Latest / WASD and Beyond / IT CAME FROM SCREAMBOX! A conversation with Matt Manjourides

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IT CAME FROM SCREAMBOX! A conversation with Matt Manjourides · WASD and Beyond

• 0:26
  None. The.
• 1:03
  Everybody, welcome back to the show.
• 1:05
  My name is Nick, this is Alex and Noah.
• 1:07
  This week we have a very awesome interview for you guys on It
• 1:10
  came from Screen Box. Welcome everybody.
• 1:13
  We have Matt Manjoridis on the show this week.
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  We are very excited to talk to him about everything that we
• 1:20
  hold near and dear, which is horror movies, pop culture, and
• 1:24
  what it takes to actually be a part of that realm of creation.
• 1:29
  So, Matt, could you please introduce yourself to the
• 1:31
  audience, tell them who you are, what you do, and what you're
• 1:33
  about? Yeah, I'm Matt Mandritis.
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  I work on a couple of different shows right now and producer on
• 1:43
  the Last Drive In with Joe, Bob Briggs.
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  We just produced the new street Trash that's on screen box and
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  we do about four, 3 or 4 movies a year.
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  And, you know, started, you know, working at video stores in
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  high school started and then when I moved to the New York,
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  New Jersey area, started trauma in 2000.
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  It was 2006 maybe. And then from there went on to,
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  you know, start doing my own stuff with my partner, Justin
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  Martel. And we, you know, been sort of
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  working working at it ever since.
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  Now, that's not the Funeral Home, correct?
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  Yes. Now what?
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  What exactly is the story with not the Funeral Home?
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  I know, Lucy, put it in the notes.
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  There you go, Lucy. But I want to hear from you.
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  How did this start? And what really like made you
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  want to create this? So while we were working on
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  returned to Nukem high volume one up in Buffalo, NY, we are
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  production office slash housing for everybody was a old Funeral
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  Home that we had and it was very spooky place at least the first
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  time. And then after trauma, we ended
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  up producing another film up in Buffalo and you know, used
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  basically is a lot of the same local connects, including that
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  Funeral Home as a production office.
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  And after that movie, we decided anything we do from then on,
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  even if it's up in Buffalo area, we're we're not going to be
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  staying in this Funeral Home anymore.
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  We formed the company, not the Funeral Home, to know that we're
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  not staying in the Funeral Home for any of these productions.
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  Was it like something about that, like you said, it was
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  spooky, but like, was it like just one of those things where
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  it's like, I just, I don't want to do this?
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  Well, yeah, I mean, it was so the the Funeral Home was owned
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  by a, a big mobster from the, I think from like rehibition era,
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  all his family all the way up until the 60s and 70s.
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  And apparently there was, you know, potential.
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  He was the, the he was a mortician there.
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  And locals would say they would, you know, used to bury two
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  people in a, in a, in a box because you would either bring
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  the bodies there or, you know, do whatever and then get rid of
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  them by basically doubling up the coffins that would normally
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  run through there. And so the place was itself
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  obviously had a had an heir to it.
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  Most of the buildings actually underground.
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  So it's like there's a first level with the chapels and then
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  all the offices and and main rooms and everything are
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  actually underground. So you're basically living in
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  like this basement of a Funeral Home.
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  And you know, people had the first batch of people that were
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  there, like the landing crew for the production had all had sort
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  of weird experiences while they're alone or, you know, just
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  one or two people there. And so not, we didn't have that
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  much the second time around, but it would still not, it's still
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  one of those places where if you're the only one there for
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  some reason, you hear things or you, you see things or
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  something. So we were plus it was just a
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  miserable place. It was just like a like there
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  was no air condition. And upstate New York gets
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  extremely hot in the summertime and extremely cold in the winter
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  time. So there's no heat, there's no
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  air condition. There's no proper, you know,
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  bathrooms or bedroom. There's like one shower that,
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  you know, we had for like 50 people.
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  It's just it was not a really, it served its purpose, but was
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  not a a stable place for like an actual, you know, well run
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  production. Do you think you'd ever go back
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  there to make a if you were doing like a paranormal or a
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  ghost flick, do you think you'd ever use that location it?
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  Would be a good, It would be a good.
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  It could be a good location. It would not be a good place
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  that would be like and we're going to work out of this and
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  live here at the same time type of type of situation.
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  You would not catch me. You would not catch me staying
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  in a Funeral Home. I show up and like you guys,
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  have fun. I'm going to go to the Motel 6
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  down the road. I'm not going to get possessed
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  tonight. I've seen this movie exactly.
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  That's my thought. I go there.
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  I'm like, you know, I've seen this because like when we did
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  some something similar when I was in a band, we recorded in an
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  old Funeral Home and there was just something about that album
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  that we wrote and I was like, this sounds like good at all,
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  Like it sounded cool. And I was like something about
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  this, like we were like in some fucked up headspaces.
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  But no, I mean, that's it's cool to see like where everything
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  starts from, right? Like like you get your foot in,
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  you're doing cool stuff with the legendary trauma, obviously,
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  right. It's like this Funeral Home then
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  jumps off to you going not again.
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  But we're doing our own thing now.
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  It's always yeah, I mean, that's that's kind of it's yeah.
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  I mean, as you know, on that level, it's still that, you
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  know, we're not we're you know, we're now doing our own thing.
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  So we're now beyond and we did a couple of movies with Dromo did
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  produce Father's Day produce return to move them high.
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  Justin stayed on, did return to move them high Volume 2 or not
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  stayed on, but came back to help produce that.
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  I think he also produced Shakespeare's shit storm like he
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  came back to help blow it out with that.
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  So, you know, now, you know, we've sort of, you know, now
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  said, you know, we, we really want to do our own stuff.
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  And we did one of the first things we did is the 2019 castle
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  freak for Fangoria and we did subspecies 5.
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  You know, we, we're sort of specializing.
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  We're trying to figure out like what's our, what, what angle can
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  we do? There's 1000 independent
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  producers out there. There's 1000 people that can,
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  you know, work a system in, in upstate New York or work a
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  system and, you know, Atlanta or Texas, whatever.
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  You know, we were like, what, what can we bring to the table?
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  And if it turned out that we could through my partner's other
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  company, which is like an extreme tourism company, we were
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  made a lot of connections around the world.
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  And we were able to use those connections to pivot into
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  filmmaking and locations and getting, you know, crazy places
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  that most people don't film. You know, a lot of the stuff
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  that people go to is like, you know, Romania, Bulgaria, you
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  know, we were like, well, what's the one over?
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  What's the what's the country that's coming up and wants to do
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  it? Can we can still get all the
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  same gear, same equipment? A lot of the crew has
• 9:02
  experienced because they they shoot like commercials out there
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  still, but they're not really like doing major features.
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  So we shot Castle Freak in Albania, which we were the first
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  feature American play horror movie, but maybe full feature
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  American movie to shoot in Albania, right?
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  And that was, you know, crazy experience.
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  Obviously, you know, still some bugs to work out, you know,
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  shooting a full big production in Albania.
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  But you know that we decided to move over to Serbia, which we've
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  shot I think about 5 or 6 movies in Serbia so far.
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  There's a good fit over there, so.
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  Do you when you're shooting? Because it sounds like you've
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  done a little bit in the States versus over there.
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  Which do you think there's like, do you find like a lot of big
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  differences between shooting in the US and shooting overseas?
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  This huge differences, you know, the biggest thing that we find
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  that works for us is, you know, if a obviously, if the project
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  it's for shooting outside the US and let's let's make it fit,
• 10:14
  let's make the project a non-us project.
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  So rather than saying like we had a project, we did puppet man
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  for Shudder and initially we were like, we're going to shoot
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  this in Serbia, but it's like it's a American story about kids
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  in a college town, you know, horror movie and that you don't
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  get that outside of America. So rather than make it where
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  people are going to watch and be like, that's not Buffalo that,
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  you know, that's not New York State type of, you know, thing.
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  That's obviously the weird European building.
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  You know, we were like, let's just shoot it upstate New York
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  and we got, you know, full access to the University of
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  Buffalo and everything. It was great.
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  But you know, we, we just tell the, the if someone comes to us
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  with a project, we're just like, if you want to shoot it in
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  Europe because of the, the price, you know, we can a, the
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  reason why the price works is because we do all local crew.
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  We're not going to fly out 20 people and to use local camera
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  crew. We're going to use local gaffers
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  and grips and everything. We're not going to fly all your
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  heads because that's not, you know, it's not, that's not going
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  to save you any money. Then you're going to have
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  communication problems and you're going to have work
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  relationship problems. They're going to slow things
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  down. So we're like, are you going to
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  bring out a director, actors, and that's it.
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  Everybody else is going to be local.
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  Then the story should change for the setting.
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  So and we're going to change the story.
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  So it's going to be in Europe. We're going to change the story.
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  It could be a bunch of different European cities, but it's got to
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  be European because that's what the look of the locations are
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  going to be. You know, so, and we shot a
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  movie that you that in the same city that the new Hellraiser was
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  shot. He shot it for Boston.
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  And it that's not, it's not any stretch of the imagination.
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  We shot it for Belgrade because that's where it was, you know,
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  and so we used the same, you know, they they, they used our
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  locations. That's it, you know, of the
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  libraries. We shot at everything.
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  And it's just like, it looks kind of weird.
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  No place in, in, in America that looks like that, you know, But,
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  you know, but we, you know, we make it work and it and it, you
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  know, it attracts a lot of producers who are like, you
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  know, we only have a small budget because everything has a
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  small budget now. Because, you know, it only took,
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  you know, 10 years for people to realize you can't make any money
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  off the streaming. So everybody, you know,
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  everybody has cut their budgets on everything.
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  So, you know, you need to be able to say like, yeah, we can,
• 12:57
  we can do this project for you. But you know, got to be some
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  changes and you can shoot it and you know, so somewhere else.
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  So when you're like working on a project, have you ever had it be
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  like where you had an idea of what you thought it was going to
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  be, but then when you got to the location, things might have
• 13:17
  changed and your ideas to fit that location?
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  Yeah, it. Happens all the time.
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  And I think, I think no matter what that's, you know, that's
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  filmmaking, unless you have all the money in the world to throw
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  at the problem, you know, money solves all the problems,
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  filmmaking for the most part. So but you know, if you go there
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  and you know, it could be just, you know, you show up and for
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  some reason the locations not locked or you're not, you know,
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  we've gone to locations we've done even in America, you know,
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  give us a full walkthrough. They tell us, oh, we can use
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  anything we want. We can go here, we can go there,
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  we can do this. Then when the day comes, they
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  all of a sudden it's like you can't really use this.
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  So we didn't get permission for this.
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  So, but we've had the pivot, you know, and that's that's just the
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  thing. I mean, we move.
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  Worst case scenario, you have to find something else to shoot
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  that day and then move that location, shoot to a different
• 14:13
  day. Or I mean, you know, we shot, we
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  shot a puppet man the dead of winter in Buffalo.
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  And, you know, we were supposed to have access to a certain area
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  and we couldn't whatever reason couldn't get it.
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  So we actually had to move that and ended up having to shoot
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  that scene on like the the rooftop of a hospital like 30
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  minutes away, like a couple of days later or something.
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  So, you know, it's all, you know, just trying to find
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  solutions. I mean, I feel the filmmaking is
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  always about, you know, problem solving.
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  I mean, that's basically everything's a problem.
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  You just have to try to figure it out kind.
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  Of sounds like that's what being a producer is.
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  Well, it's like if I, I don't know what it takes to be a
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  producer, right? But if you could like walk me
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  through that because it sounds like you're constantly putting
• 15:00
  out fires, that's what. I mean, you know, based on your
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  level of involvement as a producer, which obviously
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  there's varying tiers of involvement for a producer.
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  And you know, if you're, if you're involved from, you know,
• 15:20
  from A-Z in a production, then you know, you're trying to solve
• 15:25
  everything from obviously just trying to get the financing for
• 15:28
  the movie together, trying to get the people attached, whether
• 15:31
  it's a director or even just trying to get the script
• 15:33
  written. If you have an idea, you know,
• 15:35
  actors trying to get it to a studio, trying to get it to, you
• 15:39
  know, finance year, then then you move on to the casting and
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  then you move on to locations and then they move on to putting
• 15:45
  a crew together, you know, and then once all of that is done,
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  it's then get there and find out who couldn't make it for
• 15:52
  whatever reason, try to replace other people or something didn't
• 15:55
  work out or schedule conflicts or something.
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  And then, you know, keeping everybody fed, keeping everybody
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  on time, making sure they can show up there, putting them up
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  and, and housing and, and, you know, 50 things, 100 things down
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  the line is just making sure you can get your day done that you
• 16:13
  that you need to, because you're only have enough money to shoot,
• 16:16
  you know, 18 days or something like that.
• 16:18
  And you know, you have, you eventually, maybe, you know, on
• 16:23
  the 15th day, you got to start tearing pages out of a script
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  and, and just to make sure you get the important stuff.
• 16:30
  And then once all that's done, then you have to be like, all
• 16:34
  right, now we actually have to deliver this movie.
• 16:36
  You have to edit it and make the sound to do everything.
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  So, you know, a producer is involved all the way through the
• 16:43
  beginning has, you know, has to sit with it and solve all the
• 16:48
  problems that are everything from, you know, just, you know,
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  mediating personal issues between crew or actors or other
• 16:58
  producers or directors, whatever, to studios and
• 17:02
  personalities in the studios and distributors and financiers.
• 17:06
  And, you know, and then there's the day-to-day problems of just
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  like, you know, organizing everybody in logistics and what
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  not. And then there's the money
• 17:15
  issues with making sure that you have enough money for everything
• 17:17
  and you don't overspend or, you know, you have some enough on on
• 17:21
  the side in case something goes wrong.
• 17:22
  Contingency. And, you know, it's, it's really
• 17:26
  a lot of various levels of management with micromanaging
• 17:31
  all the way to sort of trying to get the best people so you don't
• 17:33
  have to deal with all this smaller details and just, you
• 17:36
  know, get the broader scope of things as long as it gets done.
• 17:41
  And yeah, I mean, and then there's other projects we have
• 17:44
  where we're just like, you know, we'll, you know, try to help you
• 17:48
  on certain issues and then read a script and then they'll go out
• 17:52
  and do it and then we'll maybe help try to help them sell it or
• 17:55
  something like that. And, you know, that's our
• 17:57
  involvement on that. So it's it, you know, really
• 17:59
  depends on what level of involvement at you have with the
• 18:03
  project, how close the project is to you.
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  You know, I mean, you know, we have projects that we've come
• 18:09
  from the ground up, you know, based on our, you know, an idea
• 18:13
  we've had. And then it's all of a sudden
• 18:15
  it's made into a movie 2 years later to people that are like,
• 18:18
  here's a script, here's the director, here's the actors.
• 18:21
  We just need you to go out and make sure it's shot in focus in,
• 18:25
  you know, and then delivered to us in like, you know, a month or
• 18:28
  something like that. It sounds like it's a way more
• 18:32
  intensive role than people would think of, because I know I've
• 18:36
  always had the misconception that a producer is just like one
• 18:39
  of the people that the money guy, like they're supplying the
• 18:42
  money to get. This is that level.
• 18:43
  Well, yeah, is that level of producer.
• 18:46
  You know, there's the, you know, executive producers, which are
• 18:48
  usually like the studio guys that you deal with that, you
• 18:51
  know, green light the movie, you know, they, they're the, they
• 18:55
  make the deal with you at the studio and you know, they, they
• 19:00
  help finance it. There's also executive producers
• 19:02
  who are people that just gave you the money.
• 19:04
  You know, they just they came in as financiers.
• 19:07
  They get executive producer credit, you know, so there's
• 19:12
  various, like I said, various levels of involvement for, you
• 19:17
  know, producers. I mean, we've had producers
• 19:19
  that, you know, we'll just come to set for a couple days, you
• 19:24
  know, but they, you know, they've also done things maybe
• 19:27
  behind the scenes or something that is a little more necessary
• 19:32
  for for the production to happen.
• 19:34
  But you know, they're not going to be there day-to-day dealing
• 19:37
  with like, you know, making sure everybody's fed or, you know,
• 19:41
  things like that. So, you know, it, it's, it
• 19:44
  really depends. You need a good balance.
• 19:46
  You need, you need at least one good person that is like on the
• 19:50
  ground everyday problem solving in order to make something
• 19:53
  happen. Then from there you can have,
• 19:57
  you know, sort of a, you know, someone that's just thinking of
• 20:03
  the big picture of like, OK, you know, I got, you know, I got the
• 20:08
  money. What was happening?
• 20:10
  What's the next step after that? You know, so it's, it's good to
• 20:14
  have, you know, a couple of different levels of people that
• 20:16
  are, are not all bogged down with like, you know, where, you
• 20:22
  know, where's the hot coffee? But you do need somebody who's
• 20:25
  worrying about where the hot coffee is, you know, right?
• 20:28
  Coffee on set, you're going to have a lot of crabby people,
• 20:31
  man. I I can't live without Speaking
• 20:33
  of like producing something, getting something lifted back
• 20:36
  off the ground and just back up the last driving.
• 20:42
  Yeah, I would. I remember watching Joe Bob
• 20:45
  Briggs on TNT with my uncle Keith when I was 33 now, so I
• 20:51
  had to have been 8, maybe 8 years old, maybe watching Joe
• 20:57
  Bob on TV. It introduces introduce the
• 21:00
  movies. You know, it was an awesome
• 21:04
  ride. Joe Bob Briggs in the last drive
• 21:06
  in was awesome ride. How did you and your team, how,
• 21:11
  how did this come back to because in this day and age,
• 21:16
  people didn't realize how important it was and it it was
• 21:19
  only supposed to be 1 like a special, was it not?
• 21:22
  So yeah, I grew up with with job way back from from Movie Channel
• 21:27
  days. I remember watching, you know,
• 21:30
  drive in theater and Joe Bub's drive in on the Movie Channel.
• 21:33
  That's where I got introduced to him and then followed him
• 21:36
  through all the different iterations.
• 21:39
  When I was working at Troma, I reached out to Joe Bob through
• 21:44
  his website and this is probably 2007 or something like that.
• 21:50
  And he had been out for a couple years.
• 21:52
  Obviously by that time he was he was writing full time novels.
• 21:57
  You know, he did a book about Motorola satellites and what
• 22:01
  not. And I had reached out to him and
• 22:04
  you know, he wrote me back. I took him out to lunch and, and
• 22:09
  in the village and we're talking about, you know, maybe, you
• 22:12
  know, it was something we could do, you know, primarily it was
• 22:15
  like trauma stuff. Like you can introduce trauma
• 22:17
  movies. And I brought the idea, I
• 22:21
  brought the idea to Lloyd and Michael at Trauma.
• 22:24
  And they were just like, you know, they weren't into it for
• 22:27
  whatever reason. And I was like, all right, you
• 22:30
  know, whatever. And I just had in my back pocket
• 22:33
  for the next like 10 years or so and I got a, a project, I let
• 22:43
  you know, left Roma working on our own stuff.
• 22:47
  I had gotten a project into Fantasia Film festivals
• 22:50
  Frontiers program, which is sort of a picture program.
• 22:55
  You know, at the festivals they have it a can they have it a
• 22:58
  Fantasia where they choose like 20 projects or something.
• 23:01
  And you go to the Film Festival and to a room of distributors
• 23:06
  and financiers, you get to picture projects to them and see
• 23:08
  if anybody wants to like jump aboard or something like that.
• 23:14
  It was actually George Romero's last project, so it's called Rd.
• 23:21
  of the Dead. And we were working on it with
• 23:24
  George for like a year and I think 5 days or something before
• 23:30
  the Fantasia, he passed away and he, but he, he recorded
• 23:36
  something for us that we played and, and everything.
• 23:39
  So I was up there, we were pitching the project and we're
• 23:41
  actually, you know, had some people on board for sales and
• 23:44
  what not. And I met some guys from
• 23:47
  Shutter. I think it was like maybe a year
• 23:49
  old at the time or something like that.
• 23:51
  And I just pitched them a couple projects and two of them really
• 23:55
  took off. And one of them I just had just
• 23:59
  was like, what about bringing Joe Bob back in in some sort of
• 24:04
  like, you know, Joe Bob's drive in show?
• 24:06
  And they like that. And they like this other project
• 24:08
  that we were talking about and, you know, which coincidentally
• 24:14
  was actually supposed to be a heavy metal series before Loving
• 24:17
  Robots came out. And they like both of those.
• 24:21
  And we were at further and heavy metal deal than we were with the
• 24:24
  Joe Bob deal. And then the heavy metal deal
• 24:26
  fell through and then we started doing Joe Bob.
• 24:30
  And I think between signing like agreement to do AI think they
• 24:35
  just wanted like 2 movies or something like that.
• 24:38
  And Joe Bob was actually like, if we're going to do it, and
• 24:41
  this might be the last one, let's do like, you know, dusk
• 24:46
  till dawn till dusk marathon. And so we landed on 1313 titles
• 24:54
  and and then Shutter called us, I think month out from shooting
• 25:01
  or two months out for shooting or something.
• 25:02
  We're like, want to pull the plug on it.
• 25:08
  The president of time wanted to pull the plug on it, but I've
• 25:12
  set aside like pennies from like APR fund that they didn't spend.
• 25:19
  We can give you that. It's a shoot this like promo
• 25:21
  this like this pilot of like whatever.
• 25:23
  And we were like, are we still going to do 13 movies?
• 25:25
  We have zero money basically, and we decided we're just going
• 25:31
  to go through it. I called in a lot of favors.
• 25:33
  I knew so I knew the people that own the studios that they should
• 25:37
  like Ink Master in. We went went there the shooting
• 25:41
  in Newark, we went to went there to the studios.
• 25:44
  We had two days like a weekend that they weren't shooting Ink
• 25:47
  Master. We should be have they have like
• 25:51
  these little black box rooms where they do like they're like,
• 25:54
  you know, talking head interviews.
• 25:56
  And so we should be built one of those out to be the Bob's Den.
• 26:02
  So he used a bunch of lights from McMaster.
• 26:04
  We had called in every favor we could for camera rentals and and
• 26:08
  everything and had everybody working for free basically.
• 26:13
  But you know, for at least lunch, we paid some people, but
• 26:16
  the close knit crew was, was all doing it out of love of it.
• 26:20
  And we shot the for two days. We shot the that marathon, the
• 26:24
  13 movie marathon. And yeah, it was crazy.
• 26:29
  And then we literally hired like a rented like a van and threw
• 26:35
  all the sets into it and then just like dumped everything in
• 26:39
  the in a dumpster because we didn't know what the hell was
• 26:41
  going to happen. And then?
• 26:43
  Gorilla Filmmaking. There, yeah.
• 26:46
  And then, you know, I think we I don't want to be shot maybe
• 26:52
  February or something. And it, it came out in July, you
• 26:57
  know, crash the AMC server soon. And we knew like, oh, wow, this
• 27:02
  is like this is something we knew people wanted to see it.
• 27:05
  We knew people would want it. We didn't realize, you know, how
• 27:09
  bad people were missing it. So they crashed the server.
• 27:12
  And I think the next day they sent us like they were like, we
• 27:14
  want you to do like a whole season.
• 27:17
  Did did the president call you back?
• 27:19
  Did the president call you back? Like, just kidding, here's a big
• 27:22
  budget. It was a test.
• 27:24
  Yeah, exactly. Yeah, so.
• 27:25
  Now you're like, now I got the whip hand.
• 27:27
  I got the success here. You got to.
• 27:29
  You're coming back to me. You're crawling back.
• 27:32
  Yeah. No, it was.
• 27:33
  No, it was. It was really nice to see that,
• 27:36
  you know, something that you really a lot of people put their
• 27:40
  time and effort into. I mean, Austin, our director, a
• 27:45
  lot of the core crew that were involved with that marathon are
• 27:50
  still with us seven seasons in, so.
• 27:54
  That's that's so crazy. Like, like I said, Joe Bob is
• 27:59
  one of those things, man, that was important to horror movies.
• 28:02
  It's important to movies and television in general.
• 28:06
  It's just a cool thing that anybody can get into.
• 28:09
  I I watched Joe Bob on shudder whenever I'm able to right?
• 28:12
  Like when it first came out. I remember always tuning in also
• 28:16
  before I had a child so. I'd always just.
• 28:19
  Get drunk on a Friday, Saturday and be like, all right, Joe Bob
• 28:23
  time my buddy Nick, dude, my other friend Nick, he's he has a
• 28:28
  couple movies of his own. He watches things like he'll
• 28:33
  watch Joe Bob and he'll watch other things and like he'll
• 28:35
  write notes the entire night. I watched it with them once.
• 28:38
  I was like, I'm not watching this with you.
• 28:40
  I can't because you sit there going like just writing things
• 28:43
  out. I'm like, dude, I'm not do it.
• 28:45
  But it's awesome to hear how something as special as Joe Bob
• 28:50
  was came back and became even bigger and more special.
• 28:56
  You go on. I think the you know.
• 28:58
  It's everywhere. Yeah, I mean, thing about, I
• 29:03
  mean, obviously, you know, last the the Drive In and Joe Bob had
• 29:06
  a big fan base and you know, the fanbase had grown up with him,
• 29:11
  you know, as he's was around since the mid 80s on Movie
• 29:18
  Channel. So you have like at least two
• 29:21
  generations that got to experience Joe Bob on like
• 29:25
  linear television. But you know, he hadn't been on
• 29:31
  since he hadn't been on before social media.
• 29:36
  I mean, since social media started.
• 29:38
  So when he came back, it was the first time his fans were able to
• 29:41
  sort of track with social media. And then he wasn't able to
• 29:45
  interact. And obviously, you know, Darcy,
• 29:47
  the male girl. And so that built, that helped
• 29:51
  really build the resolve of the community because it was, you
• 29:54
  know, the, the reason why we, we haven't had a drop off in
• 30:00
  viewership because of our fan base is so strong.
• 30:03
  And that they had the interaction.
• 30:05
  I mean, every time the show airs, we're, you know, top five
• 30:08
  trending on, on Twitter because you know, they're the, the
• 30:13
  interaction is so strong. I mean, there's obviously like
• 30:15
  discords and there's, you know, twitch and there's every, you
• 30:18
  know, Facebook groups and they watch parties online and what
• 30:23
  not. So the, the interaction and
• 30:26
  then, you know, you get to jump on and just see, you know, all
• 30:31
  the comments about who hates the movie that we chose or who loves
• 30:34
  the movie that we chose. And now the you know, who, who
• 30:38
  agrees with Joe Bob, who doesn't agree with Joe Bob?
• 30:40
  And, and what, and just, you know, the back and forth of it
• 30:43
  is, is, you know, a lot of people look forward to is just
• 30:46
  being involved in on that discussion level.
• 30:49
  And then the replay value of our of our episodes too, is, is
• 30:54
  stronger than premieres of some of the other show.
• 30:57
  I mean, if we we saw a, you know, a list of like the, you
• 31:02
  know, most viewed things on shutter and then, you know, you
• 31:06
  know, our show is is is up there.
• 31:08
  But then like three of our old episodes are higher than like
• 31:11
  the the newest stuff that's coming out, you know, because
• 31:16
  they just keep keep going back and and re watching them.
• 31:18
  I mean, you know, where else is like Ings or Sledgehammer going
• 31:23
  to trend on Twitter? You know?
• 31:25
  Yeah. That's great.
• 31:29
  I mean, gives like you might not otherwise find stuff like that.
• 31:34
  And then it's like it introduces that to so many more people than
• 31:37
  would have found it on their own.
• 31:39
  And then like you, like you were mentioning of the community
• 31:42
  aspect of it like that. I can only imagine what the like
• 31:45
  Discord watch parties are like that.
• 31:47
  Like it's like a perfect platform for stuff like that.
• 31:53
  Yeah. And, and you know, the, the, the
• 31:55
  trick we always have with, with choosing the titles is, you
• 31:58
  know, the balance of introducing something new to the fans or,
• 32:02
  you know, to most of the fans versus fan favorites versus, you
• 32:07
  know, do we want to, you know, break out, you know, fan
• 32:10
  favorites are 70s and 80s movies.
• 32:13
  You know, those are those are the movies that they grew up
• 32:15
  with. Obviously in this era, that's
• 32:16
  what they want to see. But, you know, there's also, you
• 32:19
  know, do we try to find new gems to introduce them to?
• 32:23
  Do we try to talk about something that's in the
• 32:25
  zeitgeist? You know, do we do we?
• 32:27
  You know one of the reasons why we do like, you know, what is it
• 32:33
  called the the killer one with the nature walk in a violent
• 32:42
  nature. OK, Yeah.
• 32:44
  Yeah, so like, you know, it's one of those things that was in
• 32:47
  in a lot of people were talking about it while I was in it was
• 32:49
  in the air. People were just got.
• 32:51
  So it's like, you know, let's let's talk about it and you
• 32:54
  know, it's not going to be slasher movie.
• 32:56
  The fans want to see in a sense, but and and they've probably
• 33:01
  seen it because it's new and it's out there and it got a lot
• 33:03
  of press. Let's see what, you know, let's
• 33:05
  see what Joe Bob has to say about it later.
• 33:07
  Let's dissect the slasher and which is one of the things that,
• 33:10
  you know, we do when we do something that's like newer and
• 33:13
  that it's popular, you know, let's let's talk about the
• 33:15
  origins of it. And when we do, you know, a lot
• 33:19
  of fans are like, why are we doing like, you know, an episode
• 33:22
  of The Walking Dead spin off or something like that?
• 33:25
  You know, part of that is like, let's a it's something, you
• 33:29
  know, we haven't done before. You know, it's it's in the
• 33:33
  popular culture. I mean, it revolutionized sort
• 33:35
  of the dead, you know, in the pop culture.
• 33:41
  I mean, nothing else has had a greater effect on, you know,
• 33:44
  quote UN quote zombies in pop culture and then The Walking
• 33:47
  Dead at this point, you know, for this generation.
• 33:52
  But let's we're now able to talk about the evolution of it.
• 33:55
  Let's talk about the the breakdown.
• 33:57
  Let's, you know, let's had Greg Nicotero on and he brought, we
• 34:01
  were like, can you bring, you know, sculpts of like night of
• 34:06
  the Living Dead, you know, makeup, the dawn of the dead
• 34:09
  makeup, a day of the dead makeup and then, you know, Walking Dead
• 34:12
  makeup. Let's talk about the evolution
• 34:14
  of, you know, the the living dead look, you know, which is
• 34:19
  interesting. You know, that's what we think
• 34:21
  fans want to talk about, even if we have to watch, you know, an
• 34:26
  episode of Walking Dead to talk about it.
• 34:28
  I know that's, you know, that's the catalyst to have these
• 34:30
  discussions. So, you know, that's what we try
• 34:33
  to do. Like what is the discussion
• 34:34
  around the title? Is is as important as, you know,
• 34:37
  the title itself, because it's everybody seen these movies.
• 34:41
  I mean, how many times, you know, can you see, you know, the
• 34:45
  first Halloween, you know everything about it, you know
• 34:46
  every angle, you know every shot, you know everything.
• 34:49
  Let's talk about all that stuff too.
• 34:51
  Let's let's do a deep dive into it.
• 34:53
  You know, that's that's the point, you know, So, you know,
• 34:56
  that's definitely one of the things that goes into it, you
• 34:58
  know, and then obviously we want to pair it.
• 35:01
  If something that's like, if we're going to do a, you know, a
• 35:04
  big discussion on the, you know, the history of cannibalism in
• 35:10
  England, maybe let's make the second movie something that's
• 35:13
  like a fun, you know, romp of effects and what not.
• 35:17
  You know, if we're going to do, you know, black and white 1920s,
• 35:21
  you know, horror film that's important to talk about because
• 35:23
  it's a classic and it gave birth to modern horror.
• 35:27
  Maybe the second movie should be something that's a little more
• 35:29
  easy to digest. That's it.
• 35:33
  It's cool to see like what goes into conversation behind this
• 35:39
  right, because like you could just literally have Joe Bob
• 35:41
  sitting there going and this is the movie you you could you
• 35:44
  could people still watch it, but doing it this.
• 35:46
  Way. Oh, exactly.
• 35:48
  The audience feels like they're a part of the show.
• 35:51
  That's why that's what that's immediately what drugged me back
• 35:53
  into Joe Bob at fault. I was like, I feel like I'm
• 35:56
  being talked to by Joe Bob, not at to.
• 36:00
  I'm like, oh, he's like talking to me crazy.
• 36:03
  It's all the shit like I want to learn about while watching a
• 36:06
  show and just having a genuinely good time, you know, And it's
• 36:11
  Darcy's awesome as always. Obviously a fan favorite.
• 36:13
  Darcy rules. But it's just cool to see, man.
• 36:17
  It's cool to see that this generation is now understanding.
• 36:20
  Like, all right, this makes sense.
• 36:23
  Like let's, let's do this. And it's what's interesting and
• 36:28
  obviously even a little divisive in, in some of the, the circles,
• 36:31
  especially with the older fans, a lot of them came to know Joe
• 36:36
  Bob in like, you know, the late 80s, early 90s Joe Bob.
• 36:40
  So you're getting like, you know, a married with children
• 36:46
  comedy to it. You're getting the, you know,
• 36:50
  scantily clad male girl. You're getting, you know, the in
• 36:54
  the non PC for now for for this generation, the on PC jokes.
• 36:59
  You're getting all kinds of stuff and fans.
• 37:02
  You know, it was great. You know, it was that time
• 37:05
  capsule of stuff is hilarious. It's like watching married with
• 37:08
  children now. It's like, you know, as on PC as
• 37:11
  it is now, it was hilarious then.
• 37:15
  And you know, now obviously we do get, you know, some notes and
• 37:20
  everything about, you know, certain things that can and
• 37:22
  cannot be bad from from AMC. But you know, it's now taking on
• 37:28
  a more academic approach than just sort of the, you know, the
• 37:35
  joke, joke, joke stuff that it used to be.
• 37:38
  And the fact that he has no time limit on an episode anymore.
• 37:41
  You know, he used to have, you know, a 2 minute packet between
• 37:45
  commercials that he could do on TNT or something in 90 seconds
• 37:48
  or something like that. Now there is no, I mean, we've
• 37:51
  done over an hour intro for some movies and you know, it become a
• 37:56
  4-5 hour episode with two movies and it's just, you know, every,
• 38:03
  every break is 20 minutes and you know, there's a lot of
• 38:07
  information. And of course we still do the
• 38:09
  gags. We still do some of the funny
• 38:11
  stuff and then music videos and stuff like that.
• 38:14
  But it's much more it's all catered around what is, you
• 38:18
  know, what is the, you know, academic, you know, take away
• 38:23
  from this. That's.
• 38:26
  Incredible sounds awesome. It sounds like getting getting
• 38:29
  in with the new streaming platform really give you gave
• 38:33
  you opportunity to really like stretch out and maybe like take
• 38:37
  a little more time than you would have been able.
• 38:39
  To yeah, I mean, it's definitely, I mean, the, if you
• 38:42
  watch the marathon, you were still like 5 minute breaks, you
• 38:47
  know, or so like, you know, it's, I mean, obviously we had a
• 38:50
  lot, a lot to get through in two days.
• 38:53
  We couldn't do a big, you know, big slog of breaks.
• 38:55
  But if you watch the, the early shows, they're, you know,
• 39:01
  tighter, the shorter. And now it's, you know, you
• 39:07
  know, it's expected to be, you know, a 3-4 hour, you know,
• 39:12
  block of Joe Bob on Friday nights because you know, there's
• 39:16
  a lot, you know, there's a lot that he's writing.
• 39:18
  There's a lot that he wants to say about certain things and he
• 39:21
  wants to break down the history of certain things and he wants
• 39:23
  to go into the deep dive. And, you know, the guest
• 39:26
  conversations are, are longer, more in depth.
• 39:28
  And, you know, that's, we're going to give the fans, you
• 39:33
  know, something to watch. You know, let's, let's actually,
• 39:36
  you know, talk about it. Now before we get off Joe Bob,
• 39:41
  the charity event that's raised over for half $1,000,000 at this
• 39:46
  point, right? Did that charity event come
• 39:49
  about? That's.
• 39:52
  Awesome. It was Joe Bob's idea.
• 39:54
  He was, you know, we were, we were talking about what specials
• 39:56
  we want to do, like the Halloween special, Thanksgiving
• 39:59
  special, New Year special. And we ended up landing on the
• 40:03
  Halloween special. We did a Thanksgiving special, I
• 40:06
  think one or two seasons. But then that's sort of just
• 40:08
  rolled over into, you know, let's do this Christmas special.
• 40:12
  And obviously, you know, we were thinking like, what can we do to
• 40:16
  make, you know, Christmas special special?
• 40:21
  And, you know, Joe Bob was just like, I have a lot of stuff in
• 40:25
  storage we can auction off, you know, various things.
• 40:31
  And it just sort of steamrolled from there.
• 40:32
  I mean, we it was a huge hit right from the beginning, raised
• 40:35
  a ton of money the first time we did it.
• 40:38
  And, you know, now when we have guests on or something, we
• 40:42
  always, you know, want to say like, hey, you know, do you have
• 40:44
  anything you want to, you know, put in for this this auction?
• 40:49
  And, you know, Joe Bob chooses like four or five different
• 40:53
  charities he wants to support. And you know, we team up with
• 40:57
  Fright rags who always puts up some special gifts and, and
• 41:01
  things like that and, and we end up raising like a ton of money.
• 41:06
  See, the horror community is a lot more than just gore and
• 41:09
  boobs and you know. Yeah.
• 41:12
  I mean, listen, there's so much, there's only, you know, so much
• 41:16
  value in like a a Joe Bob Bolo. So we know that when people are
• 41:22
  bidding like $10,000 on it, they know it's going towards a
• 41:26
  charity, which is so, you know, I wonder.
• 41:28
  What the shock from Joe Bob was when he's like, the fuck are
• 41:32
  they doing? Put it like, it's probably cool.
• 41:34
  Like cool, the charity's doing good, but damn.
• 41:37
  Like I would have. Been like there, there have
• 41:38
  been, there have been some definite shockers where we're
• 41:40
  just like, wow, that somebody really, really wants that thing.
• 41:46
  Yeah, I'd, I'd, I'd be, I'd be lying if I'm not one of those
• 41:49
  guys who like, see something that's like, I got to have that.
• 41:52
  I got to have that. That is, that is.
• 41:54
  Absolutely You, you know, they like as like I got to have this
• 41:57
  little obscure piece of the. I'm jump on the.
• 42:02
  Screen souvenir, Yeah. Some dude said he had a piece of
• 42:04
  the Necronomicon original page from the Evil Dead.
• 42:07
  And I'm I'm a big Evil Dead fan. I have Ash tattooed in my arm.
• 42:10
  I love the Evil dead and my buddy walks here, goes there
• 42:14
  because this is bullshit right here.
• 42:16
  He's like, this is not. I think recently the there was
• 42:19
  like either 3 or 6 original sketches from the Necronomicon
• 42:24
  from you. They came up for auction
• 42:25
  somewhere. You're going to feed this man's
• 42:29
  addiction. He is.
• 42:29
  He is furiously searching eBay. I'm not, no, I'm not doing that.
• 42:33
  I. Already these are like, yeah,
• 42:34
  this is like movie auction websites like.
• 42:37
  Sam Raimi's personal collection. You know, like I'm not.
• 42:39
  Doing I think it, I think it was, I think it came out of the
• 42:41
  collection of the the artist who did it and someone put them up
• 42:48
  so. To a guy who when he the the
• 42:52
  original house was filmed that that was in tennis, No, yeah, I
• 42:57
  think the original house is like.
• 42:58
  Either Tennessee or Virginia or something like.
• 42:59
  That I think it was Tennessee because my buddy moved to
• 43:02
  Tennessee and he was like, hey, like I live right.
• 43:04
  The Evil Dead house is like right behind me.
• 43:06
  I'm like, no, it's not. Takes a picture.
• 43:09
  Like it was like blocked. You weren't supposed to go
• 43:11
  there. But I didn't know that like for
• 43:13
  a long time I was like, oh, that's just like a set.
• 43:15
  Evil Dead 2 was a set. Or like it was in a gym anyways.
• 43:19
  Anyways, I digress. We'll get to that after the
• 43:21
  show. I.
• 43:23
  Imagine they'd have to build a fence around to like the
• 43:25
  Breaking Bad house. It got demolished.
• 43:27
  They get burnt down or something.
• 43:28
  Yeah. Oh no, yeah, it got.
• 43:30
  Something stupid happened to the Evil Dead House.
• 43:32
  Good luck. You just unleashed all that
• 43:33
  bullshit into the world. So I wanted to circle back to
• 43:37
  trauma. Obviously big trauma fans here.
• 43:42
  Just yeah. Yeah, you just did a Toxic
• 43:45
  Avenger episode or something new.
• 43:46
  We are going to be doing one for the new movie and I just got the
• 43:49
  Peter Dinklage Toxie tattooed on my arm because I'm a sucker for
• 43:53
  just doing things impulsively. But I love the Toxic Avenger, I
• 43:56
  grew up with it. Uncle Lloyd is someone I've
• 44:00
  always liked to like, dissect what he's thinking.
• 44:05
  He's a very interesting person to me.
• 44:07
  I love when I met him at a con, he rubbed my head and called me
• 44:11
  Naughty Nick and then signed it on a piece of on on the Toxie
• 44:14
  poster. I was like, oh, this guy's like
• 44:16
  a cool dude. Like because I met Tom Savini.
• 44:20
  Bad time. It was, it was, it was.
• 44:23
  I'm not. Going to say if you have to
• 44:25
  catch him in a good mood I you know.
• 44:28
  I, I, I I just walked out. Hey, Mr. Savini, he went and I
• 44:31
  went. Holy shit, what did I do to you?
• 44:35
  But. He's like, oh, look at this guy
• 44:37
  coming in here. My heart as like 19 year old me,
• 44:40
  I went, oh, Tom Savini hates me. But like, how did you get
• 44:47
  involved with trauma? And I know Alex will probably
• 44:50
  want to ask you some trauma questions too.
• 44:51
  Alex is like very big in the trauma, but how did you?
• 44:54
  First, get involved. I was working at a video store
• 44:57
  in in Hell's Kitchen for a couple years and was, you know,
• 45:04
  kind of just like looking for something else.
• 45:06
  I went remember I hadn't I hadn't really paid attention to
• 45:12
  trauma since 1986. The first videos I've rented at
• 45:20
  A at a video store, which is actually a camera store in in my
• 45:26
  and and where I grew up Wolf Camera.
• 45:31
  The first two videos I rented by myself was Toxic Avenger and fog
• 45:35
  with orange when I was like 7 years old and he's.
• 45:38
  Writing. That's quite the double feature.
• 45:43
  And then never really after that, never really paid
• 45:46
  attention to trauma until I was in college and I used to read.
• 45:52
  They used to have these video hound guides there were, you
• 45:56
  know, before IMDb or anything, the only place you could look up
• 46:00
  all the movies that were like out was this good thing called
• 46:03
  video hound. It was this huge tome that came
• 46:05
  out every year and it was listed every single movie that that was
• 46:09
  out. And I used to just sit while I
• 46:12
  was in college. I worked at the libraries just
• 46:14
  sit and just like read it. And they came across Sergeant
• 46:17
  Kabookie man that way. And I was like, this movie
• 46:19
  sounds crazy. So I had to go to find it.
• 46:22
  I actually my room and I drove to, I went to school in
• 46:26
  Sarasota, FL at Ringing School Garden Design and then we drove
• 46:30
  to Orlando to Megacon and Lloyd was there.
• 46:34
  This was like 1998 or something. Lloyd was there at his booth and
• 46:42
  he sold me a copy of Sergeant Kuku Mano VHS and that's
• 46:47
  circulated amongst the my friends at college.
• 46:50
  I think I had it in in my room for like a week and then after
• 46:54
  that I didn't see it again for like a like 2 years.
• 46:57
  It just circulated amongst everybody.
• 46:59
  But after that didn't really pay attention to trauma until 2005
• 47:04
  or so. And I was just like, I think
• 47:07
  someone, someone brought in Make your own damn movie DVD box set.
• 47:12
  And what would happen is Virgin Megastore was like 2 blocks
• 47:17
  away. We would get people that would
• 47:19
  steal a bunch of DVDs from Virgin Megastore come to us and
• 47:23
  sell them to us. And we'd buy them at like 5
• 47:25
  bucks a pop and then sell them at the store.
• 47:27
  Hell yeah. So but stuff we like we just
• 47:30
  keep and I remember they brought in Make your and a movie.
• 47:34
  It's like the five disc box set. And I was like, Oh yeah, this is
• 47:37
  kind of. So I used to work the overnights
• 47:39
  from 9:00 PM to 9:00 AM and I just just watch stuff on TV
• 47:45
  there. So I just had it in, just ran
• 47:47
  through all the stuff. And I was like, really, you
• 47:50
  know, getting back into the sort of indie, you know, do your make
• 47:54
  your own damn movie type of thing.
• 47:56
  And I was like, whole time I've been here, the Trump offices
• 48:00
  were two blocks from where I worked.
• 48:03
  What? And so, and so I went online and
• 48:06
  I, it's literally applied before they would look for a graphic
• 48:11
  designer. So I applied to be a graphic
• 48:12
  designer on an interview. Ended up they had just moved to
• 48:16
  Long Island City from Manhattan. So what I thought was going to
• 48:20
  be like, oh, I'm just going to right after work, I'll just jump
• 48:22
  two blocks over to the building. They actually moved like, you
• 48:26
  know, 2 subway stops, like 2 subway train transfers away from
• 48:31
  Manhattan to, to a Long Island City, which is like Queens.
• 48:35
  And but I didn't get hired as a graphic designer, but I, they're
• 48:39
  like, hey, if you want to intern, you can intern.
• 48:41
  So I was like, yeah, why not? So you did interns during the
• 48:43
  day at Trauma and then work nights at the, at the video
• 48:49
  store. And inevitably, you know, like
• 48:53
  everything happens at trauma. They fired somebody.
• 48:55
  And then I, since I was there, I was there a month, which was a
• 48:59
  long time for an intern. And then it also found the
• 49:03
  behind the scenes high, a tape that had the footage of the them
• 49:09
  blowing up the fast food restaurant Poultry Guys at the
• 49:13
  end. They were, they were.
• 49:16
  Yeah. So they were just, they were
• 49:17
  just doing the theatrical run of Poultry Guys when I when I was
• 49:20
  there. And so they were working on
• 49:22
  putting together the DVD and they couldn't find the tape that
• 49:28
  had the behind the scenes of this explosion.
• 49:30
  And it happened to just be sitting behind the editor like
• 49:33
  the whole time on like right on the shelf.
• 49:36
  And for some reason no one. And I was just like in there one
• 49:39
  day and I just looked and I was like, is that the tape?
• 49:41
  And Lloyd was so happy they found it that they hired me to
• 49:46
  replace this person they fired and just started working there
• 49:52
  in their basically head of trauma team video, which is like
• 49:56
  distribution mostly. So I did all the sales and
• 50:00
  distribution. So for for trauma and came up,
• 50:05
  you know, did the DV DS and blue eventually Blu rays.
• 50:12
  But yeah, I mean, you learn, I mean, you learn everything if
• 50:17
  you if you want to. I mean, you have to really, you
• 50:21
  know, you can, you can learn so much because they they don't
• 50:23
  teach you anything really. But you have to like learn it.
• 50:28
  And by that point, there was no old, there was no old guard.
• 50:33
  Like, you know, before that, when Tromo was still in Hell's
• 50:36
  Kitchen, you had people that had been there for like, you know,
• 50:39
  four years or six years or something.
• 50:41
  And they could be like, well, you know, we've been here so
• 50:43
  long, this is what you need to know.
• 50:45
  The time I start working there, there was nobody there that was
• 50:47
  like an old guard. So everybody, no one knew
• 50:50
  anything. No one knew how to do anything
• 50:52
  at any job basically. So, you know, you just had to do
• 50:58
  it. And if you stuck it out for more
• 51:00
  than like 6 or 6 months, you were there for, for whatever,
• 51:04
  basically because, you know, there was just like, all right,
• 51:07
  you're not going to quit because, because of everything,
• 51:10
  you know, that the craziness of this job.
• 51:12
  So you know, you're just going to, you're in it for the long
• 51:14
  haul. And, you know, if you, if you're
• 51:17
  willing to like sit there and like, you know, learn how to do
• 51:20
  distribution, learn how to talk to buyers, learn what sells,
• 51:23
  what doesn't sell, learn how to talk to manufacturers for the
• 51:26
  DVDs. And what you need for that goes
• 51:30
  into making, you know, DVD menus and what, you know, Lloyd likes
• 51:34
  to just acquire every movie, the everybody that comes up to a
• 51:37
  meta convention. And then you got to say like,
• 51:39
  well, a lot of these are crap. So we can't put everything out
• 51:41
  on DVD. So you know, you have to sort of
• 51:44
  just like, you know, go through and, and you know, you, you, you
• 51:49
  learn, you know, bits and pieces and you know that luckily a lot
• 51:53
  of that has been able to use after the fact.
• 51:56
  And, you know, just builds a foundation of like, you know, if
• 52:01
  you have a, an end goal, you use it as, you know, you can use it
• 52:03
  as a good foundation to, to start, you know, focusing on
• 52:06
  how, how it's going to work outside of, you know, this, you
• 52:11
  know, out-of-the-box environment.
• 52:14
  That's awesome. That's so.
• 52:16
  Cool, cool to like here, like where you started, where you
• 52:23
  were. Ah, you got to where you're at
• 52:24
  now, right? Like it's always interesting for
• 52:27
  me at least to hear that like these stories because like you,
• 52:31
  you never know. And like with movie making and
• 52:34
  the industry itself, I think there's a grand illusion that
• 52:37
  people have that it's like, oh, movies are just made.
• 52:40
  Like, what do you like? What do you mean?
• 52:41
  Like they're just made. It's, it's, it's more than that.
• 52:45
  And this is like talking to you is obvious proof that even
• 52:49
  luckily horror itself right now is being more regarded.
• 52:53
  It's the people are loving it with air fire 3 shocked
• 52:56
  everybody with how well it did. Thus now we have the new Toxic
• 52:59
  avenger actually come. So it's cool to see the love
• 53:04
  still be there. I had a few more questions.
• 53:08
  I I maybe the guys do as well. I want my last few.
• 53:11
  What do you currently think? And I I might throw a Warhammer
• 53:15
  one in at the very end. What do you currently think of
• 53:18
  state of horror movies and movies in general and the state
• 53:21
  of streaming? Well, I mean, it's I, I think
• 53:28
  that, you know, there's a big issue with with state of movies
• 53:32
  in general right now and it's all, you know, the sort of the
• 53:37
  industry's fault for shooting itself in the foot when they got
• 53:41
  rid of physical media. I think streaming.
• 53:44
  It's it was a short game. It's it was, it was, it's a
• 53:47
  stock market game. Them, you know, they, they
• 53:50
  thought that, you know, the, an industry that has so many
• 53:55
  different diverse avenues to it and functions and factions and
• 53:59
  effects, so many people can be run like an Internet company
• 54:01
  with like 50 people in one room, all on laptops.
• 54:03
  You know, that's not what the the industry is.
• 54:08
  And by trying to just, you know, sort of present revenue to, to
• 54:16
  finance years in order to gain value, higher valuation on, on
• 54:21
  these, on their studios, they've destroyed like basically the
• 54:27
  fundamental backbone of why they were profitable in the 1st
• 54:30
  place. Because when you got rid, when
• 54:33
  you had a physical media since the 80s, you had a whole
• 54:38
  industry based around that physical media.
• 54:41
  And then you had profit from the physical media.
• 54:43
  You had even guaranteed profits. Certain stores we're going to
• 54:47
  buy at least X number of units of something.
• 54:49
  I mean, even when, you know, I was at Stroma when the decline
• 54:54
  and the, and the, the rapid drop off happened.
• 54:56
  And I witnessed it first hand with conversations with Netflix
• 55:00
  and, and, and video retailers and when we were trying to sell
• 55:03
  it. So life perfect examples when I
• 55:05
  first started, we could go to a video store chain and they would
• 55:12
  be like we're going to take 20,000 copies of this movie, put
• 55:17
  it across all our stores and we'd be like great, that's going
• 55:21
  to pay. We know that's coming in that
• 55:24
  pays for X amount. You know, Best Buy is going to
• 55:27
  take X amount of copies. They may return some, but we
• 55:32
  know they're going to take, we know we can press this amount
• 55:34
  because Best Buy is going to take this amount.
• 55:36
  Then that all factored into all right, what's the budget of the
• 55:39
  movie? But we know we're going to sell
• 55:41
  XY and Z to these companies off off the off the cuff.
• 55:45
  So, you know, we can account for that as coming back to us
• 55:49
  relatively quickly after DVD. And that's as as those places
• 55:54
  disappeared, that guarantee disappeared.
• 55:58
  And then all of a sudden you're not making any money from
• 56:00
  physical media at all. And then all of a sudden you're
• 56:02
  like, OK, well, how do I make money for streaming?
• 56:05
  But you don't because Netflix comes in at 1st.
• 56:07
  At first we had we made a deal for like 100 movies on Netflix
• 56:12
  and they paid us, you know, pretty good fee per title, but
• 56:15
  that was a one time fee. So once that that's done and
• 56:19
  then what happens is once Netflix went to all these
• 56:22
  independent studios like Chroma and Blue Underground,
• 56:26
  everything, we're like, we're going to take your entire
• 56:27
  library, we're going to put it up.
• 56:29
  What happened is they took that and said went to MGM and said we
• 56:33
  have 10,000 titles on our server, you know, come join us.
• 56:37
  And then MGM said, OK, you have all these titles, you, you have
• 56:42
  a back catalog. Great.
• 56:43
  We'll, we'll give you some titles.
• 56:44
  We're going to want, you know, this premium valuation on Rocky
• 56:47
  and all that stuff. And Netflix was like, great.
• 56:50
  Then they got rid of all their independent guys that they used
• 56:52
  to bolster their numbers because you know, they don't want to.
• 56:56
  They don't need to pay for Toxic Avenger anymore because, you
• 57:01
  know, they have Rocky and they've Star Trek and everything
• 57:03
  now. I can still hear you guys have
• 57:05
  the wrong out there. So you know that they get rid of
• 57:11
  all the independent guys and then so all of a sudden now
• 57:13
  independent guys can't make any money anywhere, right?
• 57:16
  They is just nowhere to that's going to pay a, you know, a
• 57:22
  physical media type of fee where you can the more you sell, the
• 57:25
  more money you make. Everything is a flat fee from
• 57:27
  from a streamer and a very low flat fee.
• 57:29
  And then that's just like, you know, keep streaming, you could
• 57:32
  do some VOD stuff like Amazon or something.
• 57:34
  But again, that's people are only buying or renting movies
• 57:37
  that they've heard about that have been in theaters or, you
• 57:41
  know, they have, you know, some sort of name to them.
• 57:45
  And so you get, you know, you get a decrease in value of the
• 57:49
  product because, you know, you used to be able to have all
• 57:52
  these middle Tier 2 to $10 million movies that could just
• 57:56
  make their budget back on DVD or, you know, or even Blu-ray.
• 57:59
  So you had all those great action movies that came out just
• 58:03
  on VHS that were, you know, $5,000,000 that had stars in
• 58:08
  them. You know, you have all of your
• 58:10
  Van Damme movies and your Dolph Lundgren movies and some of you
• 58:13
  even your Stallone movies and stuff like that.
• 58:15
  We're all, you know, sort of mid tier action movies.
• 58:19
  And that's because they knew the video market would finance them.
• 58:23
  Now you don't have that. So what do you get?
• 58:25
  You don't have that quality of movie and since streamers can't
• 58:30
  make any real money off of subscribers because you know how
• 58:35
  one guy pays $14.00 a month at the high end, you know that
• 58:39
  doesn't, it's not the same as as selling, you know, 10,000 DVDs
• 58:45
  to rental stores and then having another, you know, 50 or 100,000
• 58:49
  people buy them at Walmart. You know, that revenue stream is
• 58:53
  just on. So now you don't have that level
• 58:56
  of like the two to $10 million movies anymore.
• 58:59
  So that whole industry is gone. So you now you either have your
• 59:02
  big blockbusters or you have your super sub sub $1,000,000
• 59:08
  movies. So now all the budgets are 400
• 59:11
  five, $100,000 or they're 20 to 40 and up $1,000,000.
• 59:16
  And only those they're like we have to, has to be a big
• 59:19
  theatrical movie. We don't, we can't take a chance
• 59:20
  on something that's subtle, you know, has to have some big
• 59:23
  theatrical thing to it. And that's what most studios are
• 59:26
  looking for. And it's just, there's no middle
• 59:29
  ground anymore, which every industry needs a middle ground.
• 59:33
  You need, you know, you can't just have like your $5000 car
• 59:38
  and your $100,000 car need your, you know, your 10 to $20,000
• 59:44
  Camry, you know, you need, that's like the backbone of like
• 59:47
  any industry is that middle. And they got rid of their own
• 59:50
  middle ground because they were like, oh, we're going to run
• 59:52
  this like Internet where people just going to dump money in it
• 59:56
  because we're going to tell them we have revenue because we're
• 59:59
  not going to disclose how much we're actually making because we
• 1:00:01
  can't disclose how many subscribers we have, you know,
• 1:00:04
  and what's people are what everybody's reeling is, oh, we
• 1:00:07
  can't beat commercials because that's how we get money.
• 1:00:12
  Oh, crap. All right, so now we're going to
• 1:00:14
  have to charge you more that we're going to charge you more
• 1:00:17
  money for a month, but we're also going to put commercials
• 1:00:19
  and everything. Which is pissing everybody off.
• 1:00:21
  Yeah, exactly. Well, it should because that's
• 1:00:23
  not what you paid for. You know, that's that was the
• 1:00:25
  the cut. The court agreement was we don't
• 1:00:27
  have to put up with commercials and we get all your content and
• 1:00:30
  they're like, well, that was the dream.
• 1:00:33
  And we got now our companies are worth, you know, $5 billion and
• 1:00:39
  we get to pay our CEO 27,000,000 million dollar bonuses.
• 1:00:44
  But we have to pay for that. So we're going to have to put
• 1:00:48
  commercials back and everything. And we're also going to raise
• 1:00:51
  the price. It's it's, you know, it's, I
• 1:00:55
  mean, it will probably, you know, like everything, it will
• 1:00:57
  eventually even out. I mean, you know, there's been a
• 1:01:00
  resurgence in in physical media in a sense where, you know, all
• 1:01:05
  of a sudden, you know, studios, like even AMC is like, you know
• 1:01:08
  what, we're going to start putting stuff out on physical
• 1:01:09
  media again. We're going to start doing a
• 1:01:11
  bigger push on stuff for physical media.
• 1:01:14
  You know, there's been, I think even somebody, one of the
• 1:01:17
  companies is like we're building new DVD players.
• 1:01:20
  You know, we're building like, yeah, something like that.
• 1:01:22
  So it's like there's a slow, you know, it's not going to
• 1:01:27
  obviously be as big. You're not going to see like,
• 1:01:29
  you know, big Blockbuster change anything.
• 1:01:30
  But this physical media stores are actually popping up, you
• 1:01:34
  know, a bit. And it's, you know, it's just,
• 1:01:35
  and they're busy and it's just a show that, you know, that that's
• 1:01:40
  there's an interest in owning product because people are kind
• 1:01:43
  of pissed like, Oh yeah, by the way, you know, we're gonna,
• 1:01:46
  we're gonna censor or take out these couple of episodes of
• 1:01:49
  South Park when we put it on our.
• 1:01:50
  Streaming channel bro, don't even.
• 1:01:52
  Don't even say that shit because we.
• 1:01:53
  Went we we went immediately to the local like disc replay and
• 1:01:58
  we're like grabbing all the South Park seasons to.
• 1:02:00
  That because I bought, so I bought all the, all the Looney
• 1:02:04
  Tunes box sets I could find from the Looney Tunes because those
• 1:02:07
  are, those are gone now. You know, it's just, you know,
• 1:02:11
  they don't, they control it all. You know, people are like, you
• 1:02:13
  know, if I own it, I control it, watch it whenever I want.
• 1:02:16
  Like it's the, it's the version I want.
• 1:02:18
  You can't do anything to it because it's mine, You know, I
• 1:02:21
  mean, so it's there's, there's a bit of reality check.
• 1:02:25
  I think that's that's some people are waking up to with it
• 1:02:29
  and so. I think that's like, you've seen
• 1:02:32
  that a lot and you see it like every time Netflix says like,
• 1:02:38
  Oh, well, we have to raise the price.
• 1:02:39
  I feel like that's another group of people who are like, I guess
• 1:02:43
  we're just going to do physical now because I don't want to jump
• 1:02:45
  through these hoops anymore. Oh yeah.
• 1:02:47
  I mean, that's the, I think cable's going to come back a
• 1:02:49
  bit. I think cable needs to, you
• 1:02:51
  know, you know, they, they one good sort of media push from
• 1:02:57
  cable and think of people might actually swing back because it's
• 1:02:59
  just like we can we, we had all the choices for less money now.
• 1:03:03
  Now it's less money, you know, now it's now.
• 1:03:06
  And before it was when Netflix was 499 a month, you know, and
• 1:03:10
  you know, we didn't have commercials on, on, on things,
• 1:03:14
  you know, it was like, all right, that's worth it.
• 1:03:15
  When we only had one streamer we were paying for.
• 1:03:17
  But now in order to get the content you want, you have to
• 1:03:20
  subscribe to four or five different things that are all,
• 1:03:23
  you know, 10 or more dollars a month.
• 1:03:24
  And then now they're messing with what they, they want you to
• 1:03:27
  see and what not. So, you know, it's, it's, it's
• 1:03:31
  bad. I mean, all the, if the industry
• 1:03:34
  followed more of like the video game industry a bit.
• 1:03:37
  And they're like video game industry still like, and then
• 1:03:40
  when we came out with NES, games were 60 bucks.
• 1:03:43
  They've been 60 bucks plus for 40 years.
• 1:03:46
  Now be careful. Though, because.
• 1:03:48
  We're rising. We're rising over here.
• 1:03:50
  It's getting pretty scary. She's so it's like about to kill
• 1:03:53
  us. Yeah.
• 1:03:54
  So it's just like, you know, you know, that's that's what it is.
• 1:03:58
  People want to play the game. It's 60 bucks.
• 1:04:00
  We could, you know, the industry did it really well.
• 1:04:04
  When VHS first came out, they were like, we're going to sell
• 1:04:07
  you a tape. It's the same tape that a
• 1:04:09
  regular, you know, a $20 tape is laden online.
• 1:04:11
  We're going to sell it for $120.00 because the, we know
• 1:04:14
  there's going to be a rental industry.
• 1:04:16
  Rental stores are going to buy this tape.
• 1:04:17
  Average person is not going to want to pay $120.00 per tape.
• 1:04:21
  They're going to rent it. We now we've created a lot more
• 1:04:24
  jobs. We created an industry, we
• 1:04:25
  created all kinds of revenue for everybody down the line.
• 1:04:29
  It could have kept that going with DVDs.
• 1:04:31
  They could have charged $100 a DVD and just added it.
• 1:04:34
  Like here's a better thing to view.
• 1:04:37
  You still have to rent them, but instead you're not going.
• 1:04:41
  To want to buy it yourself. Yeah, then, but Warner Brothers
• 1:04:44
  was like, no, we're going to, we're going to charge 20 bucks.
• 1:04:46
  And then everybody had to follow suit because Warner Brothers was
• 1:04:49
  a race to the bottom. Then that's what happened.
• 1:04:52
  It was just like, and then basically they could have kept
• 1:04:55
  that market going. You know, no one had to say
• 1:04:58
  like, you know, hey, let's all sell our libraries to streamers.
• 1:05:01
  I mean, they didn't have to do that.
• 1:05:02
  They could have just said we're not going to sell our libraries
• 1:05:04
  to streamers. We value the product too much.
• 1:05:07
  Let's keep it on physical media and let's keep this sort of, you
• 1:05:10
  know, money train coming. But everybody, the Internet boom
• 1:05:16
  was so big, people were just shovelling money into these
• 1:05:19
  Internet companies and the words and streaming became like a a
• 1:05:22
  big, you know, money word. And then people were just like,
• 1:05:25
  I just want money for my stocks, you know, and let's just, let's
• 1:05:31
  devalue everything by by putting it online for streaming.
• 1:05:35
  And then unfortunately we're, we're in the situation now where
• 1:05:40
  the, the industry's unstable and there's, there is no, you know,
• 1:05:46
  they, they got rid of the middle class of movies.
• 1:05:50
  Well, I'm glad I chose this to all pretty much have the episode
• 1:05:53
  on it is but cool. Oh shit, we're we're it's
• 1:05:57
  getting sad, but. Like don't forget it's true St.
• 1:05:59
  trash is on screen box. So we can that's right, you can
• 1:06:02
  watch St. trash on screen box. How's the good stuff on screen
• 1:06:05
  box SP38? Yeah, code SP38, No St. trash
• 1:06:10
  was awesome, man. That's was I can't believe we
• 1:06:13
  were when we first got this the screen box deal kind of you
• 1:06:18
  know, hey, you promote us, you get it.
• 1:06:20
  All right, cool, got it. I was like street trash.
• 1:06:23
  I was like I've seen I I saw that there was a remake of
• 1:06:27
  sorts, but I had seen the original again.
• 1:06:31
  My uncle was just a bad influence.
• 1:06:33
  I would always be at my grandma's and there's always
• 1:06:35
  like schlock on the TV and just like wild gore fest movies.
• 1:06:40
  And I've always loved it. I've always loved it.
• 1:06:42
  I could point out it be like, it's not real grandma.
• 1:06:45
  It's a movie. These are people doing this.
• 1:06:47
  It was like, yeah, you can watch that, I guess because you're not
• 1:06:52
  like you get it. So I would just watch it.
• 1:06:54
  So we saw St. Trash and that was like, I
• 1:06:56
  believe that was our first episode, right, With street
• 1:06:57
  trash. No, Frogman was the.
• 1:06:59
  Frogman Frogman was one, St. trash was 2 and St. trash was
• 1:07:05
  just like, oh man, like I remember like because that was
• 1:07:09
  the first time I'd seen this street just like watching the
• 1:07:12
  neck bubbles. I was like, Oh, that's some good
• 1:07:15
  classic stuff right there. So I guess my I guess my actual
• 1:07:20
  last question is how did if you got to go, please let us know
• 1:07:24
  because we could do this. For hours.
• 1:07:26
  How did St. Trash come to be again?
• 1:07:30
  Yeah, we, we did a DV D special edition of Combat Shock when we
• 1:07:36
  were at Troma and one of the interviews did was with the
• 1:07:39
  writer, producer St. Trash work from Keys.
• 1:07:42
  And I sort of stayed in contact with him for years.
• 1:07:47
  And I think like 8 years ago, we started talking about, you know,
• 1:07:52
  doing another St. Trash or sequel or something
• 1:07:54
  with it. And it took a very, very long
• 1:07:57
  time to sort of find the right path for it.
• 1:08:01
  And my, my producing partner Justin had a record label that I
• 1:08:10
  put out a bunch of Shutter soundtracks and one of them was
• 1:08:14
  Fried Berry. And it was sort of like, that's
• 1:08:17
  kind of, that's the vibe we wanted.
• 1:08:19
  That was like indie kinetic weird vibe.
• 1:08:26
  We talked to him about it and and it's sort of just all
• 1:08:28
  started to come together and you know, we went we you know,
• 1:08:35
  screen box was just starting up and we taught, you know, we
• 1:08:40
  talked. They like the idea.
• 1:08:41
  So they were like, all right, you know, we'll back you on
• 1:08:44
  this. And we were like, but we don't.
• 1:08:47
  One of the big things we want to do is we don't want to take
• 1:08:49
  anything away from the original. Obviously, we're not trying to
• 1:08:51
  replace the original. We're not trying to say this is
• 1:08:53
  better than we're not. It's not a remake, a reimagining
• 1:08:57
  of the original. The original stands on its own.
• 1:08:58
  We want to create something that's like exists in its own
• 1:09:01
  universe, in the universe of St. Trash on its own.
• 1:09:04
  So number one is we're not setting it in New York.
• 1:09:07
  Is that too many comparisons? Initially when I was coming up
• 1:09:12
  with like what how we can make a different, we were, I was, you
• 1:09:17
  know, we were thinking like LA and this is pre like homeless
• 1:09:21
  situation in LA. And the idea was always going to
• 1:09:24
  be like, all right, if there was a big like homeless problem.
• 1:09:29
  But if the government was using this Viper to melt the homeless
• 1:09:34
  away and they just come in with pressure washers and then just
• 1:09:37
  pressure wash the bodies into the sewer, then they got rid of
• 1:09:40
  the homeless problem. And that's sort of was the idea
• 1:09:44
  that kept running. So eventually when we got Ryan
• 1:09:47
  involved from Pry Barry, it was like, that was the the concept.
• 1:09:51
  And he's like, well, I can shoot in South Africa.
• 1:09:54
  I live in South Africa, I do all my movies in South Africa and
• 1:09:56
  we're like, well, that's kind of like perfect equivalent of what
• 1:10:00
  we're talking about with the disparaging of classisms and so
• 1:10:04
  forth. So, you know, that blended
• 1:10:06
  itself to the perfect or lent itself to the perfect, you know,
• 1:10:10
  situation, perfect location. And and also because you know of
• 1:10:16
  the exchange rate and just the the resources that he was able
• 1:10:20
  to get, you know, became much bigger movie.
• 1:10:23
  We would never be able to get military trucks and all kinds of
• 1:10:26
  stuff in in the US, but you know, we could keep have the
• 1:10:29
  connections and, you know, the the budget went a lot further
• 1:10:33
  there. So we were able to get all that
• 1:10:34
  and make basically the last half of the movie is an action movie,
• 1:10:37
  you know, because of that, because we're able to, we were
• 1:10:40
  able to really expand upon it and we shot him.
• 1:10:45
  We made the choice to shoot it on 35.
• 1:10:46
  So, you know, we wanted to sort of make it a film, you know, so
• 1:10:50
  we made it a whole, you know, a whole film with all the, you
• 1:10:53
  know, ups and downs of that because, you know, South Africa,
• 1:10:57
  Kodak got rid of its processing center in South Africa.
• 1:11:00
  So we had to ship all the reels to the UK to get them developed,
• 1:11:05
  you know, while they're shooting.
• 1:11:06
  So it was the whole thing. But, you know, we did it and
• 1:11:11
  it's still, I mean, it just played in theaters in Idaho last
• 1:11:15
  weekend. So it's been doing like a year
• 1:11:17
  long theatrical run with, you know, sometimes coupled with the
• 1:11:21
  original because we we, you know, sort of control both with
• 1:11:25
  the for theatrical and we like to couple them together and I'll
• 1:11:31
  put them out there. And so we do, you know, still
• 1:11:35
  making its rounds, which is great.
• 1:11:36
  Then, you know, people that have seen the original St. trash, you
• 1:11:41
  know, I would say it's probably like a, you know, honestly,
• 1:11:43
  maybe like a 6040 on that. They like it, you know, a lot of
• 1:11:47
  the other are very like, this isn't the original, you know,
• 1:11:51
  this is not, you know, you're always going to get those.
• 1:11:53
  But people who haven't seen the original tend to really like the
• 1:11:57
  the new one because it's, it's a very on the nose sort of, you
• 1:12:01
  know, you know, political stance on things.
• 1:12:04
  I mean. We felt that watching it, we
• 1:12:07
  were like, Oh yeah. So, you know, it's yeah, I mean,
• 1:12:14
  we're we're we're very happy with it, with what what Brian
• 1:12:19
  did with the budget he had on it.
• 1:12:21
  Unfortunately one of the main actors, the Stanley Kubrick
• 1:12:26
  actor just passed away yesterday, I think as of June
• 1:12:32
  11th. So I don't know when this will
• 1:12:35
  air, but yeah. So unfortunately that's that was
• 1:12:38
  a big hit for us. But you know, and everybody
• 1:12:41
  loves him a chef in the in the street trash.
• 1:12:44
  So love chef. But yeah, so it's you know,
• 1:12:50
  we're we're excited and, you know, we and we had one an idea
• 1:12:55
  to just basically, you know, continue various St. trashes in
• 1:12:58
  various countries with different directors and, you know, each
• 1:13:02
  culture and and and country has its sort of take on this idea.
• 1:13:05
  So, and, and you know, we've already had people approach us
• 1:13:09
  from, there are other countries about this idea.
• 1:13:12
  So this could be, it could be kind of interesting to have all
• 1:13:14
  these different versions, takes and and viewpoints on this, you
• 1:13:18
  know, sort of, you know, class warfare idea with the sort of a
• 1:13:23
  street trash background. I really liked the the aspect of
• 1:13:28
  it because I think some other like movies have done it before
• 1:13:31
  where it'll be like once the original happened in one part of
• 1:13:35
  the world and then they'll show it from a completely different
• 1:13:37
  part of the world. I didn't know a whole lot about
• 1:13:40
  the original, but I thought it was really cool when I found out
• 1:13:42
  that it was in New York. And at the time I didn't really
• 1:13:45
  know like how it got to South Africa, like, oh, that's a lot
• 1:13:49
  of them were just like just now learning.
• 1:13:52
  So I'm like it. It kind of gives the like the
• 1:13:55
  idea like, oh, this is happening everywhere independently of
• 1:13:57
  whatever is happening in other parts of the world.
• 1:14:01
  Exactly. So that's, that's kind of the
• 1:14:03
  idea is that, you know, we're, you know, putting something
• 1:14:06
  together that hopefully we can, that will happen where it's, you
• 1:14:11
  know, we want, you know, what is the Japanese version of St.
• 1:14:14
  Trash? You know what is the Indian
• 1:14:16
  version of St. Trash?
• 1:14:17
  You know. Dude, more sockle.
• 1:14:22
  We we, we saw that puppet and I went, I I need this like on my
• 1:14:28
  shelf. I need it on my shelf.
• 1:14:30
  We got to get a get a plushie of Sockle.
• 1:14:33
  Made Oh dude I would explode if that was.
• 1:14:37
  If we if we get if we get 10,000 people that want a sockle
• 1:14:40
  pushing, we'll do the sockle. Pushing I we need to like boost
• 1:14:43
  this because. It's I'll buy at least three, so
• 1:14:47
  that should get the ball rolling.
• 1:14:49
  I got 4. I got 4.
• 1:14:51
  Alex what, 5 maybe. Yeah, 4-5.
• 1:14:54
  All right, cool. So that we're getting there,
• 1:14:56
  dude, I'm. Getting there.
• 1:14:59
  We need, we need, we need a showing in Detroit like that
• 1:15:02
  needs to happen. Let you know we you know, we
• 1:15:06
  team with vinegar syndrome on our on our theatrical because
• 1:15:08
  you know they hold they, you know, preserve the prints and
• 1:15:11
  whatnot but you know, send me or you know, get some Detroit
• 1:15:15
  theaters on board. You know, what's the indie
• 1:15:18
  theatre? You know, hopefully they can
• 1:15:19
  shoot, they can show 35. But.
• 1:15:22
  We've still got drive insurance too have.
• 1:15:25
  Up to show it on drive in I'm. Going to hit that.
• 1:15:28
  That would be sweet. I got it.
• 1:15:29
  I'm going to, I'm going to talk to Ford Wyoming.
• 1:15:31
  That would be nuts. People go no.
• 1:15:33
  We love to do it. Especially if you coupled it
• 1:15:35
  with the original St. Show both, yeah.
• 1:15:39
  Because they do double features. I mean, when the new Evil Dead
• 1:15:42
  came out, both times when I saw Evil Dead at the drive in, they
• 1:15:45
  coupled it with the original evil.
• 1:15:48
  So just a wild ride. Like I've got to see Evil Dead
• 1:15:51
  on the drive in. Awesome.
• 1:15:54
  Excellent. Man, I I appreciate you hopping
• 1:15:58
  on the show. This has been an awesome hour,
• 1:16:02
  an hour and a half almost. We really appreciate you being
• 1:16:07
  here. Is there anything else that you
• 1:16:09
  wanted to plug for yourself? Is there anything you're working
• 1:16:12
  on you want to tell anybody about, or just anybody?
• 1:16:15
  Anything you want anybody know before we log off?
• 1:16:18
  Let's see what oh when, when will this air?
• 1:16:21
  Friday. This Friday.
• 1:16:23
  So. So let's see.
• 1:16:31
  I would say, you know, you obviously keep a keep a lookout
• 1:16:34
  for our, you know, going to be an amazing Halloween special
• 1:16:39
  that's coming up for for last drive in going to blow
• 1:16:41
  everybody's mind, you know, and then obviously our Christmas
• 1:16:45
  special after that. But the the Halloween one's
• 1:16:47
  going to be something something crazy.
• 1:16:51
  You know, we have some stuff coming out.
• 1:16:52
  Can't really talk about it yet just because we have, you know,
• 1:16:57
  AMC has to make the official announcement for that stuff.
• 1:17:03
  But yeah, I mean, yeah, we're just happy that we're able to
• 1:17:07
  sort of, you know, keep going, get our niche, you know, and and
• 1:17:12
  stuff and we're busy so that's good.
• 1:17:13
  You know, and, you know, we're we're happy with the fans, you
• 1:17:18
  know, still sticking with us for the last drive in.
• 1:17:21
  I mean, now we appreciate them all.
• 1:17:24
  I mean, that they're the reason why we're, you know, we're still
• 1:17:27
  doing it. You know, they, you know, the,
• 1:17:31
  the the controversies of the movie titles and, and the, the
• 1:17:35
  the cheering of of the the Joe Bob jokes and everything is, you
• 1:17:40
  know, what makes it really fun to to do so.
• 1:17:43
  Yeah, that's why that's why we really like it.
• 1:17:45
  But I don't anything else. You know, it's yeah.
• 1:17:52
  I mean, it's just, you know, industry wise now sucks, but you
• 1:17:57
  know. We're we're making the best of
• 1:17:59
  it. Yeah, so I mean, hopefully, you
• 1:18:02
  know, something can turn around a little bit, but you know,
• 1:18:04
  we'll see what you know, we'll see what what happens.
• 1:18:10
  There's nothing really else going on other than let's do a
• 1:18:13
  deep dive into the horse heresy. Where do you want to?
• 1:18:19
  Start Erebus is a Dick first and foremost, and poor Magnus.
• 1:18:24
  Anyways, we can talk after the show.
• 1:18:25
  We can talk after Magnus. He did a lot wrong.
• 1:18:28
  He should have listened to his dad.
• 1:18:30
  That's that is what it is. But also the Emperor's.
• 1:18:34
  Go buy physical media, go check out St.
• 1:18:36
  Trash. Go check out Black Eyed swan.
• 1:18:39
  Alex is holding Return of Nukem High right?
• 1:18:41
  Yeah, Black Eyed Susan just came.
• 1:18:43
  Out I had Black Swan and Black Eyed Susan mixed in my head.
• 1:18:48
  The vinegar syndrome just put out the eight eyes, which we did
• 1:18:52
  in Serbia. Black Eyed Susan Scooter Mcrae's
• 1:18:56
  great movie, obviously St. trash available with vinegar syndrome
• 1:19:02
  here in Brooklyn. Check out night owl video, which
• 1:19:04
  is a great physical media store in in Brooklyn.
• 1:19:08
  They have used VHS. They have a great selection of
• 1:19:12
  VHS, but they get all the new stuff too from from all the
• 1:19:14
  distributors. If you want to just browse, they
• 1:19:17
  got laser discs, they got everything.
• 1:19:18
  So check them out great. And then just keep, you know,
• 1:19:23
  keep an eye on shutter for the the newest Joe Bob episodes that
• 1:19:28
  are coming out. And now there should be some
• 1:19:32
  really great announcements coming up.
• 1:19:34
  Very excited. Oh yeah.
• 1:19:36
  Thanks again, Matt. Mangeries for hopping on been
• 1:19:38
  great. Talking.
• 1:19:39
  I know it's been great. I appreciate.
• 1:19:40
  It it was awesome. Thanks for chatting with us
• 1:19:43
  been. Awesome.
• 1:19:43
  Yeah, no problem. You guys ever have him on the
• 1:19:45
  show? Make sure you get Black Eyed
• 1:19:46
  Susan correct? No call, Black Eyed Swan,
• 1:19:48
  because your brain. Moving fast.
• 1:19:50
  All right, guys, till next week, take it easy and be safe and
• 1:19:53
  thank you all for listening. This is the WASD and Beyond
• 1:20:04
  podcast.