible happen
• 15:17
  Speaker 1: to you. And you're you're wishing me ask cancer because
• 15:20
  Speaker 1: I made a Friday the Thirteenth movie you don't like really,
• 15:24
  Speaker 1: so I didn't want to do it. Then there were
• 15:27
  Speaker 1: these two guys, and everybody had tried to sell me
• 15:30
  Speaker 1: on this and I wasn't interested. There were these two guys, TJ.
• 15:34
  Speaker 1: Bowser and Corey Kaufman, and they were sort of super
• 15:38
  Speaker 1: fans of the film. They were really sweet dudes, and
• 15:41
  Speaker 1: they for my birthday in twenty nineteen, they made the
• 15:46
  Speaker 1: Jason Goes to Hell the final fan page site and
• 15:51
  Speaker 1: I thought, oh, that's that's adorable. Thanks man, Like that's
• 15:55
  Speaker 1: really cool, Like that's a very sweet thing to do, right,
• 15:57
  Speaker 1: And I thought, all right, they'll be like ten people
• 15:59
  Speaker 1: on here able to talk about Jason Gosdell for a
• 16:01
  Speaker 1: few days and no, no, that'll be that. But by
• 16:06
  Speaker 1: the end of the week. There were thousands of people
• 16:07
  Speaker 1: on it, and it got noticed by other face group,
• 16:12
  Speaker 1: other horror face groups at Facebook groups as like this one.
• 16:16
  Speaker 1: No one is shit talking anybody, and the moderators won't
• 16:19
  Speaker 1: allow anybody to talk off topic. That everything has to
• 16:22
  Speaker 1: be positive and really like didn't mean you can't criticize them,
• 16:26
  Speaker 1: men talk about it, but it had to be done
• 16:28
  Speaker 1: in a positive manner. And so this community started forming
• 16:32
  Speaker 1: that was really kind hearted and kind of amazed. I
• 16:35
  Speaker 1: was like, what is happening? Well, then they sent me
• 16:39
  Speaker 1: a deluge of please make a documentary about this movie.
• 16:44
  Speaker 1: And that's when I was like, oh, for the love
• 16:47
  Speaker 1: of God, Okay.
• 16:49
  Speaker 3: Lace are showing love for the movie though it's genuine appreciation.
• 16:52
  Speaker 1: Yeah, without a doubt. And by that point there have
• 16:56
  Speaker 1: been several articles suddenly written about like you should read
• 17:00
  Speaker 1: assess this movie. Hey, why were we sleeping on this really?
• 17:04
  Speaker 1: Is it just for the hockey mask? The rest of
• 17:06
  Speaker 1: the movie is awesome, like those kinds of things. And
• 17:08
  Speaker 1: I was like, and again I'm humbled by anybody saying
• 17:12
  Speaker 1: anything like that, because I'm like, that is very sweet.
• 17:15
  Speaker 1: You're looking at a movie I made a long time
• 17:16
  Speaker 1: ago and how awesome, thank you. I said, I will
• 17:21
  Speaker 1: make the movie and I will not earn a dollar
• 17:24
  Speaker 1: from it. I will not take a salary, nothing. But
• 17:28
  Speaker 1: I am not making my company pay for it. I'm
• 17:31
  Speaker 1: not gonna have Skeleton Crew put up the funds for this.
• 17:33
  Speaker 1: I said, if everybody wants this thing, great, pay for it.
• 17:37
  Speaker 1: You guys, put the money up. I will make the movie.
• 17:40
  Speaker 1: And again, I have not made one dollar in six years.
• 17:43
  Speaker 1: I've made a dollar on this movie. And that's okay.
• 17:47
  Speaker 1: Like I'm like, that's cool. I'm in for that. That's
• 17:51
  Speaker 1: what I contribute. You contribute cash, I'll contribute myself. Great.
• 17:56
  Speaker 1: We got that thing funded so fast it was stupid,
• 18:00
  Speaker 1: and I was like, ah, damn it, Now I gotta
• 18:01
  Speaker 1: go make this thing. And at the time, you know,
• 18:07
  Speaker 1: I had brought on a director who I'd met through
• 18:11
  Speaker 1: Peter Bracky, through my friend Peter, who's an amazing guy.
• 18:15
  Speaker 1: And Peter and I had an interesting past because when
• 18:17
  Speaker 1: he did Crystal Lake Memories, you know, he was writing
• 18:21
  Speaker 1: that really for Sean Cunningham, and Sean Cunningham was like
• 18:24
  Speaker 1: the guy who kind of fed Peter so much information
• 18:27
  Speaker 1: so needed John because Sean is an important part of
• 18:29
  Speaker 1: that story. Well, the book kind of slanted against me.
• 18:35
  Speaker 1: And it was interesting because Peter came to me when
• 18:39
  Speaker 1: they were doing the Blu ray set for shot factory
• 18:43
  Speaker 1: for a screen factory, and he needed me to, you know,
• 18:46
  Speaker 1: do interviews and stuff, and so he called me. We
• 18:48
  Speaker 1: hadn't talked in a long time, and he was like,
• 18:50
  Speaker 1: he called me and he said, look at him. He said,
• 18:51
  Speaker 1: we're doing this thing. I'd love to come and interview you.
• 18:54
  Speaker 1: I'd love to have you part of this package. He said,
• 18:57
  Speaker 1: but I need to apologize for a few things before that,
• 19:00
  Speaker 1: and if you don't want to do it, I totally understand.
• 19:01
  Speaker 1: I was like, okay, and he basically said look, he said,
• 19:05
  Speaker 1: you know, look, I bought Sean's bullshit hook line and
• 19:07
  Speaker 1: Sinker way back when. Yeah, it was bullshit, and I've
• 19:12
  Speaker 1: learned that over the years, and I'm really sorry because
• 19:16
  Speaker 1: I should have heard you more because this guy abused
• 19:21
  Speaker 1: a lot of people. And I was like, oh, thank god,
• 19:23
  Speaker 1: somebody's hearing it. That's awesome. So Peter was the one
• 19:28
  Speaker 1: who interviewed me for that, and he brought this other
• 19:30
  Speaker 1: guy there to shoot the thing, and when we went
• 19:33
  Speaker 1: to make the doc, I was like, hey, how about
• 19:35
  Speaker 1: you and that guy who is at my house? Why
• 19:37
  Speaker 1: don't you guys put this thing together? Like I can't
• 19:39
  Speaker 1: direct the movie. Yeah, i'll produce it, but I need
• 19:41
  Speaker 1: somebody objective and I want people to say, you know, oh,
• 19:45
  Speaker 1: that Adam was an asshole on set, Like I'm cool
• 19:47
  Speaker 1: with that, Like throw it at me, Like I want
• 19:50
  Speaker 1: it to be real. If we're gonna do it, let's
• 19:51
  Speaker 1: make a real documentary, not a behind the scenes puff piece.
• 19:55
  Speaker 1: And so we started working together, and we started collecting
• 19:59
  Speaker 1: footage and by February, the end of February of twenty twenty,
• 20:03
  Speaker 1: which was only three months after the campaign had ended,
• 20:06
  Speaker 1: and by the way, we had already sent out all
• 20:08
  Speaker 1: the perks. All the perks had gone out. The only
• 20:10
  Speaker 1: thing that hadn't gone out was the Blu rays, right
• 20:12
  Speaker 1: because we didn't have them yet. We had collected over
• 20:17
  Speaker 1: thirty interviews by the end of February, right, So we
• 20:20
  Speaker 1: were cooking and I was like, great, this movie's gonna
• 20:22
  Speaker 1: be done in a year. We're in and out. It's
• 20:24
  Speaker 1: gonna be awesome. Everybody gets the movie fantastic And then
• 20:29
  Speaker 1: March King and here's the thing, where are you guys
• 20:33
  Speaker 1: all located.
• 20:34
  Speaker 5: I'm in Michigan, California, New Jersey.
• 20:37
  Speaker 1: Okay, we're in California, just north of Sacramento. Awesome. Yeah,
• 20:42
  Speaker 1: So I don't know what it was like in Sacramento.
• 20:45
  Speaker 1: I know what it was like the rest of the country.
• 20:47
  Speaker 1: You know, people at lockdowns, and some people were locked
• 20:50
  Speaker 1: down three five, eight, ten months. Yeah, southern California was
• 20:56
  Speaker 1: locked down for over two years. Yeah, we were in
• 20:59
  Speaker 1: the lockdown. So lockdown for over two years. Okay. So,
• 21:03
  Speaker 1: by the way, it's not just me that's lockdown. It's
• 21:06
  Speaker 1: all of the subjects for this movie are locked down
• 21:09
  Speaker 1: and we're going into people's houses. I didn't want to
• 21:11
  Speaker 1: go to a stage or studio and put up a
• 21:13
  Speaker 1: green screen. There's a picture of you in the movie.
• 21:16
  Speaker 1: I didn't want to make that. And by the way,
• 21:21
  Speaker 1: I got a bone to pick, and I've never talked
• 21:24
  Speaker 1: about this. I got a bone to pick with Christal
• 21:27
  Speaker 1: Lake memories with the move, with the movie, not the
• 21:28
  Speaker 1: book with the movie. Those motherfuckers did not, ever, not
• 21:33
  Speaker 1: one day, shoot me for that movie. Not once they
• 21:37
  Speaker 1: recycled footage from his name was Jason. They never came
• 21:41
  Speaker 1: to me about that film interview and by the way.
• 21:45
  Speaker 1: By the way, I'm okay with the fact I don't
• 21:48
  Speaker 1: need to get paid or some shit.
• 21:49
  Speaker 3: I don't know.
• 21:50
  Speaker 1: It's a documentary, nobody should be paid. But that said,
• 21:54
  Speaker 1: they didn't get me any bite at the apple of
• 21:57
  Speaker 1: anything to talk about in that film. So all they
• 22:00
  Speaker 1: did was recycled footage from another movie, which I think
• 22:03
  Speaker 1: is really gross. Like, wait a second, guys, you're not
• 22:06
  Speaker 1: a YouTube channel. You guys were selling a movie for
• 22:09
  Speaker 1: real money to the public. Yeah, it's just recycled footage.
• 22:13
  Speaker 5: Not one frame of that is new, and a documentary
• 22:16
  Speaker 5: that's that's being labeled as the definitive.
• 22:19
  Speaker 1: Ye and that's bullshit. That's bullshit because I can tell
• 22:24
  Speaker 1: you they spent twenty minutes on Jason goes tell in
• 22:27
  Speaker 1: a four hour plus movie. And I go like, yeah,
• 22:31
  Speaker 1: you know, guys, for the fact that Sean Cunningham produced
• 22:35
  Speaker 1: the movie, you should have been on that a little longer.
• 22:37
  Speaker 1: There's more to tell there. And they told nothing. They
• 22:39
  Speaker 1: told the superfluous version of it. And that's fine, Like
• 22:42
  Speaker 1: that's fine, that's fine, make your movie. I'm okay with
• 22:45
  Speaker 1: all of it, except for you sold it as though
• 22:48
  Speaker 1: it was a new thing. It was not a new thing,
• 22:50
  Speaker 1: not a new thing. It was recycled footage, and that
• 22:53
  Speaker 1: pisses me off. It still pisses me off. Yeah, not cool.
• 22:56
  Speaker 1: And again, you know, like give you know, I've never
• 23:01
  Speaker 1: said no to somebody who was going to be making
• 23:04
  Speaker 1: a legit documentary. I said no to a lot of
• 23:06
  Speaker 1: people in my career, not to somebody who's like, no,
• 23:08
  Speaker 1: I'm doing something legitimate. Here's what we're doing and it's
• 23:11
  Speaker 1: going to be fair handed. We're giving all sides. Great,
• 23:15
  Speaker 1: I'll jump in, I'll talk about it. Then at least
• 23:17
  Speaker 1: my voice is being heard right like you guys are
• 23:20
  Speaker 1: doing right now. So look, I I'm shooting the movie.
• 23:27
  Speaker 1: We get stuck. I go to shoot more interviews, but
• 23:30
  Speaker 1: we're going into people's homes and they don't want anybody
• 23:34
  Speaker 1: in their house. Like it was crazy out here, guys.
• 23:37
  Speaker 3: It was of just.
• 23:39
  Speaker 1: Nobody having any communication with each other. It was crazy.
• 23:42
  Speaker 1: So once that head he did, we were resumed some shooting,
• 23:48
  Speaker 1: and I pretty quickly realized that the guy we had
• 23:51
  Speaker 1: hired as director was just the wrong guy. He just
• 23:55
  Speaker 1: didn't have a vision for the movie. He did have
• 23:57
  Speaker 1: a vision for what I kept saying, like, yeah, but
• 23:59
  Speaker 1: what's the you about. I see all this footage we're collecting,
• 24:02
  Speaker 1: but you gotta tell a story. What's the story you're
• 24:04
  Speaker 1: telling him? Please don't tell me the making of this movie.
• 24:07
  Speaker 1: That's boring. Like what is your take? What do you
• 24:10
  Speaker 1: want to say?
• 24:12
  Speaker 3: How far in did you get before you started feeling
• 24:14
  Speaker 3: like that?
• 24:15
  Speaker 1: Pretty far?
• 24:16
  Speaker 3: Okay, pretty far.
• 24:17
  Speaker 1: We had already done probably thirty five interviews by that point,
• 24:20
  Speaker 1: so yeah, yeah, and I will tell you this. During
• 24:24
  Speaker 1: my interview, this director fell asleep twice. My goodness. At
• 24:33
  Speaker 1: one point he said he had a headache and he
• 24:34
  Speaker 1: went laid down on my couch and fell asleep while
• 24:37
  Speaker 1: I was being interviewed, and he snored during the interview,
• 24:40
  Speaker 1: and we caught it on tape.
• 24:42
  Speaker 3: I was like, yeah, I think at that point you
• 24:45
  Speaker 3: kind of know.
• 24:46
  Speaker 1: Yeah. I was like, this is not working.
• 24:47
  Speaker 5: Oh my god.
• 24:48
  Speaker 1: Yeah, yeah, yeah, it was really it was really something.
• 24:51
  Speaker 1: So I uh. We parted ways and all was good,
• 24:56
  Speaker 1: you know, it was greative differences, cool, good to go,
• 24:59
  Speaker 1: and I had nothing new him to say, go do
• 25:00
  Speaker 1: your thing, it's okay. At that point I turned to
• 25:05
  Speaker 1: Peter Racky and say, hey, dude, listen, I need I
• 25:07
  Speaker 1: need a director like I need somebody. I need somebody. Great.
• 25:11
  Speaker 1: There were five amazing documentarians that wanted to do the movie.
• 25:15
  Speaker 1: So I was like, great, let's start. Let's set up meetings.
• 25:17
  Speaker 1: He says, yeah, yeah, he said, but here's the thing.
• 25:19
  Speaker 1: There's one guy that you've got to meet first. There's
• 25:22
  Speaker 1: one guy. I was like, okay, who. He says, This
• 25:26
  Speaker 1: guy Michael Felcher. I think you're gonna freaking love him.
• 25:29
  Speaker 1: I was like, I know his work, He's terrific. I said, okay, yeah,
• 25:32
  Speaker 1: I'm happy to let's let's meet him. So we get
• 25:35
  Speaker 1: on Zoom. He's in Detroit and he have you guys
• 25:39
  Speaker 1: all seen the movie wolf Man Gotten RDS. Yeah, documentary
• 25:44
  Speaker 1: about the making of the Monster Squad, and I am
• 25:46
  Speaker 1: a huge fan of that movie. That movie toured with
• 25:49
  Speaker 1: my last film, Jason goes to, I'm sorry my last
• 25:52
  Speaker 1: film secret Sanna. When we were out in competition, festival, competition,
• 25:55
  Speaker 1: all around the world, and everywhere I was playing there
• 25:58
  Speaker 1: would be wolf Man gott Nards. So I saw a
• 26:00
  Speaker 1: few times, and I love that film. I just think
• 26:03
  Speaker 1: it's a beautifully constructed narrative. I just think it's a
• 26:06
  Speaker 1: touching movie that tells a story that nobody knows, and
• 26:10
  Speaker 1: I was like, this is really it's a cool little movie.
• 26:12
  Speaker 1: So Michael gets on the line with me. We're talking
• 26:15
  Speaker 1: and I said, so, Michael, how do you see the movie?
• 26:17
  Speaker 1: Like what's your what's your take in the movie? And
• 26:19
  Speaker 1: he said, okay, have you seen wolf Man Gotten Nerds?
• 26:25
  Speaker 1: I was like, uh huh. And he starts saying, yeah,
• 26:28
  Speaker 1: that I want it to be like that, and here's
• 26:31
  Speaker 1: what I mean. And he starts laying out the movie
• 26:33
  Speaker 1: you wants to make, my my producing partner Ali Rivera
• 26:38
  Speaker 1: CANYONEZ and I truly like tears start welling in our
• 26:42
  Speaker 1: eyes because we had been lost in the woods for
• 26:45
  Speaker 1: three years with someone who just didn't know what he
• 26:47
  Speaker 1: wanted to make, and suddenly we've got someone who's not
• 26:50
  Speaker 1: just telling what he wants to make, but a movie
• 26:52
  Speaker 1: that we're like, oh we want to make that I
• 26:55
  Speaker 1: want to see this movie like you're giving the movie
• 26:57
  Speaker 1: that we should be making. I immediately hired him. Michael,
• 27:02
  Speaker 1: you're the guy. It's done. I don't mean to meet
• 27:05
  Speaker 1: with the four other guys. I'm thrilled. All good and
• 27:08
  Speaker 1: then he says that's awesome, Adam, thank you. He says,
• 27:10
  Speaker 1: but I want. I want to prove to you how
• 27:12
  Speaker 1: much I believe in this project. I said, okay, he said,
• 27:15
  Speaker 1: go look at your receipts for the first day of
• 27:18
  Speaker 1: the campaign instead of the indie Gogo campaign. He's like yeah,
• 27:23
  Speaker 1: and I go back and look. He was the third
• 27:26
  Speaker 1: contributor to the entire movie. He's the third with the film.
• 27:32
  Speaker 3: It's like a full circle moment.
• 27:33
  Speaker 1: It really is. I was like, wow, you are really
• 27:36
  Speaker 1: You put your money where your mouth is before your
• 27:38
  Speaker 1: mouth had to be here. Yeah, it's amazing. It was amazing.
• 27:42
  Speaker 1: So I brought Michael on and the clouds parted and
• 27:47
  Speaker 1: the river stopped running, and I was like, holy shit,
• 27:51
  Speaker 1: we're making a fucking movie. And the the other piece
• 27:54
  Speaker 1: of this puzzle that was really incredible. So okay, Mike,
• 28:00
  Speaker 1: Prussian company is Skeleton Crew. I created that company when
• 28:04
  Speaker 1: I was fifteen years old. I owned the company. It's
• 28:06
  Speaker 1: a legal company in state of California. I made the
• 28:09
  Speaker 1: company when I was fifteen for my theater company back east,
• 28:14
  Speaker 1: and it was four guys were part of the company. Me,
• 28:19
  Speaker 1: my brother Kip, who of course you all know from
• 28:21
  Speaker 1: the movie, a buddy named David Kramer, who was a
• 28:24
  Speaker 1: cinematography and lunatic and my best friend in the world,
• 28:27
  Speaker 1: a guy named Eric Beatner. Eric and I have in
• 28:28
  Speaker 1: best friends since who are fourteen? I got jobs for
• 28:32
  Speaker 1: David Kramer and Eric Beatner on the movie Jason Goes
• 28:35
  Speaker 1: to Hell, as well as my brother Kip. All four
• 28:37
  Speaker 1: of them. We're gonna be working on the film, all
• 28:39
  Speaker 1: four of us. Now, by the way, from fifteen. We
• 28:41
  Speaker 1: have business cards. I have the business cards in my basement.
• 28:45
  Speaker 1: I sort of got and like, all four of our
• 28:47
  Speaker 1: names are on this business card. It's freaking hilarious. This
• 28:52
  Speaker 1: guy Eric and this guy Dave. Because we got shut
• 28:56
  Speaker 1: down right while we were just about to head into production.
• 28:59
  Speaker 1: We got put in a yello light because they wanted
• 29:00
  Speaker 1: to rewrite and I wanted to rewrite. My friend Dave
• 29:03
  Speaker 1: convinced my buddy Eric that, you know, I was full
• 29:05
  Speaker 1: of shit. The movie wasn't gonna happen. And they got
• 29:07
  Speaker 1: to get the fuck out of California and go back
• 29:09
  Speaker 1: eastcause we all grew up in Westport of New York.
• 29:12
  Speaker 1: And they left, and two weeks later we were back
• 29:16
  Speaker 1: up and running and we were shooting a movie. And
• 29:18
  Speaker 1: so these guys that I had been with since so
• 29:20
  Speaker 1: I was fifteen years old, where we were like, we
• 29:22
  Speaker 1: were this crew and we were going to do this
• 29:24
  Speaker 1: together and we're gonna go make our movie. My buddy
• 29:27
  Speaker 1: Dave had gotten you know, look, he had gotten jealous.
• 29:29
  Speaker 1: He was not happy of being an assistant camera. By
• 29:32
  Speaker 1: the way, he had just gotten out of film school
• 29:33
  Speaker 1: and he was an assistant camera on a major motion
• 29:36
  Speaker 1: picture that's with heartbreaking. My buddy Eric was basically told
• 29:40
  Speaker 1: that I was lying and that there would be no money,
• 29:42
  Speaker 1: and he had no money, and he had graduated two
• 29:44
  Speaker 1: weeks before he got to La to shoot this movie.
• 29:48
  Speaker 1: So he was freaking out, just like I can't eat right.
• 29:52
  Speaker 1: So they leave, by the way, for my brother Eric
• 29:57
  Speaker 1: to have a role, and this movie was second assistant editor.
• 30:03
  Speaker 1: I took money out of my salary to make that
• 30:07
  Speaker 1: position available. Wow, which he never knew. He never He
• 30:11
  Speaker 1: still doesn't know it unless he's watching this today. Well
• 30:15
  Speaker 1: here's the crazy thing. We saw each other a few
• 30:19
  Speaker 1: times back easton Connecticut over the years, and at one
• 30:23
  Speaker 1: Pointing was working for J Crew and you know, folding shirts,
• 30:27
  Speaker 1: you know, in West Court, and I was like, dude, dude,
• 30:30
  Speaker 1: what did you do anyway? What I didn't know was
• 30:35
  Speaker 1: that he left that behind and he wanted to be
• 30:37
  Speaker 1: an editor. That was his love. So I'm out here.
• 30:42
  Speaker 1: This is about fifteen years ago. I'm at a party
• 30:44
  Speaker 1: in Hermosa Beach and I live in El Segundo, so
• 30:47
  Speaker 1: a few towns down on the in the South Bay
• 30:49
  Speaker 1: in LA. And I'm at this party on the beach
• 30:53
  Speaker 1: is amazing, and it's a bunch of people from my
• 30:56
  Speaker 1: high school and we're all there. We're kind of reunioning. Yeah,
• 31:00
  Speaker 1: and there's my friend Eric with his wife and I'm
• 31:03
  Speaker 1: like and his little girl. So I'm like, oh my god, dude, dude,
• 31:06
  Speaker 1: what the hell I didn't you're in LA. He's like, yeah,
• 31:09
  Speaker 1: I've been here for like ten years. Like holy shit,
• 31:11
  Speaker 1: I said, what are you doing? He said, I'm you know,
• 31:13
  Speaker 1: I've been cutting Fear Factor for the last I was
• 31:16
  Speaker 1: like really, He's like, yeah, cut every episode. I'm like
• 31:19
  Speaker 1: holy shit. And yeah, he said, well where are you living?
• 31:24
  Speaker 1: What's that? He says, all this tiny little beach town
• 31:26
  Speaker 1: up the up the road. I was like, what what beachtown?
• 31:30
  Speaker 1: It's El Segonda. I was like, you're now you're fucking
• 31:34
  Speaker 1: with me. He's like no, he says, I've been there
• 31:36
  Speaker 1: for the last six years. I'm like, dude, I live
• 31:40
  Speaker 1: in El Segundo. I'm like, where do you live? He
• 31:41
  Speaker 1: tells me. I'm like, dude, we're less than a mile apart.
• 31:45
  Speaker 3: That's the sane.
• 31:48
  Speaker 1: So that guy, that dude basically came to me with
• 31:56
  Speaker 1: this incredible apology about what happened. This is years later
• 32:00
  Speaker 1: after we had seen each other and he had moved on.
• 32:03
  Speaker 1: He's now he's now the editor for The Amazing Race.
• 32:06
  Speaker 1: He actually just got nominated for his tenth nomination for
• 32:10
  Speaker 1: Best Editor. Wow, he's never won. He's like the Susan
• 32:13
  Speaker 1: Lucci of television editors. This dude he just cut this documentary.
• 32:21
  Speaker 3: Wow, it really.
• 32:24
  Speaker 1: And and he is now he was an actor. He's
• 32:27
  Speaker 1: one of the leads of my student film that got
• 32:29
  Speaker 1: me all of this, that got me in my career. Yeah,
• 32:32
  Speaker 1: this dude is now an actor in my troop in
• 32:37
  Speaker 1: my company. Okay, because I teach acting three nights a
• 32:39
  Speaker 1: week for the people that end up being in my movies.
• 32:43
  Speaker 1: Not only that, but we we screened the movie in
• 32:45
  Speaker 1: La just a few weeks ago in the same theater,
• 32:48
  Speaker 1: by the way, that Shohn Baker and I are both
• 32:49
  Speaker 1: trying to save the Guardina Cinema in in Los Angeles.
• 32:54
  Speaker 3: Very cool.
• 32:54
  Speaker 1: And so Eric came to the screening and we did
• 32:58
  Speaker 1: like a Q and A afterwards, and he's sitting on
• 33:00
  Speaker 1: the stage and his eyes start to feel with tears
• 33:03
  Speaker 1: and I'm looking at him and he and he he
• 33:04
  Speaker 1: says on the mic, he says, you know, he said,
• 33:08
  Speaker 1: I don't want this to moment to escape without me
• 33:11
  Speaker 1: recognizing that, Like, for the first time in my career,
• 33:14
  Speaker 1: I just saw my name as an editor of any
• 33:17
  Speaker 1: movie on a screen. But it's a movie that my
• 33:20
  Speaker 1: best friend direct, that my best friend is the producer of,
• 33:23
  Speaker 1: and he's the subject of, and it's based on the
• 33:26
  Speaker 1: movie that I should have been making with him thirty
• 33:29
  Speaker 1: years ago. And yeah, he's like, he's like, I can't
• 33:33
  Speaker 1: tell you what it means that my name is there
• 33:35
  Speaker 1: and Eric and I are now making six movies together
• 33:39
  Speaker 1: and that all happened because of this documentary, that all
• 33:42
  Speaker 1: sort of everything coalesced around this documentary. So yeah, yeah,
• 33:47
  Speaker 1: I mean, the power the power of this die And
• 33:50
  Speaker 1: I don't want to oversell it, but I'm but I'm
• 33:52
  Speaker 1: you know, look, it's a good movie. I didn't direct it.
• 33:54
  Speaker 1: So there's another artist who made the movie, but between
• 33:57
  Speaker 1: Eric and And and Michael, they've crafted something that has
• 34:03
  Speaker 1: the spirit of what I just talked about. It's not
• 34:05
  Speaker 1: just a movie about the making of a movie. It's
• 34:07
  Speaker 1: the movie about a twenty three year old moron who
• 34:14
  Speaker 1: got it, who literally became Charlie in the chocolate factory,
• 34:17
  Speaker 1: like literally, like that's what happened. And I got to
• 34:21
  Speaker 1: I got to have the reins of this thing that
• 34:23
  Speaker 1: I adored. I love the Friday thirteen franchise. It was
• 34:26
  Speaker 1: part of my whole life, was part of my growing up.
• 34:28
  Speaker 1: I don't mean seeing it. I was involved on the
• 34:31
  Speaker 1: ground personally, and so it was the fruition of this dream.
• 34:36
  Speaker 1: And it's also a story about anybody who wants to
• 34:40
  Speaker 1: be a filmmaker. What is possible if your head is
• 34:44
  Speaker 1: to the grindstone, if you work your ass off, and
• 34:48
  Speaker 1: if you are open to the possibility of shit happening,
• 34:52
  Speaker 1: of crazy shit happening. It's also about what filmmaking does
• 34:56
  Speaker 1: to people and how it creates families. I mean, look,
• 34:59
  Speaker 1: I don't know if any you have seen Secret Santa,
• 35:01
  Speaker 1: my last movie, but the movie is a big middle
• 35:04
  Speaker 1: finger to family I am not one of those people
• 35:07
  Speaker 1: that's like familiar fuck all that. I'm a little more
• 35:12
  Speaker 1: in the in the you know, the Vin Diesel camp
• 35:14
  Speaker 1: of family, because I think your family are the people
• 35:19
  Speaker 1: you choose, not in the place you were born into.
• 35:22
  Speaker 1: You can be born into a bunch of assholes, but
• 35:26
  Speaker 1: when you make your choices in your life and you
• 35:28
  Speaker 1: bring people together, you can be an unstoppable force. You can,
• 35:33
  Speaker 1: you can you can really create things together that are remarkable.
• 35:39
  Speaker 1: I'm not just talking about film but anything. I mean,
• 35:42
  Speaker 1: your possibilities are limitless if the people around you are
• 35:46
  Speaker 1: are amazing. And I've been lucky enough to be able
• 35:49
  Speaker 1: to do that, you know, and uh, and the movie
• 35:51
  Speaker 1: really carries that. It's wild. It's like people are getting
• 35:54
  Speaker 1: all teary eyed. Ship that's a movie that fucking Jason
• 35:56
  Speaker 1: goes now like that shouldn't be happening, but it's happening.
• 36:01
  Speaker 5: What's so relatable about that is like I was always
• 36:05
  Speaker 5: kind of like the black sheep of my family, being
• 36:07
  Speaker 5: into movies and stuff. And as I got older, I
• 36:10
  Speaker 5: kind of realized the same thing you did, where I
• 36:11
  Speaker 5: was like, hey, look, family is who you surround yourself with.
• 36:14
  Speaker 5: It's not necessarily who you're born into. So as I
• 36:17
  Speaker 5: got older and I started separating myself from that, I
• 36:20
  Speaker 5: started realizing that I'm not getting younger. I need to
• 36:22
  Speaker 5: start chasing this thing I'm so passionate about with just
• 36:25
  Speaker 5: film and stuff. And over the last I have to
• 36:28
  Speaker 5: say five years that I've been talking about physical media
• 36:32
  Speaker 5: and talking about movies. The journey has been incredible, and
• 36:37
  Speaker 5: it's been all these ups and downs. And the other
• 36:39
  Speaker 5: day I had a moment where we were Steve and
• 36:41
  Speaker 5: I were kind of planning stuff for the podcast, and
• 36:44
  Speaker 5: I was like, man, I was like, there's stuff happening.
• 36:47
  Speaker 5: I think it was actually kind of planning this with you.
• 36:49
  Speaker 5: Once we started getting this together, I was like, there's
• 36:53
  Speaker 5: things happening that were dreams years ago, and I need
• 36:56
  Speaker 5: to stop and take this in. And guys like Jordan
• 37:01
  Speaker 5: and Steve to me are are are closer than me
• 37:05
  Speaker 5: and my family that will ever be. And these are
• 37:08
  Speaker 5: guys who, admittedly just a couple of years ago, I
• 37:10
  Speaker 5: had no idea who they were. None of us knew
• 37:12
  Speaker 5: each other, and it was like it was like lightning
• 37:14
  Speaker 5: in a bottle. We all met and another one of
• 37:16
  Speaker 5: our friends created this incredible group chat and it brought
• 37:19
  Speaker 5: everything together, and it was like, I couldn't I can't
• 37:22
  Speaker 5: imagine a scenario where like we could have written it
• 37:24
  Speaker 5: any better than it all fell together, and it's it's
• 37:29
  Speaker 5: a beautiful thing. And I can't imagine taking that and
• 37:31
  Speaker 5: scaling it up to the point where where you're on
• 37:34
  Speaker 5: stage and having that moment that's that's incredible.
• 37:36
  Speaker 1: Man. But but by the way, look, you know it's
• 37:39
  Speaker 1: the other part. And by the way, what you just
• 37:41
  Speaker 1: said is freaking beautiful. What what I think is is remarkable. Look,
• 37:47
  Speaker 1: right after I did Jason Goes down right, you know,
• 37:51
  Speaker 1: couple and raw all that cool shit. Yeah, and uh,
• 37:54
  Speaker 1: And I was offered scary movie Scream. And two weeks
• 38:00
  Speaker 1: after I was offered Scary Movie, Wes said, I like
• 38:03
  Speaker 1: this movie, Scary Movie. I was like, fuck, I'm totally
• 38:06
  Speaker 1: not getting that job. And I really liked that script.
• 38:09
  Speaker 1: I was really the reason they did is because Jason
• 38:12
  Speaker 1: Goes to Hell at a time when nothing was meta,
• 38:15
  Speaker 1: was incredibly meta and they went ooh, this might be
• 38:18
  Speaker 1: the guy to like get what we're doing here. So
• 38:22
  Speaker 1: so but again Wes. Wes was like an uncle to
• 38:25
  Speaker 1: me growing up, and so Uncle Wes got it good
• 38:27
  Speaker 1: for him, freaking loveless. I actually was. I was at
• 38:31
  Speaker 1: the first table read of a night renelm. Street the
• 38:33
  Speaker 1: first one. Wow. Yeah, yeah, that's.
• 38:37
  Speaker 5: They talked about that in Collins Clark's book That's coming
• 38:40
  Speaker 5: out screaming, conjuring mentions that about how you were in
• 38:43
  Speaker 5: the running leading up to it, and that was shocking
• 38:46
  Speaker 5: to me. I was like, I was like, oh, that
• 38:47
  Speaker 5: would have been so cool.
• 38:49
  Speaker 1: I think so too. But by the way, look, Wes,
• 38:54
  Speaker 1: is just the casting of Drew Barrymore alone, and that
• 38:57
  Speaker 1: was completely Wes's idea. You just got no, no, no, the
• 39:01
  Speaker 1: right guy, the right guy directed money please. That in
• 39:05
  Speaker 1: and of itself, you just go, Okay, you're a fucking genius.
• 39:07
  Speaker 1: You killed off the biggest name in your film in
• 39:09
  Speaker 1: five minutes. Oh not worthy? Yeah that said that said,
• 39:14
  Speaker 1: you know, I was offered nothing but movies that had
• 39:18
  Speaker 1: numbers at the end, right, so you know, Amityville ninety seven,
• 39:23
  Speaker 1: Pumpkin two, Leprechaun, Back to the Hood. I mean it
• 39:28
  Speaker 1: was like it was a lot I've been offered. I've
• 39:30
  Speaker 1: been offered three Leprechaun movies in my career. I'm so
• 39:34
  Speaker 1: I feel so good that I turned all of them down.
• 39:38
  Speaker 1: And by the way I wrote, I wrote a movie
• 39:41
  Speaker 1: in the Cavin Fever franchise. Like, I'm not saying that
• 39:43
  Speaker 1: I won't go. No, I'll go, but you gotta give
• 39:46
  Speaker 1: me something interesting. You gotta give me something that I
• 39:48
  Speaker 1: can do something with. Otherwise what the fuck are we doing? Yeah,
• 39:51
  Speaker 1: you know, I run tweak old. You can only go
• 39:53
  Speaker 1: so far. And so when we when all of that
• 39:58
  Speaker 1: was happening, I was writing original scripts and my wife
• 40:01
  Speaker 1: and I Deborah, who's my writing partner and my producing partner,
• 40:05
  Speaker 1: my life partner. She's fucking awesome, the two of us.
• 40:09
  Speaker 1: You know, we were selling a lot of stuff, but
• 40:11
  Speaker 1: nothing was getting made. It was all just sitting on
• 40:13
  Speaker 1: studio shelves, which is the life of most writers. And
• 40:16
  Speaker 1: I was like, I want to make another movie. And
• 40:18
  Speaker 1: my brother Kip brought me this play that he had
• 40:21
  Speaker 1: written that had been performed at the inchel sorry at
• 40:26
  Speaker 1: the Tribeca Institute again back to Danero. It was you.
• 40:32
  Speaker 1: It was pretty cool. It's pretty cool, but the play
• 40:35
  Speaker 1: was really pretentious and I did not like the play.
• 40:39
  Speaker 1: But he wanted to turn it into a film, and
• 40:43
  Speaker 1: he wanted to be sort of like a brother film
• 40:47
  Speaker 1: to my movie that i'd made in college, this movie
• 40:49
  Speaker 1: called So You Liked This Girl, which was a romantic
• 40:51
  Speaker 1: comedy as If written by David Mannon that my brother
• 40:54
  Speaker 1: and I made and I directed Kip Kip wrote it,
• 40:59
  Speaker 1: and so he wanted to do this, and so we
• 41:02
  Speaker 1: started workshopping the script and he was going to direct
• 41:06
  Speaker 1: it originally, but pretty much, you know, realized like, no,
• 41:09
  Speaker 1: I can't. I can't direct an MB in it. You know,
• 41:12
  Speaker 1: would you be interested in directing? And I was like, fuck, yeah,
• 41:14
  Speaker 1: I think it's a cool movie. And so I went
• 41:17
  Speaker 1: from having all this studio success and all this stuff
• 41:19
  Speaker 1: because I already made Johnny Zombie or I'm Sorry, My
• 41:21
  Speaker 1: Boyfriend's Back for Disney, which was the first film I
• 41:24
  Speaker 1: produced at twenty one. I saw that one, and then
• 41:28
  Speaker 1: at twenty two I started working on Jason Hostel and
• 41:32
  Speaker 1: so I had all that studio stuff, and I was like,
• 41:35
  Speaker 1: you know what, I'm I'm gonna go back to New
• 41:37
  Speaker 1: York and shoot this little indy like I'm gonna do
• 41:39
  Speaker 1: this for nothing, Like let's just go make a movie.
• 41:41
  Speaker 1: And again it started my long journey of directing for
• 41:44
  Speaker 1: no money. And we made this film for two hundred
• 41:48
  Speaker 1: thousand dollars and this is on thirty five millimeter. Guys,
• 41:52
  Speaker 1: there's no digital didn't exist. To make a movie for
• 41:56
  Speaker 1: two hundred thousand dollars on thirty five millimeter is insane.
• 42:01
  Speaker 1: It's an insane and and by the ways, it was
• 42:07
  Speaker 1: a sag movie completely union. It's one of the first
• 42:11
  Speaker 1: films of Stephen Colbert. It's one of the first movies
• 42:17
  Speaker 1: of Missy Pyle. If any of you guys are Galaxy
• 42:20
  Speaker 1: Quest fans, this movie. The number Henry Simmons, it was
• 42:25
  Speaker 1: his first film, Miriam Shore. The number of actors that
• 42:28
  Speaker 1: exploded out of this movie was freaking insane. But it
• 42:32
  Speaker 1: was also the return of one of my idols, Bernette Peters,
• 42:36
  Speaker 1: who had given up this given up filmmaking for eight
• 42:40
  Speaker 1: years prior to this, and she was just doing Broadway
• 42:42
  Speaker 1: and we commenced her to be in this movie. We
• 42:45
  Speaker 1: made this thing for no money. We had no time.
• 42:48
  Speaker 1: I had fifty locations in over fifty speaking roles. We
• 42:52
  Speaker 1: had no money to make this happen. And the movie
• 42:57
  Speaker 1: gave me a whole new career. I mean it really did,
• 43:00
  Speaker 1: because we were a giant sun Dance hit. The movie
• 43:03
  Speaker 1: played vessels all over the world. We won awards all
• 43:05
  Speaker 1: over the world, and then suddenly I had like this
• 43:09
  Speaker 1: huge television career, which like what the fuck, which I
• 43:13
  Speaker 1: didn't see coming. But here's the thing. I kept coming
• 43:17
  Speaker 1: back to Horror over and over again because he kept
• 43:18
  Speaker 1: drawing me because it's my favorite and I love it
• 43:20
  Speaker 1: and I jarge yeah. But to your point, the only
• 43:26
  Speaker 1: way that I could have done what we did in
• 43:29
  Speaker 1: New York with all of that was, you know, my
• 43:31
  Speaker 1: brother and I were Broadway kids. My brother's been in
• 43:33
  Speaker 1: Broadway since he was thirteen years old, and he was
• 43:36
  Speaker 1: in lay Miz when we made this movie. He was
• 43:38
  Speaker 1: playing Marius on Broadway. And it because of the relationships
• 43:43
  Speaker 1: that you established with the people who become your family.
• 43:45
  Speaker 1: Bernadette Peters is truly is like the the mother I
• 43:50
  Speaker 1: wish I'd had, you know, like the and by the
• 43:55
  Speaker 1: way she played my mother in the movie, which is insane.
• 43:59
  Speaker 1: These are the these are the things that you look
• 44:01
  Speaker 1: back on in your life and go no, no, no, no no
• 44:03
  Speaker 1: no no. I chose correctly, and I chose people that
• 44:07
  Speaker 1: were worth creating that creative family with, and those people
• 44:11
  Speaker 1: become the people you live with, you your life.
• 44:14
  Speaker 5: Yeah, wow, Yeah, it's pretty I don't know, man, it's
• 44:19
  Speaker 5: a funny thing. I try to be as present as
• 44:21
  Speaker 5: possible all the time, and it's something that I try
• 44:23
  Speaker 5: to preach to people because I think, like, sure, I
• 44:27
  Speaker 5: don't know. Nowadays, I feel like people are so everybody
• 44:29
  Speaker 5: has dreams, everybody has goals, but like I feel like
• 44:32
  Speaker 5: there's there's this lack of effort being put towards them,
• 44:35
  Speaker 5: and there's just there's almost like this like I want
• 44:38
  Speaker 5: to be handed it thing. And I feel like what
• 44:42
  Speaker 5: my parents taught me when I was young was like
• 44:45
  Speaker 5: the world always do nothing. You have to work for
• 44:47
  Speaker 5: you have to dig for it. So it's the late nights,
• 44:48
  Speaker 5: it's the emails that you know probably aren't gonna get answered,
• 44:51
  Speaker 5: but you send anyway. It's the chanswers that you take, yeap,
• 44:55
  Speaker 5: and it's amazing, Like how many people I feel like
• 44:58
  Speaker 5: we hear from that, Like I every now and then
• 45:00
  Speaker 5: I'll get a message from somebody that's like, oh, I
• 45:02
  Speaker 5: want to start a podcast, how do I start? What
• 45:03
  Speaker 5: equipment do I buy? And I'm like, just start, like
• 45:06
  Speaker 5: just do it, just literally, because you never know, like until.
• 45:09
  Speaker 3: It's the hardest part.
• 45:11
  Speaker 5: It is the heart. I don't care where anything that
• 45:15
  Speaker 5: we pursue goes. The hardest thing we ever did was
• 45:17
  Speaker 5: day one. Of course that was the worst part, Like yes, yeah, yeah,
• 45:24
  Speaker 5: always man like to even be like here, like in
• 45:27
  Speaker 5: this right now is like I haven't wrapped it around
• 45:30
  Speaker 5: my head yet, you know. So it's like that. That's
• 45:33
  Speaker 5: such a It's so cool to hear other people that
• 45:36
  Speaker 5: are in the same situation, obviously on a different scale
• 45:38
  Speaker 5: and in a different area in a different way, but
• 45:41
  Speaker 5: to hear that is is incredible. So thank you for that.
• 45:45
  Speaker 1: Yeah, my my, my brother. In his interview in the movie,
• 45:49
  Speaker 1: he says something very sweet and it does speak to
• 45:52
  Speaker 1: what you're talking about, and it speaks to where my
• 45:54
  Speaker 1: mindset has been my whole life. Because everybody keeps asking like,
• 45:56
  Speaker 1: how the fuck did you get that movie at twenty three,
• 45:58
  Speaker 1: and I'm like, well, I didn't get it's tent three,
• 46:00
  Speaker 1: got a twenty one. Yeah, So let's backtrack a little bit.
• 46:04
  Speaker 1: Writing two years before I directed the movie, so me
• 46:08
  Speaker 1: I had also I had also been in the film
• 46:11
  Speaker 1: business since I was eleven, so like I was ten
• 46:14
  Speaker 1: years in already, Guys, like, I know you think that,
• 46:17
  Speaker 1: oh dude, twenty one the year. The age doesn't matter,
• 46:20
  Speaker 1: it's the years you were in the thing. And my
• 46:22
  Speaker 1: brother is is talking about working with me because we
• 46:25
  Speaker 1: you know, I had directed Kip in I don't know,
• 46:29
  Speaker 1: twenty plays, twenty musicals by the time we got to
• 46:33
  Speaker 1: this to Jason Gostal, and Kip said to me, he said,
• 46:36
  Speaker 1: you know when when somebody said, oh, your brother's directing
• 46:39
  Speaker 1: a movie at twenty three, he's like, he said, it
• 46:41
  Speaker 1: was like an underachieving moment for Adam. I expect him
• 46:44
  Speaker 1: to do that at seventeen. That's but that was my mindset.
• 46:48
  Speaker 1: That's not it's not some super power. It's that I
• 46:52
  Speaker 1: I never thought of myself as anything but a filmmaker,
• 46:56
  Speaker 1: like from the from such and it's such a cliche
• 46:59
  Speaker 1: for people in my age. But from the moment the
• 47:02
  Speaker 1: Tanted four flew over my head followed by the by
• 47:06
  Speaker 1: the Star Destroyer at the beginning of the first Star Wars,
• 47:10
  Speaker 1: I'm nine years old. I look up at the screen
• 47:12
  Speaker 1: and I'm just and I pointed and I said, I
• 47:16
  Speaker 1: want to do that. And my dad, who's sitting next
• 47:20
  Speaker 1: to me, thought I wanted to be an astronaut, and
• 47:23
  Speaker 1: I was like, no, I want to make that. Yeah,
• 47:29
  Speaker 1: and from that moment, from nine years old, I have
• 47:33
  Speaker 1: never changed my trajectory. People know me from the time,
• 47:37
  Speaker 1: and look, it's very it's really weird, you know, like
• 47:41
  Speaker 1: people have these like ridiculous like amount of friends on
• 47:44
  Speaker 1: Facebook or on Instagram friends. And it's funny because when
• 47:48
  Speaker 1: you look at my friends list, I'm actually friends with
• 47:51
  Speaker 1: most of the thousands of people that I'm friends with,
• 47:53
  Speaker 1: I'm actually friends and buddies of mine who were in
• 47:57
  Speaker 1: third grade with me when Star Wars came out, they
• 48:01
  Speaker 1: literally would be like, I knew when we were nine
• 48:04
  Speaker 1: years old you were going to do this. It was
• 48:06
  Speaker 1: like yeah, because there was no other game plan.
• 48:11
  Speaker 3: This was it what you manifested it, you know, even
• 48:16
  Speaker 3: from an early age.
• 48:17
  Speaker 1: Yes, but here's what the wait. Yes, but but wanting it,
• 48:23
  Speaker 1: thinking it, dreaming it is the first part. The other
• 48:27
  Speaker 1: part is going, Okay, so I gotta have a waitering
• 48:30
  Speaker 1: job from eleven o'clock at night till seven in the
• 48:33
  Speaker 1: morning across from a nightclub in New York so that
• 48:37
  Speaker 1: I have enough money to survive and pay to make
• 48:40
  Speaker 1: movies and do the things. And oh, by the way,
• 48:43
  Speaker 1: I'm going to school and I have a job that's
• 48:45
  Speaker 1: a day job at a film studio as well. While
• 48:49
  Speaker 1: I'm doing all of this.
• 48:50
  Speaker 3: Nobody says that it's all the hard work that's in
• 48:53
  Speaker 3: the background. You know. Everyone thinks it's just like these
• 48:55
  Speaker 3: opportunities just fall into your lap. But that's obviously not
• 48:58
  Speaker 3: the case at all.
• 48:59
  Speaker 5: And the other well, the other thing, I the other
• 49:01
  Speaker 5: quote I always like is like there is no option
• 49:05
  Speaker 5: or it's they say, if you create an option B,
• 49:07
  Speaker 5: it's because you expect Option AY to fail. If there's
• 49:09
  Speaker 5: no other way, if you don't create a backup plan,
• 49:12
  Speaker 5: you have no choice but to succeed.
• 49:13
  Speaker 1: Yeah. And look, I tell I tell everybody that I
• 49:16
  Speaker 1: work with, especially my actors. I'm always like, look, you
• 49:19
  Speaker 1: have to have a day job, Like, don't be a
• 49:20
  Speaker 1: Pollyanna about that bullshit. Get a day job, Get a
• 49:23
  Speaker 1: good day job. Get a day job you like, because
• 49:27
  Speaker 1: when you walk into a room, you wear that job
• 49:30
  Speaker 1: on you like a coat. And if you fucking hate
• 49:33
  Speaker 1: your job, no one's gonna want to talk to you.
• 49:35
  Speaker 1: You bring in that misery with you. I say, but
• 49:38
  Speaker 1: don't get a day job you love. Don't do that, yeah,
• 49:42
  Speaker 1: because that will become your life.
• 49:45
  Speaker 5: Yeah, Yeah, Wow, it's so yeah. I mean, that's what's
• 49:51
  Speaker 5: crazy is And I have to tell you as as
• 49:53
  Speaker 5: horror fans and you know this, we all we all
• 49:56
  Speaker 5: came up in the in the you know, video store
• 49:58
  Speaker 5: days going to Blackbuster.
• 49:59
  Speaker 6: Oh yeah, oh what's amazing?
• 50:01
  Speaker 5: Yeah the better days? Yeah, better day. What's amazing thinking
• 50:05
  Speaker 5: about this moment now? Is I I never wanted to
• 50:09
  Speaker 5: be I never wanted to be a filmmaker. I was
• 50:11
  Speaker 5: always like a bit of a cinematography nerd.
• 50:13
  Speaker 1: Sure.
• 50:14
  Speaker 5: I always wanted to like just be talk about movies.
• 50:18
  Speaker 5: So I was addicted to Bonus Features. And I remember
• 50:20
  Speaker 5: going to Blockbuster. I remember renting Jason Goes to Hell.
• 50:23
  Speaker 5: I actually remember, now that I think about it, I
• 50:25
  Speaker 5: remember watching like original interviews with you on like original
• 50:30
  Speaker 5: Bonus features and stuff, you know what I mean. And
• 50:33
  Speaker 5: it's funny because those moments flood back in times like
• 50:37
  Speaker 5: these where I'm you know, we're all standing in the
• 50:39
  Speaker 5: middle of the video aisle and we have it in
• 50:41
  Speaker 5: our hands, and you remember the RT you know, you
• 50:43
  Speaker 5: remember the uh. I remember we used to walk across
• 50:45
  Speaker 5: the street to Hollywood Video. Yeah, dude, we used to
• 50:48
  Speaker 5: walk across street to the Hollywood Video and make up
• 50:50
  Speaker 5: lies that, like my dad, this is so fucked up.
• 50:53
  Speaker 5: We used to lie that my dad was disabled so
• 50:56
  Speaker 5: he couldn't get across the streets, so they would let
• 50:58
  Speaker 5: us rent the R rated movies. You know what I
• 51:01
  Speaker 5: have to do.
• 51:02
  Speaker 1: That's just it, that's just ingenuity.
• 51:03
  Speaker 5: Yeah, we're like, yeah, my dad said, it's good. My
• 51:06
  Speaker 5: dad's in a wheelchair, he can't and we we did that,
• 51:09
  Speaker 5: and they knew because we made up forty different stories
• 51:12
  Speaker 5: as to why my dad couldn't be there to rent
• 51:13
  Speaker 5: an R raate of movie. You know, but like we
• 51:16
  Speaker 5: did that with Jason Goes to Hell. We we did that.
• 51:19
  Speaker 1: Dude, I would have I would have gone so far
• 51:20
  Speaker 1: as to have a buddy of mine like punch me
• 51:22
  Speaker 1: in the face so I could just walk into a
• 51:24
  Speaker 1: store and be like, my dad's a drunk and he
• 51:26
  Speaker 1: hit me. Yeah nothing, nothing's too fucked up enough to
• 51:33
  Speaker 1: not get a copy of Evil then too.
• 51:35
  Speaker 5: Come on, yeah, did you what I want to ask
• 51:38
  Speaker 5: for real quick? Did you ever have that introspective moment
• 51:41
  Speaker 5: when you were sitting there whatever doing anything the hearts
• 51:44
  Speaker 5: of Darkness where you were like, holy shit, like this
• 51:47
  Speaker 5: is all it's all come so far and now we're
• 51:50
  Speaker 5: we're here or did it all just kind of breeze
• 51:52
  Speaker 5: by with the with the pandemic in the Switch?
• 51:54
  Speaker 1: No, no, no, no, there was there was definitely a moment.
• 51:56
  Speaker 1: So we so we you know, we were shooting all
• 51:59
  Speaker 1: these interviews, all kind of talking head interviews, and the
• 52:03
  Speaker 1: subjects are amazing, so there you are transported by what
• 52:06
  Speaker 1: they're what they're talking about. But I was like, fuck,
• 52:10
  Speaker 1: we're in trouble, Like like, I can't just animate you know,
• 52:14
  Speaker 1: still frames from Jason Goes to Hell to make that
• 52:16
  Speaker 1: interesting enough to keep this visually interesting for the audience.
• 52:20
  Speaker 1: But you know, when you made the movie Sean Cunningham
• 52:23
  Speaker 1: and new Line, but Sean mostly was such a cheap
• 52:26
  Speaker 1: bastard that he didn't get behind the scenes crew at
• 52:30
  Speaker 1: any point. There was nobody shooting what we were shooting,
• 52:33
  Speaker 1: so there was no record of it. And I'm like, fuck,
• 52:35
  Speaker 1: I've got no behind the scenes on this movie. And
• 52:37
  Speaker 1: it was talking to Bob Kurtzman, who's one of my
• 52:40
  Speaker 1: closest friends since we made that movie, and he's gone.
• 52:42
  Speaker 1: He's done almost every single movie I've made with me.
• 52:46
  Speaker 1: And again, if you again, you guys probably haven't seen
• 52:48
  Speaker 1: Secret Sanna see Secretsanna. It's the movie I'm the most
• 52:51
  Speaker 1: proud of of all of the work that I've done,
• 52:54
  Speaker 1: hands down. And so Bob Bob and I are talking
• 52:59
  Speaker 1: and I was telling him like I'm in trouble, like
• 53:02
  Speaker 1: I need I need some fucking I need some behind
• 53:04
  Speaker 1: the scenes photos something. And he said, m hm, we
• 53:09
  Speaker 1: were shooting stuff. I said, what we got like a
• 53:16
  Speaker 1: couple hours stuff, Like I mean stuff. He's like, you know,
• 53:23
  Speaker 1: we shot what happened. I would give me that footage
• 53:27
  Speaker 1: we see the footage said hours. I was like, oh
• 53:33
  Speaker 1: my god. He gave them footage to me for a dollar.
• 53:37
  Speaker 1: He sold to me for a dollar. It's in the movie.
• 53:39
  Speaker 3: Yeah, but.
• 53:42
  Speaker 1: It's the first time I'd ever seen myself directing. Wow. Man,
• 53:47
  Speaker 1: And and I made a lot of movies, and I
• 53:49
  Speaker 1: was like, what the fuck And I'm watching a twenty
• 53:53
  Speaker 1: three year old me.
• 53:56
  Speaker 5: Man.
• 54:00
  Speaker 1: Yeah, that was a moment that that was That was
• 54:02
  Speaker 1: a moment. That was a moment of like, I got it.
• 54:08
  Speaker 1: I suddenly I suddenly understood what happened to me, Like
• 54:10
  Speaker 1: I understood stood why I got that job. I got
• 54:13
  Speaker 1: it because I am standing there and I am the
• 54:16
  Speaker 1: I am I am leading that set. I am the
• 54:19
  Speaker 1: captain of that team, and I watched myself doing it,
• 54:23
  Speaker 1: and I'm doing it in a really like, in a
• 54:25
  Speaker 1: positive way, in a cheerleading way. I'm like, I am
• 54:29
  Speaker 1: all energy, by the way, I still am to this day.
• 54:32
  Speaker 1: And it's interesting because that's kind of from what I
• 54:36
  Speaker 1: understand from everybody we've talked to. It's infectious and it
• 54:40
  Speaker 1: and it really did make people want to work harder
• 54:42
  Speaker 1: and do stuff. My my effects guy, Tom Balissimo on
• 54:45
  Speaker 1: that movie. That guy we didn't have enough money for Tom.
• 54:49
  Speaker 1: Tom blissm was one of the best in the old industry,
• 54:52
  Speaker 1: and we got him in as a favor and he
• 54:54
  Speaker 1: had so much fun working with me that I kept
• 54:57
  Speaker 1: coming up with bullshit and he kept going, Yeah, we
• 55:01
  Speaker 1: could do it. I'm like and my crutch managers like,
• 55:04
  Speaker 1: but we can't afford He's like, Okay, I got it.
• 55:06
  Speaker 1: It's on the truck. It's fine. And he didn't charge
• 55:09
  Speaker 1: us for any of it. Can be the effects guys
• 55:12
  Speaker 1: that movie. That movie was made for less than almost
• 55:16
  Speaker 1: all the paramat movies were made for. We had two
• 55:18
  Speaker 1: and a half million dollars to make that movie. We
• 55:20
  Speaker 1: had nothing for that film. That level of film. I
• 55:24
  Speaker 1: had an effect and a stunt on every single day
• 55:27
  Speaker 1: of the shoot. It was not one day off from
• 55:29
  Speaker 1: that stuff. To pull that off on two and a
• 55:32
  Speaker 1: half million dollars on a thirty seven day schedule is insane.
• 55:37
  Speaker 1: It's insane the size of that movie that I was
• 55:40
  Speaker 1: I was working with a with an incredible producer, a
• 55:43
  Speaker 1: woman named Vanessa Kifman. He used to run Archao Pictures,
• 55:46
  Speaker 1: and she was bringing me. We were talking about a
• 55:48
  Speaker 1: film that I wanted to make. It's a remake of
• 55:50
  Speaker 1: I Walk with a Zombie. By the way, speaking of
• 55:54
  Speaker 1: being a nerd for cinematographers, Dean Kundy was gonna shoot
• 55:57
  Speaker 1: the movie for me. Oh wow o. Diana and I
• 56:02
  Speaker 1: got along like a house on fire. I was like,
• 56:03
  Speaker 1: Dao never makes anything, that's the problem. They said, up,
• 56:08
  Speaker 1: it's still sitting there, still sitting on the shelf. But
• 56:10
  Speaker 1: this incredible woman, Vanessa Kuifman, was talking to me and
• 56:13
  Speaker 1: she said, look at him. I'm really sorry, but I
• 56:16
  Speaker 1: hate to tell you this, but I think we're only
• 56:17
  Speaker 1: gonna have like five million to make the movie. And
• 56:20
  Speaker 1: I went, okay, t She's like, come on, You've made
• 56:28
  Speaker 1: much bigger movies. I said, and at this point I
• 56:31
  Speaker 1: had none. I said, no, I haven't. And she was like, oh,
• 56:34
  Speaker 1: come on, Adam, he made Jason goes to Hell. Come on,
• 56:36
  Speaker 1: I know, I said, Vanessa, I didn't have more money
• 56:40
  Speaker 1: than that. She says, how much you had? I said
• 56:42
  Speaker 1: two and a half million. She goes, you're a fucking liar.
• 56:47
  Speaker 1: Press me. She said, when you have like twenty million
• 56:50
  Speaker 1: on that movie. I was like, Vanessa, are you insane?
• 56:54
  Speaker 1: And she starts typing I can hear it. We're on
• 56:56
  Speaker 1: the phone and she starts typing. I'm like, you're looking
• 56:58
  Speaker 1: up studio track. Aren't you see how both? She was like,
• 57:02
  Speaker 1: I am. And then she went and I went ah ah.
• 57:08
  Speaker 1: She's like, how the fuck did you do that? I said, yeah,
• 57:12
  Speaker 1: I know, I know, and she goes, wait, wait, I
• 57:15
  Speaker 1: got a bigger question. It was like, okay, she said,
• 57:17
  Speaker 1: how are you not running Hollywood? I was like yeah.
• 57:22
  Speaker 1: We both asked out a lot.
• 57:24
  Speaker 6: Still still trying to answer that question.
• 57:28
  Speaker 1: I said, I said, because there's this fucking asshat who
• 57:31
  Speaker 1: went on YouTube and made a video how New Light
• 57:33
  Speaker 1: said it destroyed the Friday the Thirteenth franchise. That was it, man,
• 57:37
  Speaker 1: That was the fucking atomic bomb in my career. God.
• 57:44
  Speaker 6: Wow, it's amazing what one man in a camera can
• 57:46
  Speaker 6: do for everything.
• 57:49
  Speaker 1: You know, by the way, hold on to that, to
• 57:51
  Speaker 1: that end, hold on. I'm gonna, I'm gonna, I'm gonna.
• 57:52
  Speaker 1: I'm gonna do something that I don't do, but it's
• 57:56
  Speaker 1: really really important. So someone sent this to the other
• 58:00
  Speaker 1: day and I'm just gonna I'm gonna advertise this young
• 58:02
  Speaker 1: woman because I still can't believe it. There's a YouTube
• 58:06
  Speaker 1: channel called Tara's Never Seen Tara's Never Seen Okay, and
• 58:14
  Speaker 1: her the name of the video is json. Jason Goes
• 58:17
  Speaker 1: to h Double Hockey Sticks is my new favorite. It
• 58:22
  Speaker 1: is a video of her watching the movie and commenting
• 58:25
  Speaker 1: as she's watching it, and I think her husband or
• 58:28
  Speaker 1: boyfriend in the background watching it too, and like laughing
• 58:31
  Speaker 1: his ass off. It is the most joyful thing. This
• 58:35
  Speaker 1: literally just happened a couple days ago. It is the
• 58:36
  Speaker 1: most joyful thing I've ever seen regarding Jason Goes to Hell.
• 58:40
  Speaker 1: Because it is someone who never saw the movie. She
• 58:42
  Speaker 1: seems she's just watched all the Friday thirteenth movies in
• 58:45
  Speaker 1: a row. Right, This woman's reaction to this film. I'm
• 58:51
  Speaker 1: telling you like I've seen Jason Goest tell too many
• 58:53
  Speaker 1: I don't ever need to see that movie again. Watching
• 58:56
  Speaker 1: it with her, I'm like, oh, this is a whole
• 58:58
  Speaker 1: new fucking movie. I mean, it is so funny. I'm
• 59:02
  Speaker 1: telling you, I was crying with laughter. It's so funny.
• 59:05
  Speaker 1: So I recommend it. Anybody who's watching check that out
• 59:07
  Speaker 1: because it's and again she's got a tiny little YouTube channel.
• 59:09
  Speaker 1: I'm like, I'm gonna give that as much love as
• 59:11
  Speaker 1: I can possibly go.
• 59:12
  Speaker 6: Yeah, appreciation.
• 59:15
  Speaker 5: Yeah, we need to share that in the check because
• 59:17
  Speaker 5: I found I found the video.
• 59:19
  Speaker 6: Okay, it's so fucking good.
• 59:22
  Speaker 1: It's so good. And by the way, to the reason
• 59:26
  Speaker 1: I bring it up is because, yes, all of this
• 59:28
  Speaker 1: stuff can be used for good. You know, many times
• 59:31
  Speaker 1: I'm watching stuff on social media and I have a list.
• 59:34
  Speaker 1: I literally have a list on my phone movies I
• 59:36
  Speaker 1: need to see this year, and it's just from people
• 59:39
  Speaker 1: recommending and talking about films. I'm like, that's what it
• 59:42
  Speaker 1: should be about. Like, guys, I don't give a fuck
• 59:45
  Speaker 1: what you think about the latest Superman. I don't care.
• 59:48
  Speaker 1: Stop Like, oh, well, really, the fan the Snyder fanboys
• 59:53
  Speaker 1: are gonna fucking hate on it. Oh, dude, like we're
• 59:57
  Speaker 1: a waste of everybody's fucking time, you know. By the way,
• 1:00:01
  Speaker 1: by the way, I really loved the movie too. I
• 1:00:03
  Speaker 1: love Superman. That was fucking great. By the way, somebody
• 1:00:06
  Speaker 1: doesn't like it, cool, didn't it didn't work for you?
• 1:00:08
  Speaker 1: That's great? Need to like give this fucking hate.
• 1:00:13
  Speaker 3: Yeah, well, I think it's easier for people to critique
• 1:00:16
  Speaker 3: and hate. It's always like their criticisms are always very
• 1:00:19
  Speaker 3: surface level, you know, kind of going off with Chris
• 1:00:21
  Speaker 3: was saying earlier.
• 1:00:22
  Speaker 5: You know, I feel that way every time I post
• 1:00:25
  Speaker 5: a positive review about a Jess Franco film, Like I'm like,
• 1:00:28
  Speaker 5: I'm like, please just watch it. Yes, yes, people are like,
• 1:00:33
  Speaker 5: what the fuck are you watching? I'm like, just watch Look,
• 1:00:35
  Speaker 5: don't don't don't criticize any of it. Man, I'm like,
• 1:00:37
  Speaker 5: just watch it. Come on.
• 1:00:39
  Speaker 1: I couldn't agree more. I could not agree more, guys,
• 1:00:41
  Speaker 1: I really couldn't. It's I'm I'm I'm so tired of
• 1:00:46
  Speaker 1: the There's just there's a negativism that I think is
• 1:00:50
  Speaker 1: so ugly. It's just ugly. It doesn't it just doesn't
• 1:00:56
  Speaker 1: help anybody, you know.
• 1:00:58
  Speaker 5: Yeah, I feel like you have been like Steve Jordan.
• 1:01:03
  Speaker 5: I feel like we have like a giant affirmation over
• 1:01:05
  Speaker 5: ahead of like what we do now. That's like, Okay,
• 1:01:07
  Speaker 5: we're doing good, you know what I mean, Like we're
• 1:01:09
  Speaker 5: doing the right I feel like the white has now
• 1:01:12
  Speaker 5: shined and we've gotten like our thumbs up and you're like, okay, cool,
• 1:01:15
  Speaker 5: we can go to see how.
• 1:01:19
  Speaker 1: I will also tell you, guys, by the way, you
• 1:01:21
  Speaker 1: are the first podcast I've been on where and by
• 1:01:26
  Speaker 1: the way, that is saying something holy fuck uh that
• 1:01:30
  Speaker 1: all of your backgrounds are the same. Like, I love
• 1:01:33
  Speaker 1: that each one of you is in a it has
• 1:01:35
  Speaker 1: a wall of nothing but of physical media behind you.
• 1:01:39
  Speaker 1: I fucking love that.
• 1:01:41
  Speaker 3: Oh that means a lot.
• 1:01:44
  Speaker 1: There's seventeen thousand movies in this house. Oh my god.
• 1:01:49
  Speaker 5: Wow, there's twenty three hundred back here.
• 1:01:53
  Speaker 1: But I put my money where my mouth is. Man,
• 1:01:55
  Speaker 1: I buy people's movies. I'm like, you tell me a
• 1:01:58
  Speaker 1: movie to watch. I'm not gonna be like, okay, can
• 1:01:59
  Speaker 1: I theater to be No, Man, I'm gonna give it.
• 1:02:03
  Speaker 5: I literally just did that. I literally just as you
• 1:02:06
  Speaker 5: were talking to us, you were talking about secret Sanna,
• 1:02:08
  Speaker 5: and the first thing I did was go on Blu Ray,
• 1:02:10
  Speaker 5: dot Com and Trotty, where I was like where I didn't.
• 1:02:13
  Speaker 5: I don't know where it's streaming. I know I can
• 1:02:15
  Speaker 5: find a German.
• 1:02:16
  Speaker 1: It's actually streaming a lot because screen Box picked it
• 1:02:19
  Speaker 1: up the Bloody disgusting guys. But I will tell you
• 1:02:22
  Speaker 1: this if you want to copy of that movie, and
• 1:02:25
  Speaker 1: you should get a copy of that movie because because
• 1:02:29
  Speaker 1: the only place that you can see the documentary Naughty
• 1:02:31
  Speaker 1: or Nice The Making Secret Sanna is on the Blu
• 1:02:34
  Speaker 1: Ray and it's a feature length documentary about the making
• 1:02:36
  Speaker 1: of Secret Sanda and about the creation of Skeleton through
• 1:02:39
  Speaker 1: the company, and it talks and again because the movie
• 1:02:43
  Speaker 1: is a middle finger to family, the documentary is the
• 1:02:46
  Speaker 1: movie that talks about the family you make is your family.
• 1:02:50
  Speaker 1: So it's just like ying yan sort of perfect disc
• 1:02:54
  Speaker 1: and you can get it at Secret sand in themovie
• 1:02:56
  Speaker 1: dot com, slash Merch. Somebody put it. Someone from the
• 1:03:01
  Speaker 1: movie again put it in your.
• 1:03:02
  Speaker 6: Yeah, that was me I I when we were talking
• 1:03:05
  Speaker 6: about I was like, Okay, I gotta find it, so, yeah,
• 1:03:07
  Speaker 6: it's in there.
• 1:03:14
  Speaker 3: I couldn't like, hey, I know that guy.
• 1:03:16
  Speaker 1: I think nobody, nobody, nobody's ever hired me from smart.
• 1:03:20
  Speaker 5: I couldn't help. But when you were telling when you
• 1:03:23
  Speaker 5: were talking earlier, I couldn't help. But like kind of
• 1:03:26
  Speaker 5: put together you and Stuart Gordon with the theater background
• 1:03:29
  Speaker 5: and then getting into filmmaking. I just read his his biography,
• 1:03:33
  Speaker 5: which was incredible, and I never knew how deeply involved
• 1:03:38
  Speaker 5: he was in theater. I don't even know he had
• 1:03:39
  Speaker 5: a organic theater company. And then to hear Brian Usena
• 1:03:44
  Speaker 5: talking about like, hey, when Reanimator came around, we were like, oh,
• 1:03:46
  Speaker 5: this guy's been directing forever, he can do this. And
• 1:03:50
  Speaker 5: then he went on to become what he became in film,
• 1:03:53
  Speaker 5: you know, So I couldn't help him make that correlation.
• 1:03:55
  Speaker 1: I just I started I started teaching when I was fifteen.
• 1:03:58
  Speaker 1: I started teaching acting when I was fifteen. This has
• 1:04:02
  Speaker 1: been like my life has been this, I mean every
• 1:04:05
  Speaker 1: day of it. And I was I was an actor
• 1:04:07
  Speaker 1: when I was a kid, and by the time I
• 1:04:12
  Speaker 1: left for California, I had directed over seventy five shows
• 1:04:17
  Speaker 1: and most of which were most of it were musical theaters.
• 1:04:21
  Speaker 1: So I was a choreographer. I mean, I kind of
• 1:04:24
  Speaker 1: did all of it, which is hilarious when people go
• 1:04:26
  Speaker 1: like they asked me, like, what my favorite genres are.
• 1:04:28
  Speaker 1: I'm like, well, horror and musicals and the original Johnny
• 1:04:32
  Speaker 1: Zombie My Boyfriend's Back was a hard are horror musical
• 1:04:38
  Speaker 1: and then Disney got their hands on it and turned
• 1:04:40
  Speaker 1: it into what they turned it into, but that was
• 1:04:44
  Speaker 1: not the movie that was intended. So yeah, I'm look
• 1:04:48
  Speaker 1: by the way to anybody out there, and I'm sure
• 1:04:51
  Speaker 1: a lot of people that watch your podcast, guys are
• 1:04:54
  Speaker 1: are people who want to make films. You want, you know,
• 1:04:56
  Speaker 1: want to be filmmakers. And I don't mean want to
• 1:04:59
  Speaker 1: be I mean want to be filmmakers. And the thing
• 1:05:03
  Speaker 1: that I tell people constantly is, look, you want to direct,
• 1:05:08
  Speaker 1: learn about actors. It doesn't mean you have to be
• 1:05:10
  Speaker 1: a good actor yourself, but learn about actors because the
• 1:05:14
  Speaker 1: best directors and you will and anyone you look at,
• 1:05:18
  Speaker 1: whether it's you know, Sydney met Sydney Pollack, any of
• 1:05:22
  Speaker 1: the Sydney Sydney, it always helps. Any of these guys
• 1:05:25
  Speaker 1: that are really good at getting performances. They understand the
• 1:05:30
  Speaker 1: language of acting right. And you can do that in
• 1:05:33
  Speaker 1: high school, like you have to seek it out and
• 1:05:37
  Speaker 1: you might have to put up with some bullies acting
• 1:05:40
  Speaker 1: like assholes because you like theater. But if that's your love,
• 1:05:44
  Speaker 1: you have to you can learn from there. You can start.
• 1:05:47
  Speaker 1: There are a million theaters all across the country where
• 1:05:51
  Speaker 1: you can actually learn your craft before you get in
• 1:05:54
  Speaker 1: front of it, but before you get behind a camera.
• 1:05:56
  Speaker 1: That said what I tell everybody. And I was just
• 1:06:00
  Speaker 1: teaching a master class for the University of Buenos Aires
• 1:06:04
  Speaker 1: in Argentina, and in that class, I was very specific
• 1:06:08
  Speaker 1: with them about this. You know, if I had had
• 1:06:13
  Speaker 1: this when I was a kid, Oh my god. I mean,
• 1:06:19
  Speaker 1: oh my god. It's an entire movie studio in your
• 1:06:23
  Speaker 1: fucking pocket, and I know it's like, I know, it's
• 1:06:27
  Speaker 1: like somehow a bad thing to take people's excuses away.
• 1:06:30
  Speaker 1: Fuck that. Fuck that. Fuck that getting a trophy for
• 1:06:34
  Speaker 1: doing nothing but showing up bullshit. If you have a
• 1:06:37
  Speaker 1: movie studio in your pocket and you want to make
• 1:06:39
  Speaker 1: a movie, what are you doing? What are you waiting?
• 1:06:42
  Speaker 1: What are you waiting on? Like, get some friends. I
• 1:06:44
  Speaker 1: don't care if they're good actors, bad actors, whatever, Get
• 1:06:47
  Speaker 1: some friends, write a script and shoot your fucking movie.
• 1:06:51
  Speaker 1: You can write it, you can shoot it, you can
• 1:06:54
  Speaker 1: edit it, and you can distribute from this yeah, that's
• 1:06:58
  Speaker 1: that's remarkable. And the number of times to hear people
• 1:07:02
  Speaker 1: bitching I need money. Now you don't. You don't. You
• 1:07:05
  Speaker 1: got a phone, you don't need money. Just go make
• 1:07:07
  Speaker 1: your movie. Don't be an idiot, and you know, make
• 1:07:11
  Speaker 1: a science fiction you know, epic, but you know, and
• 1:07:14
  Speaker 1: by the way, even on science fiction epic tip, look
• 1:07:17
  Speaker 1: at the amount of tools that are out there. And
• 1:07:19
  Speaker 1: by the way, I'm not talking about AI so nobody, nobody, nobody,
• 1:07:25
  Speaker 1: but the amount of tools that are out there that
• 1:07:27
  Speaker 1: can help young filmmakers that cost nothing. Now, I mean, guys,
• 1:07:31
  Speaker 1: the fact that like da Vinci exists, it's free and
• 1:07:35
  Speaker 1: it's still the single best color timing software there is.
• 1:07:40
  Speaker 1: It's all there. You just have to use it. You
• 1:07:42
  Speaker 1: just have to say, I'm I'm going to do the
• 1:07:45
  Speaker 1: work to understand this technology and make this happen. I literally,
• 1:07:50
  Speaker 1: I just spent like twenty on lenses for this because
• 1:07:56
  Speaker 1: I know how powerful this tool is. And I was like, Okay,
• 1:08:00
  Speaker 1: how do we make this a cinema camera? Like how
• 1:08:02
  Speaker 1: do we make this legit? And by the way, I've
• 1:08:05
  Speaker 1: shot stuff on a phone that people think I shot
• 1:08:09
  Speaker 1: in a fucking on on a red like, no, no,
• 1:08:12
  Speaker 1: it's on an iPhone. It's not an iPhone, jackass.
• 1:08:18
  Speaker 3: It's incredible to see how far technologies come. Right, No,
• 1:08:21
  Speaker 3: and and it gives everyone the resources if that's something
• 1:08:24
  Speaker 3: that they act as want to seek out, you know,
• 1:08:26
  Speaker 3: there's no excuses.
• 1:08:27
  Speaker 5: Ye's an even playing ground. Uh yeah, it's like an
• 1:08:31
  Speaker 5: even playing ground too. I mean, yes, you have if
• 1:08:33
  Speaker 5: you own an iPhone and you have an up to
• 1:08:35
  Speaker 5: date iPhone, it's you're no better. You have no better
• 1:08:38
  Speaker 5: equipment than I have, or he has or that guy has.
• 1:08:40
  Speaker 1: Absolutely. I mean I've got cameras in this house that
• 1:08:42
  Speaker 1: are so expensive I can pay off my fucking mortgage
• 1:08:46
  Speaker 1: with them. And you know what, you know what this
• 1:08:49
  Speaker 1: is just as good cutting out and it's this snobbery
• 1:08:53
  Speaker 1: around all this stuff, and it's like, you know, look,
• 1:08:56
  Speaker 1: the problem the problem this is. Look, it's a blessing
• 1:09:00
  Speaker 1: and a curse because what technology has given us is
• 1:09:03
  Speaker 1: it has given us an even playing field. Right, everybody
• 1:09:05
  Speaker 1: can blame, everybody can make something. The problem is this.
• 1:09:09
  Speaker 1: When the Blair Witch project came out right and it
• 1:09:11
  Speaker 1: was it sundance and exploded, right, it's this huge fucking thing.
• 1:09:16
  Speaker 1: And by the way, I'm sure there's a lot of
• 1:09:18
  Speaker 1: people who hate that movie. I think that movie is
• 1:09:20
  Speaker 1: fucking great. It's great, right, simple, great concept, and the
• 1:09:25
  Speaker 1: best marketing ever afforded a tiny horror film. It's just incredible.
• 1:09:29
  Speaker 3: Marketing campaign in a bottle.
• 1:09:33
  Speaker 1: And a lot of really smart people. And by the way,
• 1:09:35
  Speaker 1: I mean Heather Donnie was a friend of mine, an
• 1:09:38
  Speaker 1: actual tra classroomy for a while, and she's amazing. She's
• 1:09:41
  Speaker 1: an incredible person. When when that movie came out, the
• 1:09:47
  Speaker 1: programmers at Sundance were like, look, it's great because it
• 1:09:50
  Speaker 1: gave us this whole new audience of people that were
• 1:09:52
  Speaker 1: excited about Sundance. Right suddenly we had taken this horror
• 1:09:55
  Speaker 1: movie and made it legitimate. The problem is, the year
• 1:09:58
  Speaker 1: before sun Dance we got ten thousand submissions. The year
• 1:10:01
  Speaker 1: after we got one hundred thousand, because suddenly every idiot
• 1:10:06
  Speaker 1: with a camera ran out back to their woods and
• 1:10:09
  Speaker 1: made their version of the Blair Witch Project. The difference
• 1:10:12
  Speaker 1: is this everybody has this, not everybody has the talent
• 1:10:18
  Speaker 1: to the movie. And the good news is if you
• 1:10:22
  Speaker 1: do have the talent, you have the resources now. And
• 1:10:26
  Speaker 1: I would only hope that that it will We'll be
• 1:10:29
  Speaker 1: able to, you know, weed out the people that are
• 1:10:31
  Speaker 1: great and the people that are you know, no, you
• 1:10:34
  Speaker 1: should be an accountant. Don't do this. It's just true.
• 1:10:39
  Speaker 1: You know. Look, I am all for people being able
• 1:10:42
  Speaker 1: to achieve their dreams. That said you got to be
• 1:10:44
  Speaker 1: good at it. Yeah, talent is the divider. It's the divider.
• 1:10:49
  Speaker 3: M Well, speaking of horror films, like, well, for you,
• 1:10:53
  Speaker 3: what was your gateway horror film?
• 1:10:56
  Speaker 1: Mike? Okay, Mike, I was a harn nut from the
• 1:11:03
  Speaker 1: time I saw the original to Fly on television.
• 1:11:10
  Speaker 3: Okay, okay.
• 1:11:12
  Speaker 1: I love that movie because because there was something so
• 1:11:17
  Speaker 1: like misceral about it. The acting is really interesting in
• 1:11:19
  Speaker 1: that movie. It takes this very silly concept and turns
• 1:11:23
  Speaker 1: it into something that felt grounded. I just think that's
• 1:11:26
  Speaker 1: a cool movie. But will, while I was, you know,
• 1:11:31
  Speaker 1: feasting on it, look, I saw, Oh my god, I
• 1:11:33
  Speaker 1: saw Rosemary's Baby in a in a hotel room in Washington,
• 1:11:41
  Speaker 1: d C. When I was six years old, my parents
• 1:11:43
  Speaker 1: left my brother and I. This is insane. This is
• 1:11:46
  Speaker 1: how different the world is. My parents left my brother
• 1:11:48
  Speaker 1: and I at a in a motel room in Washington,
• 1:11:52
  Speaker 1: D C. While they went out and had dinner and
• 1:11:54
  Speaker 1: no one was there to watch us. We were literally
• 1:11:56
  Speaker 1: left alone in a motel room, two idiots and a
• 1:12:00
  Speaker 1: television and the only thing that we found was Rosemaries baby.
• 1:12:04
  Speaker 1: So I watched him when I was five years old,
• 1:12:06
  Speaker 1: was six years old, excuse me? Yeah, And I was
• 1:12:09
  Speaker 1: like terrified and completely in it, Like I couldn't take
• 1:12:14
  Speaker 1: my eyes off the screen. Scared the ship out of me.
• 1:12:17
  Speaker 1: And the Originalsaratu and Uh and Metropolis were on PBS,
• 1:12:24
  Speaker 1: and my father had fallen asleep with my My dad
• 1:12:26
  Speaker 1: lived in New York, my mom lived in Connecticut, and
• 1:12:28
  Speaker 1: we fall asleep. He had this futan dead in his loft.
• 1:12:32
  Speaker 1: He had one of those lofts that you could ride
• 1:12:33
  Speaker 1: a bicycle in. It was so huge. I got lower
• 1:12:37
  Speaker 1: east side and and he had this, you know, we
• 1:12:40
  Speaker 1: had one big mattress and my me and my brother
• 1:12:42
  Speaker 1: Kip slept on either side of my dad and they
• 1:12:46
  Speaker 1: had fallen asleep with television on, and we were watching
• 1:12:49
  Speaker 1: something on PBS, a documentary or something. And I was
• 1:12:52
  Speaker 1: like seven, maybe seven or eight, and I sat and
• 1:12:55
  Speaker 1: watched the original Metropolis followed by Anasaratu, I mean scarred
• 1:13:01
  Speaker 1: for life, but the future right, but a man by
• 1:13:05
  Speaker 1: the way funny enough, Metropolis scared me more than us
• 1:13:07
  Speaker 1: Rotzi because if you remember, that's whole that whole thing
• 1:13:11
  Speaker 1: with with with with death coming in with the scyphe. Yeah,
• 1:13:14
  Speaker 1: by the way, that's why my company is name Scaleny.
• 1:13:18
  Speaker 1: Oh interesting, but but my gateway, if you're gonna tell me,
• 1:13:24
  Speaker 1: like the one that said that, I said, I want
• 1:13:26
  Speaker 1: to make this. I want to make horror movies. Hands down,
• 1:13:30
  Speaker 1: thought of the Dead, hands down? Oh oh yeah, oh yeah.
• 1:13:35
  Speaker 1: When back then, you know, back when, in the very
• 1:13:38
  Speaker 1: early eighties, the late seventies, early eighties VHS there was
• 1:13:43
  Speaker 1: no home market for VHS was only for rental houses.
• 1:13:48
  Speaker 1: So they would charge like eighty to one hundred and
• 1:13:50
  Speaker 1: fifty bucks for a tape. And the old places could
• 1:13:53
  Speaker 1: afford it were rental houses, right, people didn't buy those,
• 1:13:57
  Speaker 1: didn't buy movies. You you rented them at best. I
• 1:14:01
  Speaker 1: heard that that Todd of the Dead was coming out
• 1:14:03
  Speaker 1: on tape. I took a train into New York City, specifically,
• 1:14:08
  Speaker 1: I wasn't even seeing my dad that week. I took
• 1:14:10
  Speaker 1: a train in I was maybe twelve or no, it
• 1:14:13
  Speaker 1: was maybe thirteen. The video was coming out. I went
• 1:14:18
  Speaker 1: to New York on the train and went to forty
• 1:14:22
  Speaker 1: seventh Street Photo because they had a copy of it
• 1:14:25
  Speaker 1: in the window for seventy nine dollars ninety nine cents.
• 1:14:29
  Speaker 1: And I had saved money for weeks, you know, and
• 1:14:32
  Speaker 1: I bought that fucking tape. I I had a job,
• 1:14:34
  Speaker 1: so I was able to do it. But I bought
• 1:14:36
  Speaker 1: that tape. By the way, I just got rid of
• 1:14:39
  Speaker 1: all my vhs, like it was it was too many,
• 1:14:42
  Speaker 1: thousands of boxes of fuck. It was like, it's gotta go,
• 1:14:44
  Speaker 1: got it down, gotta go. I just didn't have the
• 1:14:46
  Speaker 1: room for it anymore.
• 1:14:47
  Speaker 5: Man, see would have bought that from.
• 1:14:49
  Speaker 3: You and oh man people, Yeah, timing.
• 1:14:54
  Speaker 1: It's the one. It's the one tape I saved. Oh
• 1:14:58
  Speaker 1: so cool, kept that tape. I'm like, no, no, no, this
• 1:15:02
  Speaker 1: one and it still plays. I've never played it out.
• 1:15:04
  Speaker 1: It still plays, Dude, that that movie. I don't know why. Man,
• 1:15:11
  Speaker 1: it struck a chord in me. That meant so much.
• 1:15:14
  Speaker 1: And I'm look, George was incredible, Like George, He's an
• 1:15:16
  Speaker 1: amazing man. I luckily got to meet him. Michael Felscher,
• 1:15:19
  Speaker 1: our director, was actually George's personal documentary in the last
• 1:15:22
  Speaker 1: fifteen years of life. Yea and and that film there's
• 1:15:27
  Speaker 1: something so claustrophobic, but also there's like this kind of
• 1:15:33
  Speaker 1: child fantasy about like sitting in the mall and it's
• 1:15:36
  Speaker 1: all yours and all you have to do is block
• 1:15:38
  Speaker 1: out the evil dead, you know. I mean, it's like
• 1:15:40
  Speaker 1: it's fucking cool. I will also say that that the
• 1:15:44
  Speaker 1: evil Dad, that's Sam Raimi's the old Dad. We couldn't
• 1:15:47
  Speaker 1: see it in theaters when it first came out. We
• 1:15:49
  Speaker 1: were you know, it was because because movies like that
• 1:15:52
  Speaker 1: only played like bad neighborhoods, right, they would have played
• 1:15:55
  Speaker 1: in nice places. So a buddy of mine in the
• 1:15:58
  Speaker 1: city of Manhattan had gotten a bootleg vhsident this is
• 1:16:02
  Speaker 1: a big deal back time like that was you know,
• 1:16:05
  Speaker 1: you felt like you had like a dangerous thing, and
• 1:16:08
  Speaker 1: he he gave it to me, and I brought it
• 1:16:10
  Speaker 1: back to Connecticut, and me and my buddy Eric Beatner,
• 1:16:13
  Speaker 1: who I talked about earlier to the editor, and a
• 1:16:15
  Speaker 1: bunch of our friends, Dan Lowenstein and some really amazing
• 1:16:18
  Speaker 1: guys we all got together watching Dan's basement and I
• 1:16:22
  Speaker 1: remember thinking, one, there is pure evil on this tape,
• 1:16:28
  Speaker 1: and I love it too. This is how you do it,
• 1:16:33
  Speaker 1: Like this is how you can make me yes, because
• 1:16:35
  Speaker 1: like these guys, they look like they had a blowey
• 1:16:37
  Speaker 1: sandwich and a ball of twine and they made the movie.
• 1:16:39
  Speaker 1: You know, I didn't have much more than that.
• 1:16:41
  Speaker 3: So it's such a raw movie, especially just it's visceral.
• 1:16:45
  Speaker 3: It's like unfiltered it. I don't know, there's just something,
• 1:16:49
  Speaker 3: especially with the first one. It's just so special a
• 1:16:53
  Speaker 3: lot of ways. Yeah, oh it is. It's meant for
• 1:16:55
  Speaker 3: like drive in theaters. I feel like you watch.
• 1:16:57
  Speaker 6: It and you wonder. It almost gives you the feeling
• 1:17:00
  Speaker 6: of should I be watching this?
• 1:17:01
  Speaker 2: Yes?
• 1:17:03
  Speaker 1: You know, I say, I'm actually shocked at the remake,
• 1:17:07
  Speaker 1: the remake, which I'm not a fan of. I like that.
• 1:17:10
  Speaker 1: I think he's talented, but I'm not crazy. I'm not
• 1:17:12
  Speaker 1: crazy about that remake because they they missed, they missed
• 1:17:15
  Speaker 1: something really important and it and it and it is.
• 1:17:17
  Speaker 1: It is a difference between horror movies now and horror
• 1:17:19
  Speaker 1: movies then horror movies again. Horror movies in the eighties
• 1:17:24
  Speaker 1: and nineties almost always started with, Hey, we're gonna have
• 1:17:29
  Speaker 1: a party and it's gonna be fucking fun and we're
• 1:17:30
  Speaker 1: gonna have sex and drugs me and then a horrible
• 1:17:34
  Speaker 1: evil stops the party, and in order for people to
• 1:17:39
  Speaker 1: be able to be happy again, they have to destroy
• 1:17:41
  Speaker 1: the evil. Otherwise they're never gonna be happy again. They're
• 1:17:43
  Speaker 1: just When you watch the remake, it signals what's gonna
• 1:17:49
  Speaker 1: happen in all horror, which is, I'm so sad. I'm
• 1:17:56
  Speaker 1: on drugs. My mother killed herself, my sister killed herself,
• 1:18:02
  Speaker 1: and when she did, she also killed my parents. And
• 1:18:06
  Speaker 1: I'm gonna go I'm gonna go to Sweden and take drugs,
• 1:18:11
  Speaker 1: but I'm gonna be a really bad relationship. I'm gonna
• 1:18:15
  Speaker 1: watch people jump off ship and die and I'm like, oh,
• 1:18:22
  Speaker 1: by the way, I'm being funny, only using that as
• 1:18:25
  Speaker 1: an example. Yeah, it is nothing but a stream of sadness.
• 1:18:30
  Speaker 1: Like I'm like, wait, when did horror movies stop being
• 1:18:32
  Speaker 1: fun By the way, By the way, you give me
• 1:18:35
  Speaker 1: a Bob a duke any day of the week. You
• 1:18:36
  Speaker 1: give me a hereditary any day of the week. There's
• 1:18:38
  Speaker 1: stuff out there that starts really dark and just goes darker. Great,
• 1:18:42
  Speaker 1: I'm good with that, yeah once in a while. Yeah,
• 1:18:47
  Speaker 1: but we we missed the party thing that said. I
• 1:18:50
  Speaker 1: will say I was shocked that they kept the tree
• 1:18:52
  Speaker 1: rape in the remake. I never thought that that would
• 1:18:56
  Speaker 1: stay because that tree rape in the and I'm sorry
• 1:18:59
  Speaker 1: I'm using the R word and that tree essay. It's
• 1:19:08
  Speaker 1: it's like it's like saying the words somehow going to
• 1:19:11
  Speaker 1: conjure the thing, like what is that? No, aren't we
• 1:19:14
  Speaker 1: supposed to be able to talk about horrible things so
• 1:19:16
  Speaker 1: they don't happen like yay, It's like, no, this is awful.
• 1:19:22
  Speaker 1: That tree scene in the original Evil Dead is so
• 1:19:28
  Speaker 1: violent and terrifying and unlike anything anyone had done up
• 1:19:34
  Speaker 1: till they're literally no one had done something like that.
• 1:19:37
  Speaker 1: It was so horrifying. And by the way, I I
• 1:19:41
  Speaker 1: know almost the entire cast of the original Evil Dead,
• 1:19:44
  Speaker 1: none of them have none of them have scars over it.
• 1:19:46
  Speaker 1: They're they're they're all good. They're good, they're very productive,
• 1:19:49
  Speaker 1: amazing women, and they're they're true. It's there. There is
• 1:19:54
  Speaker 1: something about I love when horror is allowed to show
• 1:20:00
  Speaker 1: us the unshowable, to say the unsayable. I think that's
• 1:20:04
  Speaker 1: our I think that's the most important thing that horror does.
• 1:20:06
  Speaker 1: I think, Look, let's be honest, you know, night a
• 1:20:10
  Speaker 1: Living Dad, which is probably one of the most seminal
• 1:20:12
  Speaker 1: horror films ever created, and it is definitely an inflection
• 1:20:16
  Speaker 1: point for how our genre would go. That movie is
• 1:20:20
  Speaker 1: about Vietnam. That movie is about the Civil rights movement.
• 1:20:24
  Speaker 1: You don't know that, but you get it, like you're
• 1:20:28
  Speaker 1: getting the information whether you know it or not. Because
• 1:20:31
  Speaker 1: he George put a giant scoop of ice cream on
• 1:20:34
  Speaker 1: the broccoli, so you don't know you're getting your broccoli,
• 1:20:38
  Speaker 1: you know. I mean, I'm sorry. Donovan Dead is about
• 1:20:40
  Speaker 1: consumer as an America run a mock and.
• 1:20:42
  Speaker 3: He was right, Yeah, it's more relevant now than ever.
• 1:20:47
  Speaker 5: It sure is, dude, And we talk about this all
• 1:20:50
  Speaker 5: the time. I always joke how I have a last
• 1:20:52
  Speaker 5: house on the left poster in front of me right now,
• 1:20:53
  Speaker 5: like hanging up, And sometimes people are like, oh, how
• 1:20:55
  Speaker 5: can you hang that up? I'm like, what do you
• 1:20:57
  Speaker 5: that last house on the left? I spit on your
• 1:20:59
  Speaker 5: grave kind of a holocaust. I'm like, these are movies
• 1:21:01
  Speaker 5: that genuinely impacted me in a way because, I mean,
• 1:21:05
  Speaker 5: horror was never a genre. I don't think like, well,
• 1:21:08
  Speaker 5: it was never a fit in genre. It's recently become
• 1:21:11
  Speaker 5: a genre that's much more.
• 1:21:13
  Speaker 1: Like yeah's now it's hip people A.
• 1:21:16
  Speaker 5: Yeah, yeah, but it's funny because when you mentioned thea
• 1:21:19
  Speaker 5: the the Babaduk, I'm not a fan of that movie,
• 1:21:23
  Speaker 5: and I don't I don't know how, but I remember
• 1:21:26
  Speaker 5: Jennifer Kent teasing her second movie, The Nightingale, and I
• 1:21:30
  Speaker 5: was like, I was like, okay, yeah, I was like,
• 1:21:31
  Speaker 5: I'm very excited for this. It's not gonna be the
• 1:21:33
  Speaker 5: bad but there's not gonna be an annoying kid running
• 1:21:35
  Speaker 5: around and the she has zero sense of levity because
• 1:21:39
  Speaker 5: The Nightingale from frame one is the darkest thing I
• 1:21:44
  Speaker 5: do ever see.
• 1:21:46
  Speaker 1: It's probably the most depressing, upsetting movie ever shot.
• 1:21:50
  Speaker 5: Oh my god. I'm like, I'm watching it, like sinking
• 1:21:53
  Speaker 5: in my seat, and then the baby gets slammed against
• 1:21:56
  Speaker 5: the wall and I'm like, we're ten minutes into this movie.
• 1:21:58
  Speaker 1: Literally, Large van Trier is like, like, nub Jennifer, Yeah,
• 1:22:03
  Speaker 1: I mean it is, it is. That movie is so
• 1:22:05
  Speaker 1: fucking dark. Oh shit. But by the way, here's what
• 1:22:09
  Speaker 1: I love and here's what I love. First off, what
• 1:22:11
  Speaker 1: I love about The Nightingale is that the fact that
• 1:22:14
  Speaker 1: a woman made that movie mm hm is such like
• 1:22:18
  Speaker 1: a kind of fuck you to people who say that
• 1:22:20
  Speaker 1: women can't make that kind of it, like that they
• 1:22:22
  Speaker 1: won't go that dark, that they won't be that violent.
• 1:22:24
  Speaker 1: I mean, she fucking murders a baby on screen right
• 1:22:29
  Speaker 1: in her first act of the movie. Right, That is
• 1:22:32
  Speaker 1: so not what we expect women to do. Right, It's
• 1:22:35
  Speaker 1: like it's like this taboo thing and she's like, fuck you,
• 1:22:37
  Speaker 1: I'm doing it. I love that that movie can exist.
• 1:22:42
  Speaker 1: By the way, I totally understand somebody going I never
• 1:22:44
  Speaker 1: want to have that experience again, like that was horrible.
• 1:22:47
  Speaker 1: Don't do that to me. I hated it. I totally
• 1:22:50
  Speaker 1: respect that. But for me, I mean, I love the
• 1:22:53
  Speaker 1: movie and I love her films, But what I loved
• 1:22:55
  Speaker 1: about that movie was purely that it got to get made. Yeah,
• 1:23:01
  Speaker 1: there's too much of the same, same, same same. By
• 1:23:03
  Speaker 1: the way, you're literally talking to the guy who said
• 1:23:07
  Speaker 1: that while making Jason Goes Down, it was like, Oh
• 1:23:10
  Speaker 1: my god, are we gonna do the same fucking movie?
• 1:23:12
  Speaker 1: Are we gonna do something different?
• 1:23:14
  Speaker 3: Did you push the envelope?
• 1:23:16
  Speaker 1: You know?
• 1:23:17
  Speaker 3: Yes, yes, I had.
• 1:23:20
  Speaker 5: I feel like most the most recent time I had
• 1:23:22
  Speaker 5: that response was when I saw The Substance in theaters.
• 1:23:24
  Speaker 5: That was the last time I was like, holy shit,
• 1:23:27
  Speaker 5: like this exists in twenty twenty five, like somebody gave
• 1:23:29
  Speaker 5: money yeap to this?
• 1:23:31
  Speaker 1: Like and by the way, I tried to hire Coraley
• 1:23:34
  Speaker 1: actually right before that movie, haven't I tried to hire
• 1:23:36
  Speaker 1: her for for our film that camp Massacre, And she
• 1:23:39
  Speaker 1: said to me, She's like, I love it, but I'm
• 1:23:41
  Speaker 1: only doing stuff that I write. And I was like,
• 1:23:43
  Speaker 1: I totally respect that. Yeah, she's amazing. We were on
• 1:23:46
  Speaker 1: tour together when I'm again with Secret Santa with her
• 1:23:49
  Speaker 1: first film, Revenge. Have you guys seen Revenge?
• 1:23:51
  Speaker 3: Oh yeah, oh yeah.
• 1:23:52
  Speaker 1: I kind of like anybody who talks about the substance,
• 1:23:55
  Speaker 1: I'm like, hey, yeah, great, have you seen Revenge? Holy fuck?
• 1:23:59
  Speaker 5: Oh my god, Revenge. That first time I put on Revenge,
• 1:24:03
  Speaker 5: the moment you have being shot and then it zooms
• 1:24:06
  Speaker 5: out of the glasses, I was like, Oh, I'm fucking
• 1:24:08
  Speaker 5: in here we go.
• 1:24:10
  Speaker 1: What what a what a tour de force for cinematography, Like,
• 1:24:13
  Speaker 1: oh my god, there's not a bad looking shot in
• 1:24:15
  Speaker 1: that film. Is gorgeous. The performances are insane, and it
• 1:24:19
  Speaker 1: is I mean, for my money, it's it's it's what
• 1:24:23
  Speaker 1: happens when a woman directs. I stood on your grave.
• 1:24:27
  Speaker 3: Yeah, yeah mm hmm.
• 1:24:29
  Speaker 1: And I'm like, this is look, I think she's I
• 1:24:34
  Speaker 1: think I think she's fucking amazing. I actually it's very
• 1:24:37
  Speaker 1: funny because I really like the substance, but I did
• 1:24:39
  Speaker 1: feel it was like a little pedestrian. I was like, eh,
• 1:24:42
  Speaker 1: I expect more from her, Like he's better than that.
• 1:24:45
  Speaker 1: And again, I love the substance and I love that
• 1:24:48
  Speaker 1: that somebody got to do that third act in a
• 1:24:52
  Speaker 1: film in Americans. That's insane. It's so good. I'm like,
• 1:24:56
  Speaker 1: oh my god, she took she was like she was like, hey, crudumber,
• 1:25:00
  Speaker 1: hold my beer. Yeah, yeah, it's insane. Yeah.
• 1:25:05
  Speaker 3: It to have like a body horror, get that type
• 1:25:07
  Speaker 3: of reception and be more accessible to so many different people.
• 1:25:11
  Speaker 3: Like that's what I was surprised about, was the reception
• 1:25:14
  Speaker 3: it was getting. It's like, yeah, this is a great
• 1:25:16
  Speaker 3: movie within our circle. But to see all these people
• 1:25:19
  Speaker 3: that were checking it out and people that are generally
• 1:25:22
  Speaker 3: not in horror like that, like that was awesome to see.
• 1:25:25
  Speaker 1: Absolutely. Well.
• 1:25:26
  Speaker 6: Yeah, like Chris you had said last time when you
• 1:25:29
  Speaker 6: went and saw the movie, you know the crowd that
• 1:25:32
  Speaker 6: was with you.
• 1:25:33
  Speaker 5: Oh dude, I had so it was my it was
• 1:25:35
  Speaker 5: me and my wife. It was opening night. I had
• 1:25:38
  Speaker 5: to my left there was like three young guys, and
• 1:25:41
  Speaker 5: then it was my wife, me and then the couple
• 1:25:43
  Speaker 5: next to me. Each of them were like sixty five
• 1:25:46
  Speaker 5: years old, and I was like, I have never and
• 1:25:49
  Speaker 5: all of us had the same experience, right, you were all.
• 1:25:52
  Speaker 5: I remember looking at the people next to me just
• 1:25:55
  Speaker 5: being like, what is and then they're having fun down there.
• 1:25:58
  Speaker 5: I'm like, this is the most mixed crowd I've ever
• 1:26:00
  Speaker 5: been in my life.
• 1:26:02
  Speaker 1: To be in a theater where literally teenage girls are
• 1:26:06
  Speaker 1: like excited about a body horror movie. I mean, dude,
• 1:26:09
  Speaker 1: I sat in a theater alone watching video drome. Nobody
• 1:26:13
  Speaker 1: else was in that theater. You know Cronberg's Croneberg's early stuff,
• 1:26:19
  Speaker 1: even Scanners, which was a hit. Never see kids in
• 1:26:24
  Speaker 1: that movie. You never see a teenage girl going like
• 1:26:26
  Speaker 1: I can't wait till his head explodes. No one did that. Now. Look,
• 1:26:31
  Speaker 1: when I made Jason Goes to Hell, horror was seen
• 1:26:34
  Speaker 1: like porn. We were not seeing. We were not respected
• 1:26:39
  Speaker 1: at all. And when Sewn started making porn, actually started
• 1:26:47
  Speaker 1: by making.
• 1:26:47
  Speaker 5: Porn and then a kid's movie.
• 1:26:52
  Speaker 1: Yeah, he discovered Maryland Chambers, who went to my high school. Yep,
• 1:26:58
  Speaker 1: not trying to brag, and my best friend growing up
• 1:27:03
  Speaker 1: in Old Cunningham. Sean's son played Maryland's love child in
• 1:27:07
  Speaker 1: that movie because he was a baby and Sean k
• 1:27:09
  Speaker 1: Newey work cheap. But when Shawn started making Last House
• 1:27:14
  Speaker 1: and Left, or even Friday Thirteenth, right after his numerous
• 1:27:18
  Speaker 1: failures at trying to rip off the Bad News Bears,
• 1:27:23
  Speaker 1: he he was looked at like a bronographer. He really was,
• 1:27:28
  Speaker 1: and he was making horror. So it's only in like
• 1:27:31
  Speaker 1: the last decade where people see this as a cash grab, right, which,
• 1:27:37
  Speaker 1: by the way, it always was. Horror is the thing.
• 1:27:39
  Speaker 1: Horror made movies. That's it. The first movies are all
• 1:27:44
  Speaker 1: horror films, and the movies that built studios are horror films.
• 1:27:49
  Speaker 1: They don't say Universal's Bunnies, it's Universal Horror. It's Universal's monsters.
• 1:27:55
  Speaker 1: That's what built Universal. The studio. There's only one studio
• 1:27:59
  Speaker 1: that was built by Dwarf, and that's that's you know, Disney.
• 1:28:03
  Speaker 1: The rest of it was built out of our Chao Studios.
• 1:28:05
  Speaker 1: Was nothing but now Lowton movies. It was you know,
• 1:28:08
  Speaker 1: Curse of the Cat People. I walked with a Zombie,
• 1:28:10
  Speaker 1: all of these amazing films, and it's what built our industry,
• 1:28:13
  Speaker 1: and we still treat it like, you know, we were
• 1:28:16
  Speaker 1: treating it like the you know, the Red Headed step Child.
• 1:28:18
  Speaker 1: Fuck that. And and I will say, look the Blumhouses
• 1:28:25
  Speaker 1: of the world. Here we go, yeah wait wait wait,
• 1:28:30
  Speaker 1: but this is but this is important, it really is.
• 1:28:32
  Speaker 1: Look what they're doing in Blumbhouse. Good for them, Good
• 1:28:38
  Speaker 1: for that. Like I'm sorry, did it make money? Is
• 1:28:41
  Speaker 1: it horror? Okay? Is it horror adjacent? Okay? Look, you know,
• 1:28:47
  Speaker 1: for every time that that Blumhouse puts out some newtered
• 1:28:52
  Speaker 1: PG thirteen movie where we're all rolling our eyes. Oh
• 1:28:54
  Speaker 1: look a killer swimming pool. Oh my god, for every
• 1:28:58
  Speaker 1: one of those, they have made a Freaky and you
• 1:29:03
  Speaker 1: watch Freaky and go wow, like this takes balls. Yeah,
• 1:29:09
  Speaker 1: and this is hardcore, Like that movie is hard core.
• 1:29:14
  Speaker 1: I don't know many of the Friday thirteenth movies that
• 1:29:17
  Speaker 1: are as like, oh shit as that movie. And it's progressive,
• 1:29:21
  Speaker 1: it's interesting, it's got great performances, well directed, good music.
• 1:29:25
  Speaker 1: I'm sorry, great like fuck yeah, dude, So I am
• 1:29:29
  Speaker 1: Look the Blumhouses of the World and James wand and
• 1:29:34
  Speaker 1: some of these guys have suddenly made horror okay for
• 1:29:39
  Speaker 1: all of us to enjoy and like have made it acceptable.
• 1:29:42
  Speaker 1: But by the way, much like I said earlier about
• 1:29:44
  Speaker 1: being egalitarium with filmmaking, suddenly everybody thinks that given a
• 1:29:50
  Speaker 1: horror movie, and they all try, and suddenly we've got
• 1:29:54
  Speaker 1: a dearth of movies out there that you go, really, really,
• 1:30:03
  Speaker 1: there's a lot of stuff out there that I think
• 1:30:06
  Speaker 1: is being made by people who don't give a shit
• 1:30:08
  Speaker 1: about horror films. They give a shit about money. They
• 1:30:10
  Speaker 1: want to make money. By the way, I'm not an idiot.
• 1:30:12
  Speaker 1: It's a business. You gotta make money. That said, hire
• 1:30:17
  Speaker 1: people who know what the fuck they're doing, and you
• 1:30:21
  Speaker 1: get a great movie that I promise you will make
• 1:30:24
  Speaker 1: you more money. Look the terrifier thing, right, somebody's lost
• 1:30:29
  Speaker 1: their minds, right, and oh my god, it's making all
• 1:30:31
  Speaker 1: this money. Fuck yeah. By the way, am I a fan? No,
• 1:30:34
  Speaker 1: I'm not. I'm not, because here's the problem. Those movies
• 1:30:40
  Speaker 1: almost started out at the gate being about the villain,
• 1:30:44
  Speaker 1: not about the heroes. And if you go back to
• 1:30:47
  Speaker 1: the origins of all of the franchises that everybody's obsessed with,
• 1:30:51
  Speaker 1: that they won't let Die, Halloween Friday Thirteenth, Nightmare, and
• 1:30:55
  Speaker 1: elm Street, Texas Chainsaw. Look at the first two movies
• 1:30:58
  Speaker 1: of each one of those franchises. I mean, Nightmare has
• 1:31:02
  Speaker 1: a tough time on that one, But look at the
• 1:31:04
  Speaker 1: first couple of movies and you go, no, no, those
• 1:31:06
  Speaker 1: are scary fucking movies. They were scary. We were afraid, right,
• 1:31:10
  Speaker 1: Because here's the thing. Nobody roots for the shark in Jaws.
• 1:31:15
  Speaker 1: No one, because Jaws is the monster. You care about
• 1:31:19
  Speaker 1: the people on the boat. Yeah, the minute you stop
• 1:31:22
  Speaker 1: caring about the leads and all you want to see
• 1:31:24
  Speaker 1: is how gruesome the next murder is gonna be?
• 1:31:27
  Speaker 3: Like the body Count.
• 1:31:29
  Speaker 1: Right, by the way, that's not a horror movie anymore. Sorry, guys.
• 1:31:32
  Speaker 1: Now you're on a roller coaster, you're on an amusement
• 1:31:35
  Speaker 1: park ride. That's just about you going whoooooo. That's all
• 1:31:39
  Speaker 1: it's about, because you just want to see, like, oh,
• 1:31:42
  Speaker 1: is he going to tear her head off at the jaw? Yeah? Yeah.
• 1:31:47
  Speaker 1: Make the movies about good characters and you end up
• 1:31:49
  Speaker 1: with something that's actually frightening. Because we're we're in the
• 1:31:53
  Speaker 1: vand with those kids in Texas Chainsaw, we are we're
• 1:31:56
  Speaker 1: in that band. We're scared for them. So when we
• 1:32:00
  Speaker 1: get to the monster, the monsters frightening for us. And
• 1:32:03
  Speaker 1: that's what made all of these things hits. Now, by
• 1:32:06
  Speaker 1: the way, I'm the Terrifier thing. God bless them. Fuck yeah,
• 1:32:11
  Speaker 1: I love that those movies exist. There have to be
• 1:32:13
  Speaker 1: made for me. I'm cool with that. I'm cool with that.
• 1:32:17
  Speaker 1: I didn't like most of the torture porn stuff that
• 1:32:19
  Speaker 1: came out.
• 1:32:20
  Speaker 3: I was just Saw franchise. I feel like it's it's
• 1:32:23
  Speaker 3: not I mean, there's there's definitely a big difference between
• 1:32:27
  Speaker 3: Nightmare and Elms Street and a franchise like that where
• 1:32:29
  Speaker 3: you're just you know, it's like carnage candy that you're
• 1:32:33
  Speaker 3: looking at.
• 1:32:33
  Speaker 1: Yeah, I mean, look it Saw for me is almost
• 1:32:37
  Speaker 1: a reaction to Final Destination, right, watch the next group
• 1:32:41
  Speaker 1: Goldbergian Death We're gonna watch. And by the way, fuck yeah.
• 1:32:44
  Speaker 1: Like again, whether I like or dislike any of these
• 1:32:49
  Speaker 1: films doesn't matter. It all helps. Every bit of this
• 1:32:53
  Speaker 1: makes our genre more alive and vibrant and interesting. But
• 1:32:58
  Speaker 1: what the studios aren't getting is that the guys who
• 1:33:01
  Speaker 1: made Terrify Her are real horror guys. They live breathes
• 1:33:07
  Speaker 1: eat horror. That's their that's their love, and so they
• 1:33:11
  Speaker 1: make movies that connect to other horror fans. When they
• 1:33:16
  Speaker 1: put out Megan two and they go, God, why isn't
• 1:33:18
  Speaker 1: this working well? Because who are you making it for? Yeah,
• 1:33:22
  Speaker 1: girls who like brats dolls. That's not a horror movie.
• 1:33:26
  Speaker 1: Then I mean, like, what are you doing? I still don't.
• 1:33:30
  Speaker 1: I still don't get it. And I get Megan, I
• 1:33:32
  Speaker 1: get that first movie. I get it. I do. And
• 1:33:36
  Speaker 1: again they got good actors, they made it a boy, characters,
• 1:33:39
  Speaker 1: all good. I just I don't. Again, I just wish
• 1:33:44
  Speaker 1: that they would hire people who are really good at
• 1:33:46
  Speaker 1: telling stories that are about something terrifying, and we're we're
• 1:33:51
  Speaker 1: we don't have that all the time.
• 1:33:53
  Speaker 5: I just thought about you know, I love Scream, but
• 1:33:57
  Speaker 5: you saying that just now, I just put together something
• 1:34:00
  Speaker 5: that I feel like is so genius about the movie
• 1:34:02
  Speaker 5: that I never maybe I knew, but I never really
• 1:34:05
  Speaker 5: like thought about it. What that feeling is when the killer,
• 1:34:09
  Speaker 5: when that ghost face mask comes off and the reveal
• 1:34:13
  Speaker 5: is the bad guy? Are the people you like? Yeah,
• 1:34:16
  Speaker 5: like you fall in love with you know what I mean?
• 1:34:18
  Speaker 5: Like you fall in love with stew and Bill and
• 1:34:20
  Speaker 5: then when it's revealed that they're them. I never like,
• 1:34:24
  Speaker 5: it just never came that full circle for me, that like, oh,
• 1:34:26
  Speaker 5: that's a big change when when you're against the villain,
• 1:34:30
  Speaker 5: but then the villain becomes the people that you loved
• 1:34:33
  Speaker 5: for ninety minutes.
• 1:34:34
  Speaker 1: And by the way, and by the way, that movie,
• 1:34:37
  Speaker 1: when that movie came out, I would have I would
• 1:34:39
  Speaker 1: have dinners with other hard directors. We don't get together,
• 1:34:42
  Speaker 1: and we would talk about how that movie fucked us,
• 1:34:44
  Speaker 1: because it fucked all of us. Were like he gave
• 1:34:46
  Speaker 1: away everything, like he gave away all the secrets, like
• 1:34:48
  Speaker 1: it literally the magician told everybody how the magic trick works,
• 1:34:52
  Speaker 1: and suddenly we were all scrambling to go, like how
• 1:34:55
  Speaker 1: do we make horror? They know all of our gags,
• 1:34:58
  Speaker 1: like they know it told them. You can't say I'll
• 1:35:02
  Speaker 1: be right back in a movie. You can't do it anymore,
• 1:35:04
  Speaker 1: Like you can't unless you're being ironic about it. Like
• 1:35:08
  Speaker 1: there's so many It's sort of like when Stanley Kubrick
• 1:35:10
  Speaker 1: made The Shining he literally ruined blood. He ruined it
• 1:35:15
  Speaker 1: because how how do you how how are we gonna
• 1:35:17
  Speaker 1: do bigger than that? You can't, You just can't he he,
• 1:35:21
  Speaker 1: he hit the he hit the mother load. So there
• 1:35:25
  Speaker 1: there are there are these moments where our genre has
• 1:35:27
  Speaker 1: to level up and we have to do something more interesting.
• 1:35:30
  Speaker 1: And by the way, I think if it's from gores
• 1:35:33
  Speaker 1: and gore and kills, you're missing the point. I still
• 1:35:38
  Speaker 1: think that. You know, people are watching Jaws to this day.
• 1:35:41
  Speaker 1: They're going to theaters, they're going to drive ins, They're
• 1:35:44
  Speaker 1: watching this thing on lakes with giant screens in the
• 1:35:47
  Speaker 1: water while they're watching it. Fucking crazy, but they're they're
• 1:35:54
  Speaker 1: watching that movie. They're still screaming, they're still jumping, they're
• 1:35:57
  Speaker 1: still having an emotional response. There's almost no gore in
• 1:36:01
  Speaker 1: that movie. There's almost nothing in that movie but suspense
• 1:36:05
  Speaker 1: and characters that you fucking adore. Dude. One of the
• 1:36:08
  Speaker 1: greatest movies in cinema history. It's from that film, and
• 1:36:11
  Speaker 1: it's not anything anyone ever guesses whenever I'm talking about Jaws,
• 1:36:16
  Speaker 1: and I'm like, stop talking about the fucking shark coming
• 1:36:19
  Speaker 1: at people. Yes, that's scary, got it. I love it.
• 1:36:22
  Speaker 1: It's the best. The best scene in that movie is
• 1:36:25
  Speaker 1: when Chief Brody is left alone at the dinner table
• 1:36:28
  Speaker 1: with his youngest son. Yeah, and his son is mimicking him,
• 1:36:31
  Speaker 1: and his wife is watching and she's getting tears in
• 1:36:34
  Speaker 1: her eyes. And you see this man look at his son.
• 1:36:38
  Speaker 1: The two of them have this incredible sense of humor.
• 1:36:41
  Speaker 1: And then he says, give us a kiss? Why because
• 1:36:44
  Speaker 1: I need it? I'm sorry, I got chills. Yeah, guess why.
• 1:36:49
  Speaker 1: I will walk into Hell with Chief Brody from that
• 1:36:52
  Speaker 1: point forward. I will do anything that man needs me
• 1:36:55
  Speaker 1: to do with him, to be in that boat with him,
• 1:36:58
  Speaker 1: to get that fucking shit so it doesn't hurt that kid.
• 1:37:02
  Speaker 1: That's that's that's what storytelling is about. It's not about
• 1:37:05
  Speaker 1: the fucking gore. It's not Look the thing about Jason
• 1:37:09
  Speaker 1: goes to Hell, and I'm actually bringing us back to
• 1:37:11
  Speaker 1: the movie. The thing about that film was that by
• 1:37:17
  Speaker 1: by taking Jason away from the woods, the camp, the
• 1:37:23
  Speaker 1: hockey mask. Yes, was I upsetting the apple cart? Fuck ya?
• 1:37:26
  Speaker 1: I was? Did I also introduce you to a bunch
• 1:37:28
  Speaker 1: of adult characters, not children? I wasn't like. These are
• 1:37:34
  Speaker 1: people who have lives and jobs and a society that
• 1:37:37
  Speaker 1: they live in. And there has been a fucking serial
• 1:37:39
  Speaker 1: killer who's killed over one hundred people in that area
• 1:37:42
  Speaker 1: and no cop ever did anything about the I'm sorry,
• 1:37:46
  Speaker 1: you go past five people, the Feds come in. It's
• 1:37:49
  Speaker 1: a serial killers. The Feds are gonna be there, right,
• 1:37:51
  Speaker 1: And I just kept sitting there as a kid going.
• 1:37:54
  Speaker 1: By the time we got to part three, I'm like,
• 1:37:57
  Speaker 1: where where where's the police? Where are the I mean,
• 1:38:02
  Speaker 1: it's New Jersey, it's Mars, right, And I wanted to
• 1:38:08
  Speaker 1: tell the story. Look, the first movie, the original Friday Thirteenth,
• 1:38:12
  Speaker 1: before all the Jason's happened. The first Friday thirteenth is
• 1:38:15
  Speaker 1: about a mother who lost her son, Okay, Jason Gohstell,
• 1:38:22
  Speaker 1: which was supposed to be the final Friday. How we
• 1:38:25
  Speaker 1: advertise it, it's what we all believed. Jason Gostell was
• 1:38:28
  Speaker 1: supposed to be about a father who finds his daughter.
• 1:38:32
  Speaker 1: That's why it was constructed that way. That's what I
• 1:38:35
  Speaker 1: wanted to do. And it was also a movie that
• 1:38:37
  Speaker 1: was supposed to one give you some fucking explanation about
• 1:38:41
  Speaker 1: how this all this bullshit happened. And two I wanted
• 1:38:47
  Speaker 1: you to care about the heroes, not just the goddamn villain.
• 1:38:52
  Speaker 1: And look, you know, you don't hear a lot of
• 1:38:55
  Speaker 1: people talking about specific characters other than Tommy Jarvis in
• 1:38:59
  Speaker 1: any of the other Friday Time teenth movies. Right, every
• 1:39:01
  Speaker 1: time somebody brings up Jason Goes to Hell. The first
• 1:39:04
  Speaker 1: thing that I hear is, oh, that Creighton Duke is badass. Well, guys,
• 1:39:09
  Speaker 1: he's Quint from Jaws, and he was built that way.
• 1:39:13
  Speaker 1: He literally says, for five hundred grand, I'll get you
• 1:39:15
  Speaker 1: the machete, the mask, the whole damn thing. What he says,
• 1:39:18
  Speaker 1: it's literally a quote from Jaws. It's exactly what Quinn says.
• 1:39:22
  Speaker 1: So we were trying to lead our audience to something
• 1:39:26
  Speaker 1: that came a little more fiber at their diet, but
• 1:39:30
  Speaker 1: also turn it back into a horror movie. I didn't
• 1:39:33
  Speaker 1: want you to know who the villain was. By the way,
• 1:39:34
  Speaker 1: it's so funny. People always tell me like, oh, you know,
• 1:39:36
  Speaker 1: it's a rip off of The Hidden. I had not
• 1:39:38
  Speaker 1: seen The Hidden when I wrote the story for this film.
• 1:39:41
  Speaker 1: I had not seen the movie, right, you know what.
• 1:39:43
  Speaker 1: I had seen The Thing, and it scared the fuck
• 1:39:47
  Speaker 1: out of me. And I love that movie and it's
• 1:39:49
  Speaker 1: a perfect horror film. And Jason goes to Hell owes
• 1:39:53
  Speaker 1: more to the Thing than owes to anything else, because
• 1:39:55
  Speaker 1: I went, no, I want a movie of who goes there,
• 1:39:58
  Speaker 1: I want to go, like, where the fuck is Jason? Right? Right, right?
• 1:40:05
  Speaker 1: I wanted to tap into something human and look by
• 1:40:08
  Speaker 1: the way I gave everybody the Looney Tunes you know
• 1:40:11
  Speaker 1: effects that everybody wants, like I love and I love
• 1:40:14
  Speaker 1: that ship. Right, So Split Girl up the Middle. Sorry,
• 1:40:18
  Speaker 1: I love it.
• 1:40:19
  Speaker 7: Like people go, well, you know there's the you know,
• 1:40:21
  Speaker 7: there's the head in X. That's pretty awesome. You know,
• 1:40:24
  Speaker 7: the the sleeping bag kill is amazing. Yeah, yeah, yeah, okay,
• 1:40:30
  Speaker 7: Split Girl up the Middle. She's she's literally having sex
• 1:40:34
  Speaker 7: while being drunk on her being fucked by her boyfriend
• 1:40:38
  Speaker 7: while she gets torn into two pieces that flop over,
• 1:40:43
  Speaker 7: and then her boyfriend's head gets crushed by a boot. Really,
• 1:40:46
  Speaker 7: you know, to tell me, you're to tell me that's
• 1:40:47
  Speaker 7: not the best killing the franchise.
• 1:40:49
  Speaker 3: Fuck call me.
• 1:40:51
  Speaker 5: You might think this like hyperbol whatever. That is my
• 1:40:55
  Speaker 5: that's my favorite kill of all time. That's it. That
• 1:40:58
  Speaker 5: is even down to the way it shot. And I
• 1:41:01
  Speaker 5: remember being young and younger and getting Crystal Lake memories
• 1:41:05
  Speaker 5: of the book and it had like it had the
• 1:41:08
  Speaker 5: like frame by frame almost of it and.
• 1:41:11
  Speaker 1: Then one big split Oh.
• 1:41:14
  Speaker 5: Yeah, talk about like and I mean every time I
• 1:41:16
  Speaker 5: watch Jason Goes to Hell, I feel like I'm still
• 1:41:19
  Speaker 5: in that scene for like five minutes later I got
• 1:41:21
  Speaker 5: to recatch up. I'm like, hold on, sorry, we're past that. Yeah,
• 1:41:25
  Speaker 5: And I love I was just watching the movie the
• 1:41:27
  Speaker 5: other day and I was like, I even love him
• 1:41:29
  Speaker 5: sitting back and waiting for her to be on top
• 1:41:32
  Speaker 5: to perfectly do this, you.
• 1:41:33
  Speaker 1: Know, oh yeah, oh yeah. Here's here's the thing. I
• 1:41:38
  Speaker 1: the reason that kill is so angry and it is
• 1:41:40
  Speaker 1: an angry, fucking kill was that that was not in
• 1:41:44
  Speaker 1: the movie. That whole sequence was not in the movie.
• 1:41:46
  Speaker 1: The whole camper scene wasn't in the movie. The original
• 1:41:49
  Speaker 1: the original cut did not have any of that material.
• 1:41:51
  Speaker 1: And the audience that we showed it to and by
• 1:41:55
  Speaker 1: the way, one of the people in that audience who
• 1:41:58
  Speaker 1: was in the focus group at the end of the
• 1:41:59
  Speaker 1: thing was Peter Brackey.
• 1:42:01
  Speaker 6: That is not a job, really, ye crazy.
• 1:42:05
  Speaker 1: And he was one of the people who wrote on
• 1:42:06
  Speaker 1: his card, I want to see more campers getting killed
• 1:42:09
  Speaker 1: by Crystal Lake. He literally wrote that, I have the comment, okay.
• 1:42:14
  Speaker 1: And he was twenty I think twenty one. He was
• 1:42:17
  Speaker 1: at USC and we showed it at USC we're out
• 1:42:21
  Speaker 1: there right usc anyway. So that so the studio is like, look,
• 1:42:26
  Speaker 1: we're gonna give you some more money. We want some
• 1:42:29
  Speaker 1: more we want some more kills. They said, come up
• 1:42:34
  Speaker 1: with something that is so fucking gross and over the
• 1:42:38
  Speaker 1: top that we have to cut it. I was like, what,
• 1:42:45
  Speaker 1: we want something amazing that we can't show in Peters.
• 1:42:49
  Speaker 1: I was like, but why, they said, trust us. I
• 1:42:54
  Speaker 1: was like, okay, all right, So I went off to
• 1:42:56
  Speaker 1: write the thing, but I was pissed because of my
• 1:42:58
  Speaker 1: immediately shown kind. It was like, see, I tell you
• 1:43:01
  Speaker 1: you need sex equals death, and I was like, fuck you, dude,
• 1:43:03
  Speaker 1: I'm not putting in sex equals definitely my movie. I
• 1:43:05
  Speaker 1: don't agree with you, I think, I said. I hate
• 1:43:09
  Speaker 1: when that. I said, but you know what I will do.
• 1:43:13
  Speaker 1: I'll do unsafe sex equels death. Cool doing that? Yeah,
• 1:43:17
  Speaker 1: I'll go with that. So why the whole condent thing
• 1:43:20
  Speaker 1: happens in that scene is because I wouldn't do it
• 1:43:22
  Speaker 1: any other way. And by the way, it's why we
• 1:43:25
  Speaker 1: got a great review in the Wall Street Journal. But
• 1:43:29
  Speaker 1: I my whole reaction was oh, all right, all right,
• 1:43:33
  Speaker 1: you want you want me to kill some teenagers? Okay?
• 1:43:36
  Speaker 1: You want me, you want me to kill campers by
• 1:43:38
  Speaker 1: the lake get and smoke, you know, smoking some weed
• 1:43:40
  Speaker 1: and get Not only am I gonna do it, I'm
• 1:43:42
  Speaker 1: gonna tell you I'm doing it. I'm gonna have the
• 1:43:44
  Speaker 1: lead of the movie make fun of you for it.
• 1:43:47
  Speaker 1: I'm actually gonna have him say, oh, you're going to
• 1:43:49
  Speaker 1: Crystal Lakes, not a little weed, have a little pre
• 1:43:51
  Speaker 1: marital sex and getting slaughtered. I'm literally gonna tell the
• 1:43:54
  Speaker 1: audience that that's what we're doing. And when I kill her,
• 1:43:58
  Speaker 1: I am going to take this human being in half.
• 1:44:02
  Speaker 1: I'm gonna show you the unshrowable. By the way, the
• 1:44:06
  Speaker 1: the name of the character, it was the name my
• 1:44:09
  Speaker 1: ex girlfriend right before I shut you. That's, by the way,
• 1:44:14
  Speaker 1: that's a warning. That's a warning to anybody to dates filmmakers,
• 1:44:17
  Speaker 1: because we do. We do get the last word. We
• 1:44:20
  Speaker 1: just do. We get to say the last thing. And
• 1:44:24
  Speaker 1: uh so, so that's why that kill was so fucking angry, Right,
• 1:44:29
  Speaker 1: so I shoot the thing and the new line, of course,
• 1:44:31
  Speaker 1: has to viscerate it because the NPAA. By the way,
• 1:44:34
  Speaker 1: the NPAA turned off the movie during that scene. Then
• 1:44:38
  Speaker 1: off they stopped watching and they called us and said,
• 1:44:42
  Speaker 1: we're not even talking about an NC seventeen. We're giving
• 1:44:44
  Speaker 1: you an X right now.
• 1:44:46
  Speaker 3: Holy shit.
• 1:44:46
  Speaker 1: And we were like, what, like, we won't even put
• 1:44:49
  Speaker 1: on reel three, won't even look at it. I'm like,
• 1:44:52
  Speaker 1: isn't that against Wait, isn't that against the rules of
• 1:44:55
  Speaker 1: the NPA. Now we don't care, this is disgusting. We're like, uh,
• 1:45:00
  Speaker 1: we cut over three minutes from that movie. Guys got
• 1:45:04
  Speaker 1: fucking torn to pieces. But that's the same way that
• 1:45:09
  Speaker 1: I was about the poster, right, because I wanted a
• 1:45:12
  Speaker 1: Drew strewsenesque poster for Jesson Goes Well, and new Line said, yeah, okay, kid,
• 1:45:17
  Speaker 1: that's nice. We understand how to market our movie. We're
• 1:45:20
  Speaker 1: gonna put a giant turd with teeth coming out of
• 1:45:23
  Speaker 1: a silver hockey mask. I was like, what does that
• 1:45:25
  Speaker 1: have to do with anything? Just trust us, just like that,
• 1:45:29
  Speaker 1: which they were right about there, one hundred percent right,
• 1:45:30
  Speaker 1: because the poster got banned in thirteen places in America.
• 1:45:34
  Speaker 1: Thirteen states banned that poster, and they really put a
• 1:45:37
  Speaker 1: censored a bar over the over the duty with teeth.
• 1:45:45
  Speaker 1: By the way, he got more people wanted to see
• 1:45:46
  Speaker 1: the movie, Like they could have been more right they
• 1:45:48
  Speaker 1: were right on the mine. They cut down the movie
• 1:45:51
  Speaker 1: enough that Jason Goes to Hell is the first movie
• 1:45:56
  Speaker 1: that New Line ever released in an uncut and cut
• 1:45:59
  Speaker 1: version when they first put the movie out, so everybody
• 1:46:03
  Speaker 1: who usually would buy one copy of that movie had
• 1:46:06
  Speaker 1: to buy two, and it became New Line Cinema's biggest
• 1:46:11
  Speaker 1: VHS and DVD sale of all time. Wow, that's the
• 1:46:16
  Speaker 1: truth that Rason goes out. So when people talk about
• 1:46:18
  Speaker 1: the twenty million we made at the box office, which,
• 1:46:20
  Speaker 1: by the way, on a two and a half million
• 1:46:21
  Speaker 1: dollar budget, fuck yeah, we also did way better than
• 1:46:25
  Speaker 1: Takes Manhattan, which cost way more. But but the amount
• 1:46:32
  Speaker 1: of money that movie made on VHS ho, shit.
• 1:46:35
  Speaker 3: Yeah, that was like a video store a staple, Like
• 1:46:37
  Speaker 3: I just remember that the poster, just seeing it at
• 1:46:40
  Speaker 3: the movies store, like or the video store. It was
• 1:46:43
  Speaker 3: just everywhere. So it's like, that's one of those ones
• 1:46:46
  Speaker 3: I distinctly remember, like even as a kid.
• 1:46:49
  Speaker 1: And if you got it a blockbuster, first off blockbuster
• 1:46:51
  Speaker 1: to the grossest thing. They bought the covers for the
• 1:46:56
  Speaker 1: unrated and they all had the rated tape in them
• 1:47:00
  Speaker 1: Blockbuster show on rated ship. But but the one cool
• 1:47:04
  Speaker 1: thing about the blockbuster tape is that when you press
• 1:47:07
  Speaker 1: the side of the tape, the eyes in the in
• 1:47:10
  Speaker 1: the turd glowed red. Oh they're a little little censor
• 1:47:16
  Speaker 1: in them, and they I was like, this is fucking awesome.
• 1:47:20
  Speaker 3: Wow, that's incredible.
• 1:47:23
  Speaker 1: Yeah.
• 1:47:24
  Speaker 6: Yeah, I think the name, the name Jason Goes to
• 1:47:26
  Speaker 6: Hell and itself invokes people wanting to what what is
• 1:47:29
  Speaker 6: this because that that name as opposed to Jason Takes Manhattan.
• 1:47:33
  Speaker 1: It's kind of it's whatever it was. It was also
• 1:47:37
  Speaker 1: cool because you know Bill and Ted, Uh, the second
• 1:47:41
  Speaker 1: movie in that franchise was was not supposed to vote
• 1:47:44
  Speaker 1: Bogus Journey. It was Bill and Ted go to Hell.
• 1:47:46
  Speaker 1: That was the original title, and the studio totally was down.
• 1:47:51
  Speaker 1: Like I still think they fucked themselves with that title
• 1:47:54
  Speaker 1: because the second movie is a really good movie, but
• 1:47:56
  Speaker 1: it didn't make as much money as the first. And
• 1:47:58
  Speaker 1: I think a lot of it I to do it
• 1:47:59
  Speaker 1: that they whoosed out about how to sell the thing.
• 1:48:03
  Speaker 1: New line was all in mad new Look, here's the thing.
• 1:48:06
  Speaker 1: When you make a movie for the house that Freddy built.
• 1:48:10
  Speaker 1: These guys know how to do this, Like they just
• 1:48:13
  Speaker 1: get it. And they jumped on that title. They loved it.
• 1:48:17
  Speaker 1: They freaking look. By the way, the original title of
• 1:48:19
  Speaker 1: the movie in House was Friday thirteenth, Part nine, The
• 1:48:23
  Speaker 1: Heart of Darkness, which is why the documentary is called
• 1:48:27
  Speaker 1: Hearts of Darkness. And the reason it was called The
• 1:48:29
  Speaker 1: Heart of Darkness. The reason is an incredibly pretentious film
• 1:48:33
  Speaker 1: school thing, because I was a very pretentious film school student.
• 1:48:39
  Speaker 1: I was twenty three when I was making this movie.
• 1:48:42
  Speaker 1: My hero, one of my heroes is Orson Wells, and
• 1:48:48
  Speaker 1: Orson Wells had left the Mercury Theater where he did
• 1:48:52
  Speaker 1: his musicals and he did his Shakespeare plays in New York.
• 1:48:55
  Speaker 1: He left that to go to Hollywood and make his
• 1:48:58
  Speaker 1: first feature film, which was going to be an adaptation
• 1:49:01
  Speaker 1: of Joseph Campbell's The Heart of Darkness. So since I
• 1:49:06
  Speaker 1: was making a movie about a dark heart and I
• 1:49:08
  Speaker 1: was twenty three years old, just like Arson Ells was, yeah,
• 1:49:12
  Speaker 1: that's why it was called Hard of Darkness. So so
• 1:49:16
  Speaker 1: that is the that is the silliest reason the name
• 1:49:19
  Speaker 1: of movie. But it's why I didn't and I will
• 1:49:23
  Speaker 1: also tell you, and it's an easter egg that most
• 1:49:25
  Speaker 1: people don't find in my movies. Every every film that
• 1:49:28
  Speaker 1: I've made, someone has the surname Parker, and my brother
• 1:49:33
  Speaker 1: has it in this movie off, Sir Randy Parker. It
• 1:49:37
  Speaker 1: is my nod to my favorite filmmaker, Alan Parker.
• 1:49:40
  Speaker 3: Oh okay, okay, it's never yep yep.
• 1:49:46
  Speaker 1: So yeah, there's sheriff and there's you know. I tried
• 1:49:49
  Speaker 1: to throw in a bunch, but Parker has been consistent
• 1:49:51
  Speaker 1: in everything I've ever every screenplay, everything I've ever written,
• 1:49:54
  Speaker 1: Parker A Parker exists. And I found a way, in
• 1:49:58
  Speaker 1: sort of like my own head, to make all of
• 1:50:01
  Speaker 1: them relatives.
• 1:50:03
  Speaker 6: Yeah, yeah, so cool you bring you talk about nods
• 1:50:06
  Speaker 6: and stuff, because obviously I think everyone knows the necronomicons
• 1:50:09
  Speaker 6: that Jason goes to Hell? Was that and the dagger
• 1:50:12
  Speaker 6: and stuff? Was that just a nod? Or did you
• 1:50:15
  Speaker 6: in the kind of back of your mind like I
• 1:50:16
  Speaker 6: would love to, like, Let's let's see where this leads.
• 1:50:18
  Speaker 1: Let's see if we go here. Here's okay, So so
• 1:50:21
  Speaker 1: the the shortest version of that story is that. Look.
• 1:50:24
  Speaker 1: I told you guys how much I loved Evil Dad
• 1:50:25
  Speaker 1: Is again. It was several and Evil Dead two was
• 1:50:29
  Speaker 1: the first movie I had ever seen twice in the theater.
• 1:50:32
  Speaker 1: On the same day I went to see the first
• 1:50:35
  Speaker 1: Matt Mae show in Manhattan. It was it was my
• 1:50:37
  Speaker 1: uh sophomore year of college. I went see it at noon,
• 1:50:42
  Speaker 1: went back to my dorm room. Told one of my
• 1:50:44
  Speaker 1: best buds at college, guy named John Jerrell, who's also
• 1:50:47
  Speaker 1: written a lot of movies. I told him about the movie.
• 1:50:50
  Speaker 1: He was like, that sounds fucking awesome. He said we
• 1:50:52
  Speaker 1: should go see it. I said, dude, I just saw it.
• 1:50:53
  Speaker 1: He said, I'll pay for your ticket. I said, fuck it,
• 1:50:55
  Speaker 1: let's go. Yeah, And I saw a second time in
• 1:50:59
  Speaker 1: a row same day. So I adore those movies, and
• 1:51:03
  Speaker 1: I'm a huge Sam Raimi fan and I anyway, so
• 1:51:06
  Speaker 1: when I was when I was coming up with Jason
• 1:51:09
  Speaker 1: Goes to Hell part of the thing that I wanted
• 1:51:10
  Speaker 1: to do. I hated the timeline as a kid because
• 1:51:14
  Speaker 1: when you watch, when you watch, when you're there for
• 1:51:17
  Speaker 1: the making of the original film, which has little to
• 1:51:21
  Speaker 1: do with a guy named Jason and the guy that
• 1:51:24
  Speaker 1: you look to as like a creative father, which was
• 1:51:27
  Speaker 1: Sean Cunningham at the time when he's furious that Paramount
• 1:51:31
  Speaker 1: wants to make a sequel but they don't want to
• 1:51:34
  Speaker 1: do what he wanted to do, which was he wanted
• 1:51:35
  Speaker 1: to do. Look, anything John Carpenter ever came up with,
• 1:51:38
  Speaker 1: Sean was thrilled to rip off. So when John made Halloween,
• 1:51:43
  Speaker 1: he wanted to tell tales of Halloween. He didn't want
• 1:51:46
  Speaker 1: to tell Michael Myers movies. Right, ah, God wanted Michael
• 1:51:51
  Speaker 1: Myers movies. And I think why and look what happened,
• 1:51:54
  Speaker 1: But John hated it. And it's why Halloween three is
• 1:51:59
  Speaker 1: the only actual old John Carpenter sequel to the original Halloween.
• 1:52:03
  Speaker 1: It's the only one.
• 1:52:04
  Speaker 5: My second favorite Halloween movie too, Yeah, second favor.
• 1:52:07
  Speaker 1: Well done. And again, I know a lot of times
• 1:52:09
  Speaker 1: people call Jason Goes to Hell the Halloween three of
• 1:52:11
  Speaker 1: the franchise, and I'm happy. I'm happy to take it.
• 1:52:15
  Speaker 1: But it's the it's the one that John believed in.
• 1:52:18
  Speaker 1: It's it's why the movie Halloween is playing on a television.
• 1:52:21
  Speaker 1: In Halloween three, he was He's literally saying, this Michael
• 1:52:25
  Speaker 1: Meyers stuff is bullshit. I wanted to make these movies
• 1:52:28
  Speaker 1: scary tales about Halloween. So Sean wanted to tell stories
• 1:52:31
  Speaker 1: of the unluckiest day in the year. By the way,
• 1:52:35
  Speaker 1: I want to hear something fucked up about that.
• 1:52:38
  Speaker 3: Yeah.
• 1:52:39
  Speaker 1: His son Noel was born on June thirteenth, Friday the
• 1:52:43
  Speaker 1: thirteenth June.
• 1:52:46
  Speaker 3: Whoa we had.
• 1:52:47
  Speaker 1: We had Nol's birthday party at Knowle's house on June thirteenth,
• 1:52:52
  Speaker 1: nineteen eighty and we showed the movie before anybody before
• 1:52:56
  Speaker 1: anything begat it on tape. It was in theaters. We
• 1:52:59
  Speaker 1: showed the movie to all our friends who were eleven
• 1:53:01
  Speaker 1: at the time and scarred them for fucking life. By
• 1:53:04
  Speaker 1: the way, Nolan and I hid behind the couch for
• 1:53:07
  Speaker 1: the ending, and we both jumped up and grabbed everybody
• 1:53:10
  Speaker 1: on the couch when when Ari jumps up and grabs
• 1:53:14
  Speaker 1: Alice and our friends literally one kid Pete himself actually
• 1:53:20
  Speaker 1: the greatest Prodanic I've ever pulled in my life anyway,
• 1:53:23
  Speaker 1: So I hated that from Friday thirteenth Part one to
• 1:53:27
  Speaker 1: Friday thirteenth Part two, which by the way, take place
• 1:53:30
  Speaker 1: a couple of weeks apart the opening, okay, that Jason
• 1:53:35
  Speaker 1: vorhees a little boy and eleven year old corpse from
• 1:53:39
  Speaker 1: the lake that jumped up at the end of the movie,
• 1:53:43
  Speaker 1: that this kid gained one hundred and forty pounds of weighting, learned,
• 1:53:50
  Speaker 1: learned how to how to how to read because the
• 1:53:53
  Speaker 1: only way you can find somebody is through the white
• 1:53:56
  Speaker 1: pages back then. So he found where she lives. He
• 1:54:00
  Speaker 1: learned how to drive, because I don't think Sackhead was
• 1:54:03
  Speaker 1: walking through Crystal Lake to get to this woman's house,
• 1:54:07
  Speaker 1: and he needed somewhere to put mom's head right, otherwise
• 1:54:11
  Speaker 1: just carrying a head with him, right. And he brought
• 1:54:15
  Speaker 1: Alice's body back to the to the to the camp,
• 1:54:18
  Speaker 1: so he had to have some way to transport it, right.
• 1:54:21
  Speaker 1: So now he's a full grown man. He's driving, he's reading,
• 1:54:26
  Speaker 1: and he has an incredible sense of humor because he
• 1:54:30
  Speaker 1: doesn't just go in Alice's house and kill her. No, no, no, no,
• 1:54:33
  Speaker 1: no no. He hides her head in the fridge and
• 1:54:37
  Speaker 1: he and he hides and he waits. I can't wait
• 1:54:41
  Speaker 1: till she opens the fridge. This is gonna be hilarious.
• 1:54:46
  Speaker 1: When I say it like that, you go, oh, yeah,
• 1:54:50
  Speaker 1: that's weird. That doesn't make sense, because it doesn't fucking
• 1:54:54
  Speaker 1: make sense.
• 1:54:54
  Speaker 5: He's also got on a nice pair of boots and
• 1:54:56
  Speaker 5: nice jeans.
• 1:54:59
  Speaker 1: Literally walked out of an Abercrombie and Fitch catalog. He's fantastic.
• 1:55:04
  Speaker 1: But wait, bye bye bye. Part three, he gets the
• 1:55:08
  Speaker 1: fucking hockey mask, and he's killed like seven times, but
• 1:55:11
  Speaker 1: somehow lives. In part four, he finally gets the hatchet
• 1:55:14
  Speaker 1: to the head. But by the way, people forget Corey
• 1:55:17
  Speaker 1: Feldman then took the machete and cut and cut and
• 1:55:21
  Speaker 1: cut and cut and cut. That guy didn't have a
• 1:55:24
  Speaker 1: head anymore. There's no head anymore. Part five, there is
• 1:55:28
  Speaker 1: no Jason. There's a guy named Roy who dresses like
• 1:55:31
  Speaker 1: Jason and has a picture of Jason Boorhies with full
• 1:55:34
  Speaker 1: regalia in his wallet. What photographers that picture? By part
• 1:55:42
  Speaker 1: six we resurrect him. By the way, Part six is
• 1:55:44
  Speaker 1: hands down my favorite of the franchise. I fucking adore
• 1:55:46
  Speaker 1: Part six and six two and then mine. That's my order. Okay,
• 1:55:51
  Speaker 1: I love six, But here's the problem with six. He's
• 1:55:54
  Speaker 1: still got a head. He's got ahead. He didn't have
• 1:55:59
  Speaker 1: a head anymore. Corey cut the fucking head off and
• 1:56:02
  Speaker 1: chopped it in the hamburger meat. Why is there still ahead? Okay?
• 1:56:06
  Speaker 1: Then he gets resurrected all off Frankenstein's Monster because Tommy
• 1:56:10
  Speaker 1: McLoughlin loves the Universal monsters, and Tommy's a good friend.
• 1:56:14
  Speaker 1: He's amazing. By part seven, they're so out of ideas.
• 1:56:18
  Speaker 1: They go, I don't know, let him fight Carrie put
• 1:56:22
  Speaker 1: carry in the movie. By part eight, they're like, h shit, man,
• 1:56:26
  Speaker 1: all right, oh the worst city in the world. Well,
• 1:56:30
  Speaker 1: we'll make the baddest guy in the world go up
• 1:56:32
  Speaker 1: against the baddest city in the world Jason versus New York.
• 1:56:36
  Speaker 1: We can't afford to go to New York. Okay, we'll
• 1:56:38
  Speaker 1: go to Montreal. We can't afford more than a couple
• 1:56:40
  Speaker 1: of days in Montreal. Okay. He'll be on a boat
• 1:56:46
  Speaker 1: from New Jersey to New York. That's a three minute ride.
• 1:56:53
  Speaker 5: I say, he probably took the ferry from Newark went over,
• 1:56:56
  Speaker 5: you know.
• 1:56:56
  Speaker 1: Literally twenty minutes. Twenty minutes, that's the that's the ride. Okay.
• 1:57:02
  Speaker 1: So when we get to Jason goes to hell. I went, okay,
• 1:57:06
  Speaker 1: none of this makes sense. How do we make it
• 1:57:08
  Speaker 1: make sense? Hell? Well, let's see if Pamela would do
• 1:57:12
  Speaker 1: anything to have her son back, if that's everything that
• 1:57:14
  Speaker 1: she cares about, that's her whole world. Okay, wouldn't she
• 1:57:18
  Speaker 1: eventually look to the dark arts because she was nuts?
• 1:57:22
  Speaker 1: I mean, the woman was clearly insane. Okay, she can't
• 1:57:27
  Speaker 1: read from the necronomicon. Why wouldn't she read from the
• 1:57:30
  Speaker 1: Book of the Dead. It can resurrect people that's in there.
• 1:57:34
  Speaker 1: By the way, there's not one book of the Dead.
• 1:57:36
  Speaker 1: I know that people are like there's only one in
• 1:57:38
  Speaker 1: a cabin in the fuck off. There's a lot of achronomicons.
• 1:57:43
  Speaker 1: So wouldn't Pamela read from it? And now imagine that kid,
• 1:57:49
  Speaker 1: that poor little boy, dead under years of sediment and
• 1:57:55
  Speaker 1: muck and leaves and all of it, at the bottom
• 1:57:58
  Speaker 1: of Crystal Lake. And he looks up and all he
• 1:58:01
  Speaker 1: can see is some light during the day and dark
• 1:58:03
  Speaker 1: at night. But he's terrified. He's in this freezing cold, terrified,
• 1:58:07
  Speaker 1: stuck there. And then he sees his mama by the
• 1:58:10
  Speaker 1: side of the lake and he starts to rise up.
• 1:58:14
  Speaker 1: Oh my god, it's my mom. It's my mom, And
• 1:58:16
  Speaker 1: then Alice cuts her fucking head off right in front
• 1:58:19
  Speaker 1: of him. Well, shit, I'd be pretty pissed. I'd probably
• 1:58:24
  Speaker 1: come to the surface lake and try to pull her down,
• 1:58:26
  Speaker 1: which he does. But now he is now part of
• 1:58:31
  Speaker 1: the evil Dead lore. Well, here's the thing. If he's
• 1:58:33
  Speaker 1: furious enough, if he's angry enough, if he is truly
• 1:58:35
  Speaker 1: Hell's assassin, you can gain one hundred and forty pounds
• 1:58:39
  Speaker 1: of body weight, you can read, you can learn how
• 1:58:41
  Speaker 1: to drive a car. I buy all that shit. Now
• 1:58:44
  Speaker 1: now he's part of Evil Dead. Now he's And by
• 1:58:47
  Speaker 1: the way, for people who are like, well, you know
• 1:58:49
  Speaker 1: a dead eye the Rules of the Dead, ie, I'm like,
• 1:58:50
  Speaker 1: fuck yourself. He's a revenut, he's a revenue.
• 1:58:54
  Speaker 3: Yeah, here you go.
• 1:58:56
  Speaker 1: Big problem solved. It's in the Book of the Dead.
• 1:58:58
  Speaker 1: Go for it. It's part of Sam Raimi's more. Okay,
• 1:59:02
  Speaker 1: And here's the other part. When I came up with
• 1:59:05
  Speaker 1: all of this, I knew I couldn't say the Evil
• 1:59:06
  Speaker 1: Dead because knew I didn't own it. So I'm like,
• 1:59:09
  Speaker 1: all right, I'm kind of fucked. I can't really, I
• 1:59:11
  Speaker 1: can't announce this. But people are too stupid to notice
• 1:59:15
  Speaker 1: that I'm actually putting Evil Dead squarely in the Friday
• 1:59:18
  Speaker 1: thirteen franchise as I'm doing it, and I kind of
• 1:59:20
  Speaker 1: shut my mouth about it, except that I wanted props.
• 1:59:22
  Speaker 1: I'm like, oh, I'm gonna have the Book of the Dead. No,
• 1:59:25
  Speaker 1: why don't we make that look like the candarean dagger.
• 1:59:27
  Speaker 1: I think that'd be good. And nobody is catching on
• 1:59:30
  Speaker 1: except my production designer who I'm talking about with this. Yeah,
• 1:59:33
  Speaker 1: and I'm saying, listen, I don't want anybody to know
• 1:59:35
  Speaker 1: I'm doing this because I could get in trouble. But
• 1:59:37
  Speaker 1: if I just do it, no, I know nothing about
• 1:59:41
  Speaker 1: no legal problems. So I then asked Bob Kurtzman, who
• 1:59:46
  Speaker 1: was at that moment shooting Army of Darkness. I say, hey,
• 1:59:52
  Speaker 1: can I come with you? Can I go out to
• 1:59:53
  Speaker 1: the set, like I'd love to meet Sam. He's like, sure,
• 1:59:56
  Speaker 1: that'd be awesome. Why don't you come out for a
• 1:59:57
  Speaker 1: couple of days because they're out really far out in
• 2:00:00
  Speaker 1: the desert at the you know they built that castle.
• 2:00:04
  Speaker 1: And so I go out there. I'm with canb for
• 2:00:06
  Speaker 1: like three days. I was out there. I even got
• 2:00:08
  Speaker 1: to puppeteer some of the some of the dead heights
• 2:00:11
  Speaker 1: and so cool. It was amazing. And I got to
• 2:00:15
  Speaker 1: talk to Sam and I asked him if he can
• 2:00:17
  Speaker 1: have the book and he was like, share a buddy,
• 2:00:24
  Speaker 1: And he put the book in his ziplock bag and
• 2:00:28
  Speaker 1: Bob handed it to me out of his zip block.
• 2:00:31
  Speaker 1: That's literally that, and He's just like, yeah, he just
• 2:00:33
  Speaker 1: wants it back when you're done. I'm like, okay, and
• 2:00:36
  Speaker 1: we just just just like that.
• 2:00:39
  Speaker 3: That's just like that.
• 2:00:41
  Speaker 1: And by the way, I also shadowed Sam on three
• 2:00:43
  Speaker 1: commercials that he shot after that, because I wanted to
• 2:00:46
  Speaker 1: see his directing style. I watched him do a bunch
• 2:00:49
  Speaker 1: of Taco Bell commercials that were insane and and so, uh,
• 2:00:54
  Speaker 1: that's why Sam gave me the book, because he thought,
• 2:00:57
  Speaker 1: like what I was, what I came up with was cool,
• 2:00:59
  Speaker 1: like it was fun, and he's a fanboy like the
• 2:01:01
  Speaker 1: rest of us, Like he loves this shit, right, So
• 2:01:04
  Speaker 1: suddenly he was part of the Friday Their Keen franchise.
• 2:01:07
  Speaker 1: He was all in, I don't understand people react negatively
• 2:01:15
  Speaker 1: to this. I don't get it. And it's by the way,
• 2:01:18
  Speaker 1: it's the same guys who are like this, what is
• 2:01:21
  Speaker 1: this the only reason he got the job for Jason
• 2:01:23
  Speaker 1: ho tells because he was best friend with Sean's son.
• 2:01:27
  Speaker 1: Martin McFly says, no, that's actually not true. So and
• 2:01:33
  Speaker 1: that's okay, that's cool. I whoever told you that is
• 2:01:37
  Speaker 1: full of shit And it's not how it happened. That's
• 2:01:40
  Speaker 1: not how it happened. Sean Cunningham doesn't give candy to
• 2:01:44
  Speaker 1: the size of a movie budget to his friends his
• 2:01:46
  Speaker 1: son's friends. I was one best picture at n y U.
• 2:01:52
  Speaker 1: I set up a motion picture that made sewn an
• 2:01:55
  Speaker 1: insane amount of money at at Disney, and I was
• 2:02:00
  Speaker 1: a really good filmmaker and I knew how to write,
• 2:02:03
  Speaker 1: So that's why I got the job. I worked for
• 2:02:05
  Speaker 1: Sean for a couple of years before I got the job,
• 2:02:08
  Speaker 1: and I made him a ton of money. So Marty,
• 2:02:11
  Speaker 1: that's that's why. So but I but again, you know,
• 2:02:14
  Speaker 1: I know that that story flunks out there, that somehow
• 2:02:17
  Speaker 1: I'm like a weird NEPO baby who wasn't born into
• 2:02:21
  Speaker 1: Shohn's family, but somehow I'm a net bo baby. But
• 2:02:24
  Speaker 1: that's not actually what happened. So and by the way,
• 2:02:27
  Speaker 1: if you hate the movie, that's cool. I get it.
• 2:02:29
  Speaker 1: That's all good the movie. No movie is made for everybody,
• 2:02:34
  Speaker 1: so that's that's awesome. That said, I don't understand the
• 2:02:37
  Speaker 1: guys who are pissed about the hockey mask, but they're
• 2:02:40
  Speaker 1: furious that I brought the Evil Dead franchise in when
• 2:02:44
  Speaker 1: they get Oh, Jason goes Hell is a steaming pile
• 2:02:47
  Speaker 1: of shit. Awesome. Since when does Jason have a sister?
• 2:02:51
  Speaker 1: When did he start body hopping? Who the hell is
• 2:02:53
  Speaker 1: Creighton Douche. We've never even heard of this guy. Okay, cool, awesome.
• 2:03:00
  Speaker 5: Man, Martin mcflat man, Martin, I came back from the
• 2:03:03
  Speaker 5: future with an attitude.
• 2:03:07
  Speaker 3: Next to grime.
• 2:03:08
  Speaker 1: And by the way, listen, Marty, I get it, man,
• 2:03:11
  Speaker 1: you don't dig it? That's cool. Like, that's fine, that's awesome.
• 2:03:14
  Speaker 1: I would love to see where you work and what
• 2:03:17
  Speaker 1: you do, because I'd love to come and criticize it.
• 2:03:20
  Speaker 1: That'd be awesome. That would be I would really dig
• 2:03:22
  Speaker 1: doing that. So let me know, and I'll come and
• 2:03:25
  Speaker 1: hang out at your work and watch you and I'll
• 2:03:28
  Speaker 1: yet your stuff.
• 2:03:29
  Speaker 3: Yes, I have to ask. So were you like kind
• 2:03:31
  Speaker 3: of surprised, like Sam Raimie was was so like kind
• 2:03:36
  Speaker 3: of blase about having access to the ncronomic hun or like,
• 2:03:40
  Speaker 3: I mean, was that the reaction you were expecting with it?
• 2:03:45
  Speaker 1: No, I was not expecting it. I just Sam's cool.
• 2:03:50
  Speaker 3: Yeah, he's getting he grought him and uh Bruce Campbell
• 2:03:55
  Speaker 3: from More Look. So it's like not even twenty minutes
• 2:03:57
  Speaker 3: from where I live. So I think that that's like
• 2:03:59
  Speaker 3: why I always have that afinity for the Evil Dead
• 2:04:01
  Speaker 3: films as a result. But yeah, I'd always wondered that
• 2:04:05
  Speaker 3: it's just, uh, it's it's cool that it's built out
• 2:04:07
  Speaker 3: the lore so much more with with that.
• 2:04:12
  Speaker 1: Yeah, no it Look, he Sam was as cool as
• 2:04:16
  Speaker 1: I thought Sam would be. You know, I just feel
• 2:04:22
  Speaker 1: like I was very I was very lucky to have
• 2:04:30
  Speaker 1: a makeup artist who was so close with Sam at
• 2:04:32
  Speaker 1: that point, because Bob had worked on Evil Dead two
• 2:04:35
  Speaker 1: as well before it came he existed, and and I
• 2:04:39
  Speaker 1: think Bob went and went to Sam and said, this
• 2:04:41
  Speaker 1: guy's fucking badass, and I'm excited we're going to make
• 2:04:44
  Speaker 1: this movie together.
• 2:04:46
  Speaker 3: It's incredible.
• 2:04:47
  Speaker 1: Was like excited. And so I think Sam got really
• 2:04:51
  Speaker 1: into the idea of crossing genres, you know, not crossing genres,
• 2:04:57
  Speaker 1: acrossing franchises. And again, look remember the way Storm comics
• 2:05:00
  Speaker 1: of Freddy versus Jason versus average. Oh yeah, again, there's
• 2:05:05
  Speaker 1: a nerdiness to it that's kind of I don't know, man, Like,
• 2:05:09
  Speaker 1: aren't we supposed to love all that shit? Look, when
• 2:05:11
  Speaker 1: I was a little kid, I was a Scooby Doo fan,
• 2:05:14
  Speaker 1: Like yeah, and when Batman was on Scooby Doo, my
• 2:05:20
  Speaker 1: six year old brain was broken, Like I was like,
• 2:05:23
  Speaker 1: oh my god, Scooby do knows Batman Like, that was
• 2:05:27
  Speaker 1: the most badass thing I've ever heard.
• 2:05:30
  Speaker 3: It's like the crossover you always ask for.
• 2:05:32
  Speaker 1: Right right, and and by the way, sorry, Marty keeps
• 2:05:39
  Speaker 1: coming up and he just keeps shit talking, which is hilarious.
• 2:05:42
  Speaker 1: By the way, Marty, what's your real name? What's your name?
• 2:05:46
  Speaker 1: Like you want to say all this it's cool, but
• 2:05:48
  Speaker 1: tell me who you are. I'm giving you my name,
• 2:05:50
  Speaker 1: give me yours. Man, this is what I'm saying about hiding.
• 2:05:55
  Speaker 1: It's hiding. That's like, come on, man, I got it.
• 2:05:59
  Speaker 1: You don't like the movie cool, It is an opportunity
• 2:06:06
  Speaker 1: for us to geek out. And I think that. Look
• 2:06:10
  Speaker 1: the other part of it, and I think a lot
• 2:06:12
  Speaker 1: of filmmakers that you talk to will give you the
• 2:06:13
  Speaker 1: same thing is there is a certain amount of we
• 2:06:23
  Speaker 1: have to give nods to the people that came before us.
• 2:06:28
  Speaker 3: Absolutely, you know.
• 2:06:29
  Speaker 1: So I am I never a problem saying, oh yeah,
• 2:06:32
  Speaker 1: you know, I'm honoring John Carpenter in that moment like
• 2:06:35
  Speaker 1: I'm doing in Secret Sannah. There is literally a line
• 2:06:38
  Speaker 1: lifted from the thing. It's the exact line, and it's
• 2:06:42
  Speaker 1: there to show my life. Now, By the way, there
• 2:06:46
  Speaker 1: was someone who was like, oh, leal, he's stealing from
• 2:06:48
  Speaker 1: I'm like, I'm not stealing you in the soule. I
• 2:06:51
  Speaker 1: know what I'm doing. It's not like I went, oh,
• 2:06:53
  Speaker 1: no one will notice that I use this line. It's
• 2:06:55
  Speaker 1: one of the most iconic lines from the movie. I'm
• 2:06:58
  Speaker 1: doing it to show that I love of course, that
• 2:07:03
  Speaker 1: I love Carpenter, that I love his work, and that
• 2:07:06
  Speaker 1: none of us get here on our own, like we
• 2:07:09
  Speaker 1: we all have influences and people that make us I
• 2:07:12
  Speaker 1: think better at our jobs.
• 2:07:14
  Speaker 5: Yeah, it's funny you say that because we were talking
• 2:07:16
  Speaker 5: about Eli Ross Master or not Master Horror. I'm sorry,
• 2:07:21
  Speaker 5: hish my got History of Horror podcast and he had
• 2:07:26
  Speaker 5: I think it was Eli Roth was on. He was
• 2:07:27
  Speaker 5: saying how he had It actually took him years to
• 2:07:30
  Speaker 5: look back at Cavin Fever to realize how much he was,
• 2:07:33
  Speaker 5: like ripping off Texas chainsaw massacre. Sure, He's like, He's like,
• 2:07:36
  Speaker 5: you just don't realize, like how much you bring into that.
• 2:07:40
  Speaker 5: And it's I mean, imitation is the sincerest form of flattery.
• 2:07:44
  Speaker 5: There's really there's rarely an original idea anymore. And it's
• 2:07:47
  Speaker 5: not stealing it. It's giving credit where credit's due.
• 2:07:50
  Speaker 1: And sad. You know he even used he used the
• 2:07:55
  Speaker 1: music from Last House and Left. Yeah, you know in
• 2:07:59
  Speaker 1: Cavin Fever and again like yeah, good on you man, Like,
• 2:08:03
  Speaker 1: let's celebrate these fuckers like you know these By the way,
• 2:08:07
  Speaker 1: you know, a few people today know the people who
• 2:08:11
  Speaker 1: created our genre, who really created I'm not talking about
• 2:08:14
  Speaker 1: the George Romarrows. I'm talking about smaller filmmakers with smaller
• 2:08:18
  Speaker 1: films that influence. Look, you brought Cannibal Holocaust earlier. It's
• 2:08:22
  Speaker 1: one of Steelberg's favorites. Yeah, wild you know that that
• 2:08:27
  Speaker 1: that says a lot, Right, you watch that movie, You're like, God,
• 2:08:31
  Speaker 1: this is like nuts, right, and why would this is disgusting?
• 2:08:35
  Speaker 1: And but it's so well made. It was so well
• 2:08:38
  Speaker 1: made that they sued the guy like they they threw
• 2:08:41
  Speaker 1: him in prison. Right, it nuts. So look, I think
• 2:08:48
  Speaker 1: that I think that I think it's fine to homage
• 2:08:53
  Speaker 1: anybody in a movie as long as you're being upfront
• 2:08:57
  Speaker 1: about it. And I never hid any of the homages.
• 2:08:59
  Speaker 1: I wouldn't. Why would I?
• 2:09:02
  Speaker 3: Well, I was I was going to say, because I
• 2:09:03
  Speaker 3: know you mentioned the thing earlier. But outside of that,
• 2:09:06
  Speaker 3: where there's specific body horror films or like directors outside
• 2:09:11
  Speaker 3: of maybe Cronenberg for example, that influencer vision less or
• 2:09:15
  Speaker 3: no movies maybe or maybe one that we might not
• 2:09:18
  Speaker 3: be aware of.
• 2:09:19
  Speaker 1: Well, I will tell you for the Cronenberg was definitely
• 2:09:23
  Speaker 1: a huge influence on me and remains to this day
• 2:09:26
  Speaker 1: a huge influence on me. I I did I mentioned earlier.
• 2:09:30
  Speaker 1: I did a cabin fever movie with my wife, with Tebra.
• 2:09:33
  Speaker 1: We wrote this cavine. They were going to do two sequels, uh,
• 2:09:37
  Speaker 1: and one of them Cabin Fever Patient zero, which asked
• 2:09:41
  Speaker 1: in ours was cabin Outbreak. But the company that made
• 2:09:46
  Speaker 1: made the first one went under right, so they they
• 2:09:48
  Speaker 1: paid us for a movie which was lovely. We wrote
• 2:09:51
  Speaker 1: a movie which was lovely, and then they just didn't
• 2:09:54
  Speaker 1: make the movie. I we made a movie that is
• 2:10:00
  Speaker 1: is one part lutriophilchie zombie, one part converts that came
• 2:10:05
  Speaker 1: from within.
• 2:10:06
  Speaker 3: That's incredible, and it is this like.
• 2:10:09
  Speaker 1: We I wanted to take the cabin fever disease in
• 2:10:14
  Speaker 1: a direction that sexualized it, that made it not only
• 2:10:19
  Speaker 1: that it was sexually transmitted, but that it actually sexualized
• 2:10:24
  Speaker 1: the person who had it, so they were ravenous to
• 2:10:27
  Speaker 1: have sex, much like they came from within, and so
• 2:10:32
  Speaker 1: it was set in the Dominican Republic. We had an
• 2:10:34
  Speaker 1: island we were actually gonna shoot on. We had a
• 2:10:37
  Speaker 1: we had a beautiful resort, and on the other side
• 2:10:39
  Speaker 1: of the island, miles away through jungle, was this little
• 2:10:44
  Speaker 1: shanty town. And the idea was that all of the
• 2:10:46
  Speaker 1: people who work at the at the you know, serving
• 2:10:49
  Speaker 1: all of these rich people at this resort, are all
• 2:10:52
  Speaker 1: living in squalor on the other side of the island, right,
• 2:10:54
  Speaker 1: and that's where the disease is. Right. So they bring
• 2:10:58
  Speaker 1: a doctor and his team in to deal with the
• 2:11:00
  Speaker 1: people who are sick, and things go horribly wrong and
• 2:11:04
  Speaker 1: they get to the resort, and the movie is this
• 2:11:08
  Speaker 1: doctor has his kids at the resort because he's leaving
• 2:11:11
  Speaker 1: them there while during the day helping these people, and
• 2:11:15
  Speaker 1: when suddenly that thing hits the resort, this guy's got
• 2:11:18
  Speaker 1: to get his kids out and save his shoulder. So
• 2:11:21
  Speaker 1: became the movie. But that's what the movie's about, is
• 2:11:23
  Speaker 1: this doctor saving his kids. But it was it was
• 2:11:26
  Speaker 1: so sexualized that at one point they kept they wanted
• 2:11:29
  Speaker 1: me to direct the movie. I didn't want to direct
• 2:11:31
  Speaker 1: the movie. They wanted me to direct it. And the
• 2:11:33
  Speaker 1: reason I didn't want to do. It was because it
• 2:11:34
  Speaker 1: was only it was going to be the third movie
• 2:11:36
  Speaker 1: ever made in the Dominican Republic, and it was like,
• 2:11:39
  Speaker 1: I'm not going to be a guinea pig, like that's
• 2:11:41
  Speaker 1: new you. I know how that movie goes. And so
• 2:11:47
  Speaker 1: but they kept on me about it, right, they like,
• 2:11:49
  Speaker 1: wouldn't stop. So finally I called my agent and I said, look,
• 2:11:53
  Speaker 1: I said, they will not They will not stop with me,
• 2:11:57
  Speaker 1: So why don't we do this. I'm going to write
• 2:11:59
  Speaker 1: my director's vision. I'm gonna write my letter of what
• 2:12:02
  Speaker 1: I think this movie should be. I said, either they're
• 2:12:05
  Speaker 1: gonna run for the hill screaming, or they're gonna let
• 2:12:10
  Speaker 1: me make the coolest horror movie ever made.
• 2:12:12
  Speaker 5: Mm hmm.
• 2:12:13
  Speaker 1: And my agent was like, go for it. I love it.
• 2:12:15
  Speaker 1: So I wrote a letter basically saying how I would
• 2:12:17
  Speaker 1: make the movie, and then I put in several roles
• 2:12:21
  Speaker 1: in the film and the adult film actors that I
• 2:12:25
  Speaker 1: think would be good to play those parts, because I said,
• 2:12:28
  Speaker 1: I think it's the it should be the first horror
• 2:12:30
  Speaker 1: movie with full penetration.
• 2:12:32
  Speaker 5: Mm hmm.
• 2:12:33
  Speaker 1: I want to go fully X on this movie. Let's
• 2:12:36
  Speaker 1: go X. Let's do it. Let's really make this movie.
• 2:12:38
  Speaker 1: Yeah yeah, they didn't ask me again, and I gotta
• 2:12:46
  Speaker 1: tell you, but here's what's amazing. My agent, who was
• 2:12:49
  Speaker 1: the most buttoned up, lovely woman you've ever seen. Like
• 2:12:52
  Speaker 1: she looks like someone who runs the PTA, but she
• 2:12:55
  Speaker 1: she handles almost primarily horror people.
• 2:12:58
  Speaker 5: Mm hmm.
• 2:12:59
  Speaker 1: She said to me, she goes, damn it, I really
• 2:13:01
  Speaker 1: want to see that movie. I was like, I love
• 2:13:04
  Speaker 1: you so much, like so good for my art. So yeah,
• 2:13:09
  Speaker 1: yeah yeah, but again, so yeah, Cronenberg is a huge
• 2:13:12
  Speaker 1: influence on me. I also, this is actually really interesting.
• 2:13:17
  Speaker 1: So oh and and to that end, the compound fracture,
• 2:13:22
  Speaker 1: Adam Kranner's compound fracture, when the pones come up out
• 2:13:25
  Speaker 1: of his ward, that's straight out of the fly. I mean,
• 2:13:29
  Speaker 1: that's that's simply because I love that that scene with
• 2:13:31
  Speaker 1: the arm wrestle, it's fucking awful. Uh. And and to
• 2:13:36
  Speaker 1: that end, look, I think have any of you guys
• 2:13:39
  Speaker 1: ever seen the movie Brew Baker Robert Robert Redford movie.
• 2:13:41
  Speaker 1: It's actually so of the first time that Morgan Freeman
• 2:13:44
  Speaker 1: had a really significant role in a major studio picture.
• 2:13:48
  Speaker 1: It's incredible movie. I really I recommend it. Really, Pat Connelly.
• 2:13:53
  Speaker 1: I wrote the book, and it's a true story of
• 2:13:56
  Speaker 1: a warden in a southern prison, and he went into
• 2:14:02
  Speaker 1: the prison as a prisoner. He faked it. He faked
• 2:14:04
  Speaker 1: me the prisoner to actually see how the prison handled
• 2:14:07
  Speaker 1: the prisoners. And midway through the movie he reveals on
• 2:14:11
  Speaker 1: the actual word and dumbasses to these guys, who are
• 2:14:14
  Speaker 1: who are hurting these prisoners? Who are you know, who
• 2:14:17
  Speaker 1: are being horrible? Anyway, there's a scene in the movie
• 2:14:21
  Speaker 1: where where David Keith, not Keith, David David Keith, the
• 2:14:25
  Speaker 1: white one. He gets he gets a he gets this
• 2:14:30
  Speaker 1: piece of what like a huge splinter, but it goes
• 2:14:33
  Speaker 1: into his palm and there's like a closer ah, right,
• 2:14:36
  Speaker 1: there's the reaction. Yeah, and he goes right in his
• 2:14:38
  Speaker 1: palm and you go like, ah, I remember as a kid,
• 2:14:41
  Speaker 1: like a little kid, I was like, oh, oh God.
• 2:14:43
  Speaker 1: That never left me. Because here's the thing. People are
• 2:14:50
  Speaker 1: people understand what that feels like when you do a
• 2:14:53
  Speaker 1: chainsaw through someone's body. Nobody knows what that feels like
• 2:14:56
  Speaker 1: because if that happens, you're dead. So you're not gonna
• 2:14:59
  Speaker 1: tell anybody that hurts you get a splinter, your nail
• 2:15:06
  Speaker 1: gets ripped off. Oh fuck right again, the fly right.
• 2:15:11
  Speaker 1: The minute Jeff Goldlin starts pulling off those nails, the
• 2:15:13
  Speaker 1: audience lost the fucking minds right. But it's personal violence.
• 2:15:20
  Speaker 1: It's things that are so small. You see someone on
• 2:15:23
  Speaker 1: screen get a paper cut, you WinCE, there's no way
• 2:15:26
  Speaker 1: not to win. You're a fuck right. To me, I
• 2:15:31
  Speaker 1: always try to kind of look at that when we're
• 2:15:33
  Speaker 1: designing stuff and when I'm when I'm trying to do
• 2:15:35
  Speaker 1: do this kind of stuff. I think the Melting Man
• 2:15:38
  Speaker 1: in Jason Gostel, which definitely owes a lot to uh
• 2:15:43
  Speaker 1: to Robo cop because the og melting Man Paul mccannon.
• 2:15:50
  Speaker 1: There is something about that scene. I love that scene
• 2:15:52
  Speaker 1: because Andy Block is such a good actor. He's so
• 2:15:56
  Speaker 1: good that you feel his agon me and this idea
• 2:16:01
  Speaker 1: that Jason's spirit is so toxic that once it's finished
• 2:16:07
  Speaker 1: with you, once it's no longer a part of you,
• 2:16:09
  Speaker 1: it leaves this trail of bones and goo. It makes
• 2:16:14
  Speaker 1: you melt from the inside. And for me, that was
• 2:16:17
  Speaker 1: a really important thing. The other thing, and I discussed
• 2:16:22
  Speaker 1: this slightly in the movie, and I've learned more about
• 2:16:24
  Speaker 1: it over the last few years. So I told you earlier.
• 2:16:28
  Speaker 1: I don't drink or do drugs, and part of the
• 2:16:31
  Speaker 1: reason for that I've learned is that, you know, I'm
• 2:16:36
  Speaker 1: a bit of a control freak, and there's something about
• 2:16:40
  Speaker 1: being out of control. And I watched you know, my
• 2:16:42
  Speaker 1: family and my friends as I like, acting like fucking morons,
• 2:16:46
  Speaker 1: which was fun for me. I was always hilarious, but
• 2:16:50
  Speaker 1: I just was like, I don't want to I'm good,
• 2:16:52
  Speaker 1: and I've never had a problem having fun at a party,
• 2:16:54
  Speaker 1: so I'm cool. I'm good. There was something about inebriating
• 2:16:58
  Speaker 1: yourself that that freaked me out a little bit. But
• 2:17:00
  Speaker 1: it really comes down to loss of self, which is
• 2:17:03
  Speaker 1: why I love the things so much, right, like what
• 2:17:06
  Speaker 1: happens when you're in there but you're not the one
• 2:17:11
  Speaker 1: driving the ship. Like I had a very close friend,
• 2:17:15
  Speaker 1: an incredible woman named Stacy Tidel. I'm sure you guys
• 2:17:19
  Speaker 1: would know some of her work, uh, but she she
• 2:17:23
  Speaker 1: was married to a guy named Jonathan Penner who's still
• 2:17:25
  Speaker 1: one of my close friends. And Jonathan was in Jason Gostal.
• 2:17:28
  Speaker 1: He got cut out, but his scenes are usually showing
• 2:17:31
  Speaker 1: the TV version and there you can see him on
• 2:17:33
  Speaker 1: on the Blu Ray. He plays David Vicki's boyfriend and
• 2:17:38
  Speaker 1: he gets smashed into a into a faucet, his whole
• 2:17:41
  Speaker 1: face caves in in a faucet. But he was originally
• 2:17:45
  Speaker 1: supposed to play Stephen Freeman. Oh and when we had
• 2:17:49
  Speaker 1: that little break in production that two weeks, we lost
• 2:17:52
  Speaker 1: him because he had another film that he'd been been
• 2:17:55
  Speaker 1: assigned to for another you know that that are now
• 2:17:58
  Speaker 1: our dates coincided. He couldn't do it, so I said, look,
• 2:18:00
  Speaker 1: can you do a day on the movie? Anyway? He did,
• 2:18:04
  Speaker 1: and he was awesome. He's also that he's been on
• 2:18:07
  Speaker 1: Survivor more than any other human being, So he's done
• 2:18:12
  Speaker 1: more days on the show Survivor than the other contestant
• 2:18:14
  Speaker 1: in the run of the he's done every He's done
• 2:18:16
  Speaker 1: like seven seasons or something. So he's amazing him and
• 2:18:21
  Speaker 1: I became close friends and his wife, Stacy title this
• 2:18:24
  Speaker 1: absolutely incredible director. She died a couple of years ago
• 2:18:29
  Speaker 1: from ALS. Here's the thing about that scene with Andy,
• 2:18:38
  Speaker 1: and about this idea of people not being able to
• 2:18:40
  Speaker 1: control the ship. There is nothing. And I hope everybody
• 2:18:44
  Speaker 1: who's watching, you know, will then run and go donate
• 2:18:48
  Speaker 1: to an ALS foundation. There's nothing more terrifying guys. That's
• 2:18:53
  Speaker 1: that is the scariest ship that you can I watched
• 2:18:57
  Speaker 1: this vibrant, extraordinary, brilliant director get caged in her own body.
• 2:19:03
  Speaker 1: I've never seen anything like It scared me to my core,
• 2:19:07
  Speaker 1: and so for me, there is a certain amount of
• 2:19:13
  Speaker 1: you have to bring the experience of your life into filmmaking.
• 2:19:16
  Speaker 1: I think there's too many filmmakers who make movies about
• 2:19:19
  Speaker 1: other movies. You know, you're the best movies are made
• 2:19:24
  Speaker 1: by people who live a really cool life. David Cronenberg
• 2:19:30
  Speaker 1: is a really interesting, cool guy because he's lived this
• 2:19:33
  Speaker 1: incredible life. You know. Werner Herzog always talks about like, yes,
• 2:19:39
  Speaker 1: you have to have day jobs to make money in
• 2:19:42
  Speaker 1: order to make movies, but don't let those day jobs
• 2:19:45
  Speaker 1: be sitting, you know, in an office pushing paper. You know,
• 2:19:49
  Speaker 1: Go clean a sewer, Go work in a hospital. Work
• 2:19:54
  Speaker 1: in places that give you a dearth of knowledge about
• 2:19:56
  Speaker 1: the world and about like shit that goes on, because
• 2:20:00
  Speaker 1: that informs film more than anything else. That's it. My
• 2:20:06
  Speaker 1: favorite directors are Alan Parker, who I mentioned earlier, and
• 2:20:09
  Speaker 1: my favorite film is made by one of my favorite directors.
• 2:20:12
  Speaker 1: My favorite film is All That Jazz oh okay, and
• 2:20:15
  Speaker 1: if you have not seen all that Jazz, I recommend it.
• 2:20:19
  Speaker 1: You should see it. It's an incredible movie. It's also
• 2:20:22
  Speaker 1: an autobiography from a filmmaker. It's very brave and actually
• 2:20:25
  Speaker 1: predicted his own death. And there is an open heart
• 2:20:30
  Speaker 1: surgery in the movie that is real. Actually watching chests
• 2:20:34
  Speaker 1: broken open and you actually see an open heart surgery played,
• 2:20:38
  Speaker 1: you know, as part of the character's life in the movie,
• 2:20:41
  Speaker 1: but it's an actual surgery. It's incredible. It's incredible. The
• 2:20:43
  Speaker 1: movie was nominated for every fucking award. Schier is the lead.
• 2:20:47
  Speaker 1: He's brilliant, He's never been better. It's an amazing movie.
• 2:20:51
  Speaker 1: But I will tell you that film you will see
• 2:20:55
  Speaker 1: more influence from that and The Thing than almost anything
• 2:20:58
  Speaker 1: else in my work.
• 2:21:00
  Speaker 3: Those are the movies impactful.
• 2:21:05
  Speaker 5: Yeah, it's funny what you were saying earlier about just
• 2:21:09
  Speaker 5: want to go back to the Splinter thing real quick.
• 2:21:11
  Speaker 5: I remember, I love Alexandra Aja's Hills of Ice remake.
• 2:21:17
  Speaker 5: I actually think it's better than Wes Craven's with It's
• 2:21:19
  Speaker 5: you know, Yeah, of all the ship that happens in
• 2:21:23
  Speaker 5: that movie, the one scene that sticks with me is
• 2:21:25
  Speaker 5: when he's fighting Jupiter and the axe cuts off just
• 2:21:29
  Speaker 5: the tap of his fingers and there's a shot of
• 2:21:32
  Speaker 5: him pulling his hand away. I don't WinCE at at
• 2:21:36
  Speaker 5: somebody burning in a tree. I don't win as a
• 2:21:39
  Speaker 5: as a scene. I can watch a bird get its
• 2:21:43
  Speaker 5: head bit off when those fingers separate the little thing.
• 2:21:47
  Speaker 1: I was like, yeah, yeah, it feels real. It feels
• 2:21:53
  Speaker 1: real and hard. Horror that gets a fish hook in
• 2:21:55
  Speaker 1: us about that stuff. Look, it was speaking of fish hucks,
• 2:22:00
  Speaker 1: those great close ups in the original Hell.
• 2:22:02
  Speaker 3: Raiser, right, Oh yeah, yep.
• 2:22:04
  Speaker 1: I mean there is nothing that hurts more than watching
• 2:22:07
  Speaker 1: that fish go through skin. That's idios and it hurts
• 2:22:12
  Speaker 1: it actually, And I think violence in movies should have hurt.
• 2:22:16
  Speaker 3: Yeah, yeah, hurt.
• 2:22:17
  Speaker 1: Man.
• 2:22:18
  Speaker 5: My wife can't watch The Beyond because of the beginning,
• 2:22:21
  Speaker 5: the whipping. Sure, sure, that's like, oh that's gnarly.
• 2:22:25
  Speaker 1: Yeah yeah, no, we we we look. If you I'm
• 2:22:31
  Speaker 1: I don't, are you guys all fans of The Godfather? Awesome?
• 2:22:36
  Speaker 1: I would I would probably just stop recording. I'm just
• 2:22:39
  Speaker 1: hanging up on you. But but the thing about The Godfather.
• 2:22:46
  Speaker 1: Watched the deaths in that movie, specifically, they are ugly.
• 2:22:52
  Speaker 1: People fall funny. There's like a there's a there's a
• 2:22:56
  Speaker 1: twistedness to the way Coppola shot all the deaths in
• 2:22:59
  Speaker 1: that movie. They are fucking ugly and they hurt, you know,
• 2:23:06
  Speaker 1: and there's something to that. I think. I think that
• 2:23:09
  Speaker 1: has power to it. I I hate when something is
• 2:23:12
  Speaker 1: done just for a fact. It's got to have some
• 2:23:16
  Speaker 1: weight to it so that we actually feel something, you know.
• 2:23:19
  Speaker 5: Yeah. I also think of Scorsey as well with that
• 2:23:21
  Speaker 5: same thing, like just impactful violence, you know what I mean?
• 2:23:24
  Speaker 5: You know, you know, there's so much. I mean, I
• 2:23:27
  Speaker 5: think Casino arguably has like one of the scariest non
• 2:23:31
  Speaker 5: hard deaths ever, you know what I mean. In the field, dude,
• 2:23:36
  Speaker 5: it's off.
• 2:23:38
  Speaker 1: It's also to a guy that you like so much,
• 2:23:40
  Speaker 1: even though he's such a piece of shit. You like
• 2:23:42
  Speaker 1: that guy, you like, and that is that they're doing
• 2:23:45
  Speaker 1: it to his brother first, and he's like whimpering for
• 2:23:48
  Speaker 1: his brother. I mean, it's oh god, that scene.
• 2:23:50
  Speaker 3: Yeah, that sound design, there's something about the sound design
• 2:23:55
  Speaker 3: that scene that's just like so uncomfortable sitting through that
• 2:23:58
  Speaker 3: because you hear the dirt being you know, dumped on
• 2:24:01
  Speaker 3: them and the bats hitting up funk.
• 2:24:05
  Speaker 1: Ye. It sounds like it's really hitting someone in the
• 2:24:08
  Speaker 1: fucking head.
• 2:24:08
  Speaker 5: It's yeah, I want to I want to ask something
• 2:24:12
  Speaker 5: a little bit more technical about Jason.
• 2:24:14
  Speaker 1: The hell did you so?
• 2:24:15
  Speaker 5: One thing I noticed in your commentary was talking about
• 2:24:17
  Speaker 5: bringing like an artistic value of filmmaker like disle to
• 2:24:22
  Speaker 5: the Friday thirteenth franchise? Are you and specifically when you
• 2:24:25
  Speaker 5: were talking about the beginning like during the opening credits,
• 2:24:28
  Speaker 5: are you a storyboarder or are you a more like
• 2:24:31
  Speaker 5: in the moment figure out? Like how how do you
• 2:24:34
  Speaker 5: approach working with your DP and shooting it? Like those
• 2:24:39
  Speaker 5: beginning scenes in the in I guess it's like a mortuary,
• 2:24:43
  Speaker 5: Like I don't know what.
• 2:24:44
  Speaker 1: To tea the more more in.
• 2:24:48
  Speaker 5: Yeah, yeah, like the transition of like dark onto now
• 2:24:51
  Speaker 5: we see the body parts and then we fade back
• 2:24:53
  Speaker 5: into dark and then the credits and like is that storyboarded?
• 2:24:56
  Speaker 1: No, that was not boarded. That was but I had
• 2:24:58
  Speaker 1: the whole sequence in my head, so I knew exactly
• 2:25:01
  Speaker 1: how that was going to go. And my DP, Bill Dill,
• 2:25:04
  Speaker 1: who is still very close friend and he's an amazing,
• 2:25:07
  Speaker 1: amazing cinematographer. Bill and I we went through every one
• 2:25:11
  Speaker 1: of those transitions, you know. I mean look, remember Richard
• 2:25:15
  Speaker 1: Gant had to pull that heart and then put the
• 2:25:17
  Speaker 1: heart back to go into black. I mean, we that
• 2:25:20
  Speaker 1: was a lot of choreography to make that sequence work.
• 2:25:23
  Speaker 1: Of course, Sean Cunningham was like, what are you doing?
• 2:25:25
  Speaker 1: I don't understand any of Like, I'm sorry, it's artistic.
• 2:25:29
  Speaker 1: I'm sorry to forgive me.
• 2:25:31
  Speaker 5: He's like establishing, close up established.
• 2:25:33
  Speaker 1: He literally would look at me every every couple of
• 2:25:35
  Speaker 1: days and just go fucking film school. Uh. He was.
• 2:25:41
  Speaker 1: He was a delight. But we know that stuff was
• 2:25:46
  Speaker 1: very was very much in my head. Look, the whole
• 2:25:48
  Speaker 1: movie was in my head before we shot it. I
• 2:25:50
  Speaker 1: will tell you. The ending sequence was boarded and it
• 2:25:54
  Speaker 1: was borded by this incredible guy named Jeffrey Lynch, who
• 2:25:58
  Speaker 1: who actually was a director for The sense As at
• 2:26:00
  Speaker 1: the time. Yeah, yeah, he was great, the same before
• 2:26:04
  Speaker 1: the Simpsons that exploded quite as good. Yeah, but it was.
• 2:26:07
  Speaker 1: It was still pretty awesome, and so we we boarded
• 2:26:11
  Speaker 1: that whole sequence and the boards were beautiful. It did
• 2:26:13
  Speaker 1: an incredible job on them. But look, I think sometimes
• 2:26:19
  Speaker 1: storyboards end up locking a filmmaker into an idea rather
• 2:26:24
  Speaker 1: than being open to what happens in the moment. I
• 2:26:27
  Speaker 1: will tell you Jason Gostel is the only Friday thirteenth
• 2:26:30
  Speaker 1: movie where there was weeks of rehearsal with my actors
• 2:26:33
  Speaker 1: before we shot a frame of film, Because I think
• 2:26:38
  Speaker 1: that I think, I think, if you care about your movie,
• 2:26:42
  Speaker 1: the colors we paint with are the actors performances. If
• 2:26:46
  Speaker 1: you don't understand those colors, you're fucked. I just feel
• 2:26:49
  Speaker 1: like you're lost. And so for me, I always work
• 2:26:52
  Speaker 1: my cast a lot before we go to set one.
• 2:26:55
  Speaker 1: It makes everything go quicker because everybody's on the same
• 2:26:57
  Speaker 1: page red Rock. But two, you learn shit. I mean,
• 2:27:02
  Speaker 1: for example, you know the uh you think I'm funny
• 2:27:06
  Speaker 1: one of my fucking clown in Goodfellas. Yeah, that came
• 2:27:09
  Speaker 1: out of rehearsal. You know that every word of it
• 2:27:12
  Speaker 1: was written down. It wasn't wasn't it wasn't in the
• 2:27:14
  Speaker 1: moment the improv that's bullshit, that's not the way Marty works.
• 2:27:18
  Speaker 1: It was worked on and rehearsed with improv, and then
• 2:27:23
  Speaker 1: they went, oh, this is fucking great, and they started
• 2:27:26
  Speaker 1: writing out what Peschi was doing. So Nick Poleedgie, who's
• 2:27:30
  Speaker 1: you know, fucking incredible screenwriter and writer and Martin Scorsese,
• 2:27:36
  Speaker 1: he knew how to make a movie, and they sat
• 2:27:38
  Speaker 1: there with their cast, letting the free flow happen, letting
• 2:27:43
  Speaker 1: those moments happen. When it comes to the cinematography of it, Look,
• 2:27:47
  Speaker 1: I don't want my DP to be surprised by some
• 2:27:50
  Speaker 1: something like I'm not going to do something that makes
• 2:27:52
  Speaker 1: him go, fuck, that's gonna take an hour to turn
• 2:27:54
  Speaker 1: the lights around. That's a nightmare, Like will I will
• 2:27:57
  Speaker 1: never do that. But you have to have a DP
• 2:28:03
  Speaker 1: who is willing to improve with you a little bit,
• 2:28:05
  Speaker 1: because you might end up finding shit that's really exciting
• 2:28:09
  Speaker 1: in the moment, and you can't be so rigid about
• 2:28:12
  Speaker 1: Walt's not on the boards. Fuck the boards. Yeah, by
• 2:28:15
  Speaker 1: the way, good to have the boards to start with.
• 2:28:17
  Speaker 1: I'm not saying listen shortboards are incredibly powerful, but they
• 2:28:21
  Speaker 1: can't lock you in, because if you get locked in,
• 2:28:25
  Speaker 1: you're now you're making a comic book, You're not making
• 2:28:27
  Speaker 1: a movie. Yeah.
• 2:28:29
  Speaker 5: Yeah, Because the other shot I go to too is
• 2:28:31
  Speaker 5: the tenth scene again, when when it cuts to the
• 2:28:33
  Speaker 5: shot of the actual split and then the camera comes
• 2:28:36
  Speaker 5: in on his face and it's I'm like, I'm like, oh,
• 2:28:38
  Speaker 5: because I'm a visual like, I'll pay attention to everything,
• 2:28:41
  Speaker 5: but I love watching how the camera moves, how is
• 2:28:44
  Speaker 5: it panting, how's the editing, you know, showing together? How's everything?
• 2:28:48
  Speaker 5: So what Jason Goes to Hell? I really admire just
• 2:28:51
  Speaker 5: your approach to directing it. But also there's like such
• 2:28:54
  Speaker 5: a crazy jump from like Friday thirteenth franchise as a whole,
• 2:28:58
  Speaker 5: Like I know, uh, Tomic loot them with Friday. I
• 2:29:01
  Speaker 5: think Friday thirty Part six is really well directed. Yeah,
• 2:29:06
  Speaker 5: it's like that and Jason Goes to Hell are separate
• 2:29:10
  Speaker 5: from the rest of the franchise artistically.
• 2:29:12
  Speaker 1: Thank you, you know what I mean. So thank you.
• 2:29:14
  Speaker 5: I just had to, you know, because I think like
• 2:29:16
  Speaker 5: Marcus Nispell also brought a certain artistic stouts at a
• 2:29:19
  Speaker 5: remake as well. Sure, but yeah, I just had to.
• 2:29:22
  Speaker 5: I had to ask. I was really curious about it.
• 2:29:24
  Speaker 1: No, dude, and I really appreciate that. I think it. Look,
• 2:29:27
  Speaker 1: I think it comes down to I I would not
• 2:29:29
  Speaker 1: let the producers hire anybody before I met them and
• 2:29:33
  Speaker 1: talk with them. I'm and by the way, this goes
• 2:29:36
  Speaker 1: to this day, this very day, I don't hire people
• 2:29:39
  Speaker 1: unless I'm the gate that I have to hold the
• 2:29:43
  Speaker 1: gate to let people in. And the reason is is
• 2:29:46
  Speaker 1: that I want people to be honest about how they
• 2:29:48
  Speaker 1: feel about the movie. When people read a script and
• 2:29:51
  Speaker 1: they don't really like the script, they're like, well, it's
• 2:29:53
  Speaker 1: a job. I don't want you to work on my movie. Good. Good,
• 2:29:57
  Speaker 1: there's lots of jobs I'm not. I'm not making something
• 2:30:00
  Speaker 1: that's a widget. I'm making something that I hope has
• 2:30:03
  Speaker 1: some artistic value. I wanted to make money, and I
• 2:30:06
  Speaker 1: wanted to be commercial, but I think I can't make
• 2:30:12
  Speaker 1: things if I don't get to be an artist a
• 2:30:14
  Speaker 1: little bit. And so for me, every person that I
• 2:30:19
  Speaker 1: met with on Jason Gostell had read the script, talked
• 2:30:22
  Speaker 1: to me about the script, knew what we were doing
• 2:30:24
  Speaker 1: and why we were doing it. The first time I
• 2:30:26
  Speaker 1: met Bill Dill, he came in as a favor to
• 2:30:29
  Speaker 1: his agent, who I was a friend with, and he
• 2:30:32
  Speaker 1: came in to meet with me but was like, I'm
• 2:30:34
  Speaker 1: not doing a fucking Friday thirteenth movie. That's not happening.
• 2:30:37
  Speaker 1: And he just finished the Five Heart Beats for Robert Townsend,
• 2:30:41
  Speaker 1: which is a terrific movie, and he was about to
• 2:30:43
  Speaker 1: go shoot the Jackson mini series about Michael Jackson and
• 2:30:47
  Speaker 1: his family for ABC, which is a huge job. Huge.
• 2:30:51
  Speaker 1: So Bill was coming in to meet me as a favor.
• 2:30:54
  Speaker 1: He came in and sat down with me. It was
• 2:30:56
  Speaker 1: supposed to be twenty minute meeting. We sat there for
• 2:30:58
  Speaker 1: three hours and we ended up talking about the Magnificent Ambersons,
• 2:31:04
  Speaker 1: the Orson Wells movie, and how we were gonna use
• 2:31:07
  Speaker 1: it in Jason Goes to Hell. And there are literally
• 2:31:10
  Speaker 1: shots that are right from the Magnificent Amberson's in Jason
• 2:31:14
  Speaker 1: Goes Down that we lit exactly the same way that
• 2:31:17
  Speaker 1: there's an eyelight that we use throughout the film that's
• 2:31:19
  Speaker 1: very important in the movie that shows you when Jason's
• 2:31:22
  Speaker 1: there and when he's not. We did all this stuff
• 2:31:25
  Speaker 1: and it was all based in things like the magnificent
• 2:31:28
  Speaker 1: fucking Ambersons from the forties. Right when you have that
• 2:31:34
  Speaker 1: kind of dialogue that happens with people, it's undeniable. You
• 2:31:38
  Speaker 1: you all have. You all come from the same base
• 2:31:42
  Speaker 1: level of saying, look, we're gonna make a populous movie.
• 2:31:45
  Speaker 1: But we understand cinema and we have all of our references,
• 2:31:49
  Speaker 1: lock and check and look, you know you want to
• 2:31:53
  Speaker 1: when you when you cast a movie, when you crew
• 2:31:56
  Speaker 1: a movie, you are deciding who you're gonna go camp
• 2:32:00
  Speaker 1: with for the next three months. Camping sucks. It's uncomfortable,
• 2:32:07
  Speaker 1: like there's like, can't oh camping, But by the way,
• 2:32:12
  Speaker 1: that's the job.
• 2:32:13
  Speaker 3: Yeah, so all right.
• 2:32:14
  Speaker 1: If camping is not so comfortable, people drive you pretty
• 2:32:17
  Speaker 1: quick crazy pretty quickly. Camp Well, you gotta go, all right,
• 2:32:21
  Speaker 1: I gotta live with you three months in the in
• 2:32:23
  Speaker 1: the wilderness. How are you gonna do that? And you
• 2:32:26
  Speaker 1: got to pick people that you go, we got it,
• 2:32:29
  Speaker 1: we got it. You pick your zombie Apocalypse team. Yeah,
• 2:32:34
  Speaker 1: and when they're great, When people are great, you never
• 2:32:37
  Speaker 1: get rid of them. The reason why Clint Eastwood shoots
• 2:32:40
  Speaker 1: an eight hour day, an eight hour day, guys, that's
• 2:32:44
  Speaker 1: unheard of, is because he's had the same crew for
• 2:32:46
  Speaker 1: forty years. Yeah, yeah, yeah, yep. They get it done.
• 2:32:51
  Speaker 1: They get it fun because none of this should take
• 2:32:54
  Speaker 1: a lot long time, none of it, none of it.
• 2:32:57
  Speaker 1: And people take a long time because either they're they're
• 2:33:00
  Speaker 1: perfectionists to a point that borders on obsessive, and honestly,
• 2:33:06
  Speaker 1: for me, I think it makes films feel sanitized in
• 2:33:11
  Speaker 1: some ways, or you got people who are really just
• 2:33:14
  Speaker 1: stretching the day because they want to make the extra
• 2:33:16
  Speaker 1: money on overtime. I got it. Yeah, you know, it's
• 2:33:20
  Speaker 1: why my company, it's why my company is Skeleton Crew.
• 2:33:23
  Speaker 1: I like to have such a small team that nobody
• 2:33:27
  Speaker 1: is ever bored. The most boring place in the world
• 2:33:29
  Speaker 1: is film set. Oh god, is it boring? Not my
• 2:33:32
  Speaker 1: film sets. Yeah, we are all working. Everybody's working and
• 2:33:38
  Speaker 1: we're having great time. My sets are a party. Don't
• 2:33:41
  Speaker 1: get me wrong. They are a great time, but it
• 2:33:43
  Speaker 1: is a working party and that comes from everybody having
• 2:33:47
  Speaker 1: enough to do. Yeah.
• 2:33:51
  Speaker 5: Yeah, it's interesting. It's funny because it makes me think
• 2:33:53
  Speaker 5: of Georgia Merrow talking about his experience on Martin versus
• 2:33:57
  Speaker 5: The Dark Half, going from five people run and gun
• 2:34:00
  Speaker 5: to full blown studio to start contrasts.
• 2:34:04
  Speaker 1: By the way, it's why it's why it's so fun
• 2:34:06
  Speaker 1: to watch Sean Baker doing what he's doing because he's
• 2:34:08
  Speaker 1: not he's not wasting cash. Man like, the guy can
• 2:34:11
  Speaker 1: have a much bigger budget if he wants it. He's
• 2:34:13
  Speaker 1: not asking for it, and his movies will continue to
• 2:34:16
  Speaker 1: make money because he's not doing it that way. He's
• 2:34:20
  Speaker 1: you know, Woody Allen was allowed to make movies for
• 2:34:23
  Speaker 1: decade after decade after decade, because he never went over
• 2:34:25
  Speaker 1: seven million dollars. He just didn't do it. Yeah, you
• 2:34:28
  Speaker 1: make the movies. Then if you get good reviews and
• 2:34:30
  Speaker 1: you get enough people, enough eyeballs. I know, we're not
• 2:34:32
  Speaker 1: allowed to talk about what he allen anymore, which is insane.
• 2:34:36
  Speaker 1: But but but you know, the filmmakers who keep budgets
• 2:34:40
  Speaker 1: reasonable because you can make any movie on any budget.
• 2:34:44
  Speaker 1: You just have to be a smart filmmaker. You just
• 2:34:47
  Speaker 1: have to know how to do it. If you, if you,
• 2:34:50
  Speaker 1: if you, if you're more about how do I get
• 2:34:53
  Speaker 1: this done? And how do I problem solve rather than
• 2:34:55
  Speaker 1: how do I pour money over this? Well, you you
• 2:35:00
  Speaker 1: start solving problems with your brain rather than your wallet.
• 2:35:04
  Speaker 1: Makes everything, Yeah, always makes everything better. And you're right.
• 2:35:07
  Speaker 1: I mean, you look at Romero's stuff when he's running
• 2:35:10
  Speaker 1: gunning it and you get The Crazies, which, by the way,
• 2:35:13
  Speaker 1: I still think is so underrated. Yeah, it's so underrated.
• 2:35:17
  Speaker 1: That movie is. I mean, there's a reason that they
• 2:35:20
  Speaker 1: remade the thing. And by the way, the remake is good.
• 2:35:22
  Speaker 1: It's not even it's a good little movie. But I
• 2:35:26
  Speaker 1: watched the you know, the Romero version. I go, this
• 2:35:28
  Speaker 1: proceeds so much of the paranoia of the nineteen seventies,
• 2:35:33
  Speaker 1: of the filmmaking of the seventies. He really taps into
• 2:35:36
  Speaker 1: something that's kind of everybody talked about what was an outbreak? No,
• 2:35:41
  Speaker 1: not outbreak, what was a contagent? Everybody talking about condeep Yeah,
• 2:35:47
  Speaker 1: And I gotta tell you, nobody talked about the crazies.
• 2:35:51
  Speaker 1: And all I kept thinking was the crazies. As COVID
• 2:35:54
  Speaker 1: was happening, I was like, Oh, this could get really bad,
• 2:35:58
  Speaker 1: especially when the government comes.
• 2:36:00
  Speaker 6: I'm like, uh oh, yeah, I'll never forget We've seen
• 2:36:04
  Speaker 6: how this played out.
• 2:36:06
  Speaker 5: Yeah, I'll never forget being thirty and the paranoida of
• 2:36:09
  Speaker 5: watching the amusement park for the first time. From him,
• 2:36:12
  Speaker 5: that was like, I was like, I can't relate to
• 2:36:14
  Speaker 5: this on any level. I was like, this guy's, you know,
• 2:36:17
  Speaker 5: fifty years older than me. This is commenting up, But
• 2:36:19
  Speaker 5: I was That movie scared the hell out of me
• 2:36:21
  Speaker 5: to get Yeah he's.
• 2:36:24
  Speaker 1: He Yeah, he George was special man. He's a special filmmaker.
• 2:36:29
  Speaker 1: He also just lived his life the way he wanted
• 2:36:31
  Speaker 1: to live his life. He stayed in Pittsburgh, he didn't
• 2:36:33
  Speaker 1: he didn't count out anything. He just kind of He's
• 2:36:36
  Speaker 1: a real renegade, he is. And look, I will tell
• 2:36:40
  Speaker 1: you someone someone just said, I've seen some of the
• 2:36:42
  Speaker 1: best films I've ever seen with a budget that costs
• 2:36:44
  Speaker 1: the same as he used car. That's literally how he
• 2:36:47
  Speaker 1: made Secret Sama. Because we started a vision of the
• 2:36:50
  Speaker 1: company which is in house known as the where the
• 2:36:53
  Speaker 1: fuck did Roger Corman Go? Division? And the reason for
• 2:36:58
  Speaker 1: that is because when Corman was making movies, everything was
• 2:37:03
  Speaker 1: for a budget. Everything was tiny. You didn't you know,
• 2:37:06
  Speaker 1: you had a blowny sandwich and two Kansas soup and
• 2:37:09
  Speaker 1: go make your movie. But you got to make your movie. Yeah,
• 2:37:14
  Speaker 1: And there is something to that that has real power.
• 2:37:18
  Speaker 1: And when I made Secret Santa, I mean, I'll let
• 2:37:21
  Speaker 1: you guys see it before I tell you how much
• 2:37:23
  Speaker 1: it was made for. But it was nothing. And I
• 2:37:26
  Speaker 1: shot an eleven nights. Wow. And by the way, thirteen
• 2:37:31
  Speaker 1: lead characters who are in almost every scene. So you're
• 2:37:35
  Speaker 1: talking about covering thirteen human beings for an entire movie
• 2:37:40
  Speaker 1: that you have to shoot in eleven days.
• 2:37:42
  Speaker 3: That's wild.
• 2:37:44
  Speaker 1: So it's and by the way, tiny, tiny crew. The
• 2:37:47
  Speaker 1: cast outnumbered the crew. Wow. And you know what the
• 2:37:53
  Speaker 1: movie has been all over the world. It's playing all
• 2:37:55
  Speaker 1: over the world right now. And we were in festivals
• 2:37:57
  Speaker 1: and we won Best Picture at several festivals. I mean
• 2:38:00
  Speaker 1: it was that movie. We were at Sitches, we were
• 2:38:02
  Speaker 1: at Freight Fast, we were all over the place. And
• 2:38:05
  Speaker 1: by the way, I didn't have to I didn't I
• 2:38:07
  Speaker 1: didn't enter those festivals. They came to me. Okay, So
• 2:38:13
  Speaker 1: that's the craziness because it got seen at Sitches and
• 2:38:16
  Speaker 1: we had a friend there, so they wanted to see
• 2:38:18
  Speaker 1: the movie. So I didn't even have to. I didn't
• 2:38:19
  Speaker 1: have to send it to Sitches. So they just watched
• 2:38:21
  Speaker 1: the movie and we're like, we want it. But when
• 2:38:23
  Speaker 1: people saw it Sitches, that was it. Like suddenly everybody
• 2:38:27
  Speaker 1: was coming to us to show the movie. And I'm
• 2:38:30
  Speaker 1: telling you, I spent way much more money traveling to
• 2:38:34
  Speaker 1: film festivals than I did on the movie.
• 2:38:37
  Speaker 5: Yeah, way more.
• 2:38:40
  Speaker 1: Wow.
• 2:38:40
  Speaker 5: I can't wait. I can't wait to get that now.
• 2:38:42
  Speaker 1: Yeah, I'm excited for you guys, see it, I really am. Yeah.
• 2:38:46
  Speaker 5: Yeah, is Hearts of Darkness is going to get a
• 2:38:49
  Speaker 5: is that going to get like a wide up?
• 2:38:52
  Speaker 1: We actually just we just we just announced so we
• 2:38:56
  Speaker 1: are I'm now doing a road show with it, where
• 2:38:58
  Speaker 1: we're going from place to showing the movie. It's it's
• 2:39:01
  Speaker 1: at a bunch of festivals and then stuff other things
• 2:39:04
  Speaker 1: that are going. We just won Best Picture at Best
• 2:39:07
  Speaker 1: Documentary excuse me at Raven Heart at Oslo, Norway. Yeah,
• 2:39:14
  Speaker 1: thank you. Just festival, we played frank Fest Glasgow. We're
• 2:39:19
  Speaker 1: about to do the Big Bear International Film Festival. We're
• 2:39:23
  Speaker 1: a festival in Montreal. We're all over the place. We're
• 2:39:25
  Speaker 1: gonna be a Doublin Horrethon in October, which I'm really
• 2:39:28
  Speaker 1: excited about. But the movie is going to be available
• 2:39:31
  Speaker 1: on Blu Ray Special Edition to disc set. It's crazy.
• 2:39:36
  Speaker 1: It's four hours of stuff, four hours of goodness. It's
• 2:39:40
  Speaker 1: almost it's teetering on knocking over Crystal Lake memories. But
• 2:39:44
  Speaker 1: it's not one movie. And it's got all kinds of
• 2:39:48
  Speaker 1: extra goodies in there that I'm not allowed to talk
• 2:39:50
  Speaker 1: about yet. But we're gonna be. We're gonna be putting
• 2:39:53
  Speaker 1: it out through Synapse for wonderful nice Red Shirt Films,
• 2:39:57
  Speaker 1: which is Michael Felscher's in. And I gotta tell you
• 2:40:02
  Speaker 1: something that was not done as a sweetheart deal. That
• 2:40:05
  Speaker 1: was done because my feeling about releasing. People have to
• 2:40:11
  Speaker 1: feel about the movie the way I feel about the movie.
• 2:40:13
  Speaker 1: I love the movie the way I love the movie.
• 2:40:16
  Speaker 1: When someone watches one of our films here at Skelvin Crew,
• 2:40:19
  Speaker 1: so I watched one of our films and they're like, yeah,
• 2:40:21
  Speaker 1: we can make a lot of money, I'm like, Okay,
• 2:40:23
  Speaker 1: uh huh, what do you think of the movie? Talk
• 2:40:25
  Speaker 1: to me about the film. When I hear someone is
• 2:40:29
  Speaker 1: invested and excited and can talk about the movie intelligently,
• 2:40:33
  Speaker 1: that's what I got. No, no, no, gotcha, that's what I need.
• 2:40:37
  Speaker 1: So we're going to be exclusively on physical media. We're
• 2:40:40
  Speaker 1: also going to be doing VHS tapes.
• 2:40:45
  Speaker 3: That got my money.
• 2:40:50
  Speaker 1: The VHS will only be of the future itself, not
• 2:40:54
  Speaker 1: the extras, so it'll be a two hour it's the
• 2:40:56
  Speaker 1: it's the feature. But yes, we're doing vh as, we're
• 2:41:00
  Speaker 1: doing the Blu Ray, and I am only doing physical
• 2:41:03
  Speaker 1: media for now. We've got a lot of streaming companies
• 2:41:07
  Speaker 1: to us. We won't I will not allow it to stream.
• 2:41:10
  Speaker 1: There was even a festival that that asked us to
• 2:41:14
  Speaker 1: be in their festival, but they want us to be
• 2:41:16
  Speaker 1: in the digital portion. I went nope, no, oh, okay, no,
• 2:41:20
  Speaker 1: I will not let this thing do that. I'm not
• 2:41:22
  Speaker 1: gonna let that happen because look, in order for filmmakers,
• 2:41:28
  Speaker 1: in order for independent filmmakers to survive and to be
• 2:41:31
  Speaker 1: able to make movies, guys, streaming is killing it. It's
• 2:41:35
  Speaker 1: killing our business, killing the whole fucking business. But it's
• 2:41:37
  Speaker 1: really killing indies.
• 2:41:38
  Speaker 5: I mean, clearly, none of us are true streaming surprisers here.
• 2:41:45
  Speaker 1: You know. Look, I have to have the streaming networks
• 2:41:47
  Speaker 1: only because I have to stay on top of what's
• 2:41:49
  Speaker 1: going on for meetings and whatnot, so I pay for them.
• 2:41:53
  Speaker 1: But most of my time has watched you know, as
• 2:41:56
  Speaker 1: me watching Blu rays and four k's and the ship
• 2:41:58
  Speaker 1: that I adore, or or popping into vhs if there's
• 2:42:01
  Speaker 1: nothing else they if they haven't released it any other way,
• 2:42:06
  Speaker 1: is everything. And by the way, there the person who
• 2:42:09
  Speaker 1: talks the most intelligently about this is Matt Damon. Matt
• 2:42:13
  Speaker 1: Damon talks about like the loss of physical media and
• 2:42:16
  Speaker 1: the destruction of our industry better than almost anyone else.
• 2:42:21
  Speaker 1: But anyone else, it's he's he's brilliant with this stuff.
• 2:42:24
  Speaker 5: Wow, yeah, that I can't wait for that to naps release.
• 2:42:28
  Speaker 5: He the work Michael Felscher puts in his release of
• 2:42:32
  Speaker 5: the His release of Trick or Treat is like you
• 2:42:36
  Speaker 5: you can't look at you can't read the booklet, you
• 2:42:39
  Speaker 5: can't watch the documentary, you can't see the transfer without
• 2:42:42
  Speaker 5: feeling every bit of love that man.
• 2:42:45
  Speaker 1: By the way, Eric Beatner cuts some of those extras
• 2:42:47
  Speaker 1: on that disc Wow because Michael gotten along.
• 2:42:54
  Speaker 5: When I watch, I think it was just uh, I
• 2:42:56
  Speaker 5: think it was the dark half. Michael Felcher's Yea, the
• 2:43:01
  Speaker 5: making of that he made for Screen Factories on that
• 2:43:05
  Speaker 5: released the new four K from Vinegar Syndrome. And when
• 2:43:08
  Speaker 5: I see his name pop up at the beginning of
• 2:43:09
  Speaker 5: those like forty five minute long documentaries, like I know,
• 2:43:12
  Speaker 5: I'm good. I'm like, all right, get comfortable. I'm like,
• 2:43:14
  Speaker 5: all right, here we go.
• 2:43:14
  Speaker 1: You know, yeah, incredible and he's a great filmmaker. If
• 2:43:18
  Speaker 1: you haven't seen After Effects, which was the first release
• 2:43:21
  Speaker 1: of Yeah a Red Shirt, it's so good. It's so good,
• 2:43:25
  Speaker 1: and it's like this tiny, no budget documentary, but he
• 2:43:28
  Speaker 1: really did a beautiful job exposing what was a really
• 2:43:31
  Speaker 1: interesting rise in Pittsburgh. Filmmaker. It's really cool.
• 2:43:35
  Speaker 5: I actually think After Effects is I like after Effects
• 2:43:37
  Speaker 5: better than Effects honestly, that's.
• 2:43:39
  Speaker 1: I agree with you. No, I agree with you, I
• 2:43:41
  Speaker 1: think because I think it gets to the point of
• 2:43:43
  Speaker 1: what Effects was really about, where effects is a little
• 2:43:47
  Speaker 1: dense and you can't quite make it all out. After
• 2:43:50
  Speaker 1: Effects talks about it in a way that you go, oh,
• 2:43:51
  Speaker 1: that's what the movie was. Oh good, Oh that's a
• 2:43:54
  Speaker 1: better movie than I thought it was. I see that
• 2:43:56
  Speaker 1: face the music was asking me how excited it was
• 2:43:58
  Speaker 1: that we did the four K was fucking off awesome,
• 2:44:00
  Speaker 1: It's fucking awesome.
• 2:44:02
  Speaker 3: What was what was the experience like? Because like I mean, like,
• 2:44:05
  Speaker 3: how deeply involved were you with that? And like did
• 2:44:08
  Speaker 3: they how did they approach you? Like? I love that
• 2:44:11
  Speaker 3: release like hims down. That's what we talk about it
• 2:44:14
  Speaker 3: quite a bit since it's been released, so a lot
• 2:44:17
  Speaker 3: of love that was put into it.
• 2:44:19
  Speaker 1: There really was. I will tell you, Uh, those guys
• 2:44:22
  Speaker 1: are Arrow is one of the best companies I've dealt
• 2:44:26
  Speaker 1: with by the way they wanted they wanted to dock
• 2:44:28
  Speaker 1: as well, but I really believed in what Michael was
• 2:44:32
  Speaker 1: going to do with it. Yeah, I will tell you
• 2:44:34
  Speaker 1: they're amazing. I love Errow. They're amazing. Uh. They also
• 2:44:38
  Speaker 1: when they asked me to come in to color grade
• 2:44:40
  Speaker 1: the movie and to you know, to kind of polish
• 2:44:43
  Speaker 1: it up. I said, look, I'm happy to come in
• 2:44:47
  Speaker 1: and do this, which I've done. I did it for
• 2:44:48
  Speaker 1: the DVD, I did it for the Blue ray, and
• 2:44:50
  Speaker 1: nad did it for the four K. I said, but
• 2:44:53
  Speaker 1: can can we please bring in my cinematographer because nobody
• 2:44:56
  Speaker 1: ever asks him to come in and I think we
• 2:44:58
  Speaker 1: need it, Like, it's great, the director's there. I think
• 2:45:02
  Speaker 1: the DP should be there too, And they said, oh,
• 2:45:05
  Speaker 1: can you get a hold of him. I was like, yeah,
• 2:45:07
  Speaker 1: I'll call him. So I called Bill. I said, hey,
• 2:45:15
  Speaker 1: you want to come in and color grade this movie?
• 2:45:17
  Speaker 1: Is like, oh my god, finally someone's allowing. I was like, yeah,
• 2:45:20
  Speaker 1: come on. So we were there for three days when
• 2:45:26
  Speaker 1: we shot the film. This is not even in the documentary.
• 2:45:29
  Speaker 1: When we shot the film, we shot it on Kodak
• 2:45:36
  Speaker 1: And by the way, it was the only the second
• 2:45:38
  Speaker 1: movie in the history of film to be shot at
• 2:45:41
  Speaker 1: twenty two frames per second.
• 2:45:44
  Speaker 3: Oh fascination.
• 2:45:46
  Speaker 1: Okay. The first one was Sean Cunningham's Deep Star six.
• 2:45:50
  Speaker 1: The reason for this is that Seawn doesn't think any
• 2:45:53
  Speaker 1: actor can do anything fast enough. But the real reason
• 2:45:58
  Speaker 1: for it is if you cut two frames from every second,
• 2:46:04
  Speaker 1: you just kept ten of your film and processing budget.
• 2:46:09
  Speaker 1: That's why you did it. But imagine telling a DP
• 2:46:13
  Speaker 1: you have to shoot at a different frame rate for
• 2:46:15
  Speaker 1: the entire movie. Bill had everything but an avacus out
• 2:46:20
  Speaker 1: trying to figure out what his fucking have stop was
• 2:46:22
  Speaker 1: going to be because it was it was insaane because
• 2:46:25
  Speaker 1: the film is going through the camera at a different rate,
• 2:46:28
  Speaker 1: so it's exposing it to light differently, which, by the way,
• 2:46:32
  Speaker 1: no one does like it was. It was. It was nuts.
• 2:46:34
  Speaker 1: The math was crazy. But we shot on Kodak. The
• 2:46:37
  Speaker 1: reason we shot on Kodak was that we kept talking
• 2:46:40
  Speaker 1: about The Godfather and about the how rich the deep
• 2:46:44
  Speaker 1: blacks in the background are. How it just goes to that, right,
• 2:46:48
  Speaker 1: It's like they're rich blacks. They're not inky, they're rich. Right. Well,
• 2:46:53
  Speaker 1: when Newline went with we have Newline, much like Sean
• 2:46:57
  Speaker 1: Cunningham loves saving a buck, and uh, they printed on
• 2:47:01
  Speaker 1: Fuji mm and suddenly the prints were a little milky.
• 2:47:07
  Speaker 1: Suddenly those blacks that we'd worked so hard to achieve
• 2:47:12
  Speaker 1: got lost and got a little milky, which broke my
• 2:47:16
  Speaker 1: and my dp's heart. Now, whenever they went to go
• 2:47:19
  Speaker 1: do a transfer the movie, they were working off of that,
• 2:47:22
  Speaker 1: off of that interpositive. Well that's a problem because it
• 2:47:27
  Speaker 1: never looked the way it should look. So on this release,
• 2:47:31
  Speaker 1: Bill and I went in and went, yeah, we're gonna
• 2:47:33
  Speaker 1: fix this movie. So the four K is the first
• 2:47:36
  Speaker 1: time that movie has ever been seeing the way I
• 2:47:39
  Speaker 1: and Bill Dill intended it to be. It's the first time. Wow,
• 2:47:42
  Speaker 1: well it looks it looked incredible, Thank you? Thanks?
• 2:47:46
  Speaker 3: Who was it who?
• 2:47:49
  Speaker 5: So we're gonna have obviously, like audio commentaries are very
• 2:47:52
  Speaker 5: important to us, that's what our whole podcast is about.
• 2:47:54
  Speaker 1: Yep.
• 2:47:55
  Speaker 5: I've been in talks with uh with Steve Barton about
• 2:47:58
  Speaker 5: coming onto the podcast because I actually lived in the
• 2:48:01
  Speaker 5: amazing Yeah yeah, and he had his book is incredible.
• 2:48:06
  Speaker 5: Anybody who hasn't read it, that's amazing.
• 2:48:08
  Speaker 1: He gave it to me before it came out, really
• 2:48:10
  Speaker 1: really special.
• 2:48:11
  Speaker 5: It's so good. Whose idea was it for the Michael
• 2:48:14
  Speaker 5: Felcher Steve Barton commentary? Because it's incredible.
• 2:48:18
  Speaker 1: Michael told me he was going to do it, and
• 2:48:21
  Speaker 1: he knows that I know Steve, but him and Steve
• 2:48:24
  Speaker 1: are really close friends and I was like, fuck yeah,
• 2:48:26
  Speaker 1: like I love that idea. And it was crazy because
• 2:48:29
  Speaker 1: Michael was like, look at him, You've done so many commentaries,
• 2:48:31
  Speaker 1: like I do not want to do another one, Like
• 2:48:33
  Speaker 1: I'm done. Yeah. So Michael was like, well, I'm think
• 2:48:36
  Speaker 1: I'm gonna do one with Steve. I was like, that's
• 2:48:38
  Speaker 1: gonna well, that's gonna be fucking awesome. And it is.
• 2:48:41
  Speaker 1: And again you have my commentary, so on the the
• 2:48:43
  Speaker 1: one Peter Bracket him, the one with Dean, You're both
• 2:48:45
  Speaker 1: on there, someone who we are doing multiple commentaries for
• 2:48:48
  Speaker 1: the doc as well.
• 2:48:50
  Speaker 5: There I was Steve. Steve is one of the nicest
• 2:48:53
  Speaker 5: people I ever met. I I followed him on Instagram
• 2:48:56
  Speaker 5: and I shot him a message and I was like
• 2:48:58
  Speaker 5: at first I shot a message. I was like, look,
• 2:48:59
  Speaker 5: I was like, I know we live in the same town.
• 2:49:01
  Speaker 5: I was like, I want to get you to sign
• 2:49:02
  Speaker 5: a copy of your book for me, and he was
• 2:49:05
  Speaker 5: like yeah, absolutely, And then I was like, by the way,
• 2:49:07
  Speaker 5: this was like way back when I when we first
• 2:49:09
  Speaker 5: started the podcast, I was like, I have a podcast
• 2:49:11
  Speaker 5: and nobody's listening to we focus on audio commentaries. And
• 2:49:15
  Speaker 5: he was like, you tell me when and I'm there,
• 2:49:17
  Speaker 5: And that was the first time that anybody like was like, yeah,
• 2:49:20
  Speaker 5: I'm there, and I was like, well, what do I
• 2:49:23
  Speaker 5: do now? So we're trying to work it out date wise,
• 2:49:26
  Speaker 5: but yeah, I just wanted to use that to plug
• 2:49:29
  Speaker 5: not only his book but that commentary track because it's incredible,
• 2:49:32
  Speaker 5: but and that and also on Jason X as well,
• 2:49:34
  Speaker 5: and that way.
• 2:49:35
  Speaker 1: Yeah, yeah, yeah, Jason X is one of those movies.
• 2:49:39
  Speaker 1: I wish everybody could read the original screenplay in that movie. God,
• 2:49:42
  Speaker 1: it was so good. Todd Farmer did such a fucking
• 2:49:44
  Speaker 1: good job on that script and they never got to
• 2:49:47
  Speaker 1: shoot the movie. Jimmy and Todd just got railroaded because
• 2:49:51
  Speaker 1: that script was was badass.
• 2:49:53
  Speaker 3: How different How different was the original vision compared to.
• 2:49:57
  Speaker 1: Like the very fucking difference. Okay, it was not necessarily bigger,
• 2:50:02
  Speaker 1: it was different, it was it was smarter, it was sharper.
• 2:50:08
  Speaker 1: It's the reason why David Kroniberg said, yes, I mean
• 2:50:11
  Speaker 1: it also Jimmy Isaacs did all of ext for so long.
• 2:50:14
  Speaker 1: But it was a really good script and it just
• 2:50:17
  Speaker 1: got hacked up while shooting. It's crazy, It's crazy.
• 2:50:24
  Speaker 5: Did Jason go to Hell get a novelization?
• 2:50:26
  Speaker 1: I believe it did. That I'd never gotten a copy of,
• 2:50:30
  Speaker 1: but I do think it did because a lot of
• 2:50:32
  Speaker 1: people have talked to me about that, so I don't know.
• 2:50:35
  Speaker 1: It did have a three issue comic book series. It
• 2:50:38
  Speaker 1: did have a trading card collection from Tops, which I
• 2:50:42
  Speaker 1: have many, many copies of. And it's awesome because not
• 2:50:45
  Speaker 1: only do I have my own baseball card, but my
• 2:50:48
  Speaker 1: brother Kip has a baseball card, and my brother Kip
• 2:50:51
  Speaker 1: wanted to be a baseball player when were kids, so
• 2:50:54
  Speaker 1: for him it was really fucking cool. Also, my brother Kip,
• 2:50:57
  Speaker 1: one of his best friends is Reggie Jackson. True story
• 2:51:01
  Speaker 1: who uh so Jason Gostell had a lot of like
• 2:51:06
  Speaker 1: cool tie in stuff. But dude, no, I've never seen
• 2:51:10
  Speaker 1: this novelization that I have heard is out there somewhere.
• 2:51:13
  Speaker 5: Yeah, well, we we need to talk to somebody because
• 2:51:16
  Speaker 5: the the the new novelization is back like in Psycho
• 2:51:20
  Speaker 5: Apocalypse just announced sleep Away Camp is getting a new novels.
• 2:51:23
  Speaker 5: Like we need we need to talk to somebody.
• 2:51:25
  Speaker 1: Bro.
• 2:51:25
  Speaker 5: We we have to know somebody who can who can
• 2:51:28
  Speaker 5: make this happen?
• 2:51:28
  Speaker 1: Yeah, right, we gotta. I think it's great. By the way, Uh,
• 2:51:33
  Speaker 1: Facing Music asked a bunch of I've only got a
• 2:51:35
  Speaker 1: few more minutes, guys.
• 2:51:36
  Speaker 6: But yeah, yeah, that's why I was leading into.
• 2:51:43
  Speaker 1: One of you.
• 2:51:43
  Speaker 6: He did ask, if you can go back in time
• 2:51:45
  Speaker 6: to change one thing on Jason's hell, what would it be?
• 2:51:48
  Speaker 1: Uh? Okay, So one thing for embarrassment reasons, one thing
• 2:51:54
  Speaker 1: for technical reasons. One Uh, the embarrassment is that I
• 2:51:58
  Speaker 1: never should have let my brother Kip say, get away
• 2:52:01
  Speaker 1: from her. I never should have had Jason speak. That's
• 2:52:05
  Speaker 1: on me. That's on me. It's bullshit. Uh, it was
• 2:52:09
  Speaker 1: me cheating because we weren't smart enough to figure out
• 2:52:13
  Speaker 1: another way to do that scene without giving it away.
• 2:52:17
  Speaker 1: So I hate that. I hate that. It's that that
• 2:52:19
  Speaker 1: that that happened. By the way, I would also go
• 2:52:22
  Speaker 1: back and get them to fucking fix the spelling on
• 2:52:24
  Speaker 1: the goddamn mailbox. Back about that, by the way, By
• 2:52:30
  Speaker 1: the way, I won't give it away. But dead last
• 2:52:33
  Speaker 1: moment in the middle of the credits, the dead last
• 2:52:35
  Speaker 1: moment of the movie of the doc is, uh, we
• 2:52:38
  Speaker 1: reveal why it got fucked up and who was responsible,
• 2:52:43
  Speaker 1: and every person who gave me ship is going to
• 2:52:45
  Speaker 1: have to eat their own. Well. The thing I would change, though,
• 2:52:52
  Speaker 1: if I could go, if I could, if I could
• 2:52:53
  Speaker 1: remake the movie. Now is that I originally wanted you
• 2:52:58
  Speaker 1: to see the mask to start coming through the person's
• 2:53:02
  Speaker 1: skin who was Jason, like cut and their eyes sink
• 2:53:06
  Speaker 1: in and like suddenly you're seeing like the holes of
• 2:53:08
  Speaker 1: the mask on their face and stuff. We just couldn't
• 2:53:11
  Speaker 1: afford it. We couldn't affords so with with digital easy pas,
• 2:53:17
  Speaker 1: no deal. So that's the thing I would have changed.
• 2:53:21
  Speaker 6: Nice are you a fan of Freddy versus Jason?
• 2:53:28
  Speaker 1: Let's put it this way. One, my mama always said,
• 2:53:32
  Speaker 1: if you have nothing nice to say, don't say anything. Two. Two, Uh,
• 2:53:38
  Speaker 1: Caine Hotter is not in that movie. And Caine Hotter
• 2:53:42
  Speaker 1: should have been in that movie. And when you hire
• 2:53:46
  Speaker 1: a director that has never seen a Friday thirteenth movie
• 2:53:49
  Speaker 1: because he thinks they're stupid, why did you hire that director?
• 2:53:54
  Speaker 1: That's all. That's all. And by the way, listen, there
• 2:53:56
  Speaker 1: are people out there who fucking love that movie. And
• 2:53:57
  Speaker 1: God bless you man, good good, good on you. Again,
• 2:54:00
  Speaker 1: I'm I Look, someone doesn't like my movie. I'm cool
• 2:54:03
  Speaker 1: with it. Be you know, don't be a dick about it.
• 2:54:06
  Speaker 1: But you know, it's totally cool. And use your real name.
• 2:54:12
  Speaker 3: But you handled it with grace, So I try.
• 2:54:16
  Speaker 1: I mean I tried. It was like literally like it
• 2:54:18
  Speaker 1: kept popping up in my face. You suck it sucks
• 2:54:21
  Speaker 1: fuck you. I'm like, oh my god. But but look,
• 2:54:24
  Speaker 1: here's the thing. I I think that people should be
• 2:54:28
  Speaker 1: able to love whatever they love, Like I think that,
• 2:54:31
  Speaker 1: you know, someone's favorite film is something I can't stand
• 2:54:35
  Speaker 1: or some stuff that I love. I'm sure there's people
• 2:54:36
  Speaker 1: out there who don't like all that jazz. They're wrong,
• 2:54:39
  Speaker 1: but I'm sure that they exist. And there's only a
• 2:54:43
  Speaker 1: few movies in my life that have been dividing lines,
• 2:54:45
  Speaker 1: like there are a couple of movies that if you
• 2:54:46
  Speaker 1: don't like it, we're not going to have a friendship,
• 2:54:49
  Speaker 1: Like I don't need to know you. They're just a few,
• 2:54:53
  Speaker 1: but they are. They are my they are my little
• 2:54:55
  Speaker 1: bombs and uh and if somebody says it, I just
• 2:54:58
  Speaker 1: got I know who you are. Bye. Yeah. But look again,
• 2:55:03
  Speaker 1: people will love Freddy versus Jason. That's awesome. That's awesome.
• 2:55:05
  Speaker 1: And for people some people who was their first Freddy
• 2:55:08
  Speaker 1: or first Jason movie, and of course they're gonna love it,
• 2:55:10
  Speaker 1: Like that's cool. You know, you don't know that Mower
• 2:55:13
  Speaker 1: go for it. But when Jason's taking a nap while
• 2:55:16
  Speaker 1: a bunch of kids are having a studio meeting about
• 2:55:18
  Speaker 1: how to kill Freddy? You know, Okay, I do have
• 2:55:25
  Speaker 1: one question for you.
• 2:55:27
  Speaker 6: You've got they're kind of rebranding Jason now right, Jason Universe.
• 2:55:34
  Speaker 6: If you were asked to come back to do anything
• 2:55:35
  Speaker 6: with Jason, would you yes?
• 2:55:38
  Speaker 1: Okay, yes, Look, I think the Crystal Lake series is
• 2:55:41
  Speaker 1: gonna be really cool. I'm a big fan of Bates Motel.
• 2:55:46
  Speaker 1: I think they did a really nice job with that series,
• 2:55:48
  Speaker 1: and I think they gained that lore more to talk about.
• 2:55:51
  Speaker 1: I think going with Pamela is brilliant. By the way,
• 2:55:53
  Speaker 1: if you guys have never read Pamela's story, it's a
• 2:55:56
  Speaker 1: two issue Wildstorm Arc comic book. It's amazing. It's really good.
• 2:56:03
  Speaker 1: So I love that they're they're doing that. I think
• 2:56:05
  Speaker 1: it's really cool. So I would direct, you know, an
• 2:56:07
  Speaker 1: episode of that. That's that's the kind of thing I
• 2:56:08
  Speaker 1: would love to do. I would also, look, I would
• 2:56:10
  Speaker 1: if I was given the chance to make ANOP adjacent movie.
• 2:56:13
  Speaker 1: And I'm sure there's some people right now screaming, fuck you. You
• 2:56:16
  Speaker 1: should never get to touch anop adjacent movie. But if
• 2:56:18
  Speaker 1: I was, especially Marty mick Fly, he would not have it. Uh.
• 2:56:23
  Speaker 1: The movie that I the movie that I would that
• 2:56:26
  Speaker 1: I would make, would be I would get together the
• 2:56:30
  Speaker 1: people the biggest badasses from the franchise, including Tommy, who
• 2:56:35
  Speaker 1: I wanted as the lead of Jason Goes to Hell.
• 2:56:38
  Speaker 1: I wanted to be Tommy Jarvis. We couldn't use it
• 2:56:40
  Speaker 1: because Paramount owned it and new Line didn't buy that
• 2:56:43
  Speaker 1: from them. But I would get Tommy. I would get
• 2:56:48
  Speaker 1: you know, I would I get the original actors too.
• 2:56:51
  Speaker 1: I get Tom Matthews, I bring back John LeMay. I'd
• 2:56:57
  Speaker 1: bring Steven Williams because Crayton Duke didn't die get rid
• 2:57:01
  Speaker 1: of here. I'm literally working on a Creyton Duke movie
• 2:57:03
  Speaker 1: with Stephen Williams right now. I would get back any Steel. Yeah,
• 2:57:11
  Speaker 1: and then I would get a bunch of badass alien
• 2:57:14
  Speaker 1: style marines and I would have them go into the
• 2:57:17
  Speaker 1: woods of Crystal Lake to hunt Jason predator style and
• 2:57:25
  Speaker 1: bad asses. And that's the movie. So that would be
• 2:57:29
  Speaker 1: the movie I would want to make.
• 2:57:30
  Speaker 3: Wow.
• 2:57:31
  Speaker 6: For the thirteenth film, Happy Gone Friday the thirteenth.
• 2:57:36
  Speaker 1: Yeah, that's the movie I would want to make. Wow,
• 2:57:39
  Speaker 1: that's awesome. What a way to end it. Yeah.
• 2:57:42
  Speaker 6: Cool, Well, Adam, it was a lot of fun. I
• 2:57:45
  Speaker 6: want to thank you so much for coming on here.
• 2:57:47
  Speaker 1: Thank you.
• 2:57:48
  Speaker 6: You had mentioned earlier the I think you said the
• 2:57:50
  Speaker 6: Gardena Cinema Los Angeles. You guys was working on trying
• 2:57:53
  Speaker 6: to save that. How do is there a way for
• 2:57:55
  Speaker 6: us to try and kind of get involved with that
• 2:57:58
  Speaker 6: for anybody watching?
• 2:57:59
  Speaker 1: Yeah? Look, I gotta tell you something, if you go,
• 2:58:01
  Speaker 1: if you go to their website or even their Instagram
• 2:58:05
  Speaker 1: page or their Facebook page, they're everywhere. The Guardina Cinema.
• 2:58:08
  Speaker 1: What's amazing about this place? It's an eight hundred seat theater.
• 2:58:11
  Speaker 1: It is one of the last remaining old school Los
• 2:58:14
  Speaker 1: Angeles movie houses. So much so they have baby rooms,
• 2:58:22
  Speaker 1: so there are two. The balcony is encased in glass
• 2:58:27
  Speaker 1: with speakers inside so that moms with babies can be
• 2:58:30
  Speaker 1: in those rooms so they can watch movies, which is
• 2:58:32
  Speaker 1: something they used to do in the forties. The theater
• 2:58:34
  Speaker 1: was built in the nineteen forties. The same families owned
• 2:58:38
  Speaker 1: it since the nineteen seventies. This incredible woman, shety Kim,
• 2:58:44
  Speaker 1: runs and owns it. Her parents bought it before her.
• 2:58:47
  Speaker 1: And if you go, look what they're doing. I mean
• 2:58:50
  Speaker 1: they're doing revivals. Guys. They brought in they did Killer
• 2:58:55
  Speaker 1: Clowns from Outter Space. A couple of weeks ago. They
• 2:58:57
  Speaker 1: had the band that's in the movie on stage playing
• 2:59:02
  Speaker 1: the music with the movie. They are doing such I
• 2:59:07
  Speaker 1: saw I saw a print a fan of the Paradise
• 2:59:09
  Speaker 1: there just a few weeks ago. I was like, oh
• 2:59:11
  Speaker 1: my god. I mean, it's never looked better. And they're
• 2:59:16
  Speaker 1: they're they're really showing great films. And every once in
• 2:59:20
  Speaker 1: a while they'll show a new movie like Mine, like
• 2:59:22
  Speaker 1: like like Hearts. They showed to Nora and Sean was
• 2:59:26
  Speaker 1: there to talk about the movie. They are doing great stuff.
• 2:59:30
  Speaker 1: The problem is it's a tiny theater in Gardena and
• 2:59:33
  Speaker 1: people don't even know it exists, right, Most people in
• 2:59:36
  Speaker 1: Los Angeles don't even know Guardina exists. Yeah, because it's
• 2:59:39
  Speaker 1: like an industrial city. People think, oh, it's a bad area. Bullshit,
• 2:59:42
  Speaker 1: it's not a bad area. It's a great area. It's
• 2:59:46
  Speaker 1: got free parking. It's insane, like an house an they
• 2:59:49
  Speaker 1: never seen house that is free parking in Los Angeles.
• 2:59:52
  Speaker 1: That's insane. Yeah, you know, it's it's that kind of place.
• 2:59:55
  Speaker 1: So honestly, it's really just about beating the drum for
• 2:59:59
  Speaker 1: places like this and sharing their shit. And I'm telling you,
• 3:00:02
  Speaker 1: if you guys looked at their web page, you would
• 3:00:05
  Speaker 1: be like, oh my god, to be in this theater
• 3:00:06
  Speaker 1: half of my life. It's that place. Like every movie
• 3:00:10
  Speaker 1: they show is fucking cool. Yeah. They did Scott Pilgrim
• 3:00:14
  Speaker 1: a few weeks back, and they had a bunch of
• 3:00:17
  Speaker 1: la bands playing before the show, like they did a
• 3:00:21
  Speaker 1: full concert before the movie. I'm like, this is this
• 3:00:24
  Speaker 1: is the way the movie should be. Yeah. Oh by,
• 3:00:28
  Speaker 1: and by the way, ten dollars tickets.
• 3:00:31
  Speaker 5: What yep, dude, we get none of this cool shit
• 3:00:36
  Speaker 5: in New Jersey. Nothing.
• 3:00:39
  Speaker 1: They played Jason Hostel and Hearts of Darkness back to back,
• 3:00:42
  Speaker 1: and they charged people twenty bucks for the night. My gods,
• 3:00:45
  Speaker 1: that's a steal. That's amazing.
• 3:00:47
  Speaker 3: I'd there all the time say it's that.
• 3:00:49
  Speaker 1: I'm telling you, it's that place. So no, I'm I'm
• 3:00:52
  Speaker 1: I'm pounding the drum for these fields. I actually signed
• 3:00:55
  Speaker 1: a bunch of posters and stuff that they've already auctioned off,
• 3:00:57
  Speaker 1: just so that they can keep the theater going.
• 3:00:59
  Speaker 5: Yeah. Wow, okay, yeah, I just went and followed them
• 3:01:02
  Speaker 5: because I wasn't following them before.
• 3:01:05
  Speaker 1: Is amazing really just an amazing person. Yeah. Yeah, the
• 3:01:10
  Speaker 1: programmer there is a genius. I mean, I'm telling you, guys,
• 3:01:13
  Speaker 1: like really like check out what they're doing. It's it's
• 3:01:17
  Speaker 1: pretty cool. Yeah, that's awesome.
• 3:01:19
  Speaker 6: Well, guys, definitely check that out again, Adam, thank you
• 3:01:22
  Speaker 6: so much for coming on.
• 3:01:23
  Speaker 1: Who's a lot of doncle be available in October? Guys,
• 3:01:27
  Speaker 1: so on on on Blu ray from Red Shirt throughs.
• 3:01:35
  Speaker 6: Yes, very cool and check out Secret Standa too. All right, guys, Well,
• 3:01:42
  Speaker 6: thank you so much and we will catch you all
• 3:01:44
  Speaker 6: next time.
• 3:01:51
  Speaker 3: Thank you for listening.
• 3:01:53
  Speaker 1: To hear more shows from the Someone's Favorite Productions podcast network.
• 3:01:57
  Speaker 6: Please select the link in the description.