Latest / Beyond The Blood: A Horror Movie Commentary Podcast / Guido & Lucas Henkel Interview - Celluloid Dreams

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Guido & Lucas Henkel Interview - Celluloid Dreams · Beyond The Blood: A Horror Movie Commentary Podcast

• 0:00
  Speaker 1: Mh.
• 0:01
  Speaker 2: You are now listening to the Someone's Favorite Productions podcast Network.
• 1:15
  Speaker 3: All right, so just one more time actually now live.
• 1:17
  Speaker 3: We just want to thank both of you guys, both
• 1:19
  Speaker 3: Gido and Lucas for joining us. Thank you, thank you
• 1:23
  Speaker 3: for the time. Thank you for your work. I mean,
• 1:25
  Speaker 3: Cellular dreams Is has become one of our personal favorite
• 1:30
  Speaker 3: boutique labels. So thank you guys for everything that you've
• 1:33
  Speaker 3: been doing for for fans like us.
• 1:35
  Speaker 4: Oh, thank you, thank you for the kind words.
• 1:38
  Speaker 3: Of course, yeah, we you know, it's funny. In our
• 1:40
  Speaker 3: group chat, Steve and I are sort of like the
• 1:43
  Speaker 3: little like odd ones out where we're kind of a
• 1:46
  Speaker 3: little bit more into the you know, shallow space, a
• 1:49
  Speaker 3: little bit more into kind of like the odd space.
• 1:51
  Speaker 3: And when Case of the Bloody Iris got announced, Steve
• 1:55
  Speaker 3: and I are into group check, We're going we're going nuts,
• 1:59
  Speaker 3: and all our friends are like, what the hell are
• 2:01
  Speaker 3: you talking about? Like what are you? And uh, I
• 2:05
  Speaker 3: think we were both the first ones of our friends
• 2:07
  Speaker 3: to get the four K release, and then slowly our
• 2:11
  Speaker 3: friends started kind of catching on and started picking up
• 2:14
  Speaker 3: the release. And now we've created this little like a
• 2:18
  Speaker 3: little fan base that that is cult as obsessed as
• 2:22
  Speaker 3: we are, so just needed you to know that off
• 2:24
  Speaker 3: the risk to grow.
• 2:25
  Speaker 1: It, you got to help grow the whole thing.
• 2:27
  Speaker 3: Yeah, we actually had we had a we had a
• 2:31
  Speaker 3: friend who we introduced to a label who now does
• 2:33
  Speaker 3: like media or I guess like review copies for you guys.
• 2:36
  Speaker 3: So like, we've really spread the word as far and
• 2:38
  Speaker 3: wide as we can. So it's such it's been a
• 2:43
  Speaker 3: lot of fun, and you know, we're definitely uh, kind
• 2:46
  Speaker 3: of chomping at the bits to get Black Belly of
• 2:48
  Speaker 3: the Transla in our hands as soon as possible.
• 2:50
  Speaker 4: You know. Yeah, we're we're working really really hard to
• 2:54
  Speaker 4: try and get that out so that everyone else can
• 2:57
  Speaker 4: enjoy it.
• 2:58
  Speaker 3: Yeah, that when I think that was teased in was
• 3:02
  Speaker 3: that a little pamphlet in case of bloody iris? Steve,
• 3:04
  Speaker 3: do you remember or was that in?
• 3:06
  Speaker 1: Yeah, yes it was. Yeah, it's been you know, it's
• 3:10
  Speaker 1: a crazy thing. I mean, we're here to talk about
• 3:12
  Speaker 1: bloody bloody iris. But just real quick, the story with
• 3:16
  Speaker 1: Black Belly is just crazy because we've been working on
• 3:20
  Speaker 1: this for two years now. Yeah, and that was not
• 3:23
  Speaker 1: the plan initially. So there's there's a lot going on
• 3:27
  Speaker 1: and there has been a lot going on, and all
• 3:29
  Speaker 1: of that goes into the commentary track as well, of course,
• 3:32
  Speaker 1: so we'll I'll be talking about that on the commentary
• 3:35
  Speaker 1: track for that release, all the different things that we
• 3:39
  Speaker 1: were suddenly confronted with and that made us rethink strategies
• 3:43
  Speaker 1: and all that.
• 3:44
  Speaker 4: It was just totally it was one thing after another
• 3:48
  Speaker 4: with a movie.
• 3:51
  Speaker 1: We thought, and usually we thought, hey, we have a
• 3:53
  Speaker 1: movie here, it's already, it's ready to go out the door.
• 3:56
  Speaker 1: And then it's like, hold on, what did this just say?
• 4:01
  Speaker 1: And from there it's just spiral because that.
• 4:04
  Speaker 5: Would have been technically considered your second release, so you
• 4:07
  Speaker 5: guys ranging for initially.
• 4:09
  Speaker 4: Originally yeah, originally it was supposed to be before Short
• 4:12
  Speaker 4: Night of Glass Dolls if I remember, And yeah, everything
• 4:16
  Speaker 4: else just went haywire. I would say for the better.
• 4:22
  Speaker 4: Definitely a lot more stressful and a lot more work involved,
• 4:25
  Speaker 4: but I would say it led to a better product
• 4:28
  Speaker 4: by the end of it, and I'm quite happy with
• 4:33
  Speaker 4: how it's been turning out. So I turned out actually,
• 4:38
  Speaker 4: so yeah.
• 4:40
  Speaker 3: Yeah, it's it's exciting because we both freaked out when
• 4:43
  Speaker 3: we saw that in the little in the release for
• 4:45
  Speaker 3: Case of the Body, Iris were like, ready for it,
• 4:46
  Speaker 3: and then Joe Night the Glass Dolls was a huge
• 4:49
  Speaker 3: deal for us, and I think we were even though
• 4:51
  Speaker 3: we were exlated, we were still like, all right, where's
• 4:53
  Speaker 3: Black Belly at? And then Hyena in a Safe comes
• 4:55
  Speaker 3: along and we're like, okay, where where's Black Belly at. Finally, it.
• 5:02
  Speaker 1: Was really a case where we were like, we have
• 5:04
  Speaker 1: to buy time. You know, we can't for two years
• 5:07
  Speaker 1: and work on that movie and not have anything in between.
• 5:10
  Speaker 1: And we had Belly under contract, Short Night under contract,
• 5:15
  Speaker 1: and we're like, okay, we have to shuffle the schedule around.
• 5:17
  Speaker 1: We'll pull Short Night forward. So we worked on Short
• 5:21
  Speaker 1: Night and then after that was done, we could still see,
• 5:24
  Speaker 1: oh man, Black Belly is still going to take a long,
• 5:27
  Speaker 1: long time, so we need something in between. And lucky enough,
• 5:32
  Speaker 1: we discovered Hyena in the Safe and that was a
• 5:35
  Speaker 1: product that we were able to fit in fairly squarely
• 5:40
  Speaker 1: into that hole that was there that we needed to fill.
• 5:44
  Speaker 5: Perfect time.
• 5:45
  Speaker 1: Glad we did because it was a great release. It's
• 5:47
  Speaker 1: a great movie and all and overall, we're really happy
• 5:50
  Speaker 1: that we did it well.
• 5:52
  Speaker 3: Before we dive into, you know, the questions and the
• 5:55
  Speaker 3: conversations that Steve has lined up. One thing I want
• 5:58
  Speaker 3: to mention is how good of a job you guys
• 6:00
  Speaker 3: to it keeping enough out there prepping people for what's coming,
• 6:04
  Speaker 3: because people, I think we just saw it with second
• 6:07
  Speaker 3: site films, where like Reddit blew up because they hadn't
• 6:09
  Speaker 3: announced anything in so long. People were like concerned about
• 6:13
  Speaker 3: what's going on. You guys do such a great job
• 6:16
  Speaker 3: at not pumping out a ton of releases, but keeping
• 6:18
  Speaker 3: people chomping at the bits for what's coming by putting
• 6:20
  Speaker 3: out you know, maybe some restoration footage or screenshots that's
• 6:24
  Speaker 3: discussing it and being open and saying, hey, this is
• 6:27
  Speaker 3: in progress, but it's taking a long time, and that
• 6:30
  Speaker 3: really builds a great trust with the consumer. Yeah, anticipation
• 6:36
  Speaker 3: of what because I remember getting like from the time
• 6:40
  Speaker 3: that short Night was announced to getting it in hand,
• 6:42
  Speaker 3: it was it felt like, oh, finally here we go.
• 6:46
  Speaker 3: Like it always feels great to get in your releases.
• 6:48
  Speaker 3: Not it's not like affair, you know, it's not like,
• 6:53
  Speaker 3: oh every month I get this label. Every time to
• 6:55
  Speaker 3: get this label, And at this point now the trust
• 6:59
  Speaker 3: between consumers in your label. They know the quality right
• 7:03
  Speaker 3: and it's only getting better. From the case of the
• 7:06
  Speaker 3: Bloody Iris with the standard slip to the box set
• 7:08
  Speaker 3: with Short Nights. You know, you did a slip with
• 7:10
  Speaker 3: Hyend the Safe on the Blu Ray. But now back
• 7:12
  Speaker 3: to the box set with Black Belly. You know, people,
• 7:16
  Speaker 3: people know what to expect, and it's just gonna keep
• 7:18
  Speaker 3: getting better. I'm so excited to see how it keeps
• 7:20
  Speaker 3: turning out, keeps raising the bar.
• 7:22
  Speaker 1: That that whole keeping people informed and in the loop
• 7:28
  Speaker 1: also has a backside though it's a two sided sort,
• 7:32
  Speaker 1: and we felt that with Short Night, because we had
• 7:35
  Speaker 1: announced Short Nights so far in Evans. It created this
• 7:41
  Speaker 1: situation where eighty eight Films was able to literally take
• 7:48
  Speaker 1: our release as a shopping list for what they needed
• 7:52
  Speaker 1: to put on their release and to a degree scoop us.
• 7:59
  Speaker 1: And that was very unfortunate.
• 8:02
  Speaker 4: Yeah, because I because I remember when the eighty eight
• 8:06
  Speaker 4: announcement or Jerry went out, they didn't give any details
• 8:10
  Speaker 4: on their bonus stuff or so I think the bonus
• 8:12
  Speaker 4: stuff came like a month later or so. Yeah, and
• 8:14
  Speaker 4: then you know, both, you know, me and Guido were
• 8:16
  Speaker 4: looking at the list and you're like, oh no, yeah.
• 8:19
  Speaker 1: They look You could clearly tell they were looking at
• 8:21
  Speaker 1: what we had and went out and get the same stuff.
• 8:25
  Speaker 5: You know, Oh no way.
• 8:26
  Speaker 1: It's like, okay, that is. That hurts. But it's not
• 8:30
  Speaker 1: like we have the monopoly on it, so there's not
• 8:32
  Speaker 1: much we can do about it. But for us, it
• 8:35
  Speaker 1: was really a moment where it was like, Okay, maybe
• 8:37
  Speaker 1: we shouldn't be so open in the future. Yeah, it is.
• 8:42
  Speaker 1: It is one of those things where you're constantly torn
• 8:46
  Speaker 1: because on the one hand, we want to tell people,
• 8:48
  Speaker 1: you know, we're excited about the stuff we're doing. We're
• 8:51
  Speaker 1: excited to show off and tell people, hey, this is
• 8:53
  Speaker 1: so awesome. We're doing this, we're doing that, we just
• 8:55
  Speaker 1: got our hands on this and all that. But at
• 8:58
  Speaker 1: the same time, because the way the film licensing works
• 9:02
  Speaker 1: and all that, we in the back of our head
• 9:05
  Speaker 1: there's always this nagging fear that another label may look
• 9:09
  Speaker 1: at this and said, oh, look what they're doing. It's
• 9:11
  Speaker 1: all around, so let's do it too. And like I said,
• 9:15
  Speaker 1: in the case of Short Night of Glass Dolls, it
• 9:18
  Speaker 1: really hurt us. It hurt us not only emotionally not
• 9:23
  Speaker 1: so much, but financially as well, because suddenly people had
• 9:27
  Speaker 1: the choice between two almost identical releases and yeah, well
• 9:33
  Speaker 1: that means that the sales are being split up between
• 9:36
  Speaker 1: two labels as opposed to ours, and considering how much
• 9:40
  Speaker 1: time and effort we had put into Short Night, we felt, WHOA,
• 9:46
  Speaker 1: let's hope that's not going to happen again. Yeah.
• 9:49
  Speaker 3: Yeah, because they were two different transfers, right, you guys
• 9:52
  Speaker 3: personally handled Yeah, they did their own.
• 9:56
  Speaker 1: That was That was one of those situations where we
• 10:00
  Speaker 1: had our transfer and we've been working on the restoration
• 10:04
  Speaker 1: and all that, and by pure coed incidents, I was
• 10:08
  Speaker 1: talking to the license or about something something and they
• 10:13
  Speaker 1: sort of dropped it on the side and said, oh, yeah,
• 10:16
  Speaker 1: eighty eight Films is doing this as well.
• 10:18
  Speaker 4: I think when you're transferring the trailer, yeah, we need
• 10:21
  Speaker 4: them to get the trailer at a different point in time.
• 10:23
  Speaker 4: And then they suddenly said, you know, we also we
• 10:27
  Speaker 4: still have the elements at the lab. It's like, what
• 10:28
  Speaker 4: do you mean you still have them at the lab?
• 10:30
  Speaker 1: Yeah?
• 10:31
  Speaker 6: Yeah, Because the way this works usually.
• 10:33
  Speaker 1: Is so you have the license soar and they have
• 10:35
  Speaker 1: the film and all the assets stored in the lab somewhere,
• 10:40
  Speaker 1: and when you do a new transfer, the lab pulls
• 10:43
  Speaker 1: out the film and scans it or and that it
• 10:48
  Speaker 1: was the case with Bloody Iris. The lab who held
• 10:50
  Speaker 1: the film didn't have the hardware that we wanted to use.
• 10:54
  Speaker 1: The hardware was older. We wanted to use a higher
• 10:56
  Speaker 1: end scanner, so we said, let's transfer it to a
• 10:58
  Speaker 1: different lab and have it scanned there. So yeah, months
• 11:02
  Speaker 1: go by, we work on it, the restoration is done,
• 11:04
  Speaker 1: we're putting together bonus features, and say hey, we need
• 11:07
  Speaker 1: a new transfer of the trailer. So I get in
• 11:09
  Speaker 1: touch with them with the licenser. I said, we want
• 11:11
  Speaker 1: to scan the trailer. Can you give us, you know,
• 11:14
  Speaker 1: the necessary paperwork so that we can go to the
• 11:17
  Speaker 1: lab and have that tine And they're like, oh, don't worry,
• 11:19
  Speaker 1: they have it already. I'm like, why do they have
• 11:22
  Speaker 1: it still? Didn't they never return it to you? It's
• 11:25
  Speaker 1: like no, it's because Adah Films is making a transfer
• 11:28
  Speaker 1: right now. And I'm like, you know, man, so how
• 11:33
  Speaker 1: do you It's just the way it goes is.
• 11:36
  Speaker 3: Yeah, I mean, I guess, I guess the best thing
• 11:38
  Speaker 3: to do is like you know, when you when you
• 11:40
  Speaker 3: when you have that announcement, you talk about a couple
• 11:43
  Speaker 3: of the bonus features, and I've seen some labels do
• 11:45
  Speaker 3: the plus more announced soon you know, it's just kind
• 11:48
  Speaker 3: of like, let let the rest kind of sit barren
• 11:50
  Speaker 3: until last minute. I guess I never thought about.
• 11:53
  Speaker 1: It, although that kind of nomenclature oftentimes comes from the
• 11:56
  Speaker 1: fact also that they're just not finalized. Sometimes you don't
• 12:00
  Speaker 1: really know what will be on the finalist because yes,
• 12:03
  Speaker 1: you want this element, or you want this international trailer
• 12:07
  Speaker 1: or that, but then it turns out the quality is
• 12:09
  Speaker 1: too bad, or it's defective, it's destroyed or not accessible,
• 12:13
  Speaker 1: or god knows what. You really never know until the
• 12:16
  Speaker 1: last minute, will you be able to put everything you
• 12:19
  Speaker 1: want on the disc or not.
• 12:21
  Speaker 4: Sometimes things also just randomly come up in a really
• 12:23
  Speaker 4: short amount of time. Because in the case of Short Night,
• 12:27
  Speaker 4: when we first announced it with all of our featurettes
• 12:30
  Speaker 4: and all that, quite literally a week after our announcement,
• 12:35
  Speaker 4: we had some company come up to us and say,
• 12:38
  Speaker 4: we have this interview of Auto Alato that we did
• 12:41
  Speaker 4: several years ago. You know, do you want to do
• 12:45
  Speaker 4: you want to use it? So that was another one
• 12:49
  Speaker 4: of those last second editions where you know, no one
• 12:52
  Speaker 4: could really foresee it until you actually say something out
• 12:55
  Speaker 4: the door.
• 12:56
  Speaker 1: Yeah. Yeah, I was the same with the isolated score
• 12:59
  Speaker 1: on Short Night. For example, I remember I was getting
• 13:01
  Speaker 1: in touch with the guys from Twilight Time about something
• 13:05
  Speaker 1: else because yeah, I remember now, because they had better
• 13:11
  Speaker 1: audio elements than we did. So I got in touch
• 13:14
  Speaker 1: with them and asked where did you forget your audio
• 13:16
  Speaker 1: elements from and all that, and I talked to them,
• 13:18
  Speaker 1: and I know one of the guys from Twilight Times
• 13:21
  Speaker 1: really well, and he is like, yeah, we got this
• 13:24
  Speaker 1: and that and that, and it was all piece together.
• 13:26
  Speaker 1: And by the way, if you guys want to use
• 13:28
  Speaker 1: the isolated score on your release, go ahead. Oh And
• 13:32
  Speaker 1: I'm like, okay, cool, here's a bonus on you know, like,
• 13:37
  Speaker 1: so okay, thank you, and let's do this. So, like
• 13:41
  Speaker 1: Lucas said, you know, sometimes this happens within the span
• 13:44
  Speaker 1: of the few days or moments even you know that
• 13:48
  Speaker 1: suddenly there's like, hey, we can do this, we can
• 13:50
  Speaker 1: use this, we have a new feature.
• 13:51
  Speaker 5: Cool.
• 13:52
  Speaker 1: Yeah.
• 13:53
  Speaker 3: Yeah, we've been learning a lot about the process because
• 13:56
  Speaker 3: our the podcast network that were a part of Someone's
• 14:00
  Speaker 3: Favorite Productions is run by doctor Will Dotson and Ryan
• 14:03
  Speaker 3: Verel from The Disconnected, Yeah, and them having their own
• 14:06
  Speaker 3: bonus feature production company, you know, us being such close
• 14:10
  Speaker 3: friends with them, we've learned a lot about just a
• 14:12
  Speaker 3: tiny little bits that that come together. And you know,
• 14:17
  Speaker 3: sometimes I talked to Ryan and he's about to announce
• 14:21
  Speaker 3: a bonus feature he did, and he's like, dude, I
• 14:22
  Speaker 3: recorded this four years ago. It took that long to
• 14:27
  Speaker 3: I think he just they just announced like they were
• 14:30
  Speaker 3: part of a release that was the first featurette they
• 14:34
  Speaker 3: ever made, and that was yeah, I think like four
• 14:36
  Speaker 3: and a half years ago.
• 14:37
  Speaker 1: Yeah. Yeah, some of it takes a long time. Sometimes
• 14:40
  Speaker 1: some of the stuff is really the long tail, and
• 14:43
  Speaker 1: some of it is very last minute. And that reminds me.
• 14:46
  Speaker 1: For example, also on Hyena in the Safe. When we
• 14:49
  Speaker 1: did Hyena in the Safe, I think four weeks before
• 14:56
  Speaker 1: we wrapped, the producer of the film contacts me and says, hey,
• 15:03
  Speaker 1: I hear you're doing this and that, And we got
• 15:05
  Speaker 1: into talking and all, and I really wanted to pick
• 15:08
  Speaker 1: his brains about some of the behind the scenes stuff
• 15:11
  Speaker 1: that went on because the film is so shrouded in
• 15:15
  Speaker 1: mystery and enigma to how did this come about? Who
• 15:19
  Speaker 1: are these people? Nobody ever showed up in another movie
• 15:22
  Speaker 1: again and all that, and I really wanted to pick
• 15:24
  Speaker 1: his brain on that. And he is telling me yeah,
• 15:27
  Speaker 1: we can do that absolutely, but I'm traveling right now.
• 15:30
  Speaker 1: So as soon as I get back home, I will
• 15:32
  Speaker 1: let you know. We get on the phone or on
• 15:34
  Speaker 1: a zoom call and we can go over all this stuff.
• 15:37
  Speaker 1: And time goes on, and we finished, and we finished,
• 15:40
  Speaker 1: and I keep pinging here. I said, hey, hey, let's
• 15:45
  Speaker 1: let's talk and all that. He's like, yeah, I'm here
• 15:47
  Speaker 1: right now. I'll be back home in a week. Okay.
• 15:50
  Speaker 1: I wait and said, Antonio, what's going on. It happened,
• 15:55
  Speaker 1: and eventually it got to the point that we had
• 15:57
  Speaker 1: to finish the product send it into manufacturing without his input.
• 16:04
  Speaker 4: I think he got back like two days after we
• 16:07
  Speaker 4: sent it off with.
• 16:07
  Speaker 1: The Then two days later he pings me and said, okay,
• 16:12
  Speaker 1: let's do this. I'm here now.
• 16:14
  Speaker 3: Oh oh yeah, that's timing.
• 16:19
  Speaker 1: That is so unfortunate, you know, because that would have
• 16:22
  Speaker 1: been I'm pretty sure that would have been so insightful
• 16:25
  Speaker 1: to hear it firsthand how the film came about.
• 16:30
  Speaker 3: Yeah, yeah, yeah, I mean you could have still, Like
• 16:33
  Speaker 3: I feel like I've seen some labels kind of get
• 16:36
  Speaker 3: last minute things and then they release them separately, maybe
• 16:39
  Speaker 3: on the website or you know, in some other some
• 16:42
  Speaker 3: other way. I still think people would be interested in
• 16:44
  Speaker 3: kind of chasing sure that down outside of the disk,
• 16:47
  Speaker 3: you know, yeah, yeah, Case the Bloody Iris I had
• 16:52
  Speaker 3: never I know, I'd seen like a rough, really rough
• 16:57
  Speaker 3: cut of it years ago, and I I remember being
• 17:01
  Speaker 3: caught well at the time that I watched it, I
• 17:04
  Speaker 3: wasn't as like I'm going to say, like educator into
• 17:09
  Speaker 3: it as I am into the genre now. Back then
• 17:12
  Speaker 3: I was watching on a very shallow like perspective, right,
• 17:15
  Speaker 3: I was watching it, and the visuals were what stunned
• 17:18
  Speaker 3: me the most, Like just such interesting camera work, interesting angles,
• 17:24
  Speaker 3: Like there was a style to that movie that I
• 17:26
  Speaker 3: really loved. And when we decided to cover Case of
• 17:30
  Speaker 3: Bloody Iris on the podcast, going into your commentary track,
• 17:34
  Speaker 3: that was a huge talking point for you on many occasions,
• 17:39
  Speaker 3: talking about the camera placement in the office, in the
• 17:41
  Speaker 3: commissioner's office, or you know how the camera there's a
• 17:46
  Speaker 3: moment in the movie where character walks out and the
• 17:49
  Speaker 3: camera literally flips ninety degrees right as another character comes
• 17:53
  Speaker 3: at of me. There's so much interesting stuff in the movie,
• 17:57
  Speaker 3: and I love your attention to not only that, but
• 18:01
  Speaker 3: you bring up as well a point about how the
• 18:03
  Speaker 3: movie feels so middle class. These people live in a
• 18:08
  Speaker 3: high rise that feels affordable for us. The locations feel real.
• 18:13
  Speaker 3: There's nothing crazy glamorous. In fact, like the most glamorous
• 18:17
  Speaker 3: moment of the movie is the cult scene. You know,
• 18:20
  Speaker 3: that's the only time it really feels, you know, really
• 18:24
  Speaker 3: really pushed visually. But I just really I love that
• 18:28
  Speaker 3: appreciation because when I sit down and I listen to
• 18:30
  Speaker 3: a commentary track, I want to be informed, but I
• 18:35
  Speaker 3: also want to be brought attention to certain things that
• 18:39
  Speaker 3: are happening in that moment, because clearly we're watching the
• 18:41
  Speaker 3: movie with you at that moment, So when you bring
• 18:45
  Speaker 3: up those things, it brings attention. And I remember kind
• 18:47
  Speaker 3: of going to Steve and being like, yeah, there's moments
• 18:50
  Speaker 3: you bring up an interesting angle or interesting shot that
• 18:52
  Speaker 3: I never noticed, and suddenly I'm pausing. I'm going, yeah,
• 18:56
  Speaker 3: how weird is this? Like how especially the use of
• 18:59
  Speaker 3: me throughout the movie and reflections and stuff. So I
• 19:03
  Speaker 3: just wanted the dishes, yeah, oh yeah, putting away or
• 19:07
  Speaker 3: putting away the groceries.
• 19:08
  Speaker 5: I was like, I've never noticed this before.
• 19:11
  Speaker 3: But I guess my first question before I dive into
• 19:14
  Speaker 3: what Steve prepared is when you sit down and you're
• 19:17
  Speaker 3: kind of preparing for a commentary track where there's not
• 19:20
  Speaker 3: a whole lot of like history that you can cite.
• 19:23
  Speaker 3: You know, Like obviously you go into background on you know,
• 19:26
  Speaker 3: on on Carnameo and uh, you know, the actors and
• 19:30
  Speaker 3: actresses and stuff. You give a little bit of background.
• 19:32
  Speaker 3: But even in my very little research of Bloody Iris,
• 19:35
  Speaker 3: there's not just a whole lot out about the movie.
• 19:38
  Speaker 3: So how do you go into a commentary track knowing
• 19:42
  Speaker 3: I only have so much to to cite for this?
• 19:48
  Speaker 1: Well, it helps that I'm spending a lot of time
• 19:52
  Speaker 1: cleaning up the film.
• 19:53
  Speaker 3: Mm hm.
• 19:54
  Speaker 1: So I think that's where it all germinates. And as
• 19:59
  Speaker 1: I'm working through the film frame by frame, things just
• 20:04
  Speaker 1: stand out more so than when you're just watching the film.
• 20:11
  Speaker 1: Just as an example, I was cleaning up a scene
• 20:14
  Speaker 1: in Black Belly of the Tarantula. It's the scene with
• 20:17
  Speaker 1: the mannequins in the Furrier store with all that mayhem,
• 20:21
  Speaker 1: and I'm cleaning it up and all of a sudden,
• 20:23
  Speaker 1: I'm like, Hey, this is not a mannequin in this frame.
• 20:26
  Speaker 1: This is an actual guy. And I had never noticed
• 20:29
  Speaker 1: that before. When I was watching the movie, you know,
• 20:32
  Speaker 1: full motion, it goes by so fast you don't realize it.
• 20:36
  Speaker 1: But all of a sudden, here are five frames of
• 20:39
  Speaker 1: a man standing in for a mannequin in a shot.
• 20:43
  Speaker 1: And immediately, of course I make notes of that. But
• 20:46
  Speaker 1: this is the kind of stuff, you know, that accumulates.
• 20:50
  Speaker 1: You notice these small little things because with Case of
• 20:53
  Speaker 1: the bloody iris, the mirrors and all that, all of
• 20:54
  Speaker 1: a sudden, I'm like, again, a mirror, you know, it
• 20:58
  Speaker 1: stands out, all of it. Because you're working on such
• 21:01
  Speaker 1: a minute level on the film that every little detail
• 21:06
  Speaker 1: and I have to really look at every little detail
• 21:09
  Speaker 1: to clean it up to for the restoration. That you
• 21:13
  Speaker 1: notice things that are typically completely unnoticed. And I keep
• 21:19
  Speaker 1: notes all the time. I have long, long lists of
• 21:22
  Speaker 1: things that I found, interesting things where I'm suddenly is like,
• 21:26
  Speaker 1: what was that? Or why would they have that? Or oh,
• 21:29
  Speaker 1: this is an interesting thing I can talk about. And
• 21:31
  Speaker 1: I just make this list, and then when the time
• 21:34
  Speaker 1: comes to prepare for the commentary track, I start researching
• 21:37
  Speaker 1: all these points that I made. Okay, what's behind this?
• 21:43
  Speaker 1: And then I'm exploring it from there and throw it
• 21:47
  Speaker 1: all together. And then I'm trying to sort of fit
• 21:50
  Speaker 1: it into the timeline of the film itself. And many
• 21:53
  Speaker 1: times there are details that I do not bring up
• 21:56
  Speaker 1: in the commentary simply because the film is running away
• 21:59
  Speaker 1: from me. And many times I can't say it because
• 22:03
  Speaker 1: the moment is gone, it passed a long time ago.
• 22:07
  Speaker 1: In really, in cases where I find it's really important
• 22:10
  Speaker 1: to point it out, I will say, Okay, let me
• 22:12
  Speaker 1: go back to that thing that you saw five minutes
• 22:15
  Speaker 1: ago and all that. But most of the time, you know,
• 22:18
  Speaker 1: it's just it feels better and it flows better if
• 22:20
  Speaker 1: I can do it in the moment, but it's not
• 22:22
  Speaker 1: always possible. So there's a lot of material that really
• 22:25
  Speaker 1: goes unset on the commentary tracks and in Black Belly.
• 22:30
  Speaker 1: In Black Belly, for example, I'm really at a point
• 22:32
  Speaker 1: where I'm going through the movie, and then all of
• 22:34
  Speaker 1: a sudden, I'm like, oops, the movie is over. There's
• 22:37
  Speaker 1: so much more, you know, It's like, huh.
• 22:42
  Speaker 4: Okay, I'd like to interjector a fast where earlier when
• 22:47
  Speaker 4: you're saying where it's where you went to the subject,
• 22:50
  Speaker 4: how like we record this years ago or so the
• 22:52
  Speaker 4: thing is with Black Belly, and this goes for any
• 22:55
  Speaker 4: of these movies is we usually start scribbling down notes
• 22:59
  Speaker 4: as soon as possible, like when we usually have these
• 23:02
  Speaker 4: things licensed, and when we have these things that we're
• 23:04
  Speaker 4: doing our color work or restoration work, we usually start
• 23:07
  Speaker 4: sending each other like notes to basically say where it's like, oh,
• 23:10
  Speaker 4: there's this or there's that, and basically for something like
• 23:14
  Speaker 4: Black Belure, So you have this list of notes and
• 23:18
  Speaker 4: bullets of all sorts of random things that are at
• 23:22
  Speaker 4: this point years old.
• 23:23
  Speaker 1: Yeah, yeah, and you know for.
• 23:25
  Speaker 4: Buddy Iris, Yeah, it's basically us washing, us working on it,
• 23:29
  Speaker 4: just like we send each other a little it's an info.
• 23:34
  Speaker 4: Another thing that also happens is part of the commentaries,
• 23:38
  Speaker 4: of course, are drawn partly from general experience in the genre,
• 23:43
  Speaker 4: from our own watching experiences and what we know of
• 23:45
  Speaker 4: other examples in the medium. So usually, you know, it
• 23:49
  Speaker 4: kind of goes back and forth in terms of like
• 23:51
  Speaker 4: what do we say that is connected or relevant for
• 23:55
  Speaker 4: the time period.
• 23:56
  Speaker 1: And I have to give a lot of credit to
• 23:58
  Speaker 1: Lucas as well on that, because it's kind of interesting.
• 24:03
  Speaker 1: He sees movies differently than I do, and many times
• 24:06
  Speaker 1: he will make comments or suggestions and I'm like, oh,
• 24:09
  Speaker 1: I hadn't even thought of that and that middle class
• 24:12
  Speaker 1: thing you talk about, bloody Iris. That was actually him
• 24:15
  Speaker 1: pointing out to me is like, did you notice that
• 24:18
  Speaker 1: this movie is very different than all the other jolly
• 24:21
  Speaker 1: because this is really a middle class environment and not
• 24:24
  Speaker 1: these elite people you know, who are being killed off
• 24:27
  Speaker 1: and all that. So there's a lot of info and
• 24:30
  Speaker 1: a lot of how should I say, pushing that he
• 24:36
  Speaker 1: and nudging that he does to give me ideas and
• 24:40
  Speaker 1: to help me with these things by pointing out stuff
• 24:43
  Speaker 1: that I may completely overlook that I'm oblivious to, or
• 24:47
  Speaker 1: because I'm so absorbed on something else that I'm focusing
• 24:50
  Speaker 1: on that and I completely fail to see that there's
• 24:53
  Speaker 1: a bigger picture or something else still, you know, and
• 24:56
  Speaker 1: he will point that out to me then said, hey,
• 24:58
  Speaker 1: you know, this is something that be interesting to talk about.
• 25:02
  Speaker 3: The duo is the strongest man like you and I.
• 25:04
  Speaker 3: We see movies totally different, Steve, and we pick up
• 25:07
  Speaker 3: on different different things, which I think the duo like,
• 25:10
  Speaker 3: I could never imagine doing a podcast like this solo,
• 25:14
  Speaker 3: because I do. You have no bounce off, there's no
• 25:17
  Speaker 3: opposing opinion, there's no opposing view, there's no difference like
• 25:20
  Speaker 3: sometimes we send notes to each other, and sometimes they're
• 25:23
  Speaker 3: pretty much exactly the same, which I love, and then
• 25:25
  Speaker 3: other times they're totally different, just depending on whatever the
• 25:29
  Speaker 3: way that we watch movies. My bare bone thoughts, No, no, no, no, no, no,
• 25:33
  Speaker 3: not not at all, not at all. I'm usually a
• 25:36
  Speaker 3: visual guy. So like when our in our episode covering
• 25:40
  Speaker 3: Bloody Iris, I go on and on about all of
• 25:43
  Speaker 3: the reflection shots, whether it's in the little tiny like
• 25:47
  Speaker 3: makeup mirror in the bedroom bouncing off and you see
• 25:50
  Speaker 3: Eduija in the back, or it's there's another shot of
• 25:53
  Speaker 3: her where she's combing. I think she's combing her hair
• 25:56
  Speaker 3: and we're in a reflection, and then the camera zooms
• 25:58
  Speaker 3: out and we see another then we zoom out again
• 26:01
  Speaker 3: and realized we just went into two different reflections.
• 26:04
  Speaker 5: So captivating.
• 26:05
  Speaker 3: That's the stuff that I like, am really drawn to,
• 26:08
  Speaker 3: just the visuals of it. And then Steve, you're you
• 26:12
  Speaker 3: have this incredible way of kind of dissecting in and
• 26:16
  Speaker 3: really figuring out things from like a genre perspective, and
• 26:20
  Speaker 3: really like, really like, what is the most captivating aspect
• 26:25
  Speaker 3: to speak about here?
• 26:26
  Speaker 1: Right?
• 26:26
  Speaker 3: Maybe it is the middle class conversation. Maybe it's the
• 26:29
  Speaker 3: way that the kills are done. We talk a lot
• 26:31
  Speaker 3: about your commentary with the opening scene with Brian de
• 26:35
  Speaker 3: Palma's Dressed to kill on some of those differences. So
• 26:39
  Speaker 3: it always makes for for fun conversational Our end.
• 26:42
  Speaker 5: Creates like a good rhythm and rapport between the two
• 26:45
  Speaker 5: of us because we have two different you know, outlooks
• 26:47
  Speaker 5: on the film.
• 26:48
  Speaker 3: We also both wore purple today and we did not agree.
• 26:53
  Speaker 1: Just like another thing that really helps. For example, when
• 26:57
  Speaker 1: Lucas and I watch movies, actually there are two things.
• 27:01
  Speaker 1: One of them is the age difference, because he sees
• 27:04
  Speaker 1: things very different than I do, and I have a
• 27:07
  Speaker 1: completely different background than he does. And that's the second thing.
• 27:11
  Speaker 1: Because I was born and raised in Europe, I'm familiar
• 27:15
  Speaker 1: with these movies on a different level. Grew up with
• 27:20
  Speaker 1: these films and the cultural things that you see in
• 27:28
  Speaker 1: these films. Sometimes I totally get, I totally understand, and
• 27:33
  Speaker 1: he looks at it and it's like, what's that. You know,
• 27:37
  Speaker 1: Why would they have an appariteeve in a cafe for example?
• 27:40
  Speaker 1: You know things like that. It's like, hey, that's just
• 27:43
  Speaker 1: how it is. In Europe, especially around the Mediterranean, people
• 27:46
  Speaker 1: drink alcohol with or especially bitter alcohol and all that
• 27:50
  Speaker 1: with their pastries and all that. So these were examples
• 27:54
  Speaker 1: or the beer bottle at the workplace. You know, it's
• 27:57
  Speaker 1: like in Europe and I grew up like that. It's like, yeah,
• 28:00
  Speaker 1: that's what we did, you know, that's what we do.
• 28:02
  Speaker 1: This is just but in the US, all of a
• 28:05
  Speaker 1: sudden you have this completely different cultural context, and that
• 28:10
  Speaker 1: lends itself to explanation as well. Yeah, there were a
• 28:14
  Speaker 1: couple of great moments, especially in the case of the
• 28:16
  Speaker 1: Bloody Irish, where that really created this dark contrast about
• 28:20
  Speaker 1: how this would be in the US and how it's
• 28:22
  Speaker 1: being done in Europe.
• 28:25
  Speaker 3: Well, I think, sorry, oh go ahead, Luk, It's go ahead.
• 28:28
  Speaker 4: No, I just want to say I think some of
• 28:30
  Speaker 4: the more interesting discussions in some of these commentaries did
• 28:34
  Speaker 4: stem from the cultural differences, because I know that, for instance,
• 28:39
  Speaker 4: the whole discussion about beer movies and the whole examination
• 28:43
  Speaker 4: of you know, yeah, beer movies that have Europeans enjoyed
• 28:47
  Speaker 4: those movies is something totally you know that Guido can
• 28:50
  Speaker 4: relate to that I have no context for it.
• 28:54
  Speaker 1: You have to explain beer movies first. So because okay,
• 28:58
  Speaker 1: this goes into more film history. Now, in general in Europe,
• 29:03
  Speaker 1: in it and especially in countries like Italy and all that,
• 29:07
  Speaker 1: the way these movies were shown is not like in
• 29:10
  Speaker 1: the US. In the US you always had these movie
• 29:12
  Speaker 1: theaters and multiplexes and all that. It was always this
• 29:15
  Speaker 1: movie theater experience in Europe because a lot of areas
• 29:22
  Speaker 1: in Europe are very rural and all that, and they
• 29:24
  Speaker 1: don't have movie theaters per se. So oftentimes this would
• 29:28
  Speaker 1: be something like a banquet hall where they set up
• 29:31
  Speaker 1: a screen and have a projector and show the movie.
• 29:34
  Speaker 1: And because the proprietor who does that also runs the
• 29:37
  Speaker 1: bar in the front, they're selling alcohol and drinks with it.
• 29:42
  Speaker 1: So what happens in these movies is oftentimes that people
• 29:47
  Speaker 1: will go there as a sort of social gathering, a
• 29:50
  Speaker 1: social experience. So you go there with your friends, you
• 29:53
  Speaker 1: have a couple of beers. Meanwhile the movie is running.
• 29:56
  Speaker 1: And the Italians in particular adapted to that extremely well.
• 30:01
  Speaker 1: That's the reason why in many of these jolly or
• 30:04
  Speaker 1: in many of the Italian movies, you have these moments
• 30:07
  Speaker 1: of lull and then suddenly there's this spike of intensity
• 30:11
  Speaker 1: where something happens that is so outlandish and so extreme
• 30:15
  Speaker 1: that it feels awkward sometimes. But now take the beer
• 30:20
  Speaker 1: movie into account. What happens here is people are talking.
• 30:25
  Speaker 1: So the filmmakers need a way to get people's attention
• 30:29
  Speaker 1: back to the screen because they want them to watch
• 30:31
  Speaker 1: the movie and not talk to their friends. That's why
• 30:34
  Speaker 1: Luccio Fulci has the eye gouging scenes and all that,
• 30:38
  Speaker 1: because that is his way of saying, folks, I'm working here.
• 30:43
  Speaker 1: WA's this, you know. And these things always come in
• 30:47
  Speaker 1: intervals in these films. If you pay attention, you will
• 30:50
  Speaker 1: see it. It's always every fifteen minutes or so, there
• 30:53
  Speaker 1: is one of these highlights that comes. And that is
• 30:56
  Speaker 1: so different from American movies. And yeah, we among us,
• 31:01
  Speaker 1: we just call these films beer movies for that reason
• 31:04
  Speaker 1: because they follow that formula, you know, and that applies
• 31:07
  Speaker 1: to some spaghetti westerns, a lot of the Terrence Hill
• 31:10
  Speaker 1: and but Spencer movies are built really exactly the same way.
• 31:14
  Speaker 1: You have five minutes of nothing and then you have
• 31:17
  Speaker 1: a big brawl, and then you have ten minutes of nothing,
• 31:19
  Speaker 1: and then you have a big brawl and it happens
• 31:22
  Speaker 1: throughout the entire movie. They are literally built around that experience. So, yeah,
• 31:28
  Speaker 1: that's the beer movie.
• 31:31
  Speaker 5: Well, taking it back, you know, for both of you guys,
• 31:35
  Speaker 5: obviously you know you have very different backgrounds, you know
• 31:37
  Speaker 5: when it comes to shallow films. But what initially inspired
• 31:41
  Speaker 5: you guys to focus so heavily on restoring and releasing
• 31:44
  Speaker 5: shallow films through your label.
• 31:47
  Speaker 4: So I would like to rewind back to the COVID period, okay,
• 31:52
  Speaker 4: which is you have a fresh graduated college kid met
• 31:58
  Speaker 4: in the middle of the pandemic being, oh, we have
• 32:04
  Speaker 4: a little guest star cat.
• 32:06
  Speaker 3: I've been trying to keep them from jumping up.
• 32:08
  Speaker 4: So at that time, the thing is, I was very
• 32:15
  Speaker 4: heavily into film, and I was very heavily into film
• 32:18
  Speaker 4: color and film color studies and stuff like that. And
• 32:22
  Speaker 4: at the time I wanted to try and get a
• 32:25
  Speaker 4: job at one of these labels, and so I was
• 32:29
  Speaker 4: I had this mini portfolio and everything. I was sending
• 32:32
  Speaker 4: it out to different companies. Long story short, no one
• 32:36
  Speaker 4: was hiring. Everyone had their own go to. But during
• 32:41
  Speaker 4: this whole job search or so, something that did come
• 32:45
  Speaker 4: up was you have some of these labels that are
• 32:50
  Speaker 4: just extremely tiny. You have sign apps, and you have
• 32:53
  Speaker 4: blue underground Wirds essentially ran by like one or two
• 32:55
  Speaker 4: people and then you know, it came the question of
• 32:59
  Speaker 4: how expensive would be to run such a label, how
• 33:03
  Speaker 4: much would be to license, to manufacture and produce, to
• 33:07
  Speaker 4: distribute and whatnot, And you know, and huge thanks to
• 33:13
  Speaker 4: Gito or So, he was able to do a lot
• 33:18
  Speaker 4: of the number crunching because he knew a lot of
• 33:21
  Speaker 4: the contacts involved and a lot of the work involved.
• 33:25
  Speaker 4: And eventually we found out that it was viable to
• 33:28
  Speaker 4: do a business. Now, at the time, we didn't know
• 33:31
  Speaker 4: what we could work on. But the thing that I
• 33:36
  Speaker 4: loved as a genre is jolly because here's the irony
• 33:39
  Speaker 4: I will say is, even though Gedo is the European
• 33:43
  Speaker 4: of us, he doesn't really watch them as much. That
• 33:48
  Speaker 4: was much more of a me thing. He's seen a
• 33:51
  Speaker 4: small handful. And then after that, you know, just the
• 33:55
  Speaker 4: business started. And I would like to say that whenever
• 34:00
  Speaker 4: we have the commentary and he needs something very genre specific,
• 34:05
  Speaker 4: I'm essentially a fact.
• 34:07
  Speaker 3: Checker, okay.
• 34:09
  Speaker 4: And what ends up happening is I can essentially pull
• 34:12
  Speaker 4: up a conversation from just two days ago where he's asking, so,
• 34:16
  Speaker 4: how many movies are there where the killer survives? And
• 34:19
  Speaker 4: then it's basically me listing like ten different movies, like
• 34:24
  Speaker 4: ten to fifteen different movies and like a single string.
• 34:27
  Speaker 4: I'm like, you know, so there's a lot of very specific,
• 34:31
  Speaker 4: like Jolly specific things where I'm much more in depth
• 34:36
  Speaker 4: with because I just adore the genre. And if you
• 34:41
  Speaker 4: could see the shelf I have over there, I essentially
• 34:44
  Speaker 4: have all of the forgotten Jollies like you have in
• 34:46
  Speaker 4: the background. Yeah, and a bunch of others. So, long
• 34:52
  Speaker 4: story short, it was just a genre that I really liked,
• 34:55
  Speaker 4: and because we were able to find out which companies
• 34:58
  Speaker 4: own some of those licenses, as we were able to
• 35:01
  Speaker 4: dig through the catalog and see what was available, and
• 35:04
  Speaker 4: case of the Body Iris immediately stuck out as one
• 35:07
  Speaker 4: that would be perfect as a startup thing because we
• 35:10
  Speaker 4: knew there was something that was not available in HD
• 35:13
  Speaker 4: in the States. He knew it was something that would
• 35:16
  Speaker 4: work nice in UHD and could have used an upgrade,
• 35:22
  Speaker 4: and the fact that it wasn't a license all is
• 35:24
  Speaker 4: still a mystery to us.
• 35:26
  Speaker 3: Well that was what did Shameless do that in the UK? Before?
• 35:30
  Speaker 4: Is that we had that blue So yeah, they still
• 35:32
  Speaker 4: own it as far as I'm aware of.
• 35:35
  Speaker 1: Here's the thing though, also, so yeah, we picked Jolly
• 35:39
  Speaker 1: because Lucas really loves the genre. However, before we decided
• 35:43
  Speaker 1: upon that, it was really down between horror movies and
• 35:47
  Speaker 1: Jolly Okay, because I am more of a horror movie
• 35:50
  Speaker 1: guy and he's the Gello guy. The problem was that
• 35:54
  Speaker 1: horror movies are completely taken m h. I cannot think
• 35:59
  Speaker 1: of a single horror movie out there that is not
• 36:02
  Speaker 1: under contract, and that was the reason why we passed
• 36:06
  Speaker 1: that and said, okay, Jolly is probably the more viable thing,
• 36:10
  Speaker 1: even though it's very very graced over as well, there
• 36:14
  Speaker 1: are certain titles that seem to be available for licensing,
• 36:18
  Speaker 1: and we went.
• 36:19
  Speaker 3: With that, Yeah, that's crazy to think of how many,
• 36:22
  Speaker 3: because we we wonder that all the time. We're like,
• 36:24
  Speaker 3: what movies are left for them? Because right now it's
• 36:27
  Speaker 3: all it's mostly for the most parts UHD upgrades, you know,
• 36:31
  Speaker 3: that's majority of announcements unless they're going like now now
• 36:35
  Speaker 3: you have labels to pretty much own, like the shot
• 36:37
  Speaker 3: on video or the indie market, or you know, you
• 36:40
  Speaker 3: have like just thinking like you have like the late
• 36:44
  Speaker 3: nineties early two thousands artisan period where a lot of
• 36:47
  Speaker 3: people can kind of pick from. But like, in all honesty,
• 36:49
  Speaker 3: who really wants like are they worth putting money and
• 36:52
  Speaker 3: time into, like beyond? So like, I just watched Day
• 36:56
  Speaker 3: of the Dead two Contagium the other day from Anchor
• 36:59
  Speaker 3: Bay and I was I watched it on my DVD
• 37:02
  Speaker 3: and my first thought was, like, watch, somebody will announce
• 37:04
  Speaker 3: this in four K next week and who the hell
• 37:07
  Speaker 3: wants this?
• 37:10
  Speaker 1: I mean, it's hard. It's especially hard for a startup
• 37:13
  Speaker 1: label like us, and that was the hardest part in
• 37:16
  Speaker 1: the beginning because we did not have the connections. We
• 37:19
  Speaker 1: don't have the history. So we really just cold call
• 37:23
  Speaker 1: license owners and rights owners and say, hey, we're this,
• 37:28
  Speaker 1: we want to do this, and what do you have
• 37:30
  Speaker 1: for us? And unfortunately, yeah, the really interesting titles are
• 37:35
  Speaker 1: all gone. The argentle titles are unattainable. You know, many
• 37:39
  Speaker 1: of the films that we would love to work on,
• 37:41
  Speaker 1: would have loved to work on, are unattainable. So you
• 37:44
  Speaker 1: go through what's available and take a closer look and say, Okay,
• 37:49
  Speaker 1: how good is this movie? And a lot of it
• 37:51
  Speaker 1: requires us really just watching these movies that we've never
• 37:55
  Speaker 1: heard of. It said, okay, what is this like Hyen
• 37:57
  Speaker 1: nine A Safe. I had never heard of Hyen nine
• 37:59
  Speaker 1: A Safe before. You know, until somebody mentioned and it's like, okay,
• 38:03
  Speaker 1: let me give it a shot. I pull it up
• 38:06
  Speaker 1: and I watched five minutes of it, and I told Lucas,
• 38:11
  Speaker 1: you have to come here. You have to see this,
• 38:14
  Speaker 1: because this was so striking that immediately I knew I'm
• 38:17
  Speaker 1: watching something very special here that is completely overlooked, that
• 38:21
  Speaker 1: nobody has taken care of and all that. And really,
• 38:25
  Speaker 1: right after watching that movie, we made the decision, yes,
• 38:27
  Speaker 1: this is a movie we can and we want to
• 38:30
  Speaker 1: work with. But many times, also, you know, we have
• 38:33
  Speaker 1: movies where it's like, oh, this is available, let's check
• 38:35
  Speaker 1: it out, and you check it out and it's a
• 38:36
  Speaker 1: flat note, you know, like nah, maybe not, you know,
• 38:40
  Speaker 1: So it's hard, you know. And yeah, because we're so
• 38:44
  Speaker 1: small and because we're so late to the party, many
• 38:47
  Speaker 1: of the films are just not available to us.
• 38:50
  Speaker 4: I think something that is also tricky to consider is
• 38:54
  Speaker 4: that we kind of noticed this trend the more that
• 38:57
  Speaker 4: we're putting out movies. Is that there is a very
• 39:01
  Speaker 4: strong difference between us being able to enjoy a movie
• 39:04
  Speaker 4: for whatever it is and also trying to weigh in
• 39:08
  Speaker 4: our head, is this marketable? You know? And I hate
• 39:12
  Speaker 4: in a way that you have to examine it in
• 39:14
  Speaker 4: such a commercial kind of way. But there's a reason
• 39:18
  Speaker 4: why there's so many of these movies are remembered for
• 39:21
  Speaker 4: their shockspoitation kind of elements or so, because we could
• 39:24
  Speaker 4: think of some movies that were very good from a
• 39:28
  Speaker 4: thriller level or whatever, or perhaps like a horror level,
• 39:33
  Speaker 4: but there's also barely anything in it as far as
• 39:36
  Speaker 4: actual content is concerned, and that makes it very very
• 39:40
  Speaker 4: tricky for us to weigh whether or not this is
• 39:41
  Speaker 4: something we can do. Because there's a couple of titles
• 39:45
  Speaker 4: where we did look at that and I was like,
• 39:46
  Speaker 4: it's a little we're not sure, so we haven't really
• 39:50
  Speaker 4: put much emphasis on that or so, But.
• 39:54
  Speaker 3: Yeah, was there a concern for that with Hyena and
• 39:58
  Speaker 3: a Safe because I remember when that got announced, I
• 40:01
  Speaker 3: had never heard of it before I bought it simply
• 40:04
  Speaker 3: off of like I love what you guys did. I
• 40:06
  Speaker 3: was like, I put full trust that this is and
• 40:09
  Speaker 3: that was kind of a lot of what that was
• 40:11
  Speaker 3: a lot of what I heard was like, we don't
• 40:12
  Speaker 3: know what this is, but we trust this label and
• 40:14
  Speaker 3: we're going to pick it up because of that. So
• 40:16
  Speaker 3: I feel like of the three that felt like like
• 40:19
  Speaker 3: the least marketable one, you know what I mean.
• 40:22
  Speaker 1: But we went into it knowing that that was a
• 40:26
  Speaker 1: conscious decision in a sense of course we would have
• 40:30
  Speaker 1: preferred to have Dargento's op er instead. You know, we
• 40:34
  Speaker 1: have to work with what we have, and when we
• 40:37
  Speaker 1: went in it okay, because we know this is a
• 40:40
  Speaker 1: super obscure movie, so we know we will not be
• 40:43
  Speaker 1: able to sell as much as Bloody Iris, for example,
• 40:46
  Speaker 1: So immediately that limits your budget that you say, okay,
• 40:50
  Speaker 1: this is what we can do with it. So we
• 40:51
  Speaker 1: can't spend thousands of dollars on featurettes and all that
• 40:55
  Speaker 1: fancy stuff, and we can't make it like a four
• 40:59
  Speaker 1: disc slip box because the production costs alone kills any
• 41:05
  Speaker 1: you know, any any any profit and all that. So
• 41:08
  Speaker 1: that was clear from the beginning. So as we went
• 41:11
  Speaker 1: through the production of that film, we really kept things
• 41:17
  Speaker 1: lean and tried to focus on what needs to be
• 41:21
  Speaker 1: done without going overboard and then just hope for the best.
• 41:29
  Speaker 5: What was I was going to ask, like, speaking of
• 41:31
  Speaker 5: which you know, you guys mentioned a Hyaena in the safe,
• 41:35
  Speaker 5: and how do you guys decide which titles are worthy
• 41:38
  Speaker 5: of a four K restoration? Versus a Blu ray release.
• 41:41
  Speaker 5: Do you guys have like certain criteria.
• 41:45
  Speaker 4: I mean, here's the thing about the UHD situation is
• 41:50
  Speaker 4: the way that we're working right now to create a UHD,
• 41:53
  Speaker 4: we're doing that all in house. We have to restore
• 41:55
  Speaker 4: it in house, we cover it in house. That takes
• 41:59
  Speaker 4: a long long time. We are trying to see if
• 42:02
  Speaker 4: there are ways to expedite it so we can try
• 42:04
  Speaker 4: and experiment with more unusual titles. But at the current moment,
• 42:10
  Speaker 4: it takes many, many, many months to work on any
• 42:13
  Speaker 4: of these movies. So that was why when we worked
• 42:15
  Speaker 4: at Hyena a safe which is this movie that hasn't
• 42:18
  Speaker 4: even seen the light of day in the States or
• 42:20
  Speaker 4: anything like that, we kind of can't gamble with the
• 42:25
  Speaker 4: idea of that being a UHD right out the gate.
• 42:29
  Speaker 7: Yeah, it's a lot of money, you know, to make
• 42:31
  Speaker 7: because Hyena had an existing transfer, so that saves us thousands, many, many,
• 42:38
  Speaker 7: many thousands of dollars right out of the gate.
• 42:41
  Speaker 1: Because just making a new scan of a four K
• 42:44
  Speaker 1: scan of a film is in the neighborhood of many thousands,
• 42:49
  Speaker 1: I mean really many thousands of dollars, and that is
• 42:52
  Speaker 1: really just the raw scan then comes the restoration, and
• 42:56
  Speaker 1: then comes the color grading. So you need to know
• 43:01
  Speaker 1: that you will sell a certain amount of numbers for
• 43:05
  Speaker 1: this to become worth the whole process. With something like
• 43:10
  Speaker 1: Hyena in the safe, we would not have How should
• 43:14
  Speaker 1: I say, it was unfeasible to make a four K
• 43:19
  Speaker 1: version of that film because we would never have been
• 43:22
  Speaker 1: able to make the money back. So we said, okay,
• 43:25
  Speaker 1: we stick with the Blu ray because this movie is
• 43:27
  Speaker 1: so obscure it has never been released here and all that,
• 43:30
  Speaker 1: so at least we can provide that before the film
• 43:34
  Speaker 1: completely deteriorates and falls into obscurity forever. So now we
• 43:39
  Speaker 1: have an HD version of the film in decent quality
• 43:43
  Speaker 1: and all that that survives and that people can actually
• 43:47
  Speaker 1: enjoy for a change, where they don't have to go
• 43:49
  Speaker 1: out to some super obscure bootleg copy or whatever, but
• 43:52
  Speaker 1: can really enjoy the film. We both agreed though, and said, Okay,
• 43:59
  Speaker 1: if any chance this film turns out to be a success,
• 44:03
  Speaker 1: really a breakout that suddenly people flock over it and say, hey,
• 44:07
  Speaker 1: this is the greatest thing ever, give us a four
• 44:09
  Speaker 1: K version that we will consider to actually revisit the
• 44:13
  Speaker 1: film at some point, make a new scan and go
• 44:15
  Speaker 1: through the entire four K process. Oh but only but
• 44:20
  Speaker 1: like we said, this needs to be at a point
• 44:22
  Speaker 1: that we can guarantee a certain number of sales that
• 44:26
  Speaker 1: makes it worth a while.
• 44:28
  Speaker 3: Well that's I think that's an important conversation because I'm
• 44:32
  Speaker 3: not a and Steve, I know you're not as much either.
• 44:35
  Speaker 3: I'm not like a four K purist. I don't need
• 44:38
  Speaker 3: four K, right, Like, there's plenty of movies that are
• 44:40
  Speaker 3: on four K that I own on Blu Ray, and
• 44:42
  Speaker 3: I will never upgrade from Blu Ray unless you're giving
• 44:45
  Speaker 3: me new bonus features and things like that. Right, And
• 44:49
  Speaker 3: you see announcements come out of companies releasing a Blu Ray,
• 44:53
  Speaker 3: and half the comments are like, why isn't this in
• 44:56
  Speaker 3: four K? Why didn't anybody? I'm not going to buy
• 44:59
  Speaker 3: this is not four K because there's no like public
• 45:03
  Speaker 3: understanding of the money and the cost and the risk
• 45:05
  Speaker 3: that goes into that. So on our end, you know,
• 45:09
  Speaker 3: it's very easy for us to look at a movie
• 45:11
  Speaker 3: and go, hey, we've never heard of this. Of course
• 45:13
  Speaker 3: they didn't do a four K, but it's really sad
• 45:16
  Speaker 3: that that will sway a consumer's decisions. Somebody who could
• 45:21
  Speaker 3: possibly love Hyena in a safe won't buy it simply
• 45:26
  Speaker 3: out of it's not on four K, but.
• 45:28
  Speaker 1: Ultimately their loss at that moment. Yeah, and that's how
• 45:32
  Speaker 1: Lucas and I look at it. It's like, you know,
• 45:34
  Speaker 1: we do what we can and that that's really all
• 45:38
  Speaker 1: we can do. And if that's not enough for people,
• 45:40
  Speaker 1: then you know, I'm really sorry. It's it is what
• 45:44
  Speaker 1: it is. The other option that you have is not
• 45:47
  Speaker 1: watch the movie at all. And if that's really an
• 45:49
  Speaker 1: option for you, fine, you know, I'm not going to
• 45:52
  Speaker 1: force you to watch the movie.
• 45:55
  Speaker 3: Yeah, we'll just enjoy it, Steve, you, me and our friends.
• 45:58
  Speaker 5: It's okay, we're the target audience.
• 46:00
  Speaker 3: We're there.
• 46:02
  Speaker 1: I mean, even with all the four K talk and
• 46:04
  Speaker 1: us working in four K, you know that we're still
• 46:06
  Speaker 1: watching DVD, Stuffy. It's like, it's not like it's an
• 46:09
  Speaker 1: inferior product. Really, you know, on some level, it's still
• 46:13
  Speaker 1: the movie and you can still enjoy movies on a DVD.
• 46:17
  Speaker 3: Yeah, I've been before you before you real quick see,
• 46:20
  Speaker 3: I have a like we both have a pretty decent
• 46:23
  Speaker 3: like so like Instagram following, so you get some pretty
• 46:27
  Speaker 3: striking responses when I post that I watched something on DVD.
• 46:30
  Speaker 3: I get messages from people that are like, why why
• 46:32
  Speaker 3: do you still have that? I'm like, what do you mean?
• 46:36
  Speaker 3: It looks like my O led It looks great, honest,
• 46:38
  Speaker 3: honest with you, it looks fine. I'm not concerned with
• 46:40
  Speaker 3: anything more than that.
• 46:41
  Speaker 5: Chris, You know me, I have no problem watching things
• 46:43
  Speaker 5: on vhs.
• 46:44
  Speaker 4: So yeah, yeah, yeah, I think something that I do
• 46:48
  Speaker 4: find fascinating with some movies out there. And this is
• 46:53
  Speaker 4: a very personal thing in me, like is depending on
• 46:56
  Speaker 4: the movie, because this is always a case by case thing.
• 47:00
  Speaker 4: Sometimes the DVD is weirdly more accurate to how the
• 47:03
  Speaker 4: movie was supposed to have looked then the Blu ray
• 47:06
  Speaker 4: or UHD. And this very heavily goes into some of
• 47:09
  Speaker 4: the Argento movies, because I could get into how half
• 47:14
  Speaker 4: the Argental movies from the eighties and whatnot we're using
• 47:18
  Speaker 4: like positives of some sort or timed theatrical positives for
• 47:23
  Speaker 4: the DVDs that Anchor Bay put out years and years ago.
• 47:27
  Speaker 4: But because every really since then uses the camera negative,
• 47:30
  Speaker 4: it creates this very very different look for each of
• 47:34
  Speaker 4: those movies. And I know that was a huge I'm
• 47:38
  Speaker 4: not gonna look it created this very big difference between
• 47:42
  Speaker 4: looking at the UHD for TENEBRAE and Phenomena. If you'll
• 47:46
  Speaker 4: compare it between Anchor Bay's original DVD stuff and the
• 47:50
  Speaker 4: current uhds on the market, and it's kind of weird where, Yeah,
• 47:55
  Speaker 4: sometimes it will be a scenario where I will look
• 47:57
  Speaker 4: at a movie and say, this one looks more correct,
• 48:00
  Speaker 4: that is closer to what the director wanted to do,
• 48:03
  Speaker 4: but this one is also higher resolution. Yeah, it's a
• 48:08
  Speaker 4: little bit of a messy situation.
• 48:10
  Speaker 1: There's an entire discussion and conversation to be had about
• 48:15
  Speaker 1: the look of movies, what it's supposed to look like,
• 48:19
  Speaker 1: and what it really looks like, and what people think
• 48:22
  Speaker 1: it should look like. And we've been going through that
• 48:25
  Speaker 1: over and over again as we're doing the restorations. Short
• 48:28
  Speaker 1: Night is a perfect example. For example, if you take
• 48:30
  Speaker 1: the eighty eight Films version and compare to ours, there
• 48:34
  Speaker 1: are stark contrasts in the two presentations. And from our end,
• 48:39
  Speaker 1: this is very deliberate, you know, because we wanted to
• 48:43
  Speaker 1: or Our tenet with Celluloyd Dreams has always been we
• 48:48
  Speaker 1: want to try to restore films to the way they
• 48:51
  Speaker 1: looked in theaters when they were originally released, we have
• 48:55
  Speaker 1: no real interest in how should we say in changing
• 49:02
  Speaker 1: the film's look and appearance to appeal to modern taste,
• 49:11
  Speaker 1: which is very different because a lot of viewers they
• 49:14
  Speaker 1: are so they grew up with the Marvel movies and
• 49:17
  Speaker 1: this and that when everything is super slick and super
• 49:20
  Speaker 1: polished and super clean, and this and that there is
• 49:23
  Speaker 1: no grain, no noise, no nothing and all that, and
• 49:26
  Speaker 1: many people think this is what movies look like are
• 49:29
  Speaker 1: supposed to look like, and we're looking at it as like, no,
• 49:33
  Speaker 1: a fifty five year old celluloid movie does not look
• 49:37
  Speaker 1: like that, and it shouldn't because there was an artistry
• 49:40
  Speaker 1: in it and a very deliberate attempt to make a
• 49:42
  Speaker 1: film look a certain way back in the day that
• 49:45
  Speaker 1: I think deserves to be preserved and rescued. And that
• 49:51
  Speaker 1: is how we see ourselves as caretakers of that original look,
• 49:57
  Speaker 1: of that original vision and intention of the film makers
• 50:01
  Speaker 1: and without I don't want to diss anybody or so,
• 50:06
  Speaker 1: but other labels do not necessarily have that same intent.
• 50:11
  Speaker 1: They put out the product, and they may want it
• 50:14
  Speaker 1: to look brighter because it's more appealing, because they feel
• 50:18
  Speaker 1: it's more appealing it appeals to a wider audience that
• 50:21
  Speaker 1: there are a thousand reasons why a film can look
• 50:24
  Speaker 1: a certain way. But like we said with the DVD,
• 50:29
  Speaker 1: the look of a movie on DVD and the difference
• 50:31
  Speaker 1: what it looks like on four K is that you know,
• 50:35
  Speaker 1: there are twenty or twenty five or maybe even thirty
• 50:37
  Speaker 1: years between those two releases, and time has moved on
• 50:41
  Speaker 1: and the tastes of the public have changed, and many
• 50:45
  Speaker 1: of the studios and labels have tried to appeal to
• 50:48
  Speaker 1: those changes of in taste and make these films look
• 50:51
  Speaker 1: more modern, more clean, more noiseless, or whatever you know
• 50:56
  Speaker 1: it is. But that is not our intention.
• 51:00
  Speaker 4: I mean something I do want to add, real fest
• 51:02
  Speaker 4: that is a bit tricky with the whole subject of
• 51:05
  Speaker 4: modern tastes and old tastes and whatnot, is the whole
• 51:09
  Speaker 4: subject of HDR. Like HDR grading is a total nightmare
• 51:16
  Speaker 4: out there, you will, and this is something that I
• 51:18
  Speaker 4: emit even internally. This is still kind of a struggle
• 51:21
  Speaker 4: in trying to figure out the best balance because people
• 51:25
  Speaker 4: who have picked up a copy of Bloody Iris and
• 51:27
  Speaker 4: a copy of Short Night you will say that they
• 51:28
  Speaker 4: have very different handlings of HDR. And I will say
• 51:33
  Speaker 4: that for a black belly the tarantula. I am really
• 51:36
  Speaker 4: happy with how that HDR gray is shaping up. But
• 51:39
  Speaker 4: I will also say that in its own way, HDR grading,
• 51:43
  Speaker 4: no matter how you look at it, is still different
• 51:47
  Speaker 4: from a theatrical print. But you know, so you have
• 51:50
  Speaker 4: to try and figure out what is the best balance
• 51:52
  Speaker 4: being signed and takes advantage of this technology, but still
• 51:56
  Speaker 4: feels respectful to how it could have looked on a print,
• 51:59
  Speaker 4: if you know, in some edge case scenario or something,
• 52:04
  Speaker 4: and that is a huge ricky tricky situation and trying
• 52:08
  Speaker 4: to figure out what is the right balance of brightness, darkness, etc.
• 52:12
  Speaker 1: I mean, I mean just the way that they're completely
• 52:15
  Speaker 1: different media. You know, on the one hand, you have
• 52:17
  Speaker 1: a celluloid print that is illuminated by a light bulb
• 52:21
  Speaker 1: and projected onto a screen versus an OLED screen or something.
• 52:26
  Speaker 1: You know, it's like these are completely different worlds. The
• 52:30
  Speaker 1: way they reproduce colors, the way they create light, the
• 52:34
  Speaker 1: way they react to certain changes, how they interact with
• 52:37
  Speaker 1: each other and all. It's very very different, and it's
• 52:40
  Speaker 1: almost impossible to fully reproduce one experience with the other.
• 52:46
  Speaker 1: I mean, if somebody would say, hey, I want to
• 52:48
  Speaker 1: create a look of an oled on celluloid. You would
• 52:52
  Speaker 1: just say you're stupid. You know, this is never going
• 52:54
  Speaker 1: to work. But the other way round it's supposed to work.
• 52:58
  Speaker 1: Is like, I'm not sure if I believe that, you know,
• 53:01
  Speaker 1: because these are completely different worlds and we have to
• 53:06
  Speaker 1: recognize that. You know that it is impossible to get
• 53:10
  Speaker 1: the presentation of a film projection on your television screen.
• 53:15
  Speaker 1: It's just not possible. You know. You will always just
• 53:18
  Speaker 1: have a similar acron of it, an approximation, you know,
• 53:22
  Speaker 1: and it will always be different.
• 53:24
  Speaker 3: Yeah, I know I was talking or not talking too,
• 53:27
  Speaker 3: but I was. I know, I know, I think you both,
• 53:31
  Speaker 3: you guys, I don't know if both you guys are
• 53:32
  Speaker 3: just gidto You were on Heath Holland's podcast, Serial Midnight,
• 53:36
  Speaker 3: and he talks about that a lot. How He's like,
• 53:39
  Speaker 3: he doesn't really champion HDR all that much. He's like,
• 53:42
  Speaker 3: because now they're changing the grade, and even even the
• 53:46
  Speaker 3: film's original cinematographers coming back in and they're changing the
• 53:50
  Speaker 3: grade from it was before because now they have the
• 53:52
  Speaker 3: ability to you know, they're like, oh, this is more
• 53:55
  Speaker 3: accurate my vision, or you know, we're just going to
• 53:57
  Speaker 3: change this because I think it looks a little bit
• 53:59
  Speaker 3: better now.
• 54:00
  Speaker 2: Know.
• 54:00
  Speaker 3: Along that process, you end up diverting away from what
• 54:03
  Speaker 3: was originally intended, whether you mean to or not.
• 54:07
  Speaker 1: And the older the movie is, the less likely it
• 54:11
  Speaker 1: is that you really remember what your initial intention was
• 54:14
  Speaker 1: back then. You know, if I go back in my
• 54:17
  Speaker 1: memory fifty years or so, when I first watched Fool
• 54:20
  Speaker 1: Cheese the Beyond in theaters, for example, I was like,
• 54:24
  Speaker 1: you know, I barely remember it. I could not tell
• 54:26
  Speaker 1: you what the film really looked like, you know, or
• 54:29
  Speaker 1: for that matter, what format it was in. But you know,
• 54:34
  Speaker 1: we sort of expect these cinematographers and all that tools
• 54:38
  Speaker 1: scramble through their memory and say, oh, this is what
• 54:41
  Speaker 1: we wanted to do. Is like, yeah, you know, time
• 54:44
  Speaker 1: is a fickle thing.
• 54:47
  Speaker 4: Not to mention the changing past.
• 54:48
  Speaker 1: Yeah, so that too. You know, cinematographer's taste has changed
• 54:53
  Speaker 1: over those years too, and the things that he didn't
• 54:56
  Speaker 1: want to do back then, nowadays he may look at
• 54:58
  Speaker 1: it is said, hey, you know what, let's bump up
• 55:00
  Speaker 1: and little well.
• 55:01
  Speaker 5: I was gonna say, I mean, for you guys, what's
• 55:04
  Speaker 5: the biggest challenge when we're storing older, shallow films like
• 55:07
  Speaker 5: do you run into film damage or color timing, you know,
• 55:10
  Speaker 5: missing elements things like that in order to get the
• 55:13
  Speaker 5: finished product that we ultimately end up seeing.
• 55:16
  Speaker 4: Yes, yet we'll just leave it at that, right, I
• 55:23
  Speaker 4: mean to be a little more specific, there's the amount
• 55:27
  Speaker 4: of defects that actually show up on these negatives or
• 55:30
  Speaker 4: so that is easily one of the reasons why the
• 55:34
  Speaker 4: restorations take two eons to put out, because there's so
• 55:37
  Speaker 4: many tiny little defects that you have to catch and
• 55:40
  Speaker 4: make sure that they don't slip through cracks. Sometimes there's
• 55:43
  Speaker 4: some really big garish issues where we're both staring at
• 55:46
  Speaker 4: the at the monitor and it's like, how do we
• 55:48
  Speaker 4: fix this? How can you fix this? And on top
• 55:55
  Speaker 4: of that, yeah, then with the color situation, that is
• 55:59
  Speaker 4: a total mess and all frankness because it will be
• 56:03
  Speaker 4: entirely dependent on why is available on a film basis,
• 56:06
  Speaker 4: because some movies will have this element, some moods will
• 56:08
  Speaker 4: have that element. Some movies the only thing you can
• 56:10
  Speaker 4: find is there is this one VHS tape that was
• 56:14
  Speaker 4: that stemmed from a theatrical print because there are key
• 56:18
  Speaker 4: marks in the corner, you know, stuff like that where
• 56:20
  Speaker 4: it's like, it is totally messy in terms of what
• 56:23
  Speaker 4: you actually can do, because if you don't really ever
• 56:27
  Speaker 4: know what you can have access to until you actually
• 56:29
  Speaker 4: start doing it.
• 56:31
  Speaker 1: It requires an incredible amount of research really and digging
• 56:35
  Speaker 1: into it. And we're constantly on the lookout for versions
• 56:39
  Speaker 1: of these films that we work and that we consider
• 56:42
  Speaker 1: and all that, and like Lucas said, sometimes it may
• 56:45
  Speaker 1: be a Japanese VHS that pops up somewhere on eBay
• 56:48
  Speaker 1: and you look into it closer and you as like, oh,
• 56:51
  Speaker 1: they made that from an original film print, which means
• 56:55
  Speaker 1: it could be representative of the contrast, you know, not
• 57:00
  Speaker 1: necessarily the color, because VAHS is not really color faithful,
• 57:04
  Speaker 1: but at least contrast. And so you try to pull
• 57:07
  Speaker 1: from all sources to get reference materials, and then you
• 57:12
  Speaker 1: try to find out, okay, which one is really referenced,
• 57:14
  Speaker 1: which is sort of pseudo reference, which one is just guesswork,
• 57:19
  Speaker 1: and you try to sort of consolidate it all, and
• 57:23
  Speaker 1: then oftentimes you have to work with inferior elements. Damage.
• 57:28
  Speaker 1: Film damage is real, you know, I mean, like like
• 57:32
  Speaker 1: Lucas said, we had instances where I'm going through it
• 57:35
  Speaker 1: and suddenly I'm staring at a frame that is completely destroyed,
• 57:38
  Speaker 1: and I'm like, I have no idea how I can
• 57:40
  Speaker 1: fix this or if I can fix it even, you know,
• 57:44
  Speaker 1: because if something is in motion, where would the information
• 57:48
  Speaker 1: come from? You know, if something changes between frames, It's
• 57:51
  Speaker 1: like I can't create nothing out I can create something
• 57:55
  Speaker 1: out of nothing. So it's really really hard sometimes and
• 57:59
  Speaker 1: it's a tedious process alone process. And then on top
• 58:02
  Speaker 1: of it all comes the age of the films themselves,
• 58:07
  Speaker 1: you know, because I mean we've all heard stories about
• 58:11
  Speaker 1: these labs and archives where they store these films and
• 58:14
  Speaker 1: then the week later we heard it here universal plot fire,
• 58:21
  Speaker 1: archive destroyed and the film's all gone, you know. And
• 58:24
  Speaker 1: the same happened with Black Belly. For example. Black Belly
• 58:26
  Speaker 1: was in a flooding of a of a lap, so
• 58:29
  Speaker 1: the film riddled with these water stains and all that.
• 58:33
  Speaker 1: And as you clean it up, you have to go
• 58:36
  Speaker 1: through all these frames and you see these blotches and stuff,
• 58:39
  Speaker 1: and it's like Christ, you know, it would be so
• 58:43
  Speaker 1: easy or this should be so easy, but no, because
• 58:45
  Speaker 1: of that, it takes forever, you know, because every frame
• 58:48
  Speaker 1: is affected.
• 58:50
  Speaker 5: Are are you having to use like multiple sources then
• 58:53
  Speaker 5: to bring it together, whether it's with this film or
• 58:57
  Speaker 5: previous releases that you've you've put out.
• 59:02
  Speaker 4: Very loosely. In Bloody Iris, I seem to remember that
• 59:07
  Speaker 4: we frankensteined the audio mix from two different optical captures.
• 59:14
  Speaker 4: I think the same was actually for Short Night because
• 59:16
  Speaker 4: I can't remember which language it was, but one of
• 59:19
  Speaker 4: the languages. And you can't hear this on the Grindhouse
• 59:22
  Speaker 4: version because we kept those intact. There was some really
• 59:26
  Speaker 4: heavily warbling. So I would almost make fun and say
• 59:30
  Speaker 4: it's almost like a circus funhouse kind of mix where
• 59:34
  Speaker 4: you will hear the pitch go way up and way down,
• 59:38
  Speaker 4: way up, way down, and you know, it was crazy,
• 59:41
  Speaker 4: and we're listening to this, it's like, we can't use this,
• 59:44
  Speaker 4: we have to use the other track. We have to
• 59:46
  Speaker 4: patch it in with the other one. And on top
• 59:48
  Speaker 4: of that, for Black Belly, Black Belly is in an
• 59:51
  Speaker 4: even more tragic state.
• 59:54
  Speaker 1: Because because of the flood.
• 59:56
  Speaker 4: Yeah, because of the flood. And we're in a situation
• 1:00:01
  Speaker 4: where the company was like, yeah, we have the original
• 1:00:04
  Speaker 4: magnetic stems. They were they're vinegaring, you know, So it's
• 1:00:10
  Speaker 4: that situation.
• 1:00:11
  Speaker 1: It's like ah, right, oh yeah, Yeah.
• 1:00:16
  Speaker 3: I remember listening to I'm a huge One of my
• 1:00:19
  Speaker 3: favorite labels is Severn, and I remember listening to a
• 1:00:24
  Speaker 3: podcast with David Gregory before they released Jess Franco's Dracula
• 1:00:28
  Speaker 3: Prisoner of Frankenstein, and he was talking about how he's like,
• 1:00:33
  Speaker 3: we had I think he said, they start off with
• 1:00:35
  Speaker 3: like three different prints of that movie, each had different footage,
• 1:00:39
  Speaker 3: and then they got a call from like Germany and
• 1:00:41
  Speaker 3: someone's like, hey, I just found another print and this
• 1:00:45
  Speaker 3: has something that's not in any of your other ones.
• 1:00:48
  Speaker 3: He's like, and then we got a call from another
• 1:00:49
  Speaker 3: part of the world and they're like, hey, we found
• 1:00:51
  Speaker 3: a print and there's something different. He's like, so now
• 1:00:54
  Speaker 3: you're you're sitting with six, seven different sources. He's like,
• 1:01:00
  Speaker 3: all of them have different footage, and now we have
• 1:01:02
  Speaker 3: to put it all together and hope that we're putting
• 1:01:04
  Speaker 3: it together in the way that it's originally intended, because
• 1:01:06
  Speaker 3: nobody's ever done this.
• 1:01:08
  Speaker 1: And you have to match him up.
• 1:01:10
  Speaker 3: Yeah, which is great.
• 1:01:11
  Speaker 1: You know, because typically these sources look completely different. Yeah,
• 1:01:15
  Speaker 1: film based or so they still look completely different, you know.
• 1:01:19
  Speaker 4: I this actually does make me think of something that
• 1:01:24
  Speaker 4: almost happened or almost something we get to worry about
• 1:01:29
  Speaker 4: where we try to license a particular Fulcio movie. I'm
• 1:01:33
  Speaker 4: not gonna say which one it is right now, but basically,
• 1:01:38
  Speaker 4: a lot of the Fulcio movies during the late sixties,
• 1:01:41
  Speaker 4: early seventies that period or so, and this goes for
• 1:01:44
  Speaker 4: other Italian movies in general, actually many of them were
• 1:01:48
  Speaker 4: co productions. And what that entailed was many of these
• 1:01:51
  Speaker 4: movies had a very different cut, or at least a
• 1:01:54
  Speaker 4: somewhat different cut, depending on where it comes out. And
• 1:01:58
  Speaker 4: this is why on some releases they are these Frankenstein
• 1:02:03
  Speaker 4: Beasts where they will pull scenes from as many different
• 1:02:07
  Speaker 4: versions as they can to make this one composite cut.
• 1:02:11
  Speaker 4: And the fascinating thing they do want to raise us
• 1:02:14
  Speaker 4: a question in a way is what would you consider
• 1:02:18
  Speaker 4: the original version because of the fact that this is
• 1:02:21
  Speaker 4: a co production thing or so, if the director is Italian,
• 1:02:24
  Speaker 4: doesn't mean the shorter Italian version is the director's cut
• 1:02:29
  Speaker 4: or is it actually the cobbled Frankenstein Beasts that the
• 1:02:33
  Speaker 4: other companies may have put out or so, you know,
• 1:02:36
  Speaker 4: it was some one of those things that we almost
• 1:02:38
  Speaker 4: had to worry about at one point where we, you know,
• 1:02:40
  Speaker 4: the project passed by, couldn't get hold of it.
• 1:02:45
  Speaker 1: But given the checkered history of some of these films,
• 1:02:48
  Speaker 1: it's really hard. It's really hard when suddenly you have
• 1:02:51
  Speaker 1: three four companies from four different countries having a say
• 1:02:55
  Speaker 1: in the film, and each making their own version that
• 1:02:58
  Speaker 1: they feel works best in their market, and each of
• 1:03:02
  Speaker 1: them then suddenly having reference prints and all that that
• 1:03:06
  Speaker 1: vastly differ from each other. Who knows, like, yeah, which
• 1:03:08
  Speaker 1: one is the authoritative? You know, which one is the
• 1:03:10
  Speaker 1: one the director really wanted to have out there?
• 1:03:13
  Speaker 5: Well, we said that actually brings me to another thing
• 1:03:17
  Speaker 5: I wanted to bring up. So have you guys had
• 1:03:19
  Speaker 5: to work directly with the original filmmakers or states during
• 1:03:23
  Speaker 5: the restorations and how does it work for being able
• 1:03:26
  Speaker 5: to you know, you guys were talking about co productions
• 1:03:29
  Speaker 5: like untangle the rights issues for some of these films.
• 1:03:33
  Speaker 1: The rights issues is the easiest part, actually, okay, because
• 1:03:37
  Speaker 1: they are typically untangled by lawyers beforehand. We don't really
• 1:03:41
  Speaker 1: have to worry about that. When we approach somebody, we
• 1:03:44
  Speaker 1: have to do you have the North American rights that
• 1:03:47
  Speaker 1: we could license? And then the answer is yes or
• 1:03:49
  Speaker 1: no If they don't have the rights to the American territories,
• 1:03:54
  Speaker 1: then they can't license it to us, simple as that.
• 1:03:57
  Speaker 1: So we just need to find the right person who
• 1:03:59
  Speaker 1: owns then the North American rights to the who owns that.
• 1:04:04
  Speaker 1: So that's the easy part. The the involvement of talent
• 1:04:09
  Speaker 1: and and the original filmmakers is a lot harder because
• 1:04:14
  Speaker 1: of the age of the films. Any of the folks
• 1:04:16
  Speaker 1: are just not around anymore. So it's becoming a case
• 1:04:20
  Speaker 1: of you can you rely on his archival interviews, archival
• 1:04:25
  Speaker 1: footage and all that. Sometimes we would reach out to
• 1:04:29
  Speaker 1: their their their their children, like in Black Bellley of
• 1:04:33
  Speaker 1: the Tarantula, for example, we approached Paulo Cabara's son, you know,
• 1:04:39
  Speaker 1: and talk to him and had him also interviewed for
• 1:04:42
  Speaker 1: the for the release and all that to find out
• 1:04:44
  Speaker 1: what happened and whatever they know, whatever they remember. The
• 1:04:50
  Speaker 1: same is true for Marcello Danon, the producer of the film.
• 1:04:53
  Speaker 1: We were talking or we have an interview with his
• 1:04:56
  Speaker 1: son where he recalls a lot of it. And fortunately
• 1:05:01
  Speaker 1: the sun at the time was old enough to actually
• 1:05:03
  Speaker 1: be on set, so that helps in those cases then,
• 1:05:07
  Speaker 1: but it's really hard, you know. And then then there
• 1:05:09
  Speaker 1: are unfortunately cases like Mario Mora, the editor on many
• 1:05:16
  Speaker 1: of these films. For Black Belly, we had an interview
• 1:05:19
  Speaker 1: scheduled with him, We had it all arranged and all that,
• 1:05:22
  Speaker 1: and then two days before the interview he had a
• 1:05:24
  Speaker 1: fall and ended up in the hospital, and unfortunately, a
• 1:05:28
  Speaker 1: couple of weeks later he passed. We never got the
• 1:05:31
  Speaker 1: chance to interview him for this particular movie and all that, which, again,
• 1:05:36
  Speaker 1: you know, underscores that point. It's like time is running
• 1:05:39
  Speaker 1: away from us with these films because all the talent
• 1:05:42
  Speaker 1: is slowly leaving us.
• 1:05:46
  Speaker 5: Well, I was gonna say, I mean, you guys definitely
• 1:05:49
  Speaker 5: go above and beyond when it comes to this. But
• 1:05:51
  Speaker 5: for you guys, how important is not only just like
• 1:05:54
  Speaker 5: the packaging but special features when putting together each one
• 1:05:57
  Speaker 5: of these releases.
• 1:06:00
  Speaker 4: Well, when we put together these releases, we try to
• 1:06:03
  Speaker 4: put as much as we can because there's this phenomenon
• 1:06:08
  Speaker 4: that we've noticed with some releases where the instant that
• 1:06:12
  Speaker 4: some company, let's say could be Germany or somewhere overseas
• 1:06:17
  Speaker 4: will put this extra creatives or an extra and suddenly
• 1:06:22
  Speaker 4: people are going to be asking where is it I
• 1:06:25
  Speaker 4: want to see this, or sometimes actually trying to get
• 1:06:28
  Speaker 4: a hold of it after the original printing of that
• 1:06:31
  Speaker 4: release is borderline impossible. So our main goal is to
• 1:06:36
  Speaker 4: try and collect as much material as we can to
• 1:06:39
  Speaker 4: try and present it to audiences who you know, in Americans, Canadians,
• 1:06:44
  Speaker 4: I suppose anyone who imports high releases can get a
• 1:06:48
  Speaker 4: hold of so that they can actually appreciate the featurettes
• 1:06:51
  Speaker 4: that are being made over the years, on top of
• 1:06:53
  Speaker 4: trying to create new ones, because we try to get
• 1:06:56
  Speaker 4: newer talents to create essays for us and whatnot.
• 1:07:00
  Speaker 1: Personally, I like to think of it as a time capsule,
• 1:07:04
  Speaker 1: and ideally, in an ideal world, we would try to
• 1:07:07
  Speaker 1: create versions of the films that are as complete as possible.
• 1:07:11
  Speaker 1: So whenever we work on a film, we try to
• 1:07:13
  Speaker 1: reach out to the other labels who previously released the
• 1:07:16
  Speaker 1: films to see can we get access to your feature
• 1:07:18
  Speaker 1: so we can include them, and then, as he said,
• 1:07:22
  Speaker 1: add new materials to it and all that. Many times
• 1:07:27
  Speaker 1: we get access to the older materials, to the archival stuff.
• 1:07:30
  Speaker 1: Sometimes we do not. Sometimes the companies simply don't respond
• 1:07:34
  Speaker 1: or whatever. They have their own reasons why they don't
• 1:07:37
  Speaker 1: want to give it up. But we try to be
• 1:07:40
  Speaker 1: as complete as possible to a point, because when you
• 1:07:44
  Speaker 1: get into it, you know, then let's take for example,
• 1:07:48
  Speaker 1: publicity photos, you make an image gallery. Yeah, how many
• 1:07:53
  Speaker 1: photos will you put in a gallery?
• 1:07:55
  Speaker 5: You know?
• 1:07:56
  Speaker 1: I mean with Black Valley of the Tarentula in particular,
• 1:07:58
  Speaker 1: we could make an image gallery that is a thousand
• 1:08:01
  Speaker 1: or fifteen hundred pictures, you know, because there are so
• 1:08:04
  Speaker 1: many publicity photos out there from every country.
• 1:08:07
  Speaker 4: And Short Night was also pretty bad in that regard. Yeah,
• 1:08:10
  Speaker 4: there's a lot of dup for.
• 1:08:10
  Speaker 1: Kids, and especially with Short Night. Short Night was sort
• 1:08:14
  Speaker 1: of the learning experience because that was really a case
• 1:08:18
  Speaker 1: where we're like, Okay, whatever we can get, we put on.
• 1:08:21
  Speaker 1: And here's the kicker. We started with the film. I said, okay,
• 1:08:26
  Speaker 1: we'll do that as a two disc release, like Bloody
• 1:08:29
  Speaker 1: Iris okay, And then we looked around. It's like, oh,
• 1:08:32
  Speaker 1: there's this feature and then that feature. Let's see if
• 1:08:34
  Speaker 1: we can get them. So we we talked to people
• 1:08:37
  Speaker 1: and it's like, yeah, we can get all these featurettes.
• 1:08:40
  Speaker 1: It's like, okay, now we have an hour extra in featurette.
• 1:08:43
  Speaker 1: Oh we need an extra disc. Okay, let's make a
• 1:08:46
  Speaker 1: three discs no problem, let's do this. So we start
• 1:08:48
  Speaker 1: working under the assumption this is a three disc thing, and.
• 1:08:50
  Speaker 4: Then it was the Grindhouse and the VHS.
• 1:08:56
  Speaker 1: Yeah, then the Grindhouse version popped up and we're like, oh,
• 1:08:59
  Speaker 1: we could put that up to imagine, you know, just
• 1:09:02
  Speaker 1: people seeing the movie in all its glory glory with
• 1:09:07
  Speaker 1: all this vatals and dirt and grime, and it's like,
• 1:09:10
  Speaker 1: that would be so awesome. Okay, let's add another disc.
• 1:09:14
  Speaker 1: But now one movie on the discuss not enough, there's
• 1:09:16
  Speaker 1: still room. What else can we put on? And then
• 1:09:19
  Speaker 1: then we found that VHS copy of the film.
• 1:09:22
  Speaker 5: I said, it's incredible.
• 1:09:23
  Speaker 1: Can you imagine? You know? It was just it's sort
• 1:09:26
  Speaker 1: of a curio thing that we said, I wonder what
• 1:09:29
  Speaker 1: that looked like. So we had it scanned and all
• 1:09:32
  Speaker 1: that and digitized and it came back and it's like,
• 1:09:35
  Speaker 1: holy cow, this looks a lot better than I had expected,
• 1:09:38
  Speaker 1: because I was expecting, you know, this sort of weird, fuzzy,
• 1:09:42
  Speaker 1: kind of washed out video and suddenly I'm looking at this.
• 1:09:46
  Speaker 1: I said, this is not half bad.
• 1:09:48
  Speaker 4: If it wasn't for the fact that it was a
• 1:09:50
  Speaker 4: blatant pan and scan, I would humor and say this
• 1:09:52
  Speaker 4: could have looked like a DVD release.
• 1:09:54
  Speaker 1: Yeah, this is not half bad, but the fact that
• 1:09:56
  Speaker 1: it was pan and scan and all that made it
• 1:09:58
  Speaker 1: unique again, because none of the other versions. I was like, well, okay,
• 1:10:02
  Speaker 1: let's put that on, and so it goes so short,
• 1:10:06
  Speaker 1: night ballooned, like there was no end. We really had
• 1:10:10
  Speaker 1: to sit down. At some point, I say, we have
• 1:10:11
  Speaker 1: to stop doing this, otherwise we're ending up with like
• 1:10:16
  Speaker 1: The Beyond, you know, like with an age and all that.
• 1:10:19
  Speaker 1: And it's like, no, we can't do that. Leave that
• 1:10:21
  Speaker 1: to other labels. We do not have the pockets deep
• 1:10:24
  Speaker 1: enough to do.
• 1:10:25
  Speaker 3: You just had Dark Sky put out the documentary with
• 1:10:30
  Speaker 3: nine different versions of the movie. You're like, all right,
• 1:10:34
  Speaker 3: which one am I going to watch today? Which one?
• 1:10:36
  Speaker 1: Well, it's it's it's it's it's tantalizing, you know, when
• 1:10:40
  Speaker 1: you keep up all these things and you don't want
• 1:10:43
  Speaker 1: to really let go of them because you feel, hey,
• 1:10:47
  Speaker 1: this is part of the history of the film, it's
• 1:10:49
  Speaker 1: part of the perception of the film. It's it's worth
• 1:10:53
  Speaker 1: putting on, it's worth absolutely conserving and all that, and
• 1:10:56
  Speaker 1: but sometimes you just have to say enough is enough?
• 1:10:59
  Speaker 3: Well, how do like we from day one of this show,
• 1:11:05
  Speaker 3: the whole point was to try to bring more attention
• 1:11:08
  Speaker 3: to audio commentaries, right, That was the that's the end
• 1:11:10
  Speaker 3: goal of the show. If we get one person to
• 1:11:14
  Speaker 3: listen to a commentary they've never listened to before, we
• 1:11:16
  Speaker 3: we've won in my eyes. So we preach every single
• 1:11:20
  Speaker 3: episode we say physical media is education. How do we
• 1:11:24
  Speaker 3: people that are ingrained in this space and people who
• 1:11:29
  Speaker 3: like really appreciate the work do you do? How do
• 1:11:31
  Speaker 3: we continue urging people to go deeper into watch interviews
• 1:11:36
  Speaker 3: and you know, listen to the audio commentaries. I feel
• 1:11:40
  Speaker 3: like that's while it's getting better, we're seeing we're kind
• 1:11:45
  Speaker 3: of seeing this a little bit of a resurgence of it.
• 1:11:47
  Speaker 3: I still wonder like what percentage of people are actually
• 1:11:50
  Speaker 3: taking the time to go beyond.
• 1:11:53
  Speaker 1: Because a lot of people are really consumers of the film,
• 1:11:58
  Speaker 1: that's all they care about. But if you manage to
• 1:12:03
  Speaker 1: spark an inkling of interest, and it can, oftentimes, I think,
• 1:12:08
  Speaker 1: happen with just one little titbit that they say, ooh,
• 1:12:12
  Speaker 1: I did not know that this is curious or this
• 1:12:15
  Speaker 1: is interesting. You know, we have Lucas and we have
• 1:12:19
  Speaker 1: these moments all the time. While I'm researching these commentary tracks,
• 1:12:22
  Speaker 1: and I will walk over to him and say, hey,
• 1:12:24
  Speaker 1: I just found out this. This guy did this. You know,
• 1:12:28
  Speaker 1: he's in that movie and he did this. Can he
• 1:12:30
  Speaker 1: even believe this? And this is really exciting stuff at
• 1:12:33
  Speaker 1: least to me. Is you know when I find out
• 1:12:36
  Speaker 1: you know, the weirdest trivia about some of these people,
• 1:12:39
  Speaker 1: or production trivia and things. And but if you can
• 1:12:43
  Speaker 1: sort of relay that to people and say, there is
• 1:12:46
  Speaker 1: more to a movie than just what you see, because
• 1:12:51
  Speaker 1: there's a whole production behind that went on behind the scenes,
• 1:12:54
  Speaker 1: there were hundreds of people involved. There's always drama, there's
• 1:12:58
  Speaker 1: always something going on, there always something going wrong. There
• 1:13:02
  Speaker 1: is a lot of interesting stuff happening, you know, and
• 1:13:06
  Speaker 1: especially now with the Italian cinema, they all did it
• 1:13:10
  Speaker 1: by the seat of their pans.
• 1:13:13
  Speaker 4: So cool. There's a lot of these Italian movies I
• 1:13:17
  Speaker 4: would say, where if you do get the time to
• 1:13:20
  Speaker 4: watch or listen to any these commentaries or interviews, I
• 1:13:24
  Speaker 4: usually find that the movie itself becomes like enjoyable tenfold
• 1:13:29
  Speaker 4: because you will hear all sorts of insane stories that
• 1:13:34
  Speaker 4: I cannot fathom that occurring in American productions or normal
• 1:13:40
  Speaker 4: English productions or so because you will just constantly hear
• 1:13:44
  Speaker 4: like the most gorilla filmmaking situations possible. Because going back
• 1:13:48
  Speaker 4: to like case of the Buddy Iris, one of the
• 1:13:50
  Speaker 4: funniest things I know about that was the whole chase
• 1:13:53
  Speaker 4: scene with you know, with George Hilton being in the
• 1:13:56
  Speaker 4: blood coat. They just did that on the fly. They
• 1:13:59
  Speaker 4: didn't get a permit anything like that. They just gave
• 1:14:01
  Speaker 4: him a bloody con say, just run down the street.
• 1:14:04
  Speaker 4: So all the people that are like looking at like
• 1:14:06
  Speaker 4: he was a freaker. So he was like, no, that
• 1:14:08
  Speaker 4: was just because they're random pedestrians.
• 1:14:10
  Speaker 1: And then people actually calling the police, you know, because
• 1:14:13
  Speaker 1: they bought somebody really got stepped there, these kinds of things.
• 1:14:17
  Speaker 1: The same was with Short Night. I mean, idol Lado,
• 1:14:20
  Speaker 1: he was so full of stories, and I mean one
• 1:14:23
  Speaker 1: of the stories that he keeps telling is how he
• 1:14:26
  Speaker 1: shot in Prague. Because Prague was behind the Iron Curtain
• 1:14:30
  Speaker 1: at the time, he couldn't get a permit to shoot
• 1:14:32
  Speaker 1: the movie there, so that's why they did in Czechoslovakia.
• 1:14:35
  Speaker 1: But he wanted footage of Prague, so and this is
• 1:14:39
  Speaker 1: so so idol Lado. He went in there with his
• 1:14:44
  Speaker 1: with the smallest of crews and just two of the
• 1:14:48
  Speaker 1: cast members, uh Jon Sorel and Barbara Bach at the time,
• 1:14:53
  Speaker 1: and they flew to to to Prague. At the airport,
• 1:15:00
  Speaker 1: they were met by one of the government officials and
• 1:15:02
  Speaker 1: all that, and he had applied for a license to
• 1:15:06
  Speaker 1: shoot a documentary. Said we just we're just here to
• 1:15:11
  Speaker 1: take some footage of a documentary and all that. And
• 1:15:14
  Speaker 1: he's like, okay, give me all your paperwork and all that.
• 1:15:18
  Speaker 1: I will go to the office and have this all
• 1:15:21
  Speaker 1: approved and stand and I will be back in a
• 1:15:23
  Speaker 1: couple of days and then you can shoot. He the
• 1:15:26
  Speaker 1: guy takes off and from the airport, Lado and his
• 1:15:30
  Speaker 1: whole crew. They had hired this driver this van, so
• 1:15:33
  Speaker 1: they all pile in the van and either tells the guy, Okay,
• 1:15:36
  Speaker 1: I want you to take me through the city right now.
• 1:15:40
  Speaker 1: He pulls out the camera. He put his loaded aries
• 1:15:43
  Speaker 1: with him, pulls out the camera and as the driver
• 1:15:46
  Speaker 1: is driving through Prague, he shoots all his footage. Then
• 1:15:51
  Speaker 1: they stop at random points like the cemetery and all that,
• 1:15:54
  Speaker 1: and he tells Johns and Barbara Blah, get out, run
• 1:15:57
  Speaker 1: around the tombstones and all that, and I'll film you.
• 1:16:00
  Speaker 1: When he took the shot quick. Then they pile all
• 1:16:03
  Speaker 1: back in the van and fly back home. They never
• 1:16:08
  Speaker 1: waited for the permits and all that. He's like, it
• 1:16:10
  Speaker 1: was crazy. And the best part is they even filmed
• 1:16:13
  Speaker 1: right in front of the Presidential Palace, Yeah, with the
• 1:16:17
  Speaker 1: guards there and everything. And he's like, you know, he
• 1:16:20
  Speaker 1: said he was confident that he would get away with
• 1:16:23
  Speaker 1: it because he felt like nobody would dare. Nobody in
• 1:16:26
  Speaker 1: their right mind would ever dare to go there without
• 1:16:29
  Speaker 1: a permit and start shooting and filming and all this.
• 1:16:32
  Speaker 1: So he was never asked for a permit because everybody
• 1:16:34
  Speaker 1: was like, yeah, nobody would do that, you know. Yeah,
• 1:16:39
  Speaker 1: it's so incredible. You know this and these kinds of information.
• 1:16:43
  Speaker 1: If you just watched the movie, all of that is
• 1:16:45
  Speaker 1: lost on you.
• 1:16:47
  Speaker 4: You're also missing you're missing the kicker of the story,
• 1:16:50
  Speaker 4: which is the fact that he also said where he
• 1:16:51
  Speaker 4: was like, I've never seen the permit guy ever again. Yeah,
• 1:16:54
  Speaker 4: I've never seen him again.
• 1:16:57
  Speaker 3: What Our episode on Case of Buddy kicks off with
• 1:17:02
  Speaker 3: something you mentioned really early on in the commentary, Tek,
• 1:17:04
  Speaker 3: which is a difference between an open and a closed set, yeh,
• 1:17:07
  Speaker 3: which you know, for us, like I think we as
• 1:17:11
  Speaker 3: basic fo we know the difference, but we had to
• 1:17:13
  Speaker 3: bring that up right at the beginning, just like you
• 1:17:15
  Speaker 3: did in a commentary, for people to understand the context
• 1:17:18
  Speaker 3: of why these scenes are so important. Why are there
• 1:17:21
  Speaker 3: people gawking at our actress? Is she's walking? And why
• 1:17:25
  Speaker 3: later on in our episode, when we talk about the
• 1:17:27
  Speaker 3: scene with George Hilton, why we're saying cops are being
• 1:17:32
  Speaker 3: called a lot of the reactions you're getting from people
• 1:17:34
  Speaker 3: when she rubs the blood on his coat, Hello snake again,
• 1:17:39
  Speaker 3: Why that's why you need that information because it when
• 1:17:44
  Speaker 3: you go back and I watched the movie again after
• 1:17:46
  Speaker 3: the commentary, right before we recorded it, just it brought
• 1:17:50
  Speaker 3: a different level of like, I don't know, like a
• 1:17:54
  Speaker 3: visual yeah, but it's like you're watching it and when
• 1:17:57
  Speaker 3: if you don't know anything about that, you're just wondering, like,
• 1:18:00
  Speaker 3: who are these people staring? Who told these people to stare?
• 1:18:03
  Speaker 3: And then you learn that, oh, these are not paid actors,
• 1:18:06
  Speaker 3: these are not paid extras. Imagine I'm walking down the
• 1:18:09
  Speaker 3: street and suddenly the most beautiful woman I've ever seen
• 1:18:12
  Speaker 3: walks by, and maybe in the distance I see a
• 1:18:14
  Speaker 3: camera set up. Yeah, you're going to capture me making
• 1:18:17
  Speaker 3: that same expression as the.
• 1:18:18
  Speaker 1: People so great, and Lucas and I we really got
• 1:18:22
  Speaker 1: to kick out of that. The very last shot in
• 1:18:24
  Speaker 1: Bloody Iris, I didn't talk about that in the commentary,
• 1:18:27
  Speaker 1: but the very last shot in the commentary is basically
• 1:18:30
  Speaker 1: where it loops around to the beginning, back where you
• 1:18:32
  Speaker 1: have the girl making the phone call, and then she
• 1:18:34
  Speaker 1: leaves the phone booth and she walks across the street
• 1:18:37
  Speaker 1: and all that there are two guys behind her, and
• 1:18:40
  Speaker 1: one of the guy keeps opening her behind. It's like
• 1:18:43
  Speaker 1: so hilarious once you're onto it, once you realize this
• 1:18:47
  Speaker 1: is happening. It's like he's literally keep staring.
• 1:18:55
  Speaker 3: It's so interesting to see because you see it, like
• 1:18:57
  Speaker 3: when you watch enough Jallow film, you start to see
• 1:18:59
  Speaker 3: it and you start paying attention, like these city street
• 1:19:02
  Speaker 3: movements that people are looking. I can't imagine for that,
• 1:19:05
  Speaker 3: George Hilton, see what that was like for people. If
• 1:19:07
  Speaker 3: I saw a guy running down the street covered in blood,
• 1:19:09
  Speaker 3: I'd honestly trip them. I'd be like, oh, this guy. Clearly,
• 1:19:12
  Speaker 3: I gotta stop this guy, you know what I mean,
• 1:19:15
  Speaker 3: I gotta.
• 1:19:18
  Speaker 1: It's exciting stuff. And the funny thing is also initially
• 1:19:22
  Speaker 1: I had a completely opening to the commentary track in
• 1:19:24
  Speaker 1: the movie, and Lucas made me take it out.
• 1:19:30
  Speaker 4: Ah, I forgot about that initally.
• 1:19:35
  Speaker 1: I was, actually, she's having this phone token and she
• 1:19:38
  Speaker 1: inserts it into the payphone, and I was actually talking
• 1:19:41
  Speaker 1: about these tokens for a good five minutes. And he's like, Hey,
• 1:19:46
  Speaker 1: I don't know if it's such a good idea. You
• 1:19:48
  Speaker 1: start your very first commentary track for our very first
• 1:19:51
  Speaker 1: release talking about something as trivial as a phone token.
• 1:19:56
  Speaker 1: I don't think people like that. You need something else.
• 1:20:00
  Speaker 1: So I started talking about Eli and how she's walking
• 1:20:04
  Speaker 1: in the.
• 1:20:04
  Speaker 6: Freezing temperatures through the streets and people all the way
• 1:20:07
  Speaker 6: her and in retrospect, yeah, it was definitely much better opening.
• 1:20:10
  Speaker 6: But speaking of that, there's another really cool thing I mentioned.
• 1:20:16
  Speaker 6: I posted a picture of Eavie in that scene on
• 1:20:21
  Speaker 6: Twitter on some of our social media at some point,
• 1:20:24
  Speaker 6: and all of a sudden, there's a response to it said.
• 1:20:27
  Speaker 1: Hey, this is my grandma.
• 1:20:29
  Speaker 3: Oh who is that? Wow, dude, it's so funny. How
• 1:20:35
  Speaker 3: like we Sorry if you hear my dog barking, I
• 1:20:38
  Speaker 3: don't know what he's working at. I'm surrounded by pats
• 1:20:41
  Speaker 3: here in my little tiny apartment. It was. I think
• 1:20:45
  Speaker 3: when we first we were like six or seven episodes
• 1:20:47
  Speaker 3: into the show and somebody had messaged me on Instagram
• 1:20:51
  Speaker 3: and they were like, hey, I saw that you were
• 1:20:52
  Speaker 3: talking about you know, like I spit on your grave
• 1:20:55
  Speaker 3: in a post whatever. I was like yeah, and I'm like, oh,
• 1:20:57
  Speaker 3: if you're interested, like I'm I forget. I can never
• 1:21:00
  Speaker 3: pronounce his name right. I think it's mirror Zarki's granddaughter.
• 1:21:04
  Speaker 3: And I was like what and she's like, yeah, I'm
• 1:21:06
  Speaker 3: his granddaughter. Like I can get you any contact you need,
• 1:21:09
  Speaker 3: like if you ever want to try to get him
• 1:21:10
  Speaker 3: on the show, or try to get my uncle on
• 1:21:11
  Speaker 3: the show who directed the documentary. And it was the
• 1:21:14
  Speaker 3: first time that I was like, wait, hold on, I
• 1:21:17
  Speaker 3: had this like stop and I call Steve. I'm like,
• 1:21:19
  Speaker 3: guess who just messaged me. It's the Grip.
• 1:21:22
  Speaker 5: It was a small world.
• 1:21:23
  Speaker 3: Yeah, it's like, oh my god, Yeah, it's you guys.
• 1:21:30
  Speaker 3: Just to kind of begin kind of closing this out,
• 1:21:34
  Speaker 3: the work that you're doing is phenomenal, and I need
• 1:21:38
  Speaker 3: you to know that it's appreciated both, you know, not
• 1:21:40
  Speaker 3: just in our world, but many people's world worlds. And
• 1:21:45
  Speaker 3: I'm so excited to continue seeing what's going to come
• 1:21:49
  Speaker 3: down the line, and I guess you know when when
• 1:21:53
  Speaker 3: we do, when we're lucky enough to talk to people
• 1:21:56
  Speaker 3: directly involved in labels. The thing that we always want
• 1:21:58
  Speaker 3: to try to leave it on is like and understanding
• 1:22:02
  Speaker 3: of how appreciated it is. The work that goes into
• 1:22:05
  Speaker 3: it is, whether it's the little tiny details of like
• 1:22:07
  Speaker 3: I'm a booklet guy. I love booklets. I love the
• 1:22:10
  Speaker 3: fact that we got a booklet A Short Night, the
• 1:22:12
  Speaker 3: Glass Dolls, all this little effort that the little details
• 1:22:16
  Speaker 3: that you guys put into this stuff is you know
• 1:22:19
  Speaker 3: what we love so much. So from a consumer end
• 1:22:24
  Speaker 3: to your guys, us directly, sincerely, thank you for everything
• 1:22:28
  Speaker 3: that you do for these We really appreciate it.
• 1:22:30
  Speaker 1: Thank you support and all that. I mean, without the
• 1:22:35
  Speaker 1: support from people like you, from from our customers and
• 1:22:40
  Speaker 1: the fans and all that, we wouldn't.
• 1:22:41
  Speaker 4: Be able to do it. Yeah, it wouldn't be possible.
• 1:22:45
  Speaker 4: And yeah, it was just im mentally grateful that we're
• 1:22:48
  Speaker 4: sure where we are.
• 1:22:51
  Speaker 3: What's that feeling like? My last question before I send
• 1:22:54
  Speaker 3: it over to Steve, what is that feeling like when
• 1:22:56
  Speaker 3: you're years into Black Belly, the Trantla and you get
• 1:23:00
  Speaker 3: that first copy in hand, and it's full of what
• 1:23:02
  Speaker 3: is that feeling.
• 1:23:03
  Speaker 4: Like, finally I can look at another movie.
• 1:23:09
  Speaker 5: By weight off your shoulders.
• 1:23:10
  Speaker 1: Right at that point, you're so exhausted from the film,
• 1:23:15
  Speaker 1: you know that you're like finally and but yeah, it's
• 1:23:18
  Speaker 1: a it's a really rewarding feeling to finally see the
• 1:23:21
  Speaker 1: result of it, to have it in your hands and say, okay,
• 1:23:24
  Speaker 1: it turned out well, you know, colors are right, the
• 1:23:27
  Speaker 1: print is right, and everything fits, and.
• 1:23:31
  Speaker 3: Yeah, well see before we before we round out any
• 1:23:35
  Speaker 3: last questions.
• 1:23:36
  Speaker 5: Uh, just further you know, branching off from that with
• 1:23:39
  Speaker 5: the black Pilty of the Tranceler, what can our listeners
• 1:23:43
  Speaker 5: anticipate with this release, maybe if they're not as familiar
• 1:23:46
  Speaker 5: with it, just exactly what is this release gonna be
• 1:23:49
  Speaker 5: packed with?
• 1:23:52
  Speaker 4: Well, as we've written on the store page, we have
• 1:23:56
  Speaker 4: some new interview and essay content featurette wise. One thing
• 1:24:00
  Speaker 4: that we are very excited about is the movie for
• 1:24:06
  Speaker 4: many years has been presented with a bit of an
• 1:24:10
  Speaker 4: aspect ratio problem because we have, you know, a word
• 1:24:16
  Speaker 4: from the original director of photography before we passed many
• 1:24:20
  Speaker 4: years ago. This was like an archival private interview kind
• 1:24:22
  Speaker 4: of thing where he stated that the movie was originally
• 1:24:26
  Speaker 4: shot for Academy and was essentially protected for widescreen. But
• 1:24:32
  Speaker 4: you know, the original intenta ratio that they did project
• 1:24:36
  Speaker 4: it initially was one point three seven. So one thing
• 1:24:41
  Speaker 4: I'm very happy about is to be able to release
• 1:24:43
  Speaker 4: the movie in one point thirty seven so that we
• 1:24:47
  Speaker 4: can actually get to appreciate the whole you know, the
• 1:24:50
  Speaker 4: scope of the framing and whatnot, because there was actually
• 1:24:53
  Speaker 4: quite a lot of shots in that movie that, whilst
• 1:24:56
  Speaker 4: I will say it doesn't break in one point five,
• 1:25:00
  Speaker 4: a lot of shots do generally look better one point
• 1:25:02
  Speaker 4: three seven because they will take the time to frame
• 1:25:05
  Speaker 4: certain objects and actors in such a way that makes
• 1:25:09
  Speaker 4: use of the taller frame. So that is something I'm
• 1:25:15
  Speaker 4: excited about.
• 1:25:16
  Speaker 1: Just one question here real quick. Our internet connection is
• 1:25:19
  Speaker 1: really bad, and I half of what he was saying
• 1:25:22
  Speaker 1: doesn't even make it to me. Is your connection? Okay?
• 1:25:26
  Speaker 3: Yeah, we got everything on our end.
• 1:25:28
  Speaker 1: Yep. Okay, good, okay, sorry, Lucas, keep going.
• 1:25:33
  Speaker 4: No, I mean that was kind of about it. I mean,
• 1:25:36
  Speaker 4: I'm also happy that with this movie we were able
• 1:25:40
  Speaker 4: to get a hold of a theatrical print. It's nine
• 1:25:44
  Speaker 4: of the greatest conditions, but the fact that we're able
• 1:25:47
  Speaker 4: to have our first company owned print is a wonderful experience,
• 1:25:53
  Speaker 4: and the fact that we're able to have that screened
• 1:25:56
  Speaker 4: in la Is was quite a joy in itself to
• 1:26:01
  Speaker 4: know that, you know, we have the authority to do so,
• 1:26:04
  Speaker 4: that we have the power to keep it around the
• 1:26:07
  Speaker 4: way it is trying to think there's anything else worth well.
• 1:26:14
  Speaker 1: One of the cool things also is that we found
• 1:26:16
  Speaker 1: out that there are two different cuts of the movie
• 1:26:18
  Speaker 1: which were not really explored before explored before, so our
• 1:26:23
  Speaker 1: release will have both cuts of the film. And then yeah,
• 1:26:27
  Speaker 1: in terms of bonus features, there's some cool stuff we have,
• 1:26:31
  Speaker 1: including a commentary track, our.
• 1:26:34
  Speaker 3: Favorite part, thats geared towards us, the first thing I
• 1:26:38
  Speaker 3: look for when I went, and annount whenever at least
• 1:26:40
  Speaker 3: gets announced. Well, we will make sure that we have
• 1:26:46
  Speaker 3: everything linked down below. Anybody listening will link all the
• 1:26:50
  Speaker 3: previous releases as well as the pre orders up for
• 1:26:53
  Speaker 3: Black Belly the Transfer, so make sure we have those guys.
• 1:26:57
  Speaker 3: Thank you again for your time, Thank you for the site.
• 1:27:01
  Speaker 3: We're to anybody listening to this. Our case of the
• 1:27:05
  Speaker 3: Bloody Iris episode has already come out well it's not
• 1:27:08
  Speaker 3: out yet, but by the time you're listening to this,
• 1:27:10
  Speaker 3: it will be out. And then actually later this year
• 1:27:12
  Speaker 3: we're planning on doing we're going to review your commentary
• 1:27:15
  Speaker 3: from Short Night Glass Dolls, so we're gonna have two
• 1:27:19
  Speaker 3: of three nailed out in twenty twenty six, which were
• 1:27:21
  Speaker 3: very very happy to have done. So thank you guys
• 1:27:26
  Speaker 3: for everything again.
• 1:27:27
  Speaker 1: Yeah, thank you for having Thank.
• 1:27:29
  Speaker 2: You, thank you for listening to hear more shows from
• 1:27:38
  Speaker 2: the Someone's Favorite Productions podcast network. Please select the link
• 1:27:42
  Speaker 2: in the description