Latest / Beyond The Blood: A Horror Movie Commentary Podcast / David Sodergren Interview - Behind the Blood

Transcript

David Sodergren Interview - Behind the Blood · Beyond The Blood: A Horror Movie Commentary Podcast

• 0:01
  Speaker 1: You are now listening to the Someone's Favorite Productions podcast network.
• 0:17
  Speaker 2: Anything for a good cause. I'm a security god. I
• 0:23
  Speaker 2: kill people every fucking day. That's right.
• 0:26
  Speaker 1: When I was growing up in Bakersfield, my favorite thing
• 0:29
  Speaker 1: in all the world was to go to the movies
• 0:30
  Speaker 1: on Saturday afternoons for the chapter plays.
• 0:34
  Speaker 3: I know that, mister man. They also call them cereals.
• 0:37
  Speaker 4: I'm not stupid, you know.
• 0:40
  Speaker 5: I am the devil, and I am here to do
• 0:42
  Speaker 5: the devil's work.
• 0:57
  Speaker 4: So today I'm beyond the blood. We're joined by a
• 0:59
  Speaker 4: writer who lead cinema onto the page. David Sdergren has
• 1:03
  Speaker 4: carved out a cult following in horror fiction with books
• 1:06
  Speaker 4: like Night Shoot, Maggie's Grave, and The Forgotten Island, stories
• 1:10
  Speaker 4: that are dripping with the atmosphere of seventies, shallow eighties slashers,
• 1:14
  Speaker 4: and the strange, lazy magic of cult cinema. His work
• 1:17
  Speaker 4: doesn't just nod to horror movies. It feels like them, grimy, vivid,
• 1:22
  Speaker 4: and fiercely original. We're diving into the films that shaped
• 1:25
  Speaker 4: his imagination, the way movies fuel his storytelling, and why
• 1:29
  Speaker 4: horror still matters in both print and film. David Welcome
• 1:33
  Speaker 4: to Beyond the Blood.
• 1:34
  Speaker 2: Oh, thank you very much. It's great to be here.
• 1:36
  Speaker 2: Good to talk movies. You know, so sick of talking
• 1:41
  Speaker 2: about myself so.
• 1:42
  Speaker 4: Much my books. It's now we're happy to finally have
• 1:47
  Speaker 4: you on here. And I know this has been in
• 1:49
  Speaker 4: the works for some time, but yeah, I just figured
• 1:52
  Speaker 4: if there's there's someone that we could go to as
• 1:54
  Speaker 4: far as their love of movies, you were the first
• 1:57
  Speaker 4: person we thought of.
• 1:59
  Speaker 2: Well, that's excellent. Yeah, I mean my first love I
• 2:03
  Speaker 2: would say probably was a film before books. I'd say
• 2:09
  Speaker 2: about the same sort of title. I originally wanted to
• 2:11
  Speaker 2: be a filmmaker before I before I started started writing
• 2:16
  Speaker 2: novels and things, went to film school and stuff. I
• 2:21
  Speaker 2: always just been a huge fan of films, and to
• 2:24
  Speaker 2: be honest, as much as I've reasonably well read with
• 2:28
  Speaker 2: horror fiction and stuff, but and the way way way
• 2:31
  Speaker 2: more I've seen way more films and films are by
• 2:35
  Speaker 2: far the biggest influence on my work, far more than
• 2:40
  Speaker 2: books and classic horror fiction or contemporary horror fiction or
• 2:43
  Speaker 2: anything like that. It's definitely films.
• 2:45
  Speaker 4: So before we get into the film side of things,
• 2:48
  Speaker 4: what was your gateway into like horror novels, Like, was
• 2:52
  Speaker 4: there certain authors or pieces of work that really stood
• 2:55
  Speaker 4: out to you?
• 2:57
  Speaker 2: Yeah, I mean, you know, starting you know, going way
• 3:00
  Speaker 2: way way back, you sort of gateway to horror literature
• 3:07
  Speaker 2: would be things like the Hardy Boys did some sort
• 3:11
  Speaker 2: of They're not so well known these days, but people
• 3:14
  Speaker 2: of a certain age remember the Hardy Boys. They sometimes
• 3:19
  Speaker 2: had sort of like horror crossovers. They had Track of
• 3:21
  Speaker 2: the Zombie, they had the Haunted Fort and stuff. Around
• 3:25
  Speaker 2: the same sort of time, there was a series of
• 3:27
  Speaker 2: books that were presented by Alfred Hitchcock called The Three
• 3:32
  Speaker 2: Investigators that again we were sort of horror adjacent, you
• 3:36
  Speaker 2: know it was. It was usually some whatever it was
• 3:38
  Speaker 2: was unmasked in a Scooby Doo sort of style. But
• 3:43
  Speaker 2: then so that I couldn't as tee how old I
• 3:46
  Speaker 2: was like seven eight or something. But then around that
• 3:49
  Speaker 2: sort of time I must have been under ten. I
• 3:53
  Speaker 2: was getting more seriously into it. And my granny started
• 3:56
  Speaker 2: working in a charity shop or a thrift store I
• 3:58
  Speaker 2: think you would call it in and she would bringing
• 4:02
  Speaker 2: back Stephen King novels, and my dad at his work
• 4:05
  Speaker 2: had James Herbert, who was the sort of British Stephen King.
• 4:10
  Speaker 2: His work had a little library, so you could get
• 4:12
  Speaker 2: he brought me back stuff from there, things like rats
• 4:15
  Speaker 2: and the Fog. I say that britis Stephen King in
• 4:18
  Speaker 2: terms of popularity over here. In terms of content, he
• 4:21
  Speaker 2: was much grimy or grungi or sleazy or more violent,
• 4:25
  Speaker 2: nasty sort of stuff, So that that appealed to me.
• 4:29
  Speaker 3: Absolutely, Do we have Stephen King? Was like, I was
• 4:33
  Speaker 3: much more of a reader way before I got into movies,
• 4:36
  Speaker 3: So Stephen King was that gateway for me. But we
• 4:39
  Speaker 3: actually have My wife has a bunch of those, like
• 4:44
  Speaker 3: Alfred Hitchcock presents like short story but yeah, yeah, and
• 4:49
  Speaker 3: those things are so cool, especially reading them now and
• 4:52
  Speaker 3: then you could still see a ton of the influence
• 4:54
  Speaker 3: on like movies that we watch from like story elements
• 4:57
  Speaker 3: and like you know how they kind of build certain
• 4:59
  Speaker 3: character and all. It's funny going back and reading those, man,
• 5:02
  Speaker 3: they still hold up really well.
• 5:03
  Speaker 2: Yeah, you could probably trace some sort of direct line
• 5:06
  Speaker 2: from say the Conjuring series or something to like the
• 5:11
  Speaker 2: short stories of M. R. James like Oh Whistler and
• 5:13
  Speaker 2: I'll come to you, my lad and stuff, just that
• 5:15
  Speaker 2: sort of slow creeping dread building building, you know, to
• 5:20
  Speaker 2: like a final sort of shock scare. I feel like
• 5:23
  Speaker 2: everything most modern horror it's probably directly ripping off Japanese horror,
• 5:28
  Speaker 2: but you know, indirectly, you know, going all the way
• 5:31
  Speaker 2: back to that sort of m. R. James style. I
• 5:33
  Speaker 2: think there's a lot of really amazing old horror fiction,
• 5:36
  Speaker 2: especially in these short story collections, something by authors you've
• 5:39
  Speaker 2: never heard off and we'll never hear off again. It's like,
• 5:43
  Speaker 2: who is this person? But you know, some great stuff
• 5:47
  Speaker 2: you can find if you dig through these old horror anthologies.
• 5:50
  Speaker 3: You know, some of my favorites are actually we have
• 5:52
  Speaker 3: a couple of them. There's a store near us called
• 5:55
  Speaker 3: Second Time Books, and they their book reseller, but they're
• 5:58
  Speaker 3: very like we found majority of her Stephen King first
• 6:02
  Speaker 3: print collection there for good prices. You know. They I
• 6:07
  Speaker 3: bought a couple I'm a huge fan of like erotic
• 6:10
  Speaker 3: car or like erotic thrillers and stuff, and I bought
• 6:13
  Speaker 3: a couple of these like weird paperback like erotic horror collections,
• 6:19
  Speaker 3: and man, if you really want to get into some
• 6:22
  Speaker 3: some weird interesting shit, it's it's in those pages, you know, yeah.
• 6:28
  Speaker 2: I mean's the other thing is you find stuff that
• 6:31
  Speaker 2: probably wouldn't be printed today for something very good reason.
• 6:36
  Speaker 4: Well, I know that there's a more recent line of well,
• 6:39
  Speaker 4: I wouldn't say it's it's kind of like a resurgence
• 6:42
  Speaker 4: of books with paperbacks from Hell, like doing the callbacks
• 6:47
  Speaker 4: to the horror novels of the seventies and eighties. And
• 6:50
  Speaker 4: I feel like I've been going back and kind of
• 6:52
  Speaker 4: rediscovering like books I haven't read in years, like The Nasts,
• 6:56
  Speaker 4: When Darkness Loves Us or The Reaping. So books like
• 7:00
  Speaker 4: that's just you know, those are like the perfect summertime reads,
• 7:02
  Speaker 4: at least for me.
• 7:04
  Speaker 2: Yeah, it's a double edged sword that paperbacks from hale
• 7:06
  Speaker 2: in a way, because yes, it opened up people's eyes
• 7:09
  Speaker 2: to all these including my own. You know, there's all
• 7:11
  Speaker 2: these hundreds of books I've never even heard off or seeing.
• 7:14
  Speaker 2: It probably didn't even get much of a release heat
• 7:17
  Speaker 2: in the UK, but i'd been one of the oh
• 7:20
  Speaker 2: that's my belt one second.
• 7:22
  Speaker 3: Yeah, no worries one thing. That's crazy, Steve. We'll keep
• 7:26
  Speaker 3: we'll just keep chatting on. We still don't have a
• 7:29
  Speaker 3: reprint of Stephen Stephen King's Rage. Oh that's right, Yeah,
• 7:35
  Speaker 3: I have, like my wife and I have the Oh
• 7:41
  Speaker 3: my god, what's it called? The the Bachman Books that
• 7:43
  Speaker 3: has it in it? But we still don't have a
• 7:46
  Speaker 3: reprint of that book. It's still banned. I guess you can.
• 7:52
  Speaker 2: You're talking, Uh, yeah, were so we're talking about rage.
• 7:56
  Speaker 3: Yeah, we have the original Bachman Books release and that
• 8:01
  Speaker 3: second Time Books had the original individual release of it,
• 8:03
  Speaker 3: the paperback one, but they wanted to be charging eleven
• 8:07
  Speaker 3: dollars or something US dollars.
• 8:09
  Speaker 2: Yeah, I got a bonus years and about probably ten
• 8:13
  Speaker 2: years ago, I've got a bonus at my work and
• 8:15
  Speaker 2: I paid two hundred pounds which is probably about geez,
• 8:20
  Speaker 2: two hundred and fifty dollars or something for that, which
• 8:23
  Speaker 2: was an extraordinary expense. But looking at it now, I'm like, well,
• 8:27
  Speaker 2: thank god I got in there before, which is what
• 8:29
  Speaker 2: I was saying. Yeah, I'm about paperbacks from hell. It
• 8:32
  Speaker 2: has pushed the prices of these things up enormously. But
• 8:36
  Speaker 2: Amazon used to have them for like one pence literally
• 8:38
  Speaker 2: what like one cent and you just had to pay
• 8:41
  Speaker 2: two pounds eighty for postage. And I got a huge
• 8:44
  Speaker 2: amount of these books because I was following. Oh, I
• 8:47
  Speaker 2: can't remember his name, Richard something one. It's greaty Hendrix's
• 8:50
  Speaker 2: mate who helped out with the covers of that book.
• 8:52
  Speaker 2: He had a blog called too Much Horror Fiction, and
• 8:55
  Speaker 2: I would just look at that and go, yep, buy
• 8:57
  Speaker 2: that for one pence on Amazon, and then that yeah,
• 9:01
  Speaker 2: now they're six seven hundred pounds bucks, you.
• 9:04
  Speaker 4: Know, I mean, they're definitely I was. I mean, you
• 9:08
  Speaker 4: could probably a test to it. I like that they're
• 9:09
  Speaker 4: just condensed reads. You can you can blaze thro them
• 9:13
  Speaker 4: in no time. And I don't know, it's just it
• 9:16
  Speaker 4: gives me a deeper appreciation for, you know, horror novels
• 9:19
  Speaker 4: that were coming out around that time, just because you know,
• 9:22
  Speaker 4: they definitely feel like I had something to say.
• 9:24
  Speaker 2: And that's something I've tried to pick up on with
• 9:26
  Speaker 2: my books as well. Is that sort of two hundred
• 9:28
  Speaker 2: page sweet spot two hundred and fifty pages with the
• 9:33
  Speaker 2: sort of advent of Stephen King with his success, I
• 9:35
  Speaker 2: think it seems like like all the horror authors at
• 9:38
  Speaker 2: the time, like James Harrobert, Sean, Hudson, Gray and Masterton,
• 9:41
  Speaker 2: who were doing two hundred page pulp novels, suddenly it
• 9:45
  Speaker 2: was like they had this pressure to create a four hundred,
• 9:47
  Speaker 2: five hundred page epic tome, and frankly, most times the
• 9:51
  Speaker 2: stories couldn't sustain it, because you know, there were perfect
• 9:54
  Speaker 2: pulp stories and I like to try and sort of
• 9:57
  Speaker 2: hark back to that when there's absolutely no fat on it.
• 10:00
  Speaker 2: You know, it is just go from from the first words,
• 10:05
  Speaker 2: you know, as little exposition as possible, as little sort
• 10:08
  Speaker 2: of pointless description and show off ee researchy type stuff.
• 10:11
  Speaker 2: It's just, you know, it's it's it's it's equivalent of
• 10:14
  Speaker 2: those books or like a you know, a sort of
• 10:18
  Speaker 2: classic trashy horror film.
• 10:20
  Speaker 4: But hopefully that's the best.
• 10:21
  Speaker 3: Yeah. Yeah, did you ever become a fan of like
• 10:24
  Speaker 3: the I forget who's putting them out? The cold case
• 10:26
  Speaker 3: crime books? I know, like Brian de Palma Hardcase Crime
• 10:30
  Speaker 3: or Hardcase Crime. That's what it was.
• 10:31
  Speaker 2: Yeah, oh yeah, I wish it's for the listeners who
• 10:35
  Speaker 2: can't see. I'm in my wife's sewing room at the
• 10:37
  Speaker 2: moment because my dog's going he's in the other room
• 10:40
  Speaker 2: and he's too annoying when recording. But I've got all
• 10:43
  Speaker 2: my books in there. I've got thousands of books and
• 10:46
  Speaker 2: Blu rays and DVDs and things I wish I could
• 10:48
  Speaker 2: show you, And I've got a really good collection the
• 10:49
  Speaker 2: Hardcase Crime. Absolutely loved those books. That's why I was
• 10:53
  Speaker 2: introduced to Charles Williams and Gil Brewer and things. And yeah,
• 10:59
  Speaker 2: they're they're phenomenal. And the cover, it's the cover art
• 11:02
  Speaker 2: the dream.
• 11:03
  Speaker 4: Yes, that's like, that's like, I swear there's something it's
• 11:07
  Speaker 4: like about like seventy five percent of the appeal. It's
• 11:10
  Speaker 4: just how captivating the covers are for some of these novels, Like,
• 11:13
  Speaker 4: I don't know, it's just something I feel like it's
• 11:16
  Speaker 4: kind of lost, Like you just don't get that as
• 11:17
  Speaker 4: much with with more like modern books, or for that matter.
• 11:21
  Speaker 2: You go into your supermarket and you look at the
• 11:23
  Speaker 2: selection of mainstream books that are out.
• 11:25
  Speaker 4: And.
• 11:27
  Speaker 2: They're just they're so uninspiring. It's a silhouette of a
• 11:30
  Speaker 2: man standing in front of some a foggy streets or
• 11:33
  Speaker 2: maybe a street at night, or maybe a foggy mountain
• 11:36
  Speaker 2: or a lake or something. It's like that, really, that's it.
• 11:38
  Speaker 2: That's the best you've got. It must tell you know.
• 11:42
  Speaker 2: I'm sure big publishers know their audience, but it to me,
• 11:45
  Speaker 2: it's just so incredibly uninspiring. And I couldn't choose a
• 11:48
  Speaker 2: book from that selections.
• 11:50
  Speaker 3: I feel like it's I feel like it's coming back though,
• 11:53
  Speaker 3: Like we you know, our Barnes and Nobles have a
• 11:55
  Speaker 3: horror section now and we still will browse via and
• 12:00
  Speaker 3: cover art and sometimes like more and more every time
• 12:03
  Speaker 3: we go. I'm like, we look at this, it's like
• 12:05
  Speaker 3: an actual original drawling or like an original design. I
• 12:09
  Speaker 3: feel like, in a way, it's coming back, hopefully.
• 12:11
  Speaker 2: I certainly hope so. Because it's for a while, it's
• 12:15
  Speaker 2: a lost art. It's like the movie poster, you know,
• 12:17
  Speaker 2: you get glimpses of it coming back. But I mean,
• 12:19
  Speaker 2: especially in horror, if you think of the late nineties
• 12:21
  Speaker 2: post Scream, that sort of slasher boom where every poster
• 12:25
  Speaker 2: was just the gallery of faces standing with the main
• 12:29
  Speaker 2: person at the front and a few people behind, you know,
• 12:31
  Speaker 2: and it's just like.
• 12:33
  Speaker 3: Yeah, I just read Clark Hollis's Screaming and Conjuring, which
• 12:38
  Speaker 3: was just released, and that covers pretty much horror from
• 12:42
  Speaker 3: Scream to the Conjuring, and he had a whole section
• 12:45
  Speaker 3: just talking about the floating heads, and every time he
• 12:47
  Speaker 3: brought back up the floating Heads, I'm like, oh, yeah,
• 12:49
  Speaker 3: what a time to be alive those days.
• 12:54
  Speaker 2: It gave us a couple of good films.
• 12:57
  Speaker 4: I swear, So, David, I have to ask, so, which
• 13:02
  Speaker 4: horror films do you feel like he had the biggest
• 13:04
  Speaker 4: impact on you growing up? And why do you feel
• 13:06
  Speaker 4: like that they stuck with you all these years later?
• 13:10
  Speaker 2: Oh? Goodness gracious, By the way, can I swear on this?
• 13:15
  Speaker 4: But oh yeah, yeah, yeah, that's fair to.
• 13:17
  Speaker 2: Keep saying goodness gracious, you're good?
• 13:20
  Speaker 4: Right?
• 13:20
  Speaker 2: Fucking Hell's that's so difficult. I remember like the first
• 13:27
  Speaker 2: I remember the first few ones I ever saw, you know,
• 13:30
  Speaker 2: like King Kong, the original Black and White, thirty is
• 13:32
  Speaker 2: one thing from another world again the original one. But
• 13:39
  Speaker 2: ones had like the biggest impact, you know what? It
• 13:41
  Speaker 2: was probably stuff like a Nightmare Elm Street four and
• 13:46
  Speaker 2: Friday thirteenth, Part six, Because when used to walk home
• 13:49
  Speaker 2: talking about, you know, from from church where were made
• 13:52
  Speaker 2: to go to church, And we used to walk home
• 13:54
  Speaker 2: talking about what horror films we would rent. And our
• 13:56
  Speaker 2: reasoning was our our video shop. They had say, three
• 14:01
  Speaker 2: nightmarew streets. I had two, three and four, so we thought, well,
• 14:06
  Speaker 2: the most modern one will be the scariest one moment. Yeah,
• 14:10
  Speaker 2: so we're in Street four and Friday Thirteenth Part six,
• 14:13
  Speaker 2: because they had six, five and three they were not
• 14:16
  Speaker 2: the scariest, but those were those early days. I mean,
• 14:20
  Speaker 2: the thing is like everything I saw in those first
• 14:23
  Speaker 2: like ten years, you know, discovering horror because everything was
• 14:29
  Speaker 2: new to you, absolutely every single thing. Like nowadays, you know,
• 14:33
  Speaker 2: I sift through film after film of kind of garbage,
• 14:39
  Speaker 2: you know, the garbage to okay, still searching for those.
• 14:43
  Speaker 2: Occasionally you'll come across something and be like, oh my god,
• 14:45
  Speaker 2: I've discovered a new masterpiece at last.
• 14:47
  Speaker 3: Agree then you know you.
• 14:49
  Speaker 2: Were saying, you know, in the space of like six months,
• 14:52
  Speaker 2: you'd see for the first time Day of the Dead,
• 14:54
  Speaker 2: One on the Dead, the Evil Dead, all the Dead
• 14:56
  Speaker 2: turn Living Day.
• 14:57
  Speaker 3: Yeah, there's the same here.
• 15:00
  Speaker 5: Yeah.
• 15:00
  Speaker 2: Yeah. It'd just be like like an endless series of
• 15:04
  Speaker 2: incredible films blowing your mind.
• 15:08
  Speaker 4: And I feel like we're almost chasing that high, right,
• 15:12
  Speaker 4: I think in a lot of ways, you know, for
• 15:14
  Speaker 4: those that grew up and you know, really discovering all
• 15:19
  Speaker 4: these horror films, whether they're more known ones or even
• 15:22
  Speaker 4: like hidden gems. I mean, I feel like we're constantly
• 15:25
  Speaker 4: always looking for that next fix. I think when it
• 15:28
  Speaker 4: comes to something special, or you know, catching it from
• 15:31
  Speaker 4: the ground up.
• 15:32
  Speaker 3: But I think I think we find it more often
• 15:34
  Speaker 3: than we think though, because like with especially being physical
• 15:38
  Speaker 3: media collectors, I think we're always being reintroduced to something
• 15:41
  Speaker 3: that's as far as year of release, you know. So
• 15:45
  Speaker 3: it's like, you know, when I sat down and rewatched
• 15:48
  Speaker 3: The Deadly Spawn on four K, I was like, man,
• 15:50
  Speaker 3: I love this movie, like like that that that that
• 15:53
  Speaker 3: itched it for me. Or like even recently when I
• 15:57
  Speaker 3: sat down and watch rumpel Stiltskin on four K from
• 15:59
  Speaker 3: Terror Vision, I had ever seen that, and I was like, fuck, man,
• 16:02
  Speaker 3: that's great, Like.
• 16:04
  Speaker 2: That's a film I've never seen. Was it?
• 16:07
  Speaker 4: Was it great?
• 16:08
  Speaker 3: Was it?
• 16:08
  Speaker 4: Yeah? I mean well yeah, okay, it's like a video
• 16:11
  Speaker 4: store staple. Like that's that's why I look at It's
• 16:14
  Speaker 4: like a video store horror. So just keep your expectations
• 16:17
  Speaker 4: and check it's.
• 16:18
  Speaker 2: Like the film is much worse than that.
• 16:21
  Speaker 3: Yeah, it depends on like the mood you're in. So
• 16:25
  Speaker 3: like last night last night, I threw on I've been
• 16:29
  Speaker 3: going through Severn's Cliff Temlo boxet. Oh, and I threw
• 16:33
  Speaker 3: on the Eye of Satan, which is one of his horror.
• 16:36
  Speaker 2: S O V.
• 16:37
  Speaker 3: Movies and you know, I get halfway through and I'm
• 16:39
  Speaker 3: just not in a mood for this, and then all
• 16:41
  Speaker 3: of a sudden it started. You know, well, I think
• 16:43
  Speaker 3: I think there was like I think like the main
• 16:45
  Speaker 3: actress was like naked, and I was like, oh, okay,
• 16:47
  Speaker 3: we go and then and then it just kept you
• 16:49
  Speaker 3: know what I mean. But you know, like it just
• 16:51
  Speaker 3: depends on what I think. The day that I throw
• 16:53
  Speaker 3: on Rumplestiltskin, I was off, it was like overcast. I
• 16:57
  Speaker 3: was like, I'm just gonna move for something fun. And
• 16:58
  Speaker 3: it just hit that itchway for me that day. And yeah,
• 17:02
  Speaker 3: you know that's what matters exactly.
• 17:04
  Speaker 2: No, absolutely, and that's why some things you'll watch a
• 17:06
  Speaker 2: film and not like it, and five years later you'll
• 17:09
  Speaker 2: go back and realize, oh, it was actually terrific. I
• 17:12
  Speaker 2: was probably in a mood or something.
• 17:14
  Speaker 3: Well you mentioned like so Nightmare in Arms three four
• 17:17
  Speaker 3: is one that I've come to love as the years
• 17:20
  Speaker 3: go on, because my wife loves Nightmare four. Nightmarre and
• 17:23
  Speaker 3: Arms three two has become one of my favorites, one
• 17:25
  Speaker 3: that I never used to like. And then Friday the
• 17:28
  Speaker 3: Thirteenth Part six has become my favorite movie. Yeah, I
• 17:33
  Speaker 3: Love Part six.
• 17:34
  Speaker 2: Yeah, No, it's it's fantastic. I think I think the
• 17:38
  Speaker 2: trick with that one is if I think people need
• 17:41
  Speaker 2: to realize going in that it's it's the creative team
• 17:44
  Speaker 2: behind what cry Baby and Hairspray, the John Waters films. Yeah,
• 17:48
  Speaker 2: with that, armed with that knowledge, you're like, I totally
• 17:51
  Speaker 2: get it. Yeah, I know. You know what if you
• 17:53
  Speaker 2: still hate it, fine, but yeah, I think it's it's
• 17:55
  Speaker 2: it's super high camp. It is really enjoyable. I'm really
• 18:00
  Speaker 2: excited about the four K box set coming because so
• 18:02
  Speaker 2: I can get to see it in three D for
• 18:03
  Speaker 2: the first time since VHS.
• 18:06
  Speaker 4: Yeah.
• 18:06
  Speaker 3: Yeah, and a lot of times too, like as we
• 18:09
  Speaker 3: you know, we're I know, Steve and I especially like
• 18:11
  Speaker 3: we're deep divers, like I watch I just watched Mario
• 18:14
  Speaker 3: Babas Kill Baby Kill four times to listen to all
• 18:17
  Speaker 3: the commentaries and stuff like so once. I I remember
• 18:20
  Speaker 3: seeing you know, Friday six and I was like, all right, cool,
• 18:23
  Speaker 3: I love this movie. And then and then I remember
• 18:27
  Speaker 3: like watching Tomic like sometimes they come back, and I
• 18:31
  Speaker 3: was like, oh, Tomicgughlin's got this thing, like he's got
• 18:33
  Speaker 3: you know, this style that's really cool. And then I'm
• 18:35
  Speaker 3: going back. And you know, so every time I would
• 18:37
  Speaker 3: watch something else, I would kind of like learn to
• 18:39
  Speaker 3: admire it in a different way. So yeah, it's fun, man,
• 18:43
  Speaker 3: I love rewatching stuff.
• 18:45
  Speaker 2: Can you think that I think separates horror fans in
• 18:48
  Speaker 2: particular from a lot of other genre fans, where we
• 18:52
  Speaker 2: find different things to enjoy in them. So even if
• 18:56
  Speaker 2: the story's lacking, or if the acting is perhaps not
• 18:59
  Speaker 2: so good, you know, for me, if you have if
• 19:01
  Speaker 2: you hit a few key beats in your film, say
• 19:03
  Speaker 2: maybe it's it's raining the whole time, maybe you're in
• 19:07
  Speaker 2: a in a forest or in the mountains, there's a
• 19:10
  Speaker 2: synth soundtrack, you know, those few things there, and I
• 19:14
  Speaker 2: will watch and enjoy a film. A good example be
• 19:17
  Speaker 2: something like don't go in the woods or don't go alone,
• 19:21
  Speaker 2: you know, which by all sort of critical measures is
• 19:24
  Speaker 2: a disaster. But there's this weird alchemy when that little
• 19:29
  Speaker 2: weird burbling synth music happens and you see these beautiful
• 19:33
  Speaker 2: mountains and then someone rolls up to the top of
• 19:37
  Speaker 2: a mountain in a wheelchair gets the head cut off,
• 19:38
  Speaker 2: and it's like this is nuts, and and it's it's
• 19:42
  Speaker 2: you know, it doesn't have to you know, be expensive
• 19:47
  Speaker 2: or professional. There's just these certain little things that that
• 19:53
  Speaker 2: can make a film really good. I'm always amazing the
• 19:55
  Speaker 2: amount of people that are, like you know, on Letterbox
• 19:57
  Speaker 2: or something, that are one starring and half starring and stuff.
• 20:00
  Speaker 2: It's like, are you really saying that there's nothing in
• 20:04
  Speaker 2: films that?
• 20:05
  Speaker 4: It's pretty harsh when you when you start giving you know,
• 20:07
  Speaker 4: ratings like that. I don't There's not too many movies
• 20:09
  Speaker 4: I could think of, even the ones I just don't
• 20:11
  Speaker 4: come back to. I don't know if I could really
• 20:13
  Speaker 4: go that low on something. I mean, that's.
• 20:16
  Speaker 2: Yeah, it'd have to be like offensively awful for that.
• 20:20
  Speaker 2: I rarely go less than two stars. But yeah, like everything,
• 20:23
  Speaker 2: you know, almost everything has something good about it something.
• 20:27
  Speaker 3: That's why I don't rate on Letterbox anymore. A couple
• 20:30
  Speaker 3: of years ago, I was like, I'm gonna stop putting stars,
• 20:33
  Speaker 3: like assigning stars to this stuff, because I got to
• 20:37
  Speaker 3: a point where it was like I'm watching a movie
• 20:40
  Speaker 3: and in my head I'm like, I'm like, oh, this
• 20:43
  Speaker 3: is like a three star movie to me, and then
• 20:44
  Speaker 3: something happens like that's a three I got in gave
• 20:46
  Speaker 3: this weird headspace with it. And then it's like sometimes
• 20:50
  Speaker 3: I'll watch something now that I had watched back when
• 20:53
  Speaker 3: I was giving star ratings, and I'll be like, why
• 20:55
  Speaker 3: did I give this A two four years ago?
• 20:58
  Speaker 4: You reassess it now?
• 21:00
  Speaker 3: Yeah, Yeah, and it just kind of like lets me like,
• 21:02
  Speaker 3: all right, let me just I'll click the little heart
• 21:04
  Speaker 3: button if I really love it.
• 21:06
  Speaker 2: Yeah, that's probably a really good way to do it.
• 21:08
  Speaker 3: Yeah, it was healthier for me. You know, like for example,
• 21:11
  Speaker 3: you were talking about, you know, don't go into woods
• 21:12
  Speaker 3: alone when we did the Summer Slasher episode when you
• 21:17
  Speaker 3: were saying that remind me of like mad Man. Yeah,
• 21:19
  Speaker 3: you know, like mad Man is bad shit, ridiculous, you
• 21:22
  Speaker 3: got you got you know, what's your name? From Dawn
• 21:24
  Speaker 3: the Dead and it you know, it's so low budget,
• 21:28
  Speaker 3: but like there's just just Kalen. Yeah, yeah, you know
• 21:31
  Speaker 3: that I love so much, you know.
• 21:33
  Speaker 2: And it opened, I mean that film immediately it pretty
• 21:36
  Speaker 2: I think it opens with a murder and then there's
• 21:38
  Speaker 2: the opening credits, which I want to say, it's sitting
• 21:42
  Speaker 2: there in a campfire and they sing an entire song
• 21:44
  Speaker 2: like that is how you do an expository backstory. Sing
• 21:48
  Speaker 2: it at me, Like if there's if the cast of
• 21:50
  Speaker 2: any film breaking the song at any point, I'm pretty
• 21:53
  Speaker 2: much in it's the film is yours to lose from
• 21:56
  Speaker 2: that point on.
• 21:57
  Speaker 4: You know, when we were we were doing that episode, I
• 22:00
  Speaker 4: was just saying, how I feel like it's just something
• 22:02
  Speaker 4: that's so lost in more modern horror movies, is that
• 22:05
  Speaker 4: you don't get that campfire sequence, right. You had that
• 22:08
  Speaker 4: in The Burning, you had that in Friday the Thirteenth,
• 22:10
  Speaker 4: you had it mad Man, And there's something about it
• 22:13
  Speaker 4: that I feel like is just so atmospheric, Like they're
• 22:16
  Speaker 4: all huddled around the campfire telling the tale about mad
• 22:18
  Speaker 4: Man Mars. And I don't know, it's just you don't
• 22:21
  Speaker 4: You obviously don't really get that as much nowadays, you know,
• 22:24
  Speaker 4: in films, But yeah, there's just something that's so effective
• 22:28
  Speaker 4: about that movie. And to see it in four K,
• 22:30
  Speaker 4: it's just, you know, not that that makes or breaks
• 22:32
  Speaker 4: the experience, but it's just these releases get the love
• 22:35
  Speaker 4: that they deserve finally.
• 22:37
  Speaker 3: And it's as simple too, as like the old man
• 22:41
  Speaker 3: telling the story is the one who awakens mad Man Mars,
• 22:45
  Speaker 3: you know what I mean, Like because he just says
• 22:46
  Speaker 3: it a little too loud. Yeah, And like, that's all
• 22:48
  Speaker 3: the plot you need. And then from there on it's
• 22:51
  Speaker 3: very simple. He's hunting everybody down one by one. There's
• 22:54
  Speaker 3: no trauma subplot, there's no connection.
• 22:58
  Speaker 4: No, we don't need it. We don't really need too
• 23:00
  Speaker 4: much of a backstory.
• 23:01
  Speaker 3: That's all you need, and it's it's great. I don't
• 23:04
  Speaker 3: need anything more than that, or like it's like in
• 23:05
  Speaker 3: a violent nature, you know, in a violent nature. Was Hey,
• 23:09
  Speaker 3: here's the start of the movie. You don't even see
• 23:12
  Speaker 3: the teenagers. You hear them talk, they take the necklace,
• 23:16
  Speaker 3: he climbs out, and then that's it. There's your whole plots.
• 23:20
  Speaker 3: He just runts them down. Like it's so effective. Man,
• 23:23
  Speaker 3: we don't need anything more than that.
• 23:26
  Speaker 2: It's primal. It's yeah, who hasn't sat around the campfire
• 23:29
  Speaker 2: and stuff, and you know, I'm told skinny stories. I know,
• 23:32
  Speaker 2: maybe maybe young people nowadays don't do that, but you know.
• 23:36
  Speaker 3: Yeah, yeah, speaking of primal, I'm pulling up your how
• 23:41
  Speaker 3: long ago did you do this video? Nasty's ranking on
• 23:44
  Speaker 3: your letter box?
• 23:45
  Speaker 2: Oh god, no, I mean I put it on there
• 23:47
  Speaker 2: box in twenty nineteen, I think, but I probably have
• 23:51
  Speaker 2: ranked in twenty nineteen, So I mean I couldn't. I
• 23:54
  Speaker 2: could probably guess at my top five, but.
• 23:57
  Speaker 3: I oh wait, let's I'm gonna put on the spot man, try.
• 24:01
  Speaker 2: To get big mokes. I'm gonna I'm gonna, I'm not
• 24:08
  Speaker 2: gonna do it in order, but I'm gonna see Evil
• 24:10
  Speaker 2: deads in there. Yeah, that's first last test on the left.
• 24:13
  Speaker 2: No fuck Tanna Pree.
• 24:17
  Speaker 3: Uh yeah, that's fourth.
• 24:20
  Speaker 2: Um oh man, Sispellio wasn't no no, no, no infernal
• 24:29
  Speaker 2: then surely.
• 24:30
  Speaker 3: Uh, just outside of your top five under six, So
• 24:34
  Speaker 3: you're you had Evil Dead, the Beyond, kind of the Holocaust,
• 24:38
  Speaker 3: uh Tanne Bray, and then Zombie Lucia Zombie Yeah.
• 24:42
  Speaker 2: Yeah, essential yeah yeah yeah that's oh my god, you
• 24:47
  Speaker 2: had my favorite album. Yeah yeah yeah, yea yeah.
• 24:49
  Speaker 3: Holocaust is one of my favorite movies of all time.
• 24:51
  Speaker 3: So I admire your ranking of that.
• 24:54
  Speaker 2: Yeah. I mean, that's an absolutely unbelievable film. It's the
• 24:57
  Speaker 2: sort of film that it's like, oh, it's a masterpiece.
• 24:59
  Speaker 2: I would recommend to nobody at all, you know.
• 25:01
  Speaker 4: Yeah, gotta be very selective about who you're who you're
• 25:05
  Speaker 4: like actually suggesting that too.
• 25:07
  Speaker 2: Yeah yeah yeah, and the four K. I don't know,
• 25:10
  Speaker 2: you've got the eighty eight films four Kye unbelievable looking
• 25:15
  Speaker 2: like it's so beautifully shot.
• 25:17
  Speaker 3: Yeah yeah, there's opening like helicopter shots over the forrest
• 25:22
  Speaker 3: and you know, over the score. It's it's beautiful.
• 25:24
  Speaker 2: Man.
• 25:25
  Speaker 3: That movie's like people automatically always talk that movie off.
• 25:28
  Speaker 3: Like when I talk to people and I'm like, we
• 25:30
  Speaker 3: talk to people in horror and I'm like, yeah, kind
• 25:31
  Speaker 3: of a holocaust my favorite movie of all time, They're like,
• 25:34
  Speaker 3: what do he was wrong with you? I'm like, wrong
• 25:36
  Speaker 3: with you? Man.
• 25:37
  Speaker 2: It's it sets out to shock, unsettle, and disturb, and
• 25:41
  Speaker 2: it does that, but it doesn't in a clever way.
• 25:43
  Speaker 2: It's not just doing it like a I don't know,
• 25:46
  Speaker 2: like a murder set pieces type thing or something August Underground.
• 25:50
  Speaker 2: You know, it's like it's it's actually like a great
• 25:53
  Speaker 2: film with something to say. Yeah, yeah, yeah. The annual
• 25:57
  Speaker 2: violence is horrible. It's awful. It is. You know, the
• 26:03
  Speaker 2: film is still an incredible master in fact. You know what,
• 26:06
  Speaker 2: when you're asking what films really affected me at a
• 26:08
  Speaker 2: young age, I saw that film way too young. I
• 26:10
  Speaker 2: was probably about twelve about a bootleg v chase that
• 26:13
  Speaker 2: sent off for in the back of a magazine. I
• 26:15
  Speaker 2: watched that in my grand's house after she'd gone to bed,
• 26:18
  Speaker 2: and I was shaken after that, like that film wrecked me.
• 26:22
  Speaker 3: Yeah, that movie left me queasy. I remember I watched it.
• 26:27
  Speaker 3: I think I downloaded it was like a LimeWire download.
• 26:30
  Speaker 3: It was like some sketchy way that I got it
• 26:33
  Speaker 3: and uh or maybe like a pirate bay. It was,
• 26:35
  Speaker 3: you know, the surefire way to get a virus on
• 26:37
  Speaker 3: your laptop.
• 26:38
  Speaker 2: For sure.
• 26:40
  Speaker 3: I ruined my my family computer.
• 26:42
  Speaker 4: Yeah.
• 26:43
  Speaker 2: Yeah, we all think that was like wuk.
• 26:47
  Speaker 3: And at that time, you know, I didn't found like
• 26:51
  Speaker 3: that was probably early two thousands, so at that time,
• 26:56
  Speaker 3: like I thought, what I thought half of what I
• 26:59
  Speaker 3: saw was real, you know what I mean? Like I
• 27:01
  Speaker 3: was like, man, I just watched a group people get murdered,
• 27:04
  Speaker 3: Like they just murdered all these all these indigenous people.
• 27:07
  Speaker 3: Like what is happening in this movie is terrifying.
• 27:10
  Speaker 4: Who's the monster?
• 27:12
  Speaker 2: I wonder who the real count?
• 27:13
  Speaker 4: I know, I swear.
• 27:16
  Speaker 2: Well.
• 27:16
  Speaker 3: My wife, My wife sent me a text last night
• 27:19
  Speaker 3: and she was making a list of found footage horror
• 27:22
  Speaker 3: movies for her friend to watch, and I sent her
• 27:24
  Speaker 3: a couple and I felt like I was crossing the
• 27:26
  Speaker 3: line a little bit Epickeepsie tapes. But then I was like,
• 27:30
  Speaker 3: should I add Accounibal Holocaust?
• 27:34
  Speaker 4: Got to work your way up to that.
• 27:35
  Speaker 2: I feel like, yeah, yeah, yeah, yeah, yeah, that would
• 27:40
  Speaker 2: be an unpleasant surprise or someone.
• 27:43
  Speaker 3: Oh geez, man, if does the eighty eight films four
• 27:46
  Speaker 3: K I still have the Grindhouse Blu Ray? Does that
• 27:48
  Speaker 3: have the Pita cut on it?
• 27:51
  Speaker 2: A film as well? In the UK they've cut the
• 27:54
  Speaker 2: I think the muskrat being stabbed in the pig being shot,
• 27:58
  Speaker 2: but the turtles scene is still in it, so they
• 28:02
  Speaker 2: we we don't have the uncut version, which, to be honest,
• 28:05
  Speaker 2: I'm fine with. I do think the charts seems really
• 28:09
  Speaker 2: important to the film, so I'm glad that's in there.
• 28:11
  Speaker 2: But the other two whatever, But yeah, we don't have
• 28:14
  Speaker 2: an uncut one, but we don't have the one that's
• 28:16
  Speaker 2: I don't think doesn't have the I don't think it does.
• 28:20
  Speaker 2: I could be wrong.
• 28:21
  Speaker 3: I think the Peter cut was a Grindhouse thing. I
• 28:23
  Speaker 3: think like, yeah, I you know, it's interesting man, because
• 28:27
  Speaker 3: like I I, I don't love Cannibal Pharaoh. I don't
• 28:32
  Speaker 3: know where you a fan of that one.
• 28:34
  Speaker 2: No, it's a shite.
• 28:35
  Speaker 3: Yeah, I cannot. It's like like I remember watching it
• 28:39
  Speaker 3: back to back with Cannibal Holocaust and I was like, man,
• 28:41
  Speaker 3: it just feels so inherently like more evil, Like it
• 28:45
  Speaker 3: feels like, you know.
• 28:48
  Speaker 2: Yeah, like I think all of the ones other than
• 28:50
  Speaker 2: it's the Cannibal hot Cost is the one where and
• 28:52
  Speaker 2: I'm not saying they justify morally the animal violence, but
• 28:56
  Speaker 2: thematically Stoly justifies it. You can argue whether that's right
• 29:00
  Speaker 2: or wrong. But the all the other ones, mounting the
• 29:04
  Speaker 2: Cannibal God eating alive, Deep River savages and stuff, they
• 29:08
  Speaker 2: are using the animal violence for titulation, and that's disgusting
• 29:11
  Speaker 2: and that that really really. I mean, some of these
• 29:13
  Speaker 2: films are okay, they're they're they've got their moments and stuff,
• 29:16
  Speaker 2: but when they're just using it for like Cannibal God's
• 29:20
  Speaker 2: the worst where it's like they have this quite kind
• 29:23
  Speaker 2: of exciting escape from the from the cave towards the end,
• 29:27
  Speaker 2: and then it just cuts away to like a snake
• 29:29
  Speaker 2: eating an eagle or something.
• 29:30
  Speaker 3: For three and it goes back, why did.
• 29:33
  Speaker 2: You just kill all this sort of excitement and suspension
• 29:36
  Speaker 2: built up with this bullshit? Yeah, they annoyed me. Funnily enough,
• 29:41
  Speaker 2: it was because of my dislike of those sort of
• 29:45
  Speaker 2: films that spawned my book The Forgotten Island, because I like,
• 29:53
  Speaker 2: I've seen cannibal holcofs and thought, right, cannibal stories can
• 29:55
  Speaker 2: be unbelievably scary and sturving and messed up. And I
• 29:59
  Speaker 2: looked at all those other and says, well, why aren't
• 30:01
  Speaker 2: they Why is it so difficult to make a story
• 30:04
  Speaker 2: that's that's good and scary and messed up When you're
• 30:07
  Speaker 2: you're in the jungle where you know, the jungle wants
• 30:09
  Speaker 2: to kill you. Everything in the jungle wants to kill you.
• 30:12
  Speaker 2: These cannibal people want to kill you. Everything in the
• 30:14
  Speaker 2: jungle wants to kill you. Why is it so hard
• 30:15
  Speaker 2: to do a good story?
• 30:17
  Speaker 4: You know?
• 30:17
  Speaker 2: And you look like eating alive and cannibal I see
• 30:20
  Speaker 2: cannibal fednox. I have no idea how the pronunciation, but
• 30:24
  Speaker 2: you know, I genuinely like, I thought, I'm going to
• 30:27
  Speaker 2: try and do a cannibal story that is actually, you know,
• 30:31
  Speaker 2: kind of scary or scary that those films were sorely lacking.
• 30:37
  Speaker 2: I then went absolutely insane and through in cosmic horrors
• 30:41
  Speaker 2: and giant monsters, and stuff.
• 30:43
  Speaker 4: Listen, that's right up my alley. So I have a
• 30:45
  Speaker 4: deeper appreciation for that, the love crafty and influence I
• 30:49
  Speaker 4: feel like on it.
• 30:50
  Speaker 3: Adams Seester did the same thing. He wrote a book Tradesman, Yeah, Tribesmen. Yeah,
• 30:56
  Speaker 3: that was very much like Cannibal hall Accre or like
• 30:58
  Speaker 3: a you know, Island harg It's byed By And I
• 31:01
  Speaker 3: like that one a lot too.
• 31:02
  Speaker 2: Yeah, that was a I think I've read to his
• 31:04
  Speaker 2: and that was I absolutely loved that one. Yeah, yeah, yeah.
• 31:08
  Speaker 4: So I know obviously kind of we were talking about
• 31:11
  Speaker 4: your letterbox and you obviously show a lot of love
• 31:15
  Speaker 4: for Giallow films and eighties slashers. What specifically drew you
• 31:20
  Speaker 4: to those sub genres?
• 31:25
  Speaker 2: So there was two things that sort of alerted me
• 31:27
  Speaker 2: to their existence, to be honest. There was a book
• 31:32
  Speaker 2: I got in ninety four called Terror on Tape by
• 31:36
  Speaker 2: James O'Neill. It's probably pretty dated now, but it was
• 31:40
  Speaker 2: a review guide to two thousand horror films on American video,
• 31:44
  Speaker 2: and that was when I first sort of learned about
• 31:46
  Speaker 2: Daddy Argento and Sergio Martino and things. And then there
• 31:50
  Speaker 2: was a UK horror magazine called the Dark Side that
• 31:53
  Speaker 2: had a guy writing for it. I had to cut
• 31:55
  Speaker 2: Jay Slater, John Martin and things who we're really really
• 31:59
  Speaker 2: into it in cinema, And so they had like a
• 32:01
  Speaker 2: Jallo special at one point, I think ninety five ninety
• 32:04
  Speaker 2: six or something that the whole issue was dedicated to
• 32:07
  Speaker 2: Jallo to Jelly, And the first one I saw it
• 32:11
  Speaker 2: was just by happenstance.
• 32:12
  Speaker 4: Really.
• 32:13
  Speaker 2: I was in our we sort of secondhand CD record
• 32:16
  Speaker 2: video shop and had an old extra rental copy off
• 32:20
  Speaker 2: Bird of the Crystal Plumage with the worst cover you've
• 32:22
  Speaker 2: ever seen. It's like a pair of breasts that morph
• 32:26
  Speaker 2: into a pair of legs, or it might be a
• 32:28
  Speaker 2: like a butt. It's it's actually, yeah, incomprehensible, it's the worst. Yeah,
• 32:37
  Speaker 2: it's it's the worst cover you've ever seen. But I
• 32:39
  Speaker 2: bought that and took it home and it was, you know, horrible.
• 32:42
  Speaker 2: It was an early eighties video transfer. It was complete
• 32:47
  Speaker 2: as if Victorious Stado shot that. I think this photographer
• 32:51
  Speaker 2: was it basically his beautiful compositions were. It was one
• 32:56
  Speaker 2: of those ones where instead of you know, it wasn't
• 32:58
  Speaker 2: the pan and scan, they just cut sides off the
• 33:00
  Speaker 2: screen so you were looking at the middle of the
• 33:03
  Speaker 2: beautiful letterbox frame and there was conversations where you couldn't
• 33:06
  Speaker 2: see either person. It was hideous, but absolutely loved the film.
• 33:11
  Speaker 2: The film transcended this dreadful transfer and that you know,
• 33:18
  Speaker 2: after that, started to seek out more because there was
• 33:20
  Speaker 2: something about these these Italian horror films that you know,
• 33:25
  Speaker 2: at the time, I'd seen British and American horror films
• 33:27
  Speaker 2: and that was it. You know, we're talking in the nineties.
• 33:29
  Speaker 2: I was thirteen, fourteen or something, and I think that
• 33:33
  Speaker 2: I think, like Dannie Rogenna's films would have been my
• 33:35
  Speaker 2: first exposure to a whole different style of horror cinema,
• 33:40
  Speaker 2: one that was much more bright and colorful and sexy
• 33:45
  Speaker 2: and had this music that was so incongruous sounding that's
• 33:48
  Speaker 2: so incredibly awesome, you know, and there was more violence,
• 33:55
  Speaker 2: and there was just there was something about it just
• 33:58
  Speaker 2: felt so different that really appealed to me and still
• 34:01
  Speaker 2: massively appeals to me. There's something about Italian horror that
• 34:05
  Speaker 2: they just they just went for it in a way
• 34:07
  Speaker 2: that no other country really did. I mean, you saw
• 34:11
  Speaker 2: you see all the One thing I'm not a huge
• 34:13
  Speaker 2: fan of is the Spanish Jelly, the Spanish jallow copies,
• 34:18
  Speaker 2: because it just it almost feels like a pale sort
• 34:21
  Speaker 2: of facsimile of it, like a slightly more muted more
• 34:25
  Speaker 2: you know, everything's brown in the in the rooms instead
• 34:28
  Speaker 2: of these incredible neons and yellows and pinks and stuff.
• 34:32
  Speaker 2: And yeah, there's something about the Jallo that just I
• 34:37
  Speaker 2: absolutely love you guys fans.
• 34:43
  Speaker 3: What's the one we were talking about. I'd have forgotten Jelly,
• 34:45
  Speaker 3: the Spanish one and I one.
• 34:50
  Speaker 2: It was first the first box it had three Spanish ones.
• 34:55
  Speaker 3: I think it was like The Girl and Apartment nine AARs,
• 34:58
  Speaker 3: all right, I forget which one it was, but there
• 34:59
  Speaker 3: was it was like this this this writer had stopped
• 35:04
  Speaker 3: this like at this like very small hotel, and somebody
• 35:09
  Speaker 3: starts killing people in the small hotel. He's staying in.
• 35:13
  Speaker 2: Oh yeah, yeah, yeah, yeah yeah. It's Antonio Mayans from
• 35:16
  Speaker 2: all Thees Franco films has plays the guy, isn't he
• 35:19
  Speaker 2: Let's see.
• 35:20
  Speaker 3: But anyway, I remember thinking like I was like, Okay,
• 35:24
  Speaker 3: I appreciate this. I was like, but it's definitely not
• 35:26
  Speaker 3: as colorful. And the other thing was like everybody got
• 35:30
  Speaker 3: naked in that movie for no reason, like literally everybody
• 35:34
  Speaker 3: just for zero you would you would go from like
• 35:37
  Speaker 3: developing plot and then like all of a sudden, it
• 35:39
  Speaker 3: be like, all right here here she is naked, and
• 35:41
  Speaker 3: then we go back to developing plot.
• 35:43
  Speaker 2: And I was like, what is what is again another
• 35:46
  Speaker 2: big influence on my books? Everyone is naked?
• 35:51
  Speaker 3: You know, I mean, I mean, I'm okay, but like,
• 35:53
  Speaker 3: you know, it's like it's like when I don't know,
• 35:56
  Speaker 3: it's it's like it's like you get it, you know,
• 36:00
  Speaker 3: I mean you get that that's a shallow thing, right,
• 36:02
  Speaker 3: Like shallows do have a little bit of like a
• 36:05
  Speaker 3: a very heavy you know, sexual element to them. But
• 36:07
  Speaker 3: you could tell when somebody's trying to copy that without
• 36:09
  Speaker 3: understanding the use of it. Yeah you know what I mean,
• 36:12
  Speaker 3: they're just straight up copying it and you're like, okay, yeah,
• 36:15
  Speaker 3: that's that's not working like you thought.
• 36:17
  Speaker 4: But now it was for as far as Dario Argenta
• 36:21
  Speaker 4: was Bird with a Crystal Plumage the first film that
• 36:23
  Speaker 4: you were exposed to by him then.
• 36:25
  Speaker 2: Or yeah it was that and then Suspiria, so a
• 36:28
  Speaker 2: pretty good one two punch, you know.
• 36:31
  Speaker 3: Yeah, but to start with wow, yeah.
• 36:34
  Speaker 2: Yeah, Well the thing is, you know, could they couldn't
• 36:36
  Speaker 2: have been Four Flies because that wasn't available in the
• 36:38
  Speaker 2: UK until the early two mid two thousands or something
• 36:43
  Speaker 2: like that. Canning Tales didn't get released until I probably
• 36:48
  Speaker 2: was out in an old, an old pre start copy
• 36:50
  Speaker 2: or something. But there wasn't a lot to choose from.
• 36:52
  Speaker 2: We didn't have many of them. Tenebrate the time was
• 36:56
  Speaker 2: still banned as being a video nasty and stuff.
• 37:00
  Speaker 3: So well with the crystal plumage spoiler. Did you suspect
• 37:05
  Speaker 3: that the killer was a was a female?
• 37:07
  Speaker 2: Absolutely no, No, I am utterly useless and guessing the killers.
• 37:11
  Speaker 2: Not only that, I forget the moment it happens. So
• 37:14
  Speaker 2: every time I sit there to watch Yellow, I'm like,
• 37:17
  Speaker 2: I've seen this five times? Who's the killer?
• 37:19
  Speaker 4: Again?
• 37:20
  Speaker 2: To your killer is the worst for that. I must
• 37:22
  Speaker 2: have seen that film ten times and I still I
• 37:24
  Speaker 2: could not tell you with a gun to my head
• 37:25
  Speaker 2: who the killer is in that movie, partly because the
• 37:28
  Speaker 2: reveal who is and every time I'm like, who the
• 37:30
  Speaker 2: fuck is that?
• 37:32
  Speaker 4: I swear it's hard to keep all of them straight
• 37:34
  Speaker 4: because I mean, you see so many of them, and
• 37:37
  Speaker 4: I believe you're a big fan of the forgotten Jallity
• 37:39
  Speaker 4: Box sets right.
• 37:40
  Speaker 2: Oh yeah, yeah, I got that.
• 37:41
  Speaker 4: Okay. Yeah, So like after, you know, Chris and I
• 37:44
  Speaker 4: always talk about this. You go through all these and
• 37:47
  Speaker 4: after a while, it all starts to kind of blur together.
• 37:50
  Speaker 4: It's like I almost need a refresher before I'm like
• 37:52
  Speaker 4: going back and rewatching. I'm like, which one is this
• 37:54
  Speaker 4: one again?
• 37:55
  Speaker 3: I felt that way with Case of the Bloody Iris.
• 37:57
  Speaker 3: When the reveal happens a Case of the Bloody Iris,
• 37:59
  Speaker 3: I was like, it's the fucking name. It's the name.
• 38:01
  Speaker 4: Yeah, it's such a good movie.
• 38:04
  Speaker 2: Yeah, that's the thing that has if I remember correctly,
• 38:06
  Speaker 2: that that gets me every time because I'm always like
• 38:09
  Speaker 2: why I know exactly who it is, and it's always
• 38:12
  Speaker 2: pulls the woo out from under me and pulls the
• 38:15
  Speaker 2: rugut from under me. It's that. That's one of my
• 38:17
  Speaker 2: favorite mysteries in the gene. I think they do a
• 38:19
  Speaker 2: really good job of actually doing. I love as well
• 38:23
  Speaker 2: that the reasons for for the kills as well. Have
• 38:26
  Speaker 2: you seen totally gonna spoil a couple of films here,
• 38:31
  Speaker 2: The Lamberto Babble, One Blade in the Dark. Have you
• 38:34
  Speaker 2: seen that?
• 38:34
  Speaker 6: Oh?
• 38:34
  Speaker 4: Yeah, of course?
• 38:35
  Speaker 2: And if I remember correctly, the the the killer. I
• 38:38
  Speaker 2: won't say who it is, but they developed a feed
• 38:40
  Speaker 2: of tennis balls bouncing in the night for them to kill.
• 38:45
  Speaker 3: You know, it doesn't blame a dark takes place in
• 38:48
  Speaker 3: a facility, right, Isn't there like a.
• 38:50
  Speaker 2: It's just like a sort of like a really ugly
• 38:54
  Speaker 2: building next to a swimming pool. It's kind of I
• 38:56
  Speaker 2: think it's it's going for the sort of tenebrace style
• 38:58
  Speaker 2: ultra modern apartment. It's a kind of yeah, that's I've
• 39:05
  Speaker 2: only ever seen the two hour version of that, but
• 39:07
  Speaker 2: I see there's like a ninety five minute cart or
• 39:09
  Speaker 2: something on the on the four K, so I think
• 39:11
  Speaker 2: that will improve it. It's a film I really enjoy,
• 39:13
  Speaker 2: but I do think it's really long for mostly a
• 39:17
  Speaker 2: man walking through corridors for two hours.
• 39:20
  Speaker 3: Well, that's what's funny now looking at Burber Crystal Plumage,
• 39:22
  Speaker 3: how they he shows you to kill her right away,
• 39:24
  Speaker 3: like she's ready at the beginning of the movie. You
• 39:26
  Speaker 3: know what I mean? That that feels much more. That
• 39:29
  Speaker 3: kind of feels like Argento playing it safe at the start,
• 39:32
  Speaker 3: and then from there it just started turning into these
• 39:36
  Speaker 3: crazy you know, like this guy. I've never seen this
• 39:39
  Speaker 3: guy before. And all of a sudden he's the killer.
• 39:41
  Speaker 3: You're like, whatever, we'll just let this go.
• 39:43
  Speaker 2: Yeah, it's amazing a hiding the killer in plain sight.
• 39:46
  Speaker 2: I mean the best one is surely Deep Red, But
• 39:50
  Speaker 2: I think the trauma as well as up and down
• 39:54
  Speaker 2: as that film can be the fact that you think
• 39:57
  Speaker 2: you're seeing something and you're seeing something completely different and
• 39:59
  Speaker 2: if i'm it's not really it's kind of cheated a
• 40:02
  Speaker 2: little bit, you know when you see it in the flashback,
• 40:05
  Speaker 2: but like it works, and I love that because it
• 40:10
  Speaker 2: immediately like, well, like, can't be that person. They're dead,
• 40:12
  Speaker 2: and then it turns out it was them.
• 40:14
  Speaker 4: That movie is like bad shit crazy, Like that's the
• 40:16
  Speaker 4: one of our gentle's films. I just definitely don't think
• 40:20
  Speaker 4: gets talked about enough because I feel like for most
• 40:22
  Speaker 4: people it's like they're cut off as like what Chris
• 40:24
  Speaker 4: would you say? Like probably like Opera is like the
• 40:27
  Speaker 4: last film that most people keeping the conversation. But I
• 40:31
  Speaker 4: don't know. I love Trauma.
• 40:32
  Speaker 3: I mean, I love I love the twist and Four
• 40:34
  Speaker 3: Flies of Gray Velvet. That's my favorite reveal.
• 40:37
  Speaker 2: Yeah, it's my favorite killer death as well. That's so
• 40:41
  Speaker 2: beautiful the way that plays out. However, I need to
• 40:44
  Speaker 2: jump back. I would say I love Urgentle right up
• 40:46
  Speaker 2: until Jallo. Right, So I think that's an underrated film,
• 40:53
  Speaker 2: and I think phantomly Opera is also fantastic.
• 40:58
  Speaker 3: Yes it is, thank you great. Yeah, performance is great,
• 41:02
  Speaker 3: Like it's it's so honestly, there's like a lot of
• 41:05
  Speaker 3: like I get the same scale out of it out
• 41:08
  Speaker 3: of kind of like opera, you know what I mean,
• 41:10
  Speaker 3: like if.
• 41:10
  Speaker 2: It still had money to play with at that time.
• 41:13
  Speaker 3: Yeah, yeah, I mean it's definitely much better than what
• 41:15
  Speaker 3: he was doing with like Dracula three D or card Player,
• 41:18
  Speaker 3: you know what I mean. Like it was kind of
• 41:19
  Speaker 3: like right on that cuss. But yea, yeah, I like
• 41:22
  Speaker 3: Phantom of the Opera.
• 41:23
  Speaker 2: There's someone by the way, I watched them the Doucus
• 41:26
  Speaker 2: three D. Yeah, it's it's it's genuinely dreadful. But someone
• 41:31
  Speaker 2: suggested as a Brazilian director, really cool guy Matteos Marquetti
• 41:36
  Speaker 2: suggested to me that I watched that film in black
• 41:38
  Speaker 2: and white.
• 41:39
  Speaker 3: Now you know how ugly it is with.
• 41:41
  Speaker 2: Those hideous like cheap lighting being blasted onto their faces
• 41:45
  Speaker 2: crappy little digital cameras. If you watch it in black
• 41:47
  Speaker 2: and white. It looks stunning, like to the point where
• 41:50
  Speaker 2: I genuinely don't believe it was ever meant to be
• 41:52
  Speaker 2: seen in anything other than black and white. Like suddenly
• 41:55
  Speaker 2: it takes on this really beautiful high contrast cinematography. The
• 41:59
  Speaker 2: film still dreadful, it's still dreadful, but it looks really good.
• 42:04
  Speaker 2: I just put it on VLC and desaturated that you know,
• 42:07
  Speaker 2: it's the best thing to do, but genuinely improved the
• 42:11
  Speaker 2: experience massively interesting recommend for anyone who you know something
• 42:16
  Speaker 2: like I've watched Minus one. They released that in black
• 42:19
  Speaker 2: and white and stuff, and it didn't really make any
• 42:21
  Speaker 2: difference to me. It was like, yeah, it's Goodzilla black
• 42:23
  Speaker 2: and white, but this genuinely improved it. This and the
• 42:26
  Speaker 2: Van dam film Cyborg, and the two films have seen
• 42:29
  Speaker 2: improved in black and white.
• 42:31
  Speaker 3: Yeah, I like the myst in black and white. I
• 42:33
  Speaker 3: prefer the black and white version the Myss.
• 42:35
  Speaker 2: You're absolutely right, Yeah, Yeah.
• 42:37
  Speaker 3: That's a That's another one, you know, like the Godzilla.
• 42:39
  Speaker 3: I know they did for the physical release to doing
• 42:42
  Speaker 3: shin Godzilla on black and white, but I feel like
• 42:44
  Speaker 3: that's just a like, oh, this worked for Minus one,
• 42:47
  Speaker 3: so do it for this one.
• 42:48
  Speaker 2: Feels like again, yeah, there was no intention for it
• 42:50
  Speaker 2: to be and and yeah, I totally agree. Ye think
• 42:53
  Speaker 2: I wouldn't bother watching that one. And Black and White
• 42:56
  Speaker 2: great film.
• 42:57
  Speaker 3: Yeah, I mean, Argenta Opera has become one of my
• 42:59
  Speaker 3: favorite is just because it's so it's like just so heightened,
• 43:04
  Speaker 3: and the idea is so crazy of forcing it's it's
• 43:08
  Speaker 3: it kind of commentates on the genre, kind of forcing
• 43:09
  Speaker 3: her to witness these terrible, terrible events. But I just
• 43:12
  Speaker 3: feel so bad for what he puts that character through,
• 43:15
  Speaker 3: you know. But burb with the crystal plumage is great.
• 43:19
  Speaker 3: I I like Deep Red. I'm still learning like my
• 43:24
  Speaker 3: appreciation for Deep Red more and more as I watch it.
• 43:27
  Speaker 2: But watch do you watch the two hour one or
• 43:31
  Speaker 2: do you watch the hour forty one with all a
• 43:34
  Speaker 2: comedy cut out?
• 43:35
  Speaker 3: I think I've I think I've only watched the longer cut.
• 43:39
  Speaker 2: Okay, it's worth given the other one I shot. It
• 43:42
  Speaker 2: does tighten up a lot. I love the full length version,
• 43:47
  Speaker 2: but the first version I saw bought again in an
• 43:50
  Speaker 2: old pre serve video back in the late nineties, was
• 43:53
  Speaker 2: the cutdown version, and so that's what I grew up loving.
• 43:57
  Speaker 2: And then I saw the other one, I was like,
• 43:58
  Speaker 2: oh wait, hang on, there's all this Conectra development and
• 44:00
  Speaker 2: stuff that I do really like. But it still works
• 44:04
  Speaker 2: pretty well and it's cut down one. So definitely give
• 44:07
  Speaker 2: it a show off. You're if you're sort of on
• 44:09
  Speaker 2: the fence about it a bit, you know, it might
• 44:10
  Speaker 2: be an interesting way to watch it.
• 44:13
  Speaker 3: Yeah. Yeah, Tenebray was always my I always tell the
• 44:16
  Speaker 3: story about how when I was younger, I would go
• 44:19
  Speaker 3: on a arrowindehead dot com, which is sort of like
• 44:21
  Speaker 3: the modern day but disgusting, and they had the Kill
• 44:23
  Speaker 3: of the Day and it was like these little, you
• 44:25
  Speaker 3: know video files you could watch these terrible you know versions,
• 44:28
  Speaker 3: and they always played, you know, the arm cut off
• 44:31
  Speaker 3: scene in the Kill of the Day and she turns
• 44:33
  Speaker 3: and the blood just the wall. So I went into it,
• 44:38
  Speaker 3: like I remember the first time going into it, and
• 44:40
  Speaker 3: I was like, yeah, I know this scene, not knowing
• 44:41
  Speaker 3: that it was at the very end, you know, so
• 44:43
  Speaker 3: I had to wait the whole movie. But like the
• 44:46
  Speaker 3: scene at the apartment with the roommates, you know, where
• 44:49
  Speaker 3: it has that crazy crane shot that goes like gorgeous
• 44:53
  Speaker 3: over the roof into the other window.
• 44:56
  Speaker 2: And the music play in that Goblin score.
• 44:58
  Speaker 3: Just it's so good man, but now it's funny. Like
• 45:03
  Speaker 3: you know, this year, I spent a lot of time
• 45:04
  Speaker 3: with Folgi, you know, with the Beyond four K release
• 45:07
  Speaker 3: and stuff like that. So I feel like I need
• 45:10
  Speaker 3: to get back. I need to go. I need to
• 45:12
  Speaker 3: do another Argento marathon. I've been spending too much time
• 45:14
  Speaker 3: with mister Lucio.
• 45:16
  Speaker 2: Yeah, well, I mean so many Argentas on four K.
• 45:19
  Speaker 2: Now that's I've started to do something I've never done before,
• 45:23
  Speaker 2: where I've been watching them all. I'm rewatching the Argenta's,
• 45:25
  Speaker 2: but watching them in the Italian dub instead of the
• 45:28
  Speaker 2: English dub. Oh okay, And it's actually I would say
• 45:31
  Speaker 2: for Suspiria, it's the only way I'm going to watch
• 45:33
  Speaker 2: it from now on. Like, yeah, you lose Jessica Harper's voice.
• 45:37
  Speaker 2: That's a shame, because you know, I like hearing the
• 45:39
  Speaker 2: original voice. But absolutely you still get a little Valley
• 45:42
  Speaker 2: as the head mistress, you know, the stern head mistress.
• 45:46
  Speaker 2: She does her voice in English and Italian, so you
• 45:48
  Speaker 2: do get hers. I don't know what other Italian cast
• 45:50
  Speaker 2: members you get in the original voice. But my only
• 45:53
  Speaker 2: problem ever with Suspiria, I'll go too one is that
• 45:55
  Speaker 2: bad attacks a little bit ginzy, you know whatever. I
• 45:58
  Speaker 2: find the extra was the supporting players dubbing in the
• 46:02
  Speaker 2: English dub pretty terrible, like sad is the Name of Snakes?
• 46:08
  Speaker 2: You know that?
• 46:08
  Speaker 4: Oh yeah that in Italian.
• 46:11
  Speaker 2: It removes that sort of slightly cringey awkwards are Oh well,
• 46:17
  Speaker 2: I love this film. Yet the dubbin's not great, you know,
• 46:20
  Speaker 2: in Italian you don't notice it, and it actually made
• 46:23
  Speaker 2: me appreciate the film even more. So I've been going
• 46:26
  Speaker 2: through them. I'm going to do Opera next because that
• 46:27
  Speaker 2: is one of my favorites. Absolutely, and yeah, just watching
• 46:31
  Speaker 2: them in Italian, you know, yeah something you lose the voices,
• 46:36
  Speaker 2: but then you also gain original voices, you know, so
• 46:38
  Speaker 2: it's it's it's well worth doing. So you can tell
• 46:41
  Speaker 2: I watched these films so many times. I'm always looking
• 46:43
  Speaker 2: for new ways to.
• 46:44
  Speaker 4: Yeah, you're passionate about them, and I imagine you you
• 46:48
  Speaker 4: probably import, you imported, Like do you have the Severn
• 46:51
  Speaker 4: release of Opera or is there another release of opera
• 46:53
  Speaker 4: that you have?
• 46:53
  Speaker 2: Yeah? I had the German four K, which is like
• 46:57
  Speaker 2: another one where I spent about sixty seventy bucks on
• 46:59
  Speaker 2: it and then seven and the name stairs about a
• 47:01
  Speaker 2: week later. But the German one I would have kept
• 47:05
  Speaker 2: it because it's pretty nice, but the Italian dub doesn't
• 47:08
  Speaker 2: have English subtitles, so the seven one does, so I
• 47:10
  Speaker 2: currently have them both. I'm going to sell a German one.
• 47:13
  Speaker 2: It's really nice packaging and stuff. But yeah, I import constantly. Yeah,
• 47:17
  Speaker 2: seven Vinegar Syndrome ONNDO, Maccabro Diabolic and stuff.
• 47:21
  Speaker 3: Yeah, it's oh yeah, dude, you mineum Macabre puts out.
• 47:25
  Speaker 3: They're one of the most underrated labels I think of
• 47:28
  Speaker 3: the game. I'm a massive Severn fan, like absolutely gigantic
• 47:33
  Speaker 3: Severn collector. I did a whole year where I purchased
• 47:35
  Speaker 3: everything they put out and then reviewed them over on
• 47:38
  Speaker 3: my YouTube channel. And that was the year that they
• 47:40
  Speaker 3: did like the adult films of ed Wood, and they
• 47:42
  Speaker 3: were putting out like some of like the Smith Crest
• 47:46
  Speaker 3: stuff like like Hot Spur, the Ravag Yeah yeah, yes, yeah, yeah,
• 47:52
  Speaker 3: the Ravage, Scavengers, Yes, Scavengers. So that was a that
• 47:57
  Speaker 3: was a fun, fun year, like holy hell.
• 48:02
  Speaker 2: The thing is seven would be the best label I
• 48:04
  Speaker 2: think to buy everything they put out because for me,
• 48:06
  Speaker 2: they've got just about have the best hit rate. Vinegar
• 48:09
  Speaker 2: Syndrome and Arrow used to be really great for me.
• 48:13
  Speaker 2: They're still putting out amazing stuff constantly, but there's about
• 48:17
  Speaker 2: half of it now with stuff that I'm not interested
• 48:18
  Speaker 2: in at all.
• 48:20
  Speaker 3: On four K? Did you buy Mac and Me on
• 48:23
  Speaker 3: four K?
• 48:24
  Speaker 2: No? I did not know.
• 48:26
  Speaker 4: It's never too late.
• 48:28
  Speaker 2: I'm waiting for the sale. Yeah yeah, I mean, you know,
• 48:34
  Speaker 2: what if that gets the money to put out more
• 48:37
  Speaker 2: forgotten jelly box sets, more power to them. Great, but
• 48:39
  Speaker 2: I certain could not be a subscriber.
• 48:41
  Speaker 4: I'll always welcome them, I swear.
• 48:44
  Speaker 2: Yeah. Yeah, it's like Arrow, people still RIDICULARO constantly, and
• 48:47
  Speaker 2: I get it they're putting out tons of mentream stuff.
• 48:49
  Speaker 2: But also that you know, we get these v Cinema
• 48:52
  Speaker 2: box set that we just had, absolutely incredible. We've got
• 48:55
  Speaker 2: the Coffin Joe box set last year's like. They still
• 48:57
  Speaker 2: put out amazing stuff, just less than the use to.
• 49:00
  Speaker 2: But you know what, you know, they were able to
• 49:04
  Speaker 2: license the Golden Princess titles from Shout Factory because they
• 49:08
  Speaker 2: can put all these you know, because they can put
• 49:10
  Speaker 2: out whatever these big films are. I don't know, but yeah,
• 49:14
  Speaker 2: go for the guys.
• 49:15
  Speaker 3: Just you know, thank you for your appreciation of the
• 49:18
  Speaker 3: V Cinema Box because I felt like in my direct community,
• 49:21
  Speaker 3: I was the only person talking about it, like because
• 49:23
  Speaker 3: I had no I bought it blind strictly off of
• 49:26
  Speaker 3: what I read about the movies, and I got like
• 49:28
  Speaker 3: halfway through that box set and I was like, fuck, dude,
• 49:31
  Speaker 3: these are really good, Like oh my god, and the introductions.
• 49:36
  Speaker 3: I forget his name, I'm not gonna remember the name,
• 49:39
  Speaker 3: but he's like the V Cinema historian who does the
• 49:41
  Speaker 3: introduction for each movie. He does like a great, you know,
• 49:43
  Speaker 3: little three minute discussion that kind of preps you for
• 49:47
  Speaker 3: the movie. And there's some great titles. I hope. I
• 49:49
  Speaker 3: hope it sold well enough that they do more.
• 49:51
  Speaker 2: I really hope. So I've heard rumors of Akashi mek
• 49:54
  Speaker 2: V Cinema box that coming crossed, but there's I mean,
• 49:58
  Speaker 2: that whole subgenre. I was kind of introduced him mostly
• 50:01
  Speaker 2: by by that auto box set because I I misunderstood it.
• 50:05
  Speaker 2: I thought when it was sort of V Cinema directed video,
• 50:07
  Speaker 2: I thought it was shot on video, not shot on
• 50:10
  Speaker 2: beautiful thirty five male film or sixteen melon. In most
• 50:14
  Speaker 2: cases probably but yeah, that that that box. It blew
• 50:18
  Speaker 2: me away. There was a female prisoner scorpion film that
• 50:20
  Speaker 2: was unbelievable. There was there was that one that was
• 50:24
  Speaker 2: mostly a romantic comedy, a really horny romantic comedy.
• 50:28
  Speaker 3: The Neo Chimpira. Yeah yeah, yeah, yeah, there was the
• 50:32
  Speaker 3: one where they lived in like an abandoned building almost
• 50:35
  Speaker 3: that's right, yep, that's Neo Chimpira. That was a favorite
• 50:38
  Speaker 3: of mine. The other one was Carlos, which was about
• 50:42
  Speaker 3: a he was Brazilian, I think I think it was
• 50:44
  Speaker 3: Brazilian and he.
• 50:47
  Speaker 2: I've not seen that one yet. That's there's two I've
• 50:49
  Speaker 2: not seen. Burning Carlos.
• 50:51
  Speaker 3: Oh, Carlos is okay, you're gonna love Carlos, and that
• 50:53
  Speaker 3: that that's outside of Neochimpira, because Neo Chimpira was the
• 50:56
  Speaker 3: most like there's like no action. It just keeps leading
• 51:01
  Speaker 3: up to this eventual action that never happens.
• 51:04
  Speaker 2: So that was an ending that it's so unsatisfying that
• 51:06
  Speaker 2: it goes all the way around, it becomes totally satisfying.
• 51:09
  Speaker 3: Oh yeah, yeah, and yeah I love that. Yeah. I'm
• 51:12
  Speaker 3: excited to hear your thoughts on Carlos because I love that.
• 51:15
  Speaker 2: I need to get back to it, because I mean, yeah,
• 51:17
  Speaker 2: there's xx beautiful Hunter Blue may Away as well, But
• 51:21
  Speaker 2: I just I love the Female Prisoner Scorpion movie so
• 51:24
  Speaker 2: much that I was like, oh, here's some stupid ripoff,
• 51:27
  Speaker 2: and it was actually a genuine legacy sequel that honored
• 51:31
  Speaker 2: the original film was really well. It had the classic
• 51:34
  Speaker 2: theme song, but instead of Miko Cadgi singing it, it's
• 51:36
  Speaker 2: like a it's a synth, saxophone or something terrible. But
• 51:40
  Speaker 2: it still worked. And the end, then, I thought, was
• 51:42
  Speaker 2: really moving. And it's like, this is unbelievable. Why is
• 51:46
  Speaker 2: nobody talking about this box set? And I guess it's
• 51:49
  Speaker 2: a hard cell, you know it is.
• 51:51
  Speaker 3: There's one of them, though, Steve, that you would love.
• 51:53
  Speaker 3: There's one whole movie about a female taxi driver who's
• 51:57
  Speaker 3: getting chased down by a killer you don't know who
• 52:00
  Speaker 3: and yeah stranger, yeah, yeah, stranger, dude. It's it's dude,
• 52:07
  Speaker 3: It's like this. It's so fun and when it gets
• 52:10
  Speaker 3: like violent and dark, it gets really dark. Like that
• 52:15
  Speaker 3: was kind of cool to kind of see some of
• 52:16
  Speaker 3: the horror bleeding into the genre a little bit because
• 52:19
  Speaker 3: the first movie and I know, I'm gonna We'll stop
• 52:22
  Speaker 3: talking about this box set eventually, because Steve has no
• 52:24
  Speaker 3: idea what we're talking about. The first movie in the
• 52:27
  Speaker 3: box set is like a fifty nine minute straight up
• 52:30
  Speaker 3: action movie yea, and it is the worst introduction to
• 52:35
  Speaker 3: the rest of the box set because none of the
• 52:37
  Speaker 3: other movies are like that. So like, when I watched
• 52:40
  Speaker 3: the first title, I was like, Oh, here we go,
• 52:42
  Speaker 3: this is gonna be and then the moment Neo Shapiro started,
• 52:45
  Speaker 3: I was like, oh, this is totally different, like now,
• 52:49
  Speaker 3: and every title was just that much more enticing to me.
• 52:52
  Speaker 2: Yeah, in a way, it felt beautifully curated as a
• 52:55
  Speaker 2: sort of you know, general overview for what the genre
• 52:59
  Speaker 2: was capable off. But for someone going in and watching yeah,
• 53:03
  Speaker 2: exactly that first film and going oh great, it's a
• 53:05
  Speaker 2: heroic bloodshed box set, and it's like, oh no, no,
• 53:08
  Speaker 2: what Then they get to like exx beautiful Hunter with
• 53:11
  Speaker 2: the torture scene and the most normal people are switching off.
• 53:17
  Speaker 2: Whereas like that was just that was one of the greatest,
• 53:20
  Speaker 2: maddest things I've ever seen in my life in this
• 53:23
  Speaker 2: like low budget, no budget almost you know, Japanese shot
• 53:28
  Speaker 2: for video action film.
• 53:30
  Speaker 4: Yeah, David do you collect the Arrow Yellow Essentials as well?
• 53:37
  Speaker 2: One of them, but I had them all released individually.
• 53:41
  Speaker 2: So there was one they brought one that had new
• 53:43
  Speaker 2: titles and it had like Smiled before death Weapon there
• 53:46
  Speaker 2: with the motive and I can't remember, but I had
• 53:50
  Speaker 2: them all individually. So every time I see Yellow Essentrals
• 53:53
  Speaker 2: and it get really excited, like, oh, what we're getting. Oh,
• 53:55
  Speaker 2: it's a repackage of similder titles.
• 53:57
  Speaker 4: I know. I keep holding out hope that they are
• 54:00
  Speaker 4: eventually going to come out with another one, just because
• 54:02
  Speaker 4: like the Red Queen Kills seven Times is one that
• 54:05
  Speaker 4: I want to add to the collection. I have a
• 54:07
  Speaker 4: feeling that they're eventually going to end up repackaging some
• 54:11
  Speaker 4: of the older titles that they had at one point.
• 54:13
  Speaker 2: But I think Red Queen was that's already been in
• 54:17
  Speaker 2: the box, hasn't it. It was packaged with the night
• 54:20
  Speaker 2: every one came home. I think, yep, yeah, I missed that.
• 54:24
  Speaker 2: I've got them.
• 54:26
  Speaker 4: Some of them get pricey because I didn't really start
• 54:29
  Speaker 4: getting into collecting these box sets till within the last
• 54:32
  Speaker 4: couple of years, just to kind of fill out the collection,
• 54:35
  Speaker 4: and I just remember going back, I'm like, I just
• 54:38
  Speaker 4: can't really justify spending that much on, you know, a
• 54:41
  Speaker 4: box set you know from from a while back. But
• 54:45
  Speaker 4: so I know you were actually you were talking about
• 54:47
  Speaker 4: Suspiria earlier, and I know you've also mentioned Shivers, correct
• 54:51
  Speaker 4: Cronenberg Shivers as a movie that you really enjoy as well.
• 54:55
  Speaker 2: Yeah.
• 54:56
  Speaker 4: Yeah, So like films like this, I have to ask,
• 55:00
  Speaker 4: how does this influence the atmosphere that you have in
• 55:02
  Speaker 4: some of your novels or there are other ones that
• 55:05
  Speaker 4: that you really draw from.
• 55:07
  Speaker 2: I mean Shivers. The Cronaberg's always got some sort of
• 55:12
  Speaker 2: influence on me, because I think he's just an absolute master.
• 55:18
  Speaker 2: But the Shivers is the one of his films that
• 55:21
  Speaker 2: in the flyer that's too best for me. And there's
• 55:24
  Speaker 2: just something so unsettling about Shivers right from the very start,
• 55:28
  Speaker 2: you know, with that it's got a slide show of
• 55:31
  Speaker 2: like seventies photos of an apartment that's really sort of
• 55:34
  Speaker 2: sweet but off kil or library music playing and stuff.
• 55:38
  Speaker 2: You know, it's and then it just turns it up
• 55:41
  Speaker 2: to this fever pitch of like sexual madness. It's actually
• 55:46
  Speaker 2: that specific film is a huge influence on a book
• 55:49
  Speaker 2: I have. I've just finished the fifth draft on Okay,
• 55:53
  Speaker 2: I can't announce it, yeah, because I have another book
• 55:55
  Speaker 2: that's coming out before that to announce.
• 55:58
  Speaker 4: Yeah.
• 55:58
  Speaker 2: Well, it's I mean, I've said a few things, but
• 56:01
  Speaker 2: basically it's it's imagined Conenberg Shivers but in nineteenth century
• 56:06
  Speaker 2: Italian convent. In preparation for this, I watched it. Funnily enough,
• 56:11
  Speaker 2: it's kind of like with Forgotten Island in the Cannibal movies.
• 56:14
  Speaker 2: None movies. I like them in theory, but watching them generally,
• 56:18
  Speaker 2: they're a bit dry. None in the Devil and stuff,
• 56:20
  Speaker 2: you know, they can be kind of dull. There's a
• 56:24
  Speaker 2: few good ones out there, for sure.
• 56:27
  Speaker 3: Is probably my favorite.
• 56:29
  Speaker 2: That's a good one. That's a good one. I think
• 56:31
  Speaker 2: the best one is funny enough for non Italian. There's
• 56:34
  Speaker 2: The Devil's Ken Russell Fail.
• 56:36
  Speaker 3: Yeah, we need a release of That's so bad here, man,
• 56:40
  Speaker 3: somebody needs to get that.
• 56:42
  Speaker 4: Do you like the Other Hell of.
• 56:44
  Speaker 2: Other Hell is? Yeah, that is the other one. That
• 56:47
  Speaker 2: is the sort of biggest influence. I imagine Shiver's crossed
• 56:50
  Speaker 2: with the Other Hell and you're.
• 56:52
  Speaker 4: Sign me up.
• 56:54
  Speaker 3: I've never seen that. The Other Hell.
• 56:56
  Speaker 4: That's good, very good.
• 56:57
  Speaker 2: It's the good Bruno Matte film. He made one, and.
• 57:01
  Speaker 4: It's one of the bright spots in his filmography.
• 57:04
  Speaker 2: Yeah, that is harsh. He has made a couple of
• 57:06
  Speaker 2: good films, but this is probably his best.
• 57:08
  Speaker 4: And it just just it takes.
• 57:09
  Speaker 2: The score, takes the Goblin score from Joe Demato's Buy
• 57:14
  Speaker 2: Omiga or Beyond the Darkness. Yeah, it just takes that
• 57:17
  Speaker 2: score and puts it in the film. And that score
• 57:18
  Speaker 2: can make any film amazing, because when of the best
• 57:21
  Speaker 2: scores ever. So it's that, and it's it's he actually
• 57:23
  Speaker 2: goes for like horror and scares and gore and stuff.
• 57:26
  Speaker 2: I don't think there's any nudity in it or anything
• 57:28
  Speaker 2: like it's unusual for Bruno Matte, but he's doing some
• 57:31
  Speaker 2: colored lighting and stuff. You know. It's like Bruno Matte
• 57:33
  Speaker 2: actually trying could make a really good film. They just
• 57:37
  Speaker 2: didn't try that often.
• 57:39
  Speaker 4: Well, I feel like, yeah, I definitely keep holding out
• 57:43
  Speaker 4: hope that we'll eventually get Beyond the Darkness, maybe in
• 57:45
  Speaker 4: a nice four K release down the line, you know,
• 57:49
  Speaker 4: because I feel like that that's like the one film
• 57:51
  Speaker 4: out of Joe Diomatto's filmography that really needs a little
• 57:55
  Speaker 4: bit more love. You know. I just don't hear it
• 57:57
  Speaker 4: talked about enough, like in our I mean, Chris and
• 58:00
  Speaker 4: I like the deeper cuts, but I think within our
• 58:03
  Speaker 4: circles we definitely don't get give enough praise to Jodiamatto.
• 58:07
  Speaker 2: Yeah, that film is a masterpiece, and I'm really happy
• 58:11
  Speaker 2: that people have sort of coming around on Anthropophagus, which
• 58:14
  Speaker 2: has been one of my favorite films for a long time. Yes,
• 58:18
  Speaker 2: it's slow, I get it, but it's super atmospheric all
• 58:21
  Speaker 2: the way to the locations are beautiful. Like I watch it,
• 58:25
  Speaker 2: I don't find it slow. I get that not much
• 58:27
  Speaker 2: happens for a long time, but but you know, stuff
• 58:30
  Speaker 2: is happening. Yeah, I'm a huge fan of Anthropophagus. I'm
• 58:34
  Speaker 2: so happy that the four klik's beautiful and that maybe
• 58:37
  Speaker 2: people are starting to say, oh, maybe it's not as
• 58:40
  Speaker 2: boring as I thought.
• 58:41
  Speaker 3: But what about the theve we sent in the group
• 58:43
  Speaker 3: chat and we got hell of a response that the
• 58:46
  Speaker 3: rust Blade release coming out of it where it actually
• 58:49
  Speaker 3: comes with a fetus.
• 58:50
  Speaker 4: Oh yeah, like it's the whole nine yards with that release,
• 58:54
  Speaker 4: it's limited to like fifty.
• 58:55
  Speaker 2: Or something like that.
• 58:56
  Speaker 3: There's fifty fifty fetuses out there that are just yeah,
• 59:00
  Speaker 3: it comes with the fetus with the umbilical cord and
• 59:02
  Speaker 3: then it's got the big bite taken out of the
• 59:03
  Speaker 3: side of it.
• 59:05
  Speaker 2: Nightmare.
• 59:06
  Speaker 4: Yeah, it's listen. I gotta give them credit for the creativity,
• 59:09
  Speaker 4: but I.
• 59:11
  Speaker 2: Not buying the plush. I had multiple chances to buy, didn't,
• 59:18
  Speaker 2: and now I'm like, well why not?
• 59:19
  Speaker 3: Man?
• 59:20
  Speaker 4: I know, I know, I've seen nobody post there.
• 59:26
  Speaker 3: The pillowcases from their release their four of.
• 59:30
  Speaker 2: Of Buddio Grind.
• 59:32
  Speaker 3: Yeah. Yeah, yeah, nobody's posted their pillow cases yet on
• 59:35
  Speaker 3: the pill.
• 59:37
  Speaker 2: Which is because there's I constantly see people wearing those
• 59:40
  Speaker 2: fucking dinosaur pajamas from Don't Panic on the Troops. I
• 59:45
  Speaker 2: never see. Yeah, i'd never see the Peter Bark pillow.
• 59:49
  Speaker 3: Movie's out of control, man, dude. They just announced they
• 59:56
  Speaker 3: just had a bunch of cool announcements. I'm happy they're
• 59:58
  Speaker 3: finally going to put out the Tradition a Manuel collection.
• 1:00:01
  Speaker 3: They're gonna put out four of them in a box
• 1:00:03
  Speaker 3: set because I think they're black and Manuel set is
• 1:00:06
  Speaker 3: the best they've ever done.
• 1:00:07
  Speaker 2: Oh, I must have missed that. I didn't know they
• 1:00:09
  Speaker 2: were doing that, so they I don't know how Brance's
• 1:00:11
  Speaker 2: name just Jakin or something.
• 1:00:13
  Speaker 3: Just Yeah. They just did their super Shock pop up,
• 1:00:16
  Speaker 3: which is kind of like a Severn company wide festival,
• 1:00:19
  Speaker 3: and out of that festival, they did a whole bunch
• 1:00:21
  Speaker 3: of announcements, like they announced Bay of Blood out of
• 1:00:24
  Speaker 3: that festival, and one of them was a four a
• 1:00:28
  Speaker 3: four movie four K collection of a Manuel, which I
• 1:00:32
  Speaker 3: was hoping, like I was, I was holding out because
• 1:00:34
  Speaker 3: there are some foreign releases I could pick up of it,
• 1:00:38
  Speaker 3: but if it's a David Gregory said it was their
• 1:00:41
  Speaker 3: next kind of like mini box set, So I'm hoping
• 1:00:43
  Speaker 3: we continue to get more from them of that kind
• 1:00:45
  Speaker 3: of stuff.
• 1:00:47
  Speaker 2: That's great. Yeah, they have just gone box set crazy
• 1:00:49
  Speaker 2: and I'm completely here for it because I mean, the
• 1:00:53
  Speaker 2: folk order, the I love how we just got two
• 1:00:55
  Speaker 2: lumberto Babba box sets, one from them and one from
• 1:00:58
  Speaker 2: Cold and one after the other, Like come.
• 1:01:00
  Speaker 4: On, and it's so cool. Oh We've gotten We've gotten
• 1:01:04
  Speaker 4: it in the best way possible. Bava overload this year,
• 1:01:07
  Speaker 4: which I'm all for.
• 1:01:08
  Speaker 2: Yeah, spoiled totally.
• 1:01:10
  Speaker 4: Yes. Now, speaking of films obviously, like do you as
• 1:01:15
  Speaker 4: a as a writer, do you view films differently than
• 1:01:18
  Speaker 4: you did as a fan, or like do you see
• 1:01:21
  Speaker 4: some of these movies that obviously we've talked about, do
• 1:01:23
  Speaker 4: you see them through a different lens now at this point?
• 1:01:26
  Speaker 2: Kind kind of yeah, it's I do watch them slightly
• 1:01:31
  Speaker 2: differently in that you know, I've become well, I've always
• 1:01:37
  Speaker 2: been quite obsessed with the sort of timings of films
• 1:01:40
  Speaker 2: when things happen, So I like to I like to
• 1:01:42
  Speaker 2: start being right that seems like the end of fact one,
• 1:01:44
  Speaker 2: and I'll check the time it's thirty minutes through or something.
• 1:01:46
  Speaker 2: It's like, yep, yeah, I was right. I just I'm
• 1:01:50
  Speaker 2: so interested in like the pacing of things that I do.
• 1:01:54
  Speaker 2: I do check the times for and sometimes though, I
• 1:01:56
  Speaker 2: will get just so utterly wrapped up in something like
• 1:01:58
  Speaker 2: I was watching Iron Monkey, the Donna En Kung Through
• 1:02:03
  Speaker 2: film last night, and I just I just suddenly just
• 1:02:07
  Speaker 2: got so wrapped up in the film that I've forgotten.
• 1:02:09
  Speaker 2: I watched it as as a fan again because it's
• 1:02:12
  Speaker 2: just so incredibly joyous and wonderful and beautiful and fun.
• 1:02:18
  Speaker 4: It's the best feeling.
• 1:02:19
  Speaker 2: Yeah, yeah, so yeah, I still I still watch most
• 1:02:23
  Speaker 2: of it as a sort of fan. But I'm also
• 1:02:26
  Speaker 2: like thinking about what I tend to do is before
• 1:02:28
  Speaker 2: I write, so I write every single day every day,
• 1:02:35
  Speaker 2: and I get up and the first thing I do
• 1:02:36
  Speaker 2: is I watch a film. Doesn't have to be anything
• 1:02:39
  Speaker 2: to do with what I'm working on, but it's just
• 1:02:42
  Speaker 2: I find it. It just gets my mind going and something.
• 1:02:46
  Speaker 2: The oddest films can inspire things, like you know, you'd
• 1:02:49
  Speaker 2: be watching a crime film and you know someone will
• 1:02:52
  Speaker 2: pull out a gun and You'll be like, oh, in
• 1:02:54
  Speaker 2: my horror story, maybe that character at that point can
• 1:02:56
  Speaker 2: pull out a gun, and it's just sort of like
• 1:02:58
  Speaker 2: inspire stuff with with out forcing it, where it just
• 1:03:01
  Speaker 2: you know, your mind started. I just I think it
• 1:03:03
  Speaker 2: gets my mind really going first thing, which is good
• 1:03:06
  Speaker 2: because you've just woken up. You know what else you're
• 1:03:08
  Speaker 2: you gonna do. I'm gonna write a bunch of shit
• 1:03:10
  Speaker 2: if I just started writing. So So yeah, I watch
• 1:03:15
  Speaker 2: films in a different way but also the same way.
• 1:03:17
  Speaker 2: It's it's I don't watch it in a in such
• 1:03:19
  Speaker 2: a way that I'm overanalyzing it to the point where
• 1:03:22
  Speaker 2: I'm not enjoying it as like a really fun, exciting story. Yeah.
• 1:03:28
  Speaker 2: I still I still have that absolute passion and love
• 1:03:31
  Speaker 2: for just the effect cinema can.
• 1:03:34
  Speaker 4: Have on you. Absolutely, I mean and even with like
• 1:03:37
  Speaker 4: the visual elements from certain movies, Like do you feel
• 1:03:40
  Speaker 4: like that that inspires, like, you know, the descriptions you
• 1:03:43
  Speaker 4: have like throughout or like the pacing in each one
• 1:03:46
  Speaker 4: of your novels and to a certain extent.
• 1:03:48
  Speaker 2: Yeah, well, people quite often say that they think my
• 1:03:51
  Speaker 2: books are really cinematic, and I'm to hear that because
• 1:03:55
  Speaker 2: that's that's kind of what I go for, because when
• 1:03:58
  Speaker 2: I write the books, I am pick sturing the entire
• 1:04:00
  Speaker 2: thing playing out in my head as a movie with
• 1:04:04
  Speaker 2: lighting and edits and camera angles and stuff. So I
• 1:04:08
  Speaker 2: try and translate that sort of feeling to the page.
• 1:04:12
  Speaker 2: You know, I'm not going to say it's a Dutch angle,
• 1:04:15
  Speaker 2: but you know, yeah, you know, if there's some sort
• 1:04:17
  Speaker 2: of flickering light somewhere, because it's a lot of people
• 1:04:22
  Speaker 2: when they're writing, they forget about all the different senses,
• 1:04:25
  Speaker 2: you know, and they don't ever mention the smells or
• 1:04:28
  Speaker 2: the or the lighting or how something feels and stuff,
• 1:04:31
  Speaker 2: and that all its super immersive for either. So yeah, definitely,
• 1:04:37
  Speaker 2: I mean like lighting and pacing, I like it's it's
• 1:04:41
  Speaker 2: hugely indebted to cinemon and the films I watch, and
• 1:04:49
  Speaker 2: I do tend to like films that are slightly faster
• 1:04:53
  Speaker 2: paced and that come in roughly about ninety minutes.
• 1:04:56
  Speaker 3: Yeah, yeah, I try to, like I can. I took
• 1:05:01
  Speaker 3: some I didn't go to film score anything, but I
• 1:05:02
  Speaker 3: took some writing classes in high school. So I have
• 1:05:04
  Speaker 3: a tendency to like, I'm pretty good at like, Okay,
• 1:05:06
  Speaker 3: there's end of act one, you know, here's act two.
• 1:05:09
  Speaker 3: And I've started getting into some directors that completely just
• 1:05:12
  Speaker 3: abandon that, like I've the past couple of years, thanks
• 1:05:17
  Speaker 3: to Indicator, I've become a huge fan of genre lean
• 1:05:20
  Speaker 3: you know, and like he just abandons all of that.
• 1:05:23
  Speaker 3: There's zero structure, there's barely cohesiveness to some of his
• 1:05:27
  Speaker 3: you know, stories. But just from a visual I just
• 1:05:30
  Speaker 3: find myself so engrossed and what he's showing, you know,
• 1:05:34
  Speaker 3: just it's like, you know, you watch a movie like Fascination,
• 1:05:37
  Speaker 3: It's like you get that image of I can't I
• 1:05:40
  Speaker 3: can never say her name. Is it Brigitte Laurie? Yeah,
• 1:05:44
  Speaker 3: Like when she's you know, walking approaching the house with
• 1:05:49
  Speaker 3: the robe on and the sight and he it's just
• 1:05:52
  Speaker 3: it's just that image is enough to just pull you.
• 1:05:55
  Speaker 3: I don't know what she's doing. I don't know how
• 1:05:57
  Speaker 3: she's gotten here. I don't know what her aim is,
• 1:05:59
  Speaker 3: but this image enough is I'm like, I'm in, I'm good,
• 1:06:01
  Speaker 3: this is this is what I need to be given.
• 1:06:04
  Speaker 4: Yeah.
• 1:06:04
  Speaker 2: I love how Indicator started putting out their role entitles
• 1:06:06
  Speaker 2: because he was I'd say genre Land was just after
• 1:06:11
  Speaker 2: Darny Argento for me and introducing me to European horror,
• 1:06:14
  Speaker 2: this time to French, although it's very atypical of French horror.
• 1:06:17
  Speaker 2: I would say his films are because the French hate him,
• 1:06:22
  Speaker 2: or they did back then, but there's a stately elegance
• 1:06:27
  Speaker 2: to his films that they're they're so beautiful and kind
• 1:06:31
  Speaker 2: of tender as well, like the amount of his films
• 1:06:34
  Speaker 2: that I found really emotionally moving towards the end, even
• 1:06:38
  Speaker 2: with like a film called The Nude Vampire. Think well
• 1:06:41
  Speaker 2: that's you know, that's gonna be sleazy trash. No, it's
• 1:06:43
  Speaker 2: like this pop art sci fi spectacle that becomes really beautiful,
• 1:06:48
  Speaker 2: dead girling staff and.
• 1:06:51
  Speaker 3: Yeah, yeah, Nude Vampire was fascinating because when you get
• 1:06:54
  Speaker 3: to the when you get to the ending and you
• 1:06:56
  Speaker 3: have pretty much like the entire clan arriving, you know,
• 1:07:00
  Speaker 3: and you have this beautiful shot inside of this decrepit.
• 1:07:03
  Speaker 3: It looks like almost like ah, it's almost like a
• 1:07:07
  Speaker 3: I don't know what kind of building it is, and
• 1:07:08
  Speaker 3: it's almost like a like a gladiator arena almost, It's
• 1:07:11
  Speaker 3: like a wide arena and they all come out of
• 1:07:13
  Speaker 3: the shadows and it's it's beautiful. Man, Nude Vampire became
• 1:07:16
  Speaker 3: one of my favorites, you know, from him, It's yeah, I.
• 1:07:20
  Speaker 2: Mean so many I'd say Night the hunteds amazing. If
• 1:07:25
  Speaker 2: you can get past a kind of out of place,
• 1:07:27
  Speaker 2: really really really long soft core sex scene at the start,
• 1:07:31
  Speaker 2: that's that would be like a mainstream In fact, it's
• 1:07:33
  Speaker 2: very like Cronenberg Shiver's funny enough Pardon Me the Night
• 1:07:38
  Speaker 2: the hunteds, lips of bloods, iron rules and stuff like,
• 1:07:44
  Speaker 2: they're just they're so amazing. And he's another one. I'm
• 1:07:47
  Speaker 2: really pleased to see his sort of getting He got
• 1:07:49
  Speaker 2: a bit as the Dewy deserves in the late nineties
• 1:07:53
  Speaker 2: when Redemption in the UK started putting out his films
• 1:07:55
  Speaker 2: on video. But yeah, I feel like, no, it's it's
• 1:07:59
  Speaker 2: sort of fine. They get mainstream recognition, which is so
• 1:08:02
  Speaker 2: deserving because.
• 1:08:03
  Speaker 3: I'm really hoping Indicator starts putting out some I would
• 1:08:06
  Speaker 3: love for them to get like the Pete Walker filmography,
• 1:08:09
  Speaker 3: you know, because he's another one who I feel like
• 1:08:10
  Speaker 3: could get a lot more recognition of his movies. Eight.
• 1:08:14
  Speaker 2: I just put the box set though.
• 1:08:16
  Speaker 3: Yeah, but now that things like gone, that thing is
• 1:08:18
  Speaker 3: so it's like out of print.
• 1:08:21
  Speaker 2: I got one then.
• 1:08:22
  Speaker 1: Yeah.
• 1:08:24
  Speaker 3: Our producer on the podcast, he he just got a
• 1:08:28
  Speaker 3: copy and he was like excited about the price he
• 1:08:30
  Speaker 3: paid for it. And I was like, oh, I made
• 1:08:32
  Speaker 3: a comment about like buying it, and he's like, yeah,
• 1:08:33
  Speaker 3: you couldn't afford it.
• 1:08:34
  Speaker 2: I was like, okay, I think he paid about seventy
• 1:08:40
  Speaker 2: dollars for mine.
• 1:08:42
  Speaker 3: Let's see. I'm just I'm just curious if it comes
• 1:08:45
  Speaker 3: up anywhere. So it was, yeah, it was one hundred
• 1:08:47
  Speaker 3: dollars brand new, and god damn, well you know it's
• 1:08:52
  Speaker 3: funny too. Oh it's on eBay. It's one hundred and
• 1:08:54
  Speaker 3: sixty dollars right now.
• 1:08:55
  Speaker 2: So wow, Well, I'm not going to sell man because
• 1:08:58
  Speaker 2: I absolutely love that box set and his especially Frighten
• 1:09:02
  Speaker 2: Mare and House to Web Cord again two big influences
• 1:09:05
  Speaker 2: on me because it was like, you know, British Horder
• 1:09:08
  Speaker 2: at the time is very sort of stately and uh,
• 1:09:11
  Speaker 2: you know, there's a lot of hammer and ty gone
• 1:09:13
  Speaker 2: and things like that. But Pete Walker felt like a
• 1:09:16
  Speaker 2: real burst of sleeves in UK cinema are very welcome
• 1:09:21
  Speaker 2: sort of. But also the scripts that again were actually
• 1:09:25
  Speaker 2: about stuff that were actually had something to say that
• 1:09:28
  Speaker 2: we're clever, that we're kind of funny as well. Yeah,
• 1:09:32
  Speaker 2: those those two films are unbelievable, and there's other words
• 1:09:34
  Speaker 2: are are all entertaining at the very least, I would say, Yeah,
• 1:09:39
  Speaker 2: even his sex films from the They've Got a films
• 1:09:42
  Speaker 2: have another box set out. It's just just like sort
• 1:09:44
  Speaker 2: of sex comedies from late sixties, early seventies, and they're
• 1:09:48
  Speaker 2: they're really good fun I got to find that, yes.
• 1:09:53
  Speaker 4: Chris is gonna be going down the rabbit hole now. Now,
• 1:09:58
  Speaker 4: are there, like I would say, particular scenes from films
• 1:10:02
  Speaker 4: that you wish you could have written into existence in
• 1:10:05
  Speaker 4: a year, stories like the what Iff situation?
• 1:10:10
  Speaker 2: Oh, the stuff that I've seen the I mean, so
• 1:10:18
  Speaker 2: there's so many scenes that I love. You could probably
• 1:10:21
  Speaker 2: pick any any film from my top two hundred and
• 1:10:24
  Speaker 2: fifty and I'll be able to see the biggest scenes
• 1:10:26
  Speaker 2: from that what I tend to sometimes do is I
• 1:10:29
  Speaker 2: try to if it's a scene I love by I think,
• 1:10:33
  Speaker 2: you know what they could have gone further with that. Yeah.
• 1:10:36
  Speaker 2: An example, there's a amazing Italian slasher pseudo giallo called
• 1:10:41
  Speaker 2: Stage Fright by MICHAELI swab Familiar. Love that movie, Yeah,
• 1:10:45
  Speaker 2: it's unbelievable, And there's a scene towards the end, you know,
• 1:10:48
  Speaker 2: where the killer's on the stage and there's all these
• 1:10:51
  Speaker 2: feathers billowing around, and there's the key is between his
• 1:10:53
  Speaker 2: feet and the floorboards on the stage, and she's got
• 1:10:56
  Speaker 2: crawl under the floorboards and get that key pretend. I
• 1:11:01
  Speaker 2: remember loving that and thinking I'd love to do something
• 1:11:03
  Speaker 2: like that. How could I make it even bigger, even crazier.
• 1:11:07
  Speaker 2: So when a tinting to do my sort of long
• 1:11:10
  Speaker 2: dark knight slasher story Night Shot, I had a scene where, yeah,
• 1:11:15
  Speaker 2: she has to get the key without someone seeing her,
• 1:11:17
  Speaker 2: But I thought, how can I make that bigger? So
• 1:11:20
  Speaker 2: in the book she's trying to she's in the attic
• 1:11:22
  Speaker 2: and she's trying to take the key, which is tucked
• 1:11:24
  Speaker 2: into the bra of a corpse who's being fucked by
• 1:11:28
  Speaker 2: a blind mutant. And I thought, well, that that sort
• 1:11:32
  Speaker 2: of you know takes. So I take a scene that
• 1:11:35
  Speaker 2: I like and thought, right, let's go, let's go nuts
• 1:11:38
  Speaker 2: with it. So I would I would say, yeah.
• 1:11:41
  Speaker 4: That's a great choice. So it's a it's a movie
• 1:11:43
  Speaker 4: that I don't think it's talked about enough, you know,
• 1:11:46
  Speaker 4: especially out of his films, you know, and Chris and I,
• 1:11:50
  Speaker 4: Chris and I always talk about this. I'm like, man,
• 1:11:52
  Speaker 4: it's another one. I'm just holding out hope, like I
• 1:11:54
  Speaker 4: speaking into existence. It's gonna be the poor k for
• 1:11:56
  Speaker 4: that film.
• 1:11:57
  Speaker 2: Apparently they can't find the negatives or something. I was
• 1:12:00
  Speaker 2: just reading.
• 1:12:02
  Speaker 4: That one in the two that are like top of
• 1:12:05
  Speaker 4: my lists.
• 1:12:05
  Speaker 2: Yeah, right now. I'm sure it was an interview with
• 1:12:07
  Speaker 2: the Lust, like I think, and he was saying that
• 1:12:09
  Speaker 2: those two films Infrono on stage fright, they can't put
• 1:12:12
  Speaker 2: out four case, but they can't seem look at the
• 1:12:14
  Speaker 2: negatives at the moment, So fingers crossed. You know, if
• 1:12:17
  Speaker 2: the negatives for Turtles showed up, then maybe, you know, maybe.
• 1:12:22
  Speaker 3: Might show up for I Need man. That the way
• 1:12:26
  Speaker 3: that you elevated that idea was crazy.
• 1:12:30
  Speaker 5: Man.
• 1:12:30
  Speaker 2: That's so if you like that, guys, my books are
• 1:12:34
  Speaker 2: available wherever you buy books.
• 1:12:37
  Speaker 3: Yeah, I was expecting it to go crazy, but I
• 1:12:41
  Speaker 3: just wasn't that like immediately I was sold, Like would you,
• 1:12:45
  Speaker 3: I was like, oh dumb good, I need to buy
• 1:12:47
  Speaker 3: that now.
• 1:12:48
  Speaker 2: Well you hear that you're either immediately and not immediately out.
• 1:12:51
  Speaker 4: Yeah.
• 1:12:51
  Speaker 3: Yeah. Our type of people are immediately in you know.
• 1:12:54
  Speaker 4: Oh yeah yeah, feet first into uh into that syllable. Now,
• 1:13:02
  Speaker 4: how would you say, like, how do you balance paying
• 1:13:05
  Speaker 4: homage to like certain films you love with creating something
• 1:13:07
  Speaker 4: entirely your own, Like do you kind of have to
• 1:13:10
  Speaker 4: kind of draw the line on certain things or you know,
• 1:13:13
  Speaker 4: have certain boundaries.
• 1:13:17
  Speaker 2: You mean boundaries in terms of sort of like self
• 1:13:19
  Speaker 2: censorship or in terms of like not ripping something off.
• 1:13:22
  Speaker 4: Yeah, I would say more more like you don't want
• 1:13:25
  Speaker 4: to like pull too much homage I guess from something. Yeah, I.
• 1:13:33
  Speaker 2: Don't know. I guess I would just say I don't.
• 1:13:35
  Speaker 2: I try just not to take anything. Yeah, outright, when
• 1:13:43
  Speaker 2: I'm sort of planning a story, when I'm like outlining it,
• 1:13:46
  Speaker 2: I will say I'm outlining it. So let's use death
• 1:13:50
  Speaker 2: spelling as an example. And so it's a it's a
• 1:13:53
  Speaker 2: story about Hong Kong and Thaie black magic so I
• 1:13:58
  Speaker 2: would watch and when I was planning it, I would
• 1:14:01
  Speaker 2: what I was watching loads of like Show Brothers, Black
• 1:14:03
  Speaker 2: Magic Movies, Oily Made exceeding of a good stuff like that,
• 1:14:08
  Speaker 2: and the two sort of jog ideas and things, and
• 1:14:10
  Speaker 2: the when it came time to write, I stopped and
• 1:14:12
  Speaker 2: I just started watching other stuff as well, because you don't, yeah,
• 1:14:17
  Speaker 2: you don't want to be sort of taking things for sure. Yeah,
• 1:14:24
  Speaker 2: I would say, I just I just tried not to
• 1:14:28
  Speaker 2: see what put me off writing for years and years
• 1:14:30
  Speaker 2: and years, because that was you know, I'd made little
• 1:14:33
  Speaker 2: films and I'd done some writing, but I always felt
• 1:14:35
  Speaker 2: like I've seen so many horror films that literally every
• 1:14:39
  Speaker 2: single thing I come up with or even write, I
• 1:14:41
  Speaker 2: can trace back in some way to something I saw.
• 1:14:45
  Speaker 2: And I used to worry, like, oh, no, what if
• 1:14:48
  Speaker 2: this this line of you know, this line of dialogue
• 1:14:50
  Speaker 2: sounds vaguely similar to a line of dialogue and you
• 1:14:54
  Speaker 2: know some soul survivor from nineteen eighty years or something,
• 1:14:58
  Speaker 2: you know, like what people noticed. No, I was getting
• 1:15:01
  Speaker 2: in my own head about it. So you know, if
• 1:15:05
  Speaker 2: I subconsciously put anything, so be it, it's not deliberate.
• 1:15:09
  Speaker 2: I would never deliberately know something.
• 1:15:12
  Speaker 4: But I think what I love about your novels is
• 1:15:15
  Speaker 4: that I can I can tell that you have a
• 1:15:18
  Speaker 4: deep appreciation forror film. So there's like little things that
• 1:15:22
  Speaker 4: I kind of pick up on. I'm like, oh, okay,
• 1:15:24
  Speaker 4: I see like kind of the vibe that he's going
• 1:15:26
  Speaker 4: for with with this you know book or this sequence.
• 1:15:29
  Speaker 4: So but it's it's very very laid out, like in
• 1:15:34
  Speaker 4: a way that I don't think most people would really like.
• 1:15:36
  Speaker 4: I feel like it's too on the on the nose.
• 1:15:38
  Speaker 4: I guess that is what I'm getting at. So now,
• 1:15:41
  Speaker 4: are there, like, speaking of horror films, are there like
• 1:15:44
  Speaker 4: little known or maybe like underappreciated horror films that you
• 1:15:47
  Speaker 4: think more people should see.
• 1:15:48
  Speaker 3: Well, you just mentioned Seating of a Ghost. I would
• 1:15:50
  Speaker 3: encourage people to, improt just put that in their shaw
• 1:15:54
  Speaker 3: Shock collection. That's one of the wildest movies I've ever
• 1:15:56
  Speaker 3: seen in my life. So I wanted to admire you
• 1:15:59
  Speaker 3: for talking about that.
• 1:16:01
  Speaker 2: I have a strong suspicion that that is going to
• 1:16:04
  Speaker 2: appear in an arrow shoscope box set.
• 1:16:08
  Speaker 3: Yeah, because they're teasing Oily Maniac, right, Yeah, So that.
• 1:16:12
  Speaker 2: And I feel they're going to take because I've got
• 1:16:14
  Speaker 2: the old day eight films released, but I could certainly
• 1:16:16
  Speaker 2: do with a a new a new and new, a
• 1:16:19
  Speaker 2: new scan or something that I mean, any if they
• 1:16:24
  Speaker 2: I tell you what came out, I think two days
• 1:16:26
  Speaker 2: ago Devil Fetus. If people haven't seen Devil Fetus eighty
• 1:16:29
  Speaker 2: eight films just released, that that's an absolutely mind boggling
• 1:16:34
  Speaker 2: Hong Kong sleazy, slimy, gross, goofy, blood soaked, crazy, rampage
• 1:16:40
  Speaker 2: of utter insanity. Like, that's a film that I would
• 1:16:44
  Speaker 2: like people to see. Any of these Hong Kong ones
• 1:16:47
  Speaker 2: from the sort of black magics sub sub genre, if anything,
• 1:16:50
  Speaker 2: it's not really much of a genre or I say
• 1:16:54
  Speaker 2: anything are worth watching. There's some garbage and there's a
• 1:16:57
  Speaker 2: lot of hell of a lot of animal violence. Again,
• 1:16:59
  Speaker 2: it's Hung Kong in the seventies and eighties. It's unavoidable, unfortunately.
• 1:17:05
  Speaker 2: But yeah, I mean black Magic omingha film. Again, film's
• 1:17:12
  Speaker 2: put out. I don't know if it's available anywhere at
• 1:17:14
  Speaker 2: the moment, but that is that was a huge influence
• 1:17:16
  Speaker 2: on my book death Spell.
• 1:17:19
  Speaker 4: That is.
• 1:17:21
  Speaker 2: Yeah, if if anything, sort of black magic ones, if
• 1:17:23
  Speaker 2: you're looking for something weird, obscure, strange, and you've not
• 1:17:27
  Speaker 2: dived into sort of Southeast Asian cinema. Definitely definitely check
• 1:17:32
  Speaker 2: check some of that out.
• 1:17:35
  Speaker 3: Yeah do you? Oh, go ahead, christ No, I was
• 1:17:37
  Speaker 3: just gonna say, like, great, I know, I'm really looking
• 1:17:39
  Speaker 3: forward to Idiot Films is releasing the cat widely.
• 1:17:45
  Speaker 2: You know.
• 1:17:47
  Speaker 3: One they put out recently that I really liked was
• 1:17:49
  Speaker 3: Her Vengeance. A lot of people don't like Her Vengeance,
• 1:17:51
  Speaker 3: you know, for obvious purposes, but yeah, you know, very
• 1:17:54
  Speaker 3: good one.
• 1:17:56
  Speaker 2: I didn't like that the first time I saw it,
• 1:17:58
  Speaker 2: but I watched their their disc just last week and
• 1:18:01
  Speaker 2: I completely, like we were saying at the start, I
• 1:18:03
  Speaker 2: completely changed my tune on it. I thought it was fantastic.
• 1:18:07
  Speaker 2: Oh tell you what. If anyone's enjoyed Her Vengeance, check
• 1:18:11
  Speaker 2: out Kiss If Death, which is the Shaw Brothers film
• 1:18:14
  Speaker 2: that Her Vengeance is a remake off that is of
• 1:18:19
  Speaker 2: It's it's the same sort of plot, so it's still
• 1:18:21
  Speaker 2: pretty sleazy, nasty, but it's really colorful and beautiful. It's
• 1:18:25
  Speaker 2: it's a Shaw Brothers film, so it's fairly inevitable. But yeah,
• 1:18:29
  Speaker 2: that's a that's a terrific film.
• 1:18:30
  Speaker 4: Yeah.
• 1:18:31
  Speaker 3: I don't know what to do now, man, I have
• 1:18:33
  Speaker 3: that imprint Shaw Shock set, and I'm wondering, you know
• 1:18:36
  Speaker 3: what the Arrow ones a going to. And then because
• 1:18:38
  Speaker 3: I think I was also told by somebody else that
• 1:18:41
  Speaker 3: that Vinegar Syndrome was working on a couple of them.
• 1:18:43
  Speaker 3: I hate when that happens, when it's like multiple companies
• 1:18:46
  Speaker 3: working on.
• 1:18:50
  Speaker 2: Vinegarson of just announced they're going to start releasing Japanese
• 1:18:52
  Speaker 2: pink films, and like, is it the same ones that
• 1:18:55
  Speaker 2: eight eight Films have been putting out the cats do
• 1:18:57
  Speaker 2: ones or I don't know, because I do I've just
• 1:19:02
  Speaker 2: recently gotten into them. There there's some amazing stuff, ye,
• 1:19:05
  Speaker 2: but yeah, I'll just have to wait and see.
• 1:19:08
  Speaker 3: Well, now that you said that, I recently was listening
• 1:19:11
  Speaker 3: to a podcast, I'm gonna put it right of Sam Degan.
• 1:19:15
  Speaker 3: I'm not sure if you know who she is, a
• 1:19:17
  Speaker 3: film story. Yeah, she just had a podcast come out
• 1:19:21
  Speaker 3: talking about Japanese pink films, and I instantly like I
• 1:19:25
  Speaker 3: listened to the podcast. I was like, oh, I have
• 1:19:26
  Speaker 3: to try to find these movies. So the podcast is
• 1:19:29
  Speaker 3: called Perverse Permission and she's talking about the Angel Guts series,
• 1:19:35
  Speaker 3: which is, you know, one of the bigger I think
• 1:19:38
  Speaker 3: there's like I don't know six films, and there's a
• 1:19:40
  Speaker 3: couple of spin offs, and I know Third Window Films
• 1:19:44
  Speaker 3: is putting out a couple of the pink films from
• 1:19:47
  Speaker 3: that director. But I was wondering if.
• 1:19:48
  Speaker 2: They just got four just arrived yesterday.
• 1:19:51
  Speaker 3: Oh yeah, that she's out on some of the commentaries
• 1:19:54
  Speaker 3: for those, but I think here it's like an eighty
• 1:19:57
  Speaker 3: dollars set, like from Diabolic. I was kind of holding
• 1:20:00
  Speaker 3: out to see if you know, another company was going
• 1:20:02
  Speaker 3: to put them out that was you know, US based.
• 1:20:05
  Speaker 3: But after listening to her podcast, I'm really interested in
• 1:20:08
  Speaker 3: tracking some of them down.
• 1:20:09
  Speaker 2: Well, there's there's some incredible stuff because I don't know
• 1:20:12
  Speaker 2: how much you know about them and the cancer what
• 1:20:16
  Speaker 2: they were doing, and they were like Japan's oldest studio
• 1:20:20
  Speaker 2: and they were you know, not many people were going
• 1:20:23
  Speaker 2: to the cinema advent of TV and stuff, so they thought, right,
• 1:20:25
  Speaker 2: what what still sells? Oh? Sex? So they basically were like, right,
• 1:20:30
  Speaker 2: we'll give a director X amount of money all you
• 1:20:34
  Speaker 2: need to you can make anything you want as long
• 1:20:36
  Speaker 2: as it's about sixty seventy minutes and it's got say
• 1:20:39
  Speaker 2: four sex scenes or like twenty minutes in nudity or something.
• 1:20:43
  Speaker 2: And so these incredible directors were coming along and making
• 1:20:48
  Speaker 2: absolute like masterpieces of horror, crime drama, et erotic cinema,
• 1:20:56
  Speaker 2: and yeah, they've got a lot of sex in them.
• 1:20:59
  Speaker 2: Cool and like there was there was one I saw
• 1:21:04
  Speaker 2: that it's not out anywhere yet. I cannot recommend it enough.
• 1:21:08
  Speaker 2: I'm desperate hoping someone puts out. It's called Nuns that Bite.
• 1:21:12
  Speaker 2: Doesn't sound promising. It was when I was researching my
• 1:21:15
  Speaker 2: Nun booker. I was like, well, what's this and got
• 1:21:18
  Speaker 2: a bootleg of it, and it's like it's it's a
• 1:21:22
  Speaker 2: non sort of sex drama thing with the last twenty minutes.
• 1:21:26
  Speaker 2: It's like Suspiria. It's like this phantasmagoric, insane spectacle of violence,
• 1:21:33
  Speaker 2: like some shocking stuff that everything's on fire. It's beautiful,
• 1:21:37
  Speaker 2: It's absolutely beautiful. There's a film that no one has
• 1:21:41
  Speaker 2: seen that I you know, if anyone can put that out,
• 1:21:44
  Speaker 2: please please do. Yeah, okay again, Nuns that Bite the
• 1:21:50
  Speaker 2: terrible title, absolutely dreadful title.
• 1:21:54
  Speaker 4: But yeah, I know, I know Chris was saying that. Obviously,
• 1:21:58
  Speaker 4: like eighty eight Films is you know, they're very notable
• 1:22:01
  Speaker 4: for their four K releases. And you know, we were
• 1:22:04
  Speaker 4: talking about kind of the the dilemma between you know,
• 1:22:07
  Speaker 4: choices between that and like there's a lot of crossover
• 1:22:10
  Speaker 4: between that and like seven for example. But I never
• 1:22:12
  Speaker 4: thought I would live in a world where I would
• 1:22:15
  Speaker 4: have to choose getting a four K of Bruno Matte's
• 1:22:18
  Speaker 4: Rats from seven or eighty eight films. And it's, I guess,
• 1:22:23
  Speaker 4: a good problem to have as a collector, you know
• 1:22:26
  Speaker 4: now at this point, I mean, yeah, I don't know.
• 1:22:29
  Speaker 4: It's it's tough. It's tough to keep up with everything
• 1:22:32
  Speaker 4: that's coming out.
• 1:22:33
  Speaker 2: Is it's making me slightly more reticent to actually slap
• 1:22:35
  Speaker 2: down the money at first because I used to pre
• 1:22:37
  Speaker 2: order everything, but I've been burned so many times now
• 1:22:39
  Speaker 2: by ordering severn who don't really allow cancels of pre orders,
• 1:22:44
  Speaker 2: and then eighty films three days later, and so oh
• 1:22:46
  Speaker 2: we're bringing out as well the blood, he told me.
• 1:22:49
  Speaker 2: So I'm kind of trying to hang on now, especially
• 1:22:52
  Speaker 2: between there's certain labels. Yeah, severn A films have such
• 1:22:56
  Speaker 2: a close relationship. It seems that I'm very much hanging
• 1:23:00
  Speaker 2: and I'll try and get the ATA films just to
• 1:23:02
  Speaker 2: support my local Also, it's much cheaper for me than
• 1:23:05
  Speaker 2: Important Connectica.
• 1:23:07
  Speaker 4: Any films is incredible.
• 1:23:09
  Speaker 3: Yeah, well Severn. Just Severn's doing Absurd and Anthropophagus on
• 1:23:13
  Speaker 3: four K. They're doing brand new scans next year. They're
• 1:23:17
  Speaker 3: going to be coming out. I didn't pick up. I
• 1:23:19
  Speaker 3: still have the Severn Blu rays, so I'm happy to
• 1:23:21
  Speaker 3: pick up the eighty eight films one. I'm curious of
• 1:23:23
  Speaker 3: what Severn's gonna do.
• 1:23:25
  Speaker 2: But I couldn't resist the eight films once because the
• 1:23:27
  Speaker 2: same packaged in the Video Nasties era cover art.
• 1:23:32
  Speaker 4: Yeah.
• 1:23:33
  Speaker 2: Yeah, if you bought them direct from the site, I
• 1:23:35
  Speaker 2: could not help myself because Video Nasties, man, you know,
• 1:23:39
  Speaker 2: we've spoken about it. There's just something, especially for British
• 1:23:43
  Speaker 2: people of a certain age, there's just something tantalizingly forbidden
• 1:23:48
  Speaker 2: about the video nasty. A lot of them are not great.
• 1:23:51
  Speaker 4: Those transfers are gorgeous too, for both of those. I
• 1:23:54
  Speaker 4: mean it makes for sound Chris. It feels like it's
• 1:23:57
  Speaker 4: like the perfect double feature with Anthropophagus and then all
• 1:24:00
  Speaker 4: by Absurd.
• 1:24:02
  Speaker 2: I've not watched the transfer of Apisurd yet Anthropopic aims
• 1:24:08
  Speaker 2: it turned up, but yeah, I imagine that's because anthrow
• 1:24:12
  Speaker 2: has never looked that great. You know, you can tell
• 1:24:16
  Speaker 2: it's still limited by its source material, but it has
• 1:24:18
  Speaker 2: never looked better and likely will never looked Yeah.
• 1:24:23
  Speaker 3: Yeah, I wonder it's it's funny, man. I I love
• 1:24:25
  Speaker 3: coming across like I think last year when I picked
• 1:24:28
  Speaker 3: up Butcher Baker nightmare Maker, muh, they did the original
• 1:24:33
  Speaker 3: like video nasties art on the back of that, you know,
• 1:24:36
  Speaker 3: the flip insert. Like that was cool. Anytime I can
• 1:24:39
  Speaker 3: come across that stuff, you know, it's it's fun because
• 1:24:42
  Speaker 3: it's like I love the framing, you know, I love
• 1:24:45
  Speaker 3: they always had the like red frame on the cover
• 1:24:49
  Speaker 3: and you can.
• 1:24:50
  Speaker 2: See that influence in in my book covers. Yeah yeah,
• 1:24:55
  Speaker 2: I was just like, I just like my new one.
• 1:24:57
  Speaker 2: You've got that little box art you know that's so cool.
• 1:25:01
  Speaker 3: Yeah, that's all that Stuff's cool, man. Anytime they can
• 1:25:04
  Speaker 3: give you any additional like it's it's so hard man,
• 1:25:08
  Speaker 3: because like I try not the dog on companies like
• 1:25:10
  Speaker 3: screen Factory, but like you know, screen Factory, their releases
• 1:25:16
  Speaker 3: feel so bare compared to like when you get a
• 1:25:18
  Speaker 3: Severin or It's almost like screen Factory feels like they
• 1:25:23
  Speaker 3: like what they do Severin eighty eight. They feel like
• 1:25:26
  Speaker 3: they love what they do, you know what I.
• 1:25:28
  Speaker 2: Mean in a way, you know. But part of the
• 1:25:32
  Speaker 2: reason I loved Blu Ray when it first came out
• 1:25:35
  Speaker 2: was that the discs were really thin the cases so
• 1:25:38
  Speaker 2: I could fit more to them on my shelf. And
• 1:25:40
  Speaker 2: now it feels we've gone so far the other way
• 1:25:43
  Speaker 2: that cases are coming in VHS sizes, you know, and
• 1:25:47
  Speaker 2: they're beautiful, and I love them, and keep telling myself, now,
• 1:25:49
  Speaker 2: I'm not a collector. I just want the film. I'm
• 1:25:51
  Speaker 2: going to hang on and I'll put it out and
• 1:25:53
  Speaker 2: video a nasty packaging and I'll buy it. But I know,
• 1:25:56
  Speaker 2: I just kind of part of me wishes that we
• 1:25:58
  Speaker 2: could just go back to those little slip cases because
• 1:26:02
  Speaker 2: my shelves now we need to get a new house,
• 1:26:04
  Speaker 2: because not just because of my DVDs, but I've got massive, massive,
• 1:26:10
  Speaker 2: Ika Billy bookcases. But they're now they're doubled, so my
• 1:26:14
  Speaker 2: entire back layer of Blu Rays is hidden by the
• 1:26:18
  Speaker 2: front layer, and that drives me mad. I think I
• 1:26:20
  Speaker 2: like to see them all absolutely, I know, Like I'm
• 1:26:23
  Speaker 2: looking at your shelves behind you, I'm like, oh.
• 1:26:26
  Speaker 4: It's so bad, like collector problems, right, I feel like
• 1:26:31
  Speaker 4: I started, I wasn't able to get the Billy bookcase.
• 1:26:34
  Speaker 4: I swear it's been for the longest time that I
• 1:26:37
  Speaker 4: needed and I'm just running out of space now, so
• 1:26:39
  Speaker 4: I had to kind of like reorganize things to free
• 1:26:41
  Speaker 4: up some space. And it's tough, but yeah, I'm looking
• 1:26:45
  Speaker 4: at you.
• 1:26:45
  Speaker 2: I want to move books into a cardboard box so
• 1:26:50
  Speaker 2: that I can use my bookshelves.
• 1:26:52
  Speaker 4: For the DVD. It's sacrifices in the books.
• 1:26:56
  Speaker 2: You know, I don't read very quickly these days, so
• 1:26:59
  Speaker 2: you know they'll they'll they'll just sit there on read
• 1:27:03
  Speaker 2: ninety nine percent of them will sit there on red
• 1:27:05
  Speaker 2: for the next five years. Whereas the Blu rays. What
• 1:27:08
  Speaker 2: do I want to watch tonight? I don't know, you know,
• 1:27:10
  Speaker 2: I need to be able to see them all. It's so,
• 1:27:12
  Speaker 2: like you say, very much a first world problem, but
• 1:27:15
  Speaker 2: still upset.
• 1:27:16
  Speaker 4: Do you have any like comfort watches, like as far
• 1:27:20
  Speaker 4: as maybe if you're just trying to unwind, you know,
• 1:27:22
  Speaker 4: you've you've you've had a long day, or there's certain
• 1:27:25
  Speaker 4: films that just you can kind of just throw on
• 1:27:27
  Speaker 4: you don't have to think too much about it.
• 1:27:30
  Speaker 2: Yeah, there's there's a couple of like individual films I
• 1:27:32
  Speaker 2: would say, which would be Returning Living Dead and the
• 1:27:35
  Speaker 2: original Toxic Avengerka partly because they're so funny and partly
• 1:27:40
  Speaker 2: because I saw them at such a young age. I've
• 1:27:43
  Speaker 2: seen them so many times. I know everything that's coming up.
• 1:27:46
  Speaker 2: I know every joke, and it's still funny, and it
• 1:27:49
  Speaker 2: just sort of passes by, like I'm never like, oh,
• 1:27:52
  Speaker 2: you know, I'm getting bored now, because I know exactly
• 1:27:54
  Speaker 2: what scenees coming up out With individual films, I would
• 1:27:57
  Speaker 2: say I could always put on early Slasher, yeah, or
• 1:28:03
  Speaker 2: probably yeah, like a like I said, late eighties, early
• 1:28:09
  Speaker 2: nineties Hong Kong heroic bloodshed thing, and then that will
• 1:28:12
  Speaker 2: always be that sort of comforting thing for me. But
• 1:28:16
  Speaker 2: you know what, probably eight early Slasher the most of anything,
• 1:28:20
  Speaker 2: because when you ever not in the mood for you know,
• 1:28:24
  Speaker 2: hell Night or prom Night, Screamed Out the Prey, you know,
• 1:28:29
  Speaker 2: I just love them all. There's an atmosphere those films
• 1:28:33
  Speaker 2: have that just it's like we're saying with the campfire
• 1:28:36
  Speaker 2: stuff earlier, it's just I don't know if it's impossible
• 1:28:39
  Speaker 2: to replicate or just nobody can replicate it, but there's
• 1:28:42
  Speaker 2: some sort of yeah, yeah, the burning The Burning would
• 1:28:47
  Speaker 2: be watched so many times, and I love it more
• 1:28:52
  Speaker 2: every time, Like every.
• 1:28:53
  Speaker 4: Time we did a deep dive and we did a
• 1:28:57
  Speaker 4: deep dive and into them and two into the burning?
• 1:29:00
  Speaker 4: Was it back in June? Right the end of that one. Yeah, Oh,
• 1:29:04
  Speaker 4: had so much fun doing that one.
• 1:29:06
  Speaker 3: It was a tough It was a tough like we
• 1:29:08
  Speaker 3: you know, we we based our conversations based on the
• 1:29:10
  Speaker 3: commentary track, and Tony Mayllem's commentary track for that wasn't
• 1:29:14
  Speaker 3: very insightful, you know. So there's multiple times where like
• 1:29:18
  Speaker 3: we're kind of like just trying to uh continue on
• 1:29:22
  Speaker 3: the conversation outside of the commentary track because it wasn't
• 1:29:26
  Speaker 3: that great. But at the end of it, man, I
• 1:29:28
  Speaker 3: just loved sitting down talking about the Burning for hours,
• 1:29:31
  Speaker 3: you know what I mean?
• 1:29:32
  Speaker 4: Oh yeah, that perfect for the summer. Yeah, it's great.
• 1:29:36
  Speaker 2: It's like it hits all the beats, it has all
• 1:29:38
  Speaker 2: the tropes, but it also occasionally reverses them as well,
• 1:29:41
  Speaker 2: and it's sort of like your Final Boy, like the
• 1:29:43
  Speaker 2: police actually started turning up, you know, like.
• 1:29:45
  Speaker 4: They for once. Yeah.
• 1:29:48
  Speaker 2: My favorites are like the fact that the surf the
• 1:29:51
  Speaker 2: nerdy boy, you know, you know, he's actually like a
• 1:29:54
  Speaker 2: bit of a sleeve, like he's spine on girls on
• 1:29:57
  Speaker 2: the shower.
• 1:29:58
  Speaker 4: Yeah.
• 1:29:58
  Speaker 2: And then the actual Glazer, who by the way, is
• 1:30:01
  Speaker 2: about forty five fucking years old. Yeah, Like he actually
• 1:30:05
  Speaker 2: turned to his scene with his girlfriend where he like
• 1:30:08
  Speaker 2: like he is unsatisfying in beds, but then she's like
• 1:30:12
  Speaker 2: kind of tender to him and they have like a
• 1:30:14
  Speaker 2: really nice tender scene that I'm like, Oh, he's not
• 1:30:17
  Speaker 2: such a bad guy after all. Let he get stabbed
• 1:30:18
  Speaker 2: in the throat with shears. Yeah, yay, fuck you bully.
• 1:30:21
  Speaker 4: But yeah, it's.
• 1:30:23
  Speaker 2: It's just a film that is just keeps on giving.
• 1:30:26
  Speaker 2: There's there's no downtime in the burning, I would say.
• 1:30:29
  Speaker 2: And that score, Oh my god, that's score.
• 1:30:31
  Speaker 4: Oh it's so good. Yeah, I love that score so much.
• 1:30:33
  Speaker 3: One of my favorites that nobody talks about. And Steve,
• 1:30:36
  Speaker 3: I know you like it is an edge of the axe,
• 1:30:39
  Speaker 3: Oh so good. Edge of the Acts is awesome, man.
• 1:30:42
  Speaker 3: I think that's Spanish, right, yes, yeah, the act effect,
• 1:30:48
  Speaker 3: Like those kills are so brutal, man, there's something about
• 1:30:51
  Speaker 3: the acts. It's such a macabre weapon to use on somebody,
• 1:30:54
  Speaker 3: you know.
• 1:30:55
  Speaker 4: Oh yeah, Well, and I feel like around that time,
• 1:30:58
  Speaker 4: like initially discovering Edge of the Acts, it was like
• 1:31:01
  Speaker 4: blood rage and the mutilator and the burning, so it's
• 1:31:05
  Speaker 4: like all all the a mad man all all around
• 1:31:08
  Speaker 4: that time. I felt like I was like discovering my
• 1:31:10
  Speaker 4: deep love of like eighties slashers as a result of it.
• 1:31:13
  Speaker 4: So and there's just so many of them.
• 1:31:15
  Speaker 3: And Edgity Acts has like a weird AI element, you
• 1:31:17
  Speaker 3: know with his computer, Like there's like this interesting like
• 1:31:20
  Speaker 3: early like what is it his computer does? He has
• 1:31:24
  Speaker 3: like a software that like talks back to you. What
• 1:31:27
  Speaker 3: is it that I forget what it is exactly?
• 1:31:28
  Speaker 2: But almost like a confused with evil speak now with
• 1:31:31
  Speaker 2: his stupid computer and.
• 1:31:32
  Speaker 3: Evil speak Twynn Howard.
• 1:31:38
  Speaker 2: There's That's what's so awesome though about slasher films is
• 1:31:42
  Speaker 2: that I get you can break them into sub sub genre.
• 1:31:45
  Speaker 2: So do you want to watch like a summer camp slasher?
• 1:31:48
  Speaker 2: Do you want to watch one that set, you know,
• 1:31:50
  Speaker 2: entirely in a in a house like say house on
• 1:31:52
  Speaker 2: Sonera at a roll or dorm that drip blood or something.
• 1:31:54
  Speaker 2: You know, it's like even within within the slasher itself,
• 1:31:59
  Speaker 2: it's like what kind of slasher do you want? And
• 1:32:01
  Speaker 2: I think most normal people would be like, what you're
• 1:32:04
  Speaker 2: talking about. They're all the same. All these films are
• 1:32:06
  Speaker 2: the same. It's like no, no, you don't understand this difference.
• 1:32:10
  Speaker 4: Or don't go in the House. That's another one that
• 1:32:12
  Speaker 4: it's just it's just I remember the first time watching
• 1:32:15
  Speaker 4: that and I did not know what I was in for,
• 1:32:18
  Speaker 4: and I was like, wow, this is a lot like
• 1:32:20
  Speaker 4: worse than I had any idea it was going to.
• 1:32:23
  Speaker 4: Oh it is. It's like unhinged. It's not something I
• 1:32:27
  Speaker 4: would recommend to most people. And but.
• 1:32:31
  Speaker 2: I think I think seven maybe did disc for you guys.
• 1:32:37
  Speaker 2: It's got an extended cut, which is actually like even better.
• 1:32:41
  Speaker 2: I thought it's I can't. I think there's one scene
• 1:32:45
  Speaker 2: where he talks to a priest that's kind of boring,
• 1:32:46
  Speaker 2: but definitely the extended one had like more scares and
• 1:32:50
  Speaker 2: more atmosphere and stuff. I really recommend that you go
• 1:32:54
  Speaker 2: to there.
• 1:32:55
  Speaker 3: Yeah, just for listeners, Steve's pulling something out of a vhea.
• 1:32:59
  Speaker 4: We'll get in a secon.
• 1:33:02
  Speaker 2: Yeah, that is a film that is Yeah, you think
• 1:33:06
  Speaker 2: it's gonna be one of those don't films, like I
• 1:33:08
  Speaker 2: Don't Go in the Woods or something don't go near
• 1:33:10
  Speaker 2: the park. You know, it's a crim upsetting film, but
• 1:33:16
  Speaker 2: like with a good performance and stuff. I think there's
• 1:33:19
  Speaker 2: a disco scene where someone's hair is on fire.
• 1:33:21
  Speaker 4: So I think you were spot on when you were
• 1:33:25
  Speaker 4: giving the maniac comparison because there was a lot of
• 1:33:28
  Speaker 4: like uh like kind of similarities.
• 1:33:33
  Speaker 2: The corpse of his mother keeps golding him on and
• 1:33:35
  Speaker 2: things like that, and he was abused by it or
• 1:33:37
  Speaker 2: something that's pretty tired sort of thing.
• 1:33:40
  Speaker 4: But I didn't want to get to catch the shine
• 1:33:44
  Speaker 4: in it from the case.
• 1:33:45
  Speaker 3: Dude, it's so funny the comparison to that cover to
• 1:33:48
  Speaker 3: the the VHS cover of Marty Girl Massacre. It's the
• 1:33:53
  Speaker 3: blade between the eyes. Yep, yep, that's eerily similar. I
• 1:33:58
  Speaker 3: never noticed that before.
• 1:33:59
  Speaker 2: By the way, on a physical media show. I have
• 1:34:02
  Speaker 2: to say, the one film I never expected, a film
• 1:34:04
  Speaker 2: that I love that I never expected to get a
• 1:34:07
  Speaker 2: decent release was Marti Gram Massacre.
• 1:34:10
  Speaker 3: I know I know that it's Did you get the
• 1:34:12
  Speaker 3: novelization of it?
• 1:34:14
  Speaker 2: Yes? I don't think I can bring myself to read it.
• 1:34:19
  Speaker 2: I bought it the same twenty minutes like four times
• 1:34:22
  Speaker 2: in a row, just on a repeat. But that's slight
• 1:34:25
  Speaker 2: variation and I love that about it as a film
• 1:34:27
  Speaker 2: for eighty minutes, you know, as a book, maybe.
• 1:34:32
  Speaker 3: One of my favorite. Seven put out one of my
• 1:34:34
  Speaker 3: favorite slasher discoveries last year, the Australian Blood Moon.
• 1:34:38
  Speaker 2: I've not seen that.
• 1:34:39
  Speaker 3: Oh dude, it's it's great. It actually like it's the
• 1:34:42
  Speaker 3: killer uses like this almost like it's like a barbed
• 1:34:47
  Speaker 3: wire but it's in a circle and it's really interesting, man.
• 1:34:51
  Speaker 3: And it has a fright break at the end of
• 1:34:53
  Speaker 3: it kind of like pauses, lets you guess the killer
• 1:34:56
  Speaker 3: and kind of warns you of what's coming up. And
• 1:34:58
  Speaker 3: Seven actually included the fright break in the movie.
• 1:35:01
  Speaker 2: Amazing.
• 1:35:02
  Speaker 3: So much fun, man, so much fun.
• 1:35:06
  Speaker 2: Do you think there was What's That Werewolf? One that
• 1:35:07
  Speaker 2: has the werewolf break?
• 1:35:11
  Speaker 7: Oh?
• 1:35:13
  Speaker 3: Oh, I need this.
• 1:35:15
  Speaker 2: It's a British film in the early seventies and it
• 1:35:18
  Speaker 2: has a it's like a murder mystery, but you have
• 1:35:20
  Speaker 2: to guess the werewolf. The werewolf by the way, it's
• 1:35:22
  Speaker 2: played by an Alsatian in a way, it's the funniest
• 1:35:24
  Speaker 2: thing I've ever seen.
• 1:35:25
  Speaker 6: Is it?
• 1:35:27
  Speaker 3: Is it a Moon of the Wolf?
• 1:35:29
  Speaker 6: No?
• 1:35:29
  Speaker 4: No, no.
• 1:35:31
  Speaker 2: It was released by Amicus. I think her tigon Oh.
• 1:35:36
  Speaker 3: Must Die, thank you, thank you, thank you. I think
• 1:35:39
  Speaker 3: seven put that out too, Chris.
• 1:35:41
  Speaker 2: I imagine they must have kept the werewolf break in
• 1:35:44
  Speaker 2: it then, knowing David Gregory's love of that sort of.
• 1:35:49
  Speaker 3: Ship, Yeah, yeah, he man. That guy is like he
• 1:35:54
  Speaker 3: just announced yesterday they're doing seven. He's directing a documentary
• 1:35:58
  Speaker 3: about the Grangunyall Theater.
• 1:36:00
  Speaker 2: Yes, yes, I heard something about that. They're putting out
• 1:36:03
  Speaker 2: some old silent shorts or something like.
• 1:36:06
  Speaker 3: Yeah, incredible, man, because that's how I so funny enough,
• 1:36:09
  Speaker 3: like in a weird turn of events. When I this
• 1:36:12
  Speaker 3: was like two thousand and four, I remember watching the
• 1:36:15
  Speaker 3: behind the scenes for Final Destination two of All Movies,
• 1:36:20
  Speaker 3: and it had the opening of the documentary was like
• 1:36:24
  Speaker 3: a history of Gore in movies, and they were talking
• 1:36:26
  Speaker 3: about the Grand Genial and Hershel Gordon Lewis, and that's
• 1:36:29
  Speaker 3: how I found Blood Feasts. And then now to grow
• 1:36:34
  Speaker 3: up and have the Aero video set and kind of
• 1:36:36
  Speaker 3: be like a little bit of a Hershel Gordon Lewis fanboy,
• 1:36:39
  Speaker 3: you know. When I saw that they posted about that,
• 1:36:42
  Speaker 3: I'm like, finally I can watch like a good of
• 1:36:45
  Speaker 3: like a fantastic documentary about this theater because I'm obsessed
• 1:36:48
  Speaker 3: with what they were doing in that place. Man, it's incredible.
• 1:36:52
  Speaker 2: Yeah, David as David Gregory is amazing. First of all,
• 1:36:56
  Speaker 2: I love her the severing podcasts that gets even more
• 1:36:59
  Speaker 2: of an appreciation for the company and the films. I mean,
• 1:37:02
  Speaker 2: look at what he's done for documentaries, like in terms
• 1:37:05
  Speaker 2: of producing and directing. You know, we've got like ones
• 1:37:07
  Speaker 2: on Cliff Twemlow, We've got ones on Susanna the Indonesian
• 1:37:12
  Speaker 2: movie Star, Drawing a Blank and the brush Plantation one.
• 1:37:18
  Speaker 3: You know, it's like he did the best Texas Chainsaw
• 1:37:20
  Speaker 3: Mascer documentary. Yeah, yeah, yeah, yeah, yeah, incredible work man.
• 1:37:26
  Speaker 3: We're actually in kind of discussion right now to start
• 1:37:30
  Speaker 3: doing some stuff with it. Psychopocalypse Publications, just as far
• 1:37:33
  Speaker 3: as like marketing for them, they do a lot of
• 1:37:36
  Speaker 3: the They do a lot of novelizations for Severn, which
• 1:37:40
  Speaker 3: I'm a massive, massive fan of movie novelizations, even if
• 1:37:44
  Speaker 3: I don't like I think it's going to translate. Well,
• 1:37:48
  Speaker 3: I just think that that's a one of the things
• 1:37:51
  Speaker 3: that we've lost over the years.
• 1:37:52
  Speaker 2: Is that I've got a couple of novelizations of the
• 1:37:55
  Speaker 2: like Phantom of the Paradise and wicker Man. It's like
• 1:37:57
  Speaker 2: they're fucking musicals. Yeah yeah, yeah, yeah, but novelize that.
• 1:38:03
  Speaker 2: But you know they did, and the book amand One's
• 1:38:05
  Speaker 2: quite good, actually totally right. I've got a gigantic collection
• 1:38:08
  Speaker 2: of novelizations. If you go on my Instagram at paperbacks
• 1:38:13
  Speaker 2: and pugs, you'll see I've been putting loads of them up.
• 1:38:17
  Speaker 2: There's like Daddy Argento and that. I've got Cat and
• 1:38:18
  Speaker 2: nine Tales novelizations. Wow, unbelievable. That's crazy bunch of early
• 1:38:23
  Speaker 2: Cronenberg's Rabbit and the Brood and stuff like. It's so cool.
• 1:38:26
  Speaker 3: I think the rarest one we have is yeah, Thirteenth
• 1:38:29
  Speaker 3: Part three, and we paid like seventy dollars for that.
• 1:38:32
  Speaker 2: I think I've got which, I've got one, two, and
• 1:38:35
  Speaker 2: then I've got two. There was two different novelizations of three.
• 1:38:38
  Speaker 2: Did you know that?
• 1:38:39
  Speaker 3: I heard?
• 1:38:39
  Speaker 2: Yes?
• 1:38:39
  Speaker 3: I did hear yes, yes.
• 1:38:41
  Speaker 2: So I think one by Simon Hawk and one by
• 1:38:43
  Speaker 2: Michael Avalone. And then I think I've got a part
• 1:38:46
  Speaker 2: six one as well. But my absolute dream would be
• 1:38:49
  Speaker 2: to write. I'm sure I wrote to several years back
• 1:38:52
  Speaker 2: and was like, hey, if you're ever looking for someone
• 1:38:53
  Speaker 2: to do a novelization. I'd like to do one, but
• 1:38:57
  Speaker 2: nobody knew who I was back then. I'm slightly the nice. Yeah.
• 1:39:02
  Speaker 2: But then if they've ended in the thing within Cyclopocalypse,
• 1:39:04
  Speaker 2: then I imagine they'll work with their staple of authors.
• 1:39:07
  Speaker 2: But I would love to do a novelization of like
• 1:39:11
  Speaker 2: an old classic. I don't mean if some modern film.
• 1:39:13
  Speaker 2: You know, I'm not interested. If someone said to me, hey, David,
• 1:39:16
  Speaker 2: we need one for you know, don't go in the
• 1:39:18
  Speaker 2: house like sign me.
• 1:39:20
  Speaker 4: Up, there'd be a day one purchase for me, then
• 1:39:25
  Speaker 4: I mean I'm.
• 1:39:26
  Speaker 3: Going to send you. I'm going to send you a
• 1:39:28
  Speaker 3: company I just found called I think they're from the UK.
• 1:39:31
  Speaker 3: They're called Echo On Publications. They just put out a
• 1:39:34
  Speaker 3: novelization of The Descent. They did the Settercne in the
• 1:39:37
  Speaker 3: Mouth of Madness. Look, they just did the Maniac Cop trilogy,
• 1:39:42
  Speaker 3: and nobody's really talking about them too much. I mean,
• 1:39:45
  Speaker 3: I'm on their Instagram page now and they just announced
• 1:39:49
  Speaker 3: uh novelizations for Wrong Turn Night, Wish, Spooky's Extra Monster
• 1:39:54
  Speaker 3: Squad House. Tell me, I'm gonna I'm gonna send this
• 1:39:59
  Speaker 3: to you on Instagram right now, please do please? Yeah, there,
• 1:40:03
  Speaker 3: I I've actually I've been meaning to reach out to
• 1:40:06
  Speaker 3: them and just be like, hey, like, you guys are
• 1:40:08
  Speaker 3: doing really cool stuff. Because they only have fifty followers
• 1:40:11
  Speaker 3: on Instagram, what like, why aren't people talking about this? Like,
• 1:40:14
  Speaker 3: I know, Bloody Disgusting just posted about The Descent, and
• 1:40:18
  Speaker 3: I think Roomorg posted about Monster Squad, But like, I'm like,
• 1:40:20
  Speaker 3: why is nobody talking about this?
• 1:40:23
  Speaker 4: Yeah?
• 1:40:23
  Speaker 2: It's crazy.
• 1:40:26
  Speaker 3: Yeah, man, it's it's incredible.
• 1:40:27
  Speaker 2: Man, hit them up.
• 1:40:29
  Speaker 3: Yeah, yeah, I'm going to send it to you right now.
• 1:40:32
  Speaker 2: Well, it is a lost start, though, You're right, and
• 1:40:34
  Speaker 2: there's something especially in the you know, like I don't know,
• 1:40:39
  Speaker 2: I just I love a moving a visation. Yeah, and
• 1:40:41
  Speaker 2: it was a way for us to, you know, to
• 1:40:47
  Speaker 2: think about the movie in the days before streaming and readily.
• 1:40:51
  Speaker 2: You know, we didn't have a video player until I
• 1:40:54
  Speaker 2: was about twelve or something. I took at my grand's
• 1:40:57
  Speaker 2: house to because she rented of a due recorder.
• 1:41:01
  Speaker 4: Yeah.
• 1:41:02
  Speaker 2: So, like, moving novelizations were all I had for a
• 1:41:04
  Speaker 2: lot of the time, and I guess there's not so
• 1:41:06
  Speaker 2: much need for them now, but there's something amazing about them,
• 1:41:10
  Speaker 2: and just especially when you get ones that wasn't just
• 1:41:11
  Speaker 2: like a direct copy of the script with a few
• 1:41:13
  Speaker 2: more words ones actually added backstory and character and stuff
• 1:41:17
  Speaker 2: like this.
• 1:41:18
  Speaker 3: Well, it depends too on the because a lot of times,
• 1:41:20
  Speaker 3: like they'll sometimes they'll use, you know, multiple drafts of
• 1:41:24
  Speaker 3: the script to fill in kind of some info and
• 1:41:26
  Speaker 3: use some stuff that was once there that they can
• 1:41:29
  Speaker 3: kind of twist and add back in.
• 1:41:30
  Speaker 2: You know.
• 1:41:31
  Speaker 3: That's the most interesting when you can, like, I know,
• 1:41:33
  Speaker 3: the Halloween novelizations are notorious for bringing like different subplots
• 1:41:37
  Speaker 3: in and different side characters and experience that to the
• 1:41:40
  Speaker 3: point crazy.
• 1:41:42
  Speaker 2: Yeah, I mean that that. The Halloween one's insane. Michael
• 1:41:44
  Speaker 2: gets an erection every time he kills anyonebody because like.
• 1:41:50
  Speaker 3: What are you doing?
• 1:41:51
  Speaker 2: Absolutely unbelievable? What were I love it. The biggest disappointment
• 1:41:59
  Speaker 2: for me was George Romio's Martin. So I was like,
• 1:42:01
  Speaker 2: oh my god, it's one of my alter favorite films.
• 1:42:04
  Speaker 2: Is this going to have all the stuff from the
• 1:42:05
  Speaker 2: fabled three hour cut? No, it's just the movie. It's
• 1:42:10
  Speaker 2: it's like it's there's almost nothing extra in that that
• 1:42:14
  Speaker 2: is part of the stuff that was cut out. So
• 1:42:15
  Speaker 2: I was really annoyed about that because I thought it
• 1:42:17
  Speaker 2: could be our only chance seeing is how I believe
• 1:42:22
  Speaker 2: they'd go up for sale a few years back to
• 1:42:24
  Speaker 2: the footage, and I don't know if it's sold or not,
• 1:42:26
  Speaker 2: but we're never going to see it.
• 1:42:27
  Speaker 4: So yeah, Chris, I keep eyeing an encyclo Apocalypse. I
• 1:42:32
  Speaker 4: see that they have the novelization for Cruel Jaws.
• 1:42:34
  Speaker 3: Yeah, yeah, yeah, yeah, and some of them. Like I
• 1:42:38
  Speaker 3: like the work that Tim Wagner is doing. He did
• 1:42:40
  Speaker 3: the Terrifier Too novelization. He also did the ex trilogy
• 1:42:45
  Speaker 3: for A twenty four which is oh yeah, a whole
• 1:42:48
  Speaker 3: They don't add a whole lot, like they add a
• 1:42:50
  Speaker 3: little bit, but like they're just cool to have because
• 1:42:52
  Speaker 3: they have those matching covers that incredible work by Oh
• 1:42:56
  Speaker 3: my god, by uh is it? Who is it?
• 1:43:00
  Speaker 1: Is it?
• 1:43:00
  Speaker 3: Bryan? Oh my god, I'm blanking on on the name
• 1:43:03
  Speaker 3: of who did the cover art for the Oh Matt Ryan.
• 1:43:05
  Speaker 3: Matt Ryan did the matching cover articles for three of those.
• 1:43:08
  Speaker 2: Oh yes, I remember seeing that and going who did
• 1:43:10
  Speaker 2: that and then adding him on social media like yeah,
• 1:43:13
  Speaker 2: I need to work with this person at some point
• 1:43:15
  Speaker 2: because they was there stunning.
• 1:43:16
  Speaker 3: Yeah, But like I have my wife and I have
• 1:43:19
  Speaker 3: like we have it's like Apocaups did re Animator, they
• 1:43:23
  Speaker 3: did Fright Night, they did Vamp. The re Animator one
• 1:43:26
  Speaker 3: was pretty much like a straight you know, it was
• 1:43:29
  Speaker 3: kind of like it was kind of like I watched
• 1:43:31
  Speaker 3: the movie for like five hours because I know that
• 1:43:33
  Speaker 3: movie so well.
• 1:43:34
  Speaker 2: I think that one and the Fright Day ones were
• 1:43:36
  Speaker 2: reprints because I've got the eighties versions of those. Yeah,
• 1:43:41
  Speaker 2: but yeah, they do certainly do a bunch of new
• 1:43:43
  Speaker 2: ones as well. I think I saw someone's doing Stunn
• 1:43:46
  Speaker 2: a Sleepaway Camp one.
• 1:43:47
  Speaker 3: Which is yeah, that's yeah, nineteen eighty four actually just
• 1:43:50
  Speaker 3: came out today.
• 1:43:51
  Speaker 4: Yeah, oh, I gotta check that out.
• 1:43:53
  Speaker 2: Yeah, I'd love to do the Burning. I think that
• 1:43:54
  Speaker 2: would be my number one. Oh, please do fill in
• 1:43:58
  Speaker 2: that backstoryser because you've got like four kidsworth of stuff
• 1:44:01
  Speaker 2: before he became a teenager, So.
• 1:44:04
  Speaker 3: You could just write a whole book on Glazier before
• 1:44:07
  Speaker 3: the Burning, before he got.
• 1:44:08
  Speaker 7: The camp, you know, the spin off. Nobody wanted the
• 1:44:11
  Speaker 7: Glazier a Burning story, but yeah, like they did.
• 1:44:19
  Speaker 3: I remember it really took off like Titan Books did
• 1:44:21
  Speaker 3: the Halloween trilogy, the David Gordon Green that's right, Yeah, yeah,
• 1:44:25
  Speaker 3: then those were those were cool, you know, I think
• 1:44:27
  Speaker 3: sometimes too, Like reading the novelization sort of helped me
• 1:44:32
  Speaker 3: like understand some of the like intention behind dialogue a
• 1:44:36
  Speaker 3: little bit better, like fills in these little gaps that
• 1:44:39
  Speaker 3: kind of helped me. Like when I go back and
• 1:44:40
  Speaker 3: watch the movie, I'm like, oh, yeah, I remember how
• 1:44:42
  Speaker 3: this was said, and you know how it was broken
• 1:44:43
  Speaker 3: down in a novelization. So it does kind of help
• 1:44:46
  Speaker 3: depending on how good the writer is.
• 1:44:48
  Speaker 2: Yeah, And that's the thing. A lot of times, back
• 1:44:50
  Speaker 2: in the sort of sixties, seventies, eighties and stuff, as
• 1:44:53
  Speaker 2: far as I'm aware, it was like someone got a
• 1:44:56
  Speaker 2: script and got told, right, you've got ten days, you know,
• 1:45:00
  Speaker 2: write a book out of this, And so sometimes they're
• 1:45:03
  Speaker 2: not high art. But then you get people like Alan
• 1:45:07
  Speaker 2: Dean Foster, Chelsea Quinn, Yarbow, that guy whose name I've forgotten,
• 1:45:13
  Speaker 2: really famous, Oh my god, he was writing under Jack Martin.
• 1:45:17
  Speaker 2: He did a couple of the Halloween ones, oh fux
• 1:45:20
  Speaker 2: sake kind of mind. But you did get some really
• 1:45:22
  Speaker 2: talented daughters who would they would still do it in
• 1:45:24
  Speaker 2: ten days probably, but they would put a spin on,
• 1:45:27
  Speaker 2: a fun spin that just makes it just gives it
• 1:45:30
  Speaker 2: a slight edge like difference from the movie that makes
• 1:45:33
  Speaker 2: it worth reading.
• 1:45:33
  Speaker 3: Really, if I remember, didn't Alan Dean Foster I have
• 1:45:36
  Speaker 3: them in the other room. Didn't he do the Aliensis?
• 1:45:39
  Speaker 5: Right? He did?
• 1:45:40
  Speaker 3: Alien?
• 1:45:40
  Speaker 4: And three?
• 1:45:42
  Speaker 3: Yeah? Yeah, that's how I know the name. Okay, Okay,
• 1:45:44
  Speaker 3: I haven't read those yet, but I've heard they're good.
• 1:45:46
  Speaker 3: They're really good.
• 1:45:47
  Speaker 2: I've only read Alien, but it's got one of the
• 1:45:50
  Speaker 2: worst opening chapters I've ever read in my life. It's
• 1:45:53
  Speaker 2: absolutely a bit SMaL. Get past that and it's really great.
• 1:45:57
  Speaker 2: Like he introduces everyone in the most boring way imaginable.
• 1:46:00
  Speaker 2: They're waking up, like then this person woke up, and
• 1:46:02
  Speaker 2: then he gives you a big history of them. It's
• 1:46:04
  Speaker 2: so dull. But after that it's really great, apart from
• 1:46:07
  Speaker 2: one bit where they've added in a scene that's meant
• 1:46:10
  Speaker 2: to be like high suspense and tension. Yeah, and maybe
• 1:46:13
  Speaker 2: back then it was. But it's where she's forgotten their
• 1:46:15
  Speaker 2: password and you try to remember her password. It goes
• 1:46:17
  Speaker 2: on for about three pages and in twenty twenty five,
• 1:46:21
  Speaker 2: you know, we forget her passwords every few minutes. Like
• 1:46:23
  Speaker 2: it's it's somehow less exciting than you know she was,
• 1:46:25
  Speaker 2: Like she has a number code to type into the
• 1:46:28
  Speaker 2: door to open it, and people in the sense might
• 1:46:30
  Speaker 2: be like, oh my god, the future. It's yeah, exciting
• 1:46:33
  Speaker 2: night But other than that, it's it's a really great book. Yeah, exactly.
• 1:46:37
  Speaker 4: Do you have like a number, like if you had to,
• 1:46:40
  Speaker 4: I don't know, like maybe like five film novelizations that
• 1:46:45
  Speaker 4: you would recommend. Is there like a good starting point
• 1:46:47
  Speaker 4: for someone that's looking to get into them?
• 1:46:50
  Speaker 2: Let me just fire up by Instagram when I've got
• 1:46:53
  Speaker 2: pictures of them all myself. Not the NIGHTMARELM Street ones,
• 1:46:59
  Speaker 2: but because there's one which is it's parts one, two,
• 1:47:03
  Speaker 2: and three, but it's in condensed into one hundred and
• 1:47:06
  Speaker 2: fifty pages often absolutely mind bogglin. I thought the Dawn
• 1:47:09
  Speaker 2: of the Dead one was actually pretty good's it doesn't
• 1:47:12
  Speaker 2: add a whole lot, but it was an enjoyable read.
• 1:47:17
  Speaker 2: Gremlin's excellent. Really recommend Gremlins. It actually gives you loads
• 1:47:22
  Speaker 2: of strange backstory on Gizmo's home planet. I've not read
• 1:47:28
  Speaker 2: My Hills of Ice part two to one yet, but
• 1:47:30
  Speaker 2: I'm hoping it still has all the dog flashbacks, flashback
• 1:47:33
  Speaker 2: chap oh essential John Russo's returning Living Dead. Now I
• 1:47:38
  Speaker 2: think he's got a version written before the film and
• 1:47:41
  Speaker 2: then a version it's more of an adaptation of the film.
• 1:47:44
  Speaker 2: But that was a really enjoyable one, as was the
• 1:47:46
  Speaker 2: Video Drome one. Video Drome one was excellent, and that's
• 1:47:51
  Speaker 2: written by the guy whose name I can't remember. It's
• 1:47:53
  Speaker 2: Jack Martin, but it's a pseudonym for someone much more famous.
• 1:47:57
  Speaker 2: The Squirm one was really good as well. It's probably
• 1:47:59
  Speaker 2: really hard to find the Thing I wasn't so fond of,
• 1:48:03
  Speaker 2: which was surprising. But the Fog. The Fog was a
• 1:48:06
  Speaker 2: really great one as well. I can find the Fog mortalization.
• 1:48:09
  Speaker 2: That's you know what, that's probably the best one to
• 1:48:10
  Speaker 2: start with, best films ever. So there we go.
• 1:48:13
  Speaker 4: Okay, okay, now let me ask, let's pivot a little bit.
• 1:48:17
  Speaker 4: So as far as Carpenter, is that one of your favorites,
• 1:48:20
  Speaker 4: the Fog? Yeah, yeah, for like out of his films, Yeah, yeah, yeah, okay, Okay.
• 1:48:26
  Speaker 2: I would say that's probably my number one. It's really
• 1:48:28
  Speaker 2: difficult because like it's constantly sort of jostling for a
• 1:48:31
  Speaker 2: position with the Thing and maybe Halloween and stuff. What
• 1:48:38
  Speaker 2: I'd say, The Fog, Yeah, it's there's something. It is
• 1:48:40
  Speaker 2: the first one I saw. I think and it has
• 1:48:42
  Speaker 2: a men sentimental value, and you can't really overlook sentimental
• 1:48:47
  Speaker 2: value when it comes to films. You know, I think
• 1:48:51
  Speaker 2: it's got his best score, It's got the best climax.
• 1:48:54
  Speaker 2: That entire last twenty minutes is just so really insistent score,
• 1:48:58
  Speaker 2: did you.
• 1:49:00
  Speaker 4: Know, Like yeah, yeah, And I always I feel like
• 1:49:04
  Speaker 4: I always recommend, like if if you're a fan of
• 1:49:07
  Speaker 4: the Fog, Dead and Buried, there's another one that feels
• 1:49:10
  Speaker 4: like the perfect double feature. Absolutely, yeah, yes, Now let
• 1:49:17
  Speaker 4: me ask, Okay, so, speaking of which, obviously there's a
• 1:49:20
  Speaker 4: number of films that we've discussed so far, how would
• 1:49:24
  Speaker 4: you say, like the video store era, like it was
• 1:49:27
  Speaker 4: that pretty pivotal for your discovery of films early on,
• 1:49:33
  Speaker 4: or like how you found out about some of these.
• 1:49:36
  Speaker 2: Kind of I'd say I found out about them through
• 1:49:39
  Speaker 2: reading like that Terror on Tape book I mentioned earlier
• 1:49:41
  Speaker 2: in magazine and go to in Dark Side and stuff.
• 1:49:43
  Speaker 2: Because we didn't have a great video store culture here
• 1:49:49
  Speaker 2: in the UK and Scotland like like you guys did there.
• 1:49:51
  Speaker 2: We didn't really have many of these sort of what
• 1:49:53
  Speaker 2: you call mom and pop stores. We had Ritz Video,
• 1:49:56
  Speaker 2: which later turned into blogbusters. So our Horder section stood
• 1:50:00
  Speaker 2: off well once it turned into Blockbuster in the early nineties.
• 1:50:04
  Speaker 2: It had maybe fifteen titles for the thirteenth and stuff,
• 1:50:07
  Speaker 2: and that was it. So I rented all them, and
• 1:50:09
  Speaker 2: then it was it was a case of if we
• 1:50:12
  Speaker 2: would go well, our family always loved going into the
• 1:50:15
  Speaker 2: country and going log walks in the country and stuff.
• 1:50:18
  Speaker 2: So you'd pass these little little Scottish villages and if
• 1:50:21
  Speaker 2: you saw a video shop, I would be running straight
• 1:50:24
  Speaker 2: in there because they were generally they were totally independent,
• 1:50:27
  Speaker 2: just owned by someone and you know, the village tea
• 1:50:29
  Speaker 2: lady owns it, but all their stuff would be pre
• 1:50:33
  Speaker 2: serve video nasties, uncut throngs, and you would just be like, well,
• 1:50:38
  Speaker 2: you know, I was ten or so at the time,
• 1:50:40
  Speaker 2: so I'd get my mom to go, my mom carrying,
• 1:50:41
  Speaker 2: you know, like dressed to kill, up to the counter
• 1:50:44
  Speaker 2: and being like, can we buy this and she'd be
• 1:50:47
  Speaker 2: like yes, that'll be two pounds, yeah, okay, yeah. So
• 1:50:51
  Speaker 2: it was it was an amazing thrill of the hunt
• 1:50:53
  Speaker 2: because everywhere you went, every little village would try and
• 1:50:56
  Speaker 2: find that video shop and there would be a copy
• 1:50:58
  Speaker 2: of Flesh Eating Mothers or something. But this one you know,
• 1:51:00
  Speaker 2: you'd ask if they could buy it and they'd say no,
• 1:51:02
  Speaker 2: it's only for rent, and oh, you'd be crushed.
• 1:51:07
  Speaker 3: Yeah, it was.
• 1:51:08
  Speaker 2: I knew all about these films long before I saw
• 1:51:11
  Speaker 2: most of them, because they were so hard to find.
• 1:51:14
  Speaker 2: I mean to give you an idea, I read an
• 1:51:16
  Speaker 2: article on a reanimator in a magazine called Shivers in
• 1:51:19
  Speaker 2: about ninety five, and I think it took me three
• 1:51:22
  Speaker 2: years to track the animator down in the UK. It
• 1:51:25
  Speaker 2: had a release heavily cut, but it had gone out
• 1:51:28
  Speaker 2: of print. So how do you find it? You know?
• 1:51:30
  Speaker 2: I just I one day saw it in a shop,
• 1:51:33
  Speaker 2: but I think that was one of the ones where
• 1:51:36
  Speaker 2: they wouldn't let me buy it, and I was like, okay, well,
• 1:51:38
  Speaker 2: I guess I'll keep searching then, you know, yeah, three years.
• 1:51:41
  Speaker 2: I mean to someone, to a young person nowadays, that
• 1:51:44
  Speaker 2: must sound insane.
• 1:51:46
  Speaker 4: That's commitment.
• 1:51:48
  Speaker 2: Yeah, you know, I never give up that to the thing.
• 1:51:50
  Speaker 2: There was a film I read in the early nineties
• 1:51:52
  Speaker 2: in a Hong Kong but I think ninety four called
• 1:51:54
  Speaker 2: Before Dawn, which was a film from the director of
• 1:51:59
  Speaker 2: Naked Killer Serial Killer, set in the Hong Kong underground
• 1:52:03
  Speaker 2: gay scene. Okay, from like eight two or eighty three
• 1:52:06
  Speaker 2: or something that I think it was. I've been searching
• 1:52:07
  Speaker 2: for that since in nineteen ninety four and earlier. There's
• 1:52:10
  Speaker 2: here I found it. I was so happy it was
• 1:52:13
  Speaker 2: on YouTube, you know, but it hadn't been for decades.
• 1:52:17
  Speaker 2: It's just someone had put it up. It wasn't that great,
• 1:52:20
  Speaker 2: but you know what, twenty one years after I started,
• 1:52:23
  Speaker 2: I was like, yep, I still want to see that.
• 1:52:25
  Speaker 2: So it pays off, you know.
• 1:52:27
  Speaker 3: Yeah, man, that's awesome, dude. I sometimes wish, like I
• 1:52:33
  Speaker 3: sometimes think like we're so I don't know if the
• 1:52:37
  Speaker 3: desanitize would be like the word that, like we're getting
• 1:52:40
  Speaker 3: all these titles on four K and like beautiful treatments
• 1:52:43
  Speaker 3: and like, you know, like I kind of feel I
• 1:52:46
  Speaker 3: feel like I wish in a way I can kind
• 1:52:48
  Speaker 3: of harken back to the days of well, I feel
• 1:52:50
  Speaker 3: like we still do, like Steve, you know, we still
• 1:52:53
  Speaker 3: go to you know, places that still sell old hard
• 1:52:56
  Speaker 3: DVDs and you're trying to track down stuff.
• 1:52:58
  Speaker 4: That's not oh two hundred percent. I mean, I think
• 1:53:02
  Speaker 4: the biggest thing is is now that like VHS tapes,
• 1:53:06
  Speaker 4: you know, for me, I've had some you know, like
• 1:53:09
  Speaker 4: a small collection for a number of years. But the
• 1:53:11
  Speaker 4: thrill of trying to find some of these more coveted
• 1:53:14
  Speaker 4: movies for me is just it's it's enjoyable. You know,
• 1:53:18
  Speaker 4: you're you're finding these horror gems that that mean a
• 1:53:21
  Speaker 4: lot to me. So I don't know, I think that
• 1:53:23
  Speaker 4: there's something special about it. Plus it makes me have
• 1:53:26
  Speaker 4: a deeper appreciation for these movies from where they started
• 1:53:30
  Speaker 4: and obviously all the way up to where you know
• 1:53:32
  Speaker 4: we're at now.
• 1:53:34
  Speaker 2: Yeah.
• 1:53:34
  Speaker 3: Yeah, it's it's a fun time. But there's still stuff
• 1:53:37
  Speaker 3: that like I wish, you know, I wish like the
• 1:53:39
  Speaker 3: Masters of Horror series would get updated. Oh you know,
• 1:53:42
  Speaker 3: I got a bunch of the Race, but you know,
• 1:53:45
  Speaker 3: there's there's still stuff. I think TV is one of
• 1:53:47
  Speaker 3: the places where I still feel like we really need to,
• 1:53:50
  Speaker 3: you know, start getting some work put into like FY
• 1:53:53
  Speaker 3: thirteen that we still had. We still don't have Tails
• 1:53:55
  Speaker 3: from the Crypt, you know what I mean. We don't
• 1:53:56
  Speaker 3: have monsters on Blu Ray. There's a lot of Friday's Nightmares. Yeah,
• 1:54:00
  Speaker 3: like there's so much of it. Man, that's still kind
• 1:54:02
  Speaker 3: of like most of the time when you buy them
• 1:54:05
  Speaker 3: from anywhere, you have to hope you're getting a legit
• 1:54:07
  Speaker 3: copy because you know, eBay is just.
• 1:54:08
  Speaker 2: Full of Yeah I got burned by that just recently. Yeah,
• 1:54:11
  Speaker 2: it's a bunch of bootlegs arrived.
• 1:54:13
  Speaker 3: Yeah yeah. But like it's so interesting that that market
• 1:54:16
  Speaker 3: really hasn't been tapped into as much. I know, Imprint
• 1:54:20
  Speaker 3: or Viavision put out Monsters again, but they put it
• 1:54:22
  Speaker 3: out on DVD again, you know.
• 1:54:24
  Speaker 2: With no so is that because they can't get access
• 1:54:28
  Speaker 2: to the materials, so it's just not even worth upgrading
• 1:54:30
  Speaker 2: it from DVD or something, or like, I don't know.
• 1:54:33
  Speaker 3: I wonder if it's like I don't know how how
• 1:54:37
  Speaker 3: rights are broken up, and I don't know if it's
• 1:54:39
  Speaker 3: like you know, if you have a TV if you
• 1:54:42
  Speaker 3: have an anthology show where you add ten directors involved,
• 1:54:45
  Speaker 3: and you know X amount of producers, and I don't
• 1:54:48
  Speaker 3: know how many hands it has to go through to
• 1:54:50
  Speaker 3: get full approvals to then get sources, and I guess
• 1:54:55
  Speaker 3: the money's there, Like if a company can get their
• 1:54:58
  Speaker 3: hands on Tails from the Crypt or something, put it
• 1:55:00
  Speaker 3: on Bluebird and it's a guaranteed seller. So I'm sure
• 1:55:03
  Speaker 3: there's people trying. But I guess music comes into play
• 1:55:07
  Speaker 3: depending on who worked on one.
• 1:55:09
  Speaker 2: And that's probably a big things music rights and stuff.
• 1:55:13
  Speaker 2: I mean the massive one for me that I can't
• 1:55:14
  Speaker 2: believe is not. It was Spielberg's amazing stories as far
• 1:55:17
  Speaker 2: as I'm aware, especially you guys seen Scorceses Mirror Mirror,
• 1:55:21
  Speaker 2: m Yeah, like that, Why is that not? That's one
• 1:55:25
  Speaker 2: of the best half hours of horror television ever? And
• 1:55:29
  Speaker 2: I had to watch it on daily Motion, you know,
• 1:55:31
  Speaker 2: because I wanted to see it again. And all I
• 1:55:34
  Speaker 2: could do is was find it on there. Like that
• 1:55:37
  Speaker 2: Spielberg and Scorsese, you know, like surely if anything's getting Yeah,
• 1:55:43
  Speaker 2: if that can't get a decent release, then I think
• 1:55:44
  Speaker 2: we're lost all hope, you know.
• 1:55:47
  Speaker 3: Even even some still some of the Stephen King miniseriies,
• 1:55:50
  Speaker 3: Like I was happy that we got Micaerris's The Shining
• 1:55:53
  Speaker 3: on Blu Ray, but like I'm still waiting on Rose
• 1:55:56
  Speaker 3: Red Storm of the Century, like, you know, needful things
• 1:55:59
  Speaker 3: got it, but like there's still a couple that are
• 1:56:01
  Speaker 3: just kind of curse.
• 1:56:02
  Speaker 6: Yeah.
• 1:56:03
  Speaker 3: Yeah, Tommy Knockers hasn't been touched. There's a lot, there's
• 1:56:07
  Speaker 3: a there's a whole lot that haven't been converted over
• 1:56:10
  Speaker 3: and I'm always like, is there no like, do they
• 1:56:12
  Speaker 3: think there's no appeal for this?
• 1:56:15
  Speaker 4: But like, I.
• 1:56:17
  Speaker 3: Mean, it's an undertaking deep red is what four hundred
• 1:56:20
  Speaker 3: minutes long or some shit?
• 1:56:21
  Speaker 2: So I mean, oh it was right? Oh god, I've
• 1:56:25
  Speaker 2: never seen it. Yeah, held little appeal for me, that one,
• 1:56:29
  Speaker 2: much like Golden Years, the Stephen King original Golden Years. Yeah,
• 1:56:33
  Speaker 2: for the guy ages backwards. Yeah, I'm sure it's fighting,
• 1:56:36
  Speaker 2: but it's eight evers long and trying to clay No
• 1:56:40
  Speaker 2: that it's just.
• 1:56:43
  Speaker 4: Steve.
• 1:56:43
  Speaker 3: What else you got for us man? Anything else?
• 1:56:45
  Speaker 6: Uh?
• 1:56:45
  Speaker 4: So, I think the last thing I really wanted to
• 1:56:48
  Speaker 4: tap into was I know that you've released a number
• 1:56:51
  Speaker 4: of books under the pen name Carl John Lee. What
• 1:56:58
  Speaker 4: was the approach to that? Here to the novels that
• 1:57:02
  Speaker 4: you've released, like under obviously your own name, were there
• 1:57:06
  Speaker 4: certain films or like, yeah, I guess like certain films
• 1:57:10
  Speaker 4: or like novels that influenced your reason to go that route.
• 1:57:14
  Speaker 2: I guess yeah, I'd say Carl John Lee's stuff generally,
• 1:57:19
  Speaker 2: whereas I my books are very influenced by Italian Japanese
• 1:57:23
  Speaker 2: Hong Kong cinema, especially Italian.
• 1:57:27
  Speaker 3: Yeah.
• 1:57:28
  Speaker 2: Absolutely, I'd say Carl's stuff was way more influenced by
• 1:57:30
  Speaker 2: American exploitation, Roger Korman sort of stuff, things like the
• 1:57:35
  Speaker 2: Biker's floitation pictures of the seventies, Manson sploitation, all those
• 1:57:39
  Speaker 2: sploitations sprung up in the seventies. So Carl stuff because
• 1:57:43
  Speaker 2: I wrote it, I was pretending to be an American,
• 1:57:46
  Speaker 2: so I wrote it all in American English and stuff. Yeah,
• 1:57:49
  Speaker 2: so it's definitely grittier grime here. It's more like watching.
• 1:57:54
  Speaker 4: Like a real.
• 1:57:57
  Speaker 2: Trashy piece of Americana sort of thing. Exception to that
• 1:58:03
  Speaker 2: sort of would be Psychic Teenage Bloodbath, which has a
• 1:58:07
  Speaker 2: huge helping if Patrick still lives, which is seven in
• 1:58:12
  Speaker 2: classic Have you guys ever seen that or Yeah, it's incredible,
• 1:58:15
  Speaker 2: huge portion of that. But also it still feels very
• 1:58:17
  Speaker 2: influenced by something like say Psychic Killer Vinegar Syndrome put Out,
• 1:58:21
  Speaker 2: which is a decent, a decent sort of film. But yeah,
• 1:58:25
  Speaker 2: it's his stuff certainly aren't much more on the American side.
• 1:58:30
  Speaker 2: So there's you know, because the thing is, there's all
• 1:58:31
  Speaker 2: these stories that I want to write or wanted to write,
• 1:58:34
  Speaker 2: you know, with him, that they couldn't be done in Scotland.
• 1:58:37
  Speaker 2: But you can't do a biker movie, a biker book,
• 1:58:39
  Speaker 2: you know, sat in Scotland. You can't do a couple
• 1:58:42
  Speaker 2: menaced in the deserts. You know, in Scotland, we don't
• 1:58:45
  Speaker 2: have them. You're never more than like an hour from anywhere.
• 1:58:49
  Speaker 2: So it's you know, so that's what Carl was like,
• 1:58:52
  Speaker 2: an outlet for doing these stories. And then there were
• 1:58:56
  Speaker 2: a bit rougher, a bit nastier generally than my stuff.
• 1:58:59
  Speaker 4: It's that's what I noticed. It's it's a I feel like, yeah,
• 1:59:04
  Speaker 4: kind of like pushes the envelope as far as like
• 1:59:06
  Speaker 4: the subject matter of the content. And that's what I
• 1:59:10
  Speaker 4: love about them. And I didn't know for the longest
• 1:59:13
  Speaker 4: time that you were writing under that name, so I
• 1:59:15
  Speaker 4: think that that's like I think when you initially had
• 1:59:17
  Speaker 4: put that out there, I was like, oh, that's so
• 1:59:18
  Speaker 4: fucking cool. Yeah, outlet for you.
• 1:59:21
  Speaker 2: I think I got about three and a half years
• 1:59:24
  Speaker 2: or something, maybe about four years, and then I quit
• 1:59:27
  Speaker 2: my job to write full time and I thought, well,
• 1:59:29
  Speaker 2: you know what, I kind of need all the money
• 1:59:30
  Speaker 2: I can get now, nothing to fall back on. So hey, guys,
• 1:59:34
  Speaker 2: I also wrote these other seven books, you know. Yeah, yeah,
• 1:59:38
  Speaker 2: they're they're fun, and then they were they were. They
• 1:59:40
  Speaker 2: started off like the first couple of ones I'm not
• 1:59:42
  Speaker 2: hugely fond of because I wrote them in seven I
• 1:59:45
  Speaker 2: wrote them in five days. Blood Based Mutations and Hot
• 1:59:48
  Speaker 2: House of Perversion from idea to being available to purchase
• 1:59:53
  Speaker 2: on Amazon, it was ten days for both. Wow, Okay,
• 1:59:56
  Speaker 2: it's insane. I think they're they're okay considering that, but
• 1:59:59
  Speaker 2: after that, they took between maybe two weeks to four
• 2:00:02
  Speaker 2: weeks to write, So they're they're definitely not, as say
• 2:00:07
  Speaker 2: thematically rich put under my own name. But if you're
• 2:00:11
  Speaker 2: looking for a short, sharp shock of like nasty ultra violence,
• 2:00:15
  Speaker 2: then it's definitely gonna scratch that itch.
• 2:00:18
  Speaker 4: I would say, I love it, love it, And I
• 2:00:21
  Speaker 4: have to ask how many how many pugs are you?
• 2:00:24
  Speaker 5: I just got the one?
• 2:00:25
  Speaker 4: Yeah? Just one? Okay, yeah? What one?
• 2:00:27
  Speaker 2: One pug is enough?
• 2:00:30
  Speaker 4: We got three dogs over here, and I feel like
• 2:00:32
  Speaker 4: it's just a delicate balance of maintaining my sanity some days.
• 2:00:37
  Speaker 2: Yeah, I mean, he's a beautiful man, but he's getting
• 2:00:40
  Speaker 2: sold now, he's getting a bit blind, he's getting a bit,
• 2:00:41
  Speaker 2: definitely getting a bit.
• 2:00:44
  Speaker 4: Yeah.
• 2:00:46
  Speaker 2: Yeah, these interviews can be utterly ruined. By him. If
• 2:00:49
  Speaker 2: he catches when I'm doing one, he will just bark
• 2:00:52
  Speaker 2: and bark them. And then he'll just bark and bark
• 2:00:55
  Speaker 2: and bark. Because I'm on a screen talking to someone.
• 2:00:57
  Speaker 4: They want to listen. They I feel like that they
• 2:00:59
  Speaker 4: want more attention as they get older. I swear.
• 2:01:03
  Speaker 3: Yeah, my guys, my guy's snoring on the little car
• 2:01:06
  Speaker 3: he loves like we have, you know, great mattress for him,
• 2:01:10
  Speaker 3: great couch for him. Right, he loves this ten dollars
• 2:01:13
  Speaker 3: Amazon rug in the movie room. You know what I mean.
• 2:01:15
  Speaker 5: This is his.
• 2:01:17
  Speaker 3: So he's been snoring this entire time behind me. It's okay, whatever, you.
• 2:01:24
  Speaker 2: Check out my guy actually see if he's he's good.
• 2:01:27
  Speaker 4: Yeah, well listen, David, thank you so much for joining
• 2:01:32
  Speaker 4: us and taking the time to hang out with us.
• 2:01:35
  Speaker 4: Talk movies, talk about pugs, all that kind stuff.
• 2:01:39
  Speaker 2: So my absolute pleasure. Honestly, I kind of stopped in
• 2:01:43
  Speaker 2: doing most interviews at the moment because I don't like
• 2:01:46
  Speaker 2: talking about myself and going on ye all that sort
• 2:01:50
  Speaker 2: of stuff. You know, I just don't like it. But
• 2:01:53
  Speaker 2: I love shooting the ship about movies. I'm gonna hell
• 2:01:55
  Speaker 2: you so yeah, any teking guys, I'll come back on it.
• 2:01:59
  Speaker 4: I really appreciate it. And just before we wrap this up,
• 2:02:03
  Speaker 4: is there anything that you want to plug? Any projects
• 2:02:05
  Speaker 4: that you have coming up?
• 2:02:07
  Speaker 2: Do you know when this will be going out?
• 2:02:09
  Speaker 3: This will be going out hopefully what's today today? It'll
• 2:02:15
  Speaker 3: be going out either tomorrow or Friday, so very soon.
• 2:02:20
  Speaker 2: Yeah, okay, well you know what, I don't think I'll
• 2:02:22
  Speaker 2: be ready, but they'll just do it anyway so you
• 2:02:24
  Speaker 2: can get exclusive. Yeah. I do have a novella coming
• 2:02:29
  Speaker 2: out start of October. It's a sort of folk hordered,
• 2:02:33
  Speaker 2: a darkly comic folk horder sort of thing. It's a
• 2:02:36
  Speaker 2: nice and short, one hundred dog pages. It's called hard
• 2:02:38
  Speaker 2: Luck Jenny. That's Hard Luck Jenny. It's a bit of
• 2:02:42
  Speaker 2: a weird one. I hope people dig it. And they'll
• 2:02:46
  Speaker 2: be announcing that officially with the cover revealing stuff and
• 2:02:50
  Speaker 2: probably by the weekend or something. Okay, I just got
• 2:02:54
  Speaker 2: in the post just before this interview, so yeah. That
• 2:02:57
  Speaker 2: and then we've got some sexy, crazy se nuns coming
• 2:03:00
  Speaker 2: up next year and a whole bunch of mad Ship
• 2:03:03
  Speaker 2: after that. So yeah, it's gonna be a good twice
• 2:03:06
  Speaker 2: six Hell yeah.
• 2:03:07
  Speaker 3: Dude, that sounds that's so exciting, dude, that sounds awesome.
• 2:03:12
  Speaker 3: We have just so listeners know if you made it
• 2:03:14
  Speaker 3: this far, our September slate is gigantic. So our next
• 2:03:20
  Speaker 3: commentary episode, it's gonna be coming out shortly. That's gonna
• 2:03:24
  Speaker 3: be for the Devil's Rejects. Man, I'm excited to excite
• 2:03:28
  Speaker 3: to talk about that one with Brian from last movie Standing.
• 2:03:30
  Speaker 3: That's gonna be a cool one. Yeah, we got that.
• 2:03:33
  Speaker 2: We have. That's one of my favorite films.
• 2:03:35
  Speaker 3: Yeah, yeah, yeah, we have. Oh my god, we have someone.
• 2:03:38
  Speaker 2: We have that.
• 2:03:38
  Speaker 3: We're also covering the commentary for nineteen ninety one's Popcorn.
• 2:03:43
  Speaker 3: My wife's gonna be on that episode with us, So
• 2:03:46
  Speaker 3: I'm very excited about that. We got a bunch more
• 2:03:48
  Speaker 3: interviews on the way to some we can't even like
• 2:03:50
  Speaker 3: really talk about yet.
• 2:03:52
  Speaker 4: But yeah, people Texas Chainsaw Ranking, right, yeah, yeah, one
• 2:03:55
  Speaker 4: of yeah.
• 2:03:57
  Speaker 3: Textas Chainsaw Ranking is going to be coming up. Yeah.
• 2:04:00
  Speaker 3: We just have so much in the works, and life
• 2:04:02
  Speaker 3: has been busy. This is my first day off after
• 2:04:05
  Speaker 3: working eight days in a row, so I'm still getting
• 2:04:07
  Speaker 3: caught up in a lot of stuff.
• 2:04:08
  Speaker 2: And yeah, that's why it was so difficult to schedule
• 2:04:11
  Speaker 2: this interview.
• 2:04:12
  Speaker 3: Yeah, we're right, interview may or No, No, we definitely did.
• 2:04:18
  Speaker 4: It's just it's so tough because we have all of
• 2:04:20
  Speaker 4: our work schedules and the time zone difference. It's but
• 2:04:25
  Speaker 4: we made it work. Definitely.
• 2:04:27
  Speaker 2: Yeah.
• 2:04:27
  Speaker 3: Yeah, man, we greatly appreciate your time.
• 2:04:29
  Speaker 4: Man, this was yeah, thank you, David.
• 2:04:30
  Speaker 3: This was so much fun. Thank you, No, thank you.
• 2:04:32
  Speaker 2: I've had a blast. It's been great. Guys.
• 2:04:35
  Speaker 3: All right, guys, Well, Steve, let people know where they
• 2:04:38
  Speaker 3: can find your stuff at you.
• 2:04:41
  Speaker 4: Guys can find me after hours, video, my Instagram, TikTok, YouTube,
• 2:04:45
  Speaker 4: all over the place, and obviously a co host of
• 2:04:48
  Speaker 4: Beyond the Blood with Chris and Chris. How about you.
• 2:04:51
  Speaker 3: Yeah, I'm on Instagram, YouTube and stuff under Bearded film guy.
• 2:04:56
  Speaker 3: Please go back. If you're listening to this, check out
• 2:04:58
  Speaker 3: our interview with Philip Escot from Second Sight Films, as
• 2:05:01
  Speaker 3: well as our Texas Chainsaw Masker episode where recovered the
• 2:05:05
  Speaker 3: nineteen ninety six lasered disc commentary. That was incredible, like
• 2:05:08
  Speaker 3: my favorite episode to date, and I think we kind
• 2:05:10
  Speaker 3: of share that.
• 2:05:11
  Speaker 4: Steve, so much fun.
• 2:05:12
  Speaker 3: That was so much fun. So round out your summer
• 2:05:14
  Speaker 3: that way and we'll be seeing you guys on the
• 2:05:16
  Speaker 3: next one.
• 2:05:18
  Speaker 4: See you guys, Hello, Philthy movie lovers.
• 2:05:27
  Speaker 6: My name is Gentry Austin.
• 2:05:29
  Speaker 4: Now on Casey Scott and we're the hosts.
• 2:05:31
  Speaker 6: Of the Sin Syndicate Film Podcast. For Something Weirdos, Anti
• 2:05:36
  Speaker 6: Criterion Bros. And Joseph Sarno Officionados join us semi weekly
• 2:05:43
  Speaker 6: as we peer into the adults only theaters in sticky
• 2:05:46
  Speaker 6: floored cinemas of the golden age of sexploitation, when the
• 2:05:51
  Speaker 6: morals were loose, the laws were murky, and the intercourse
• 2:05:55
  Speaker 6: was all simulated. Find us now on the Someone's Favorite
• 2:05:59
  Speaker 6: Productions Podcast Network.
• 2:06:14
  Speaker 1: Thank you for listening. To hear more shows from the
• 2:06:17
  Speaker 1: Someone's Favorite Productions Podcast Network. Please select the link in
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  Speaker 1: the description.