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This is Later with Lee Matthews,
the Lee Matthews Podcast more what You Hear

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weekday Afternoons on the Drive. You've
seen him in that fantastic production of Oppenheimer,

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but he's also been in Dark Nights, a Million Little Pieces, and

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many others like Dune and The Suicide
Squad. His newest project is a thrilling

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production that's getting a lot of buzz, especially in the international film festivals,

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Late Night with the Devil, and
it stars David Dustmalchen, who is joining

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us now. David, this is
a different kind of horror movie. It

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really is. Thanks for having me
on the show, by the way,

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it's great to be here. It's
in my heart. Wanting this movie to

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succeed would mean accomplishing something that felt
like taking you back into the nineteen seventies,

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that spooky horror Halloween kind of energy
mixed with what it might have felt

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like to watch, you know,
the Johnny Carson Show on any given night

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at ten thirty and just not expecting
that after he did a couple of great

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bits and interviews, suddenly dread and
horror would unfold before your eyes. That

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was the goal, and I'm really
proud of the film. We made,

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and thanks for letting me come on
and talk about it. Well, Late

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Night with the Devil, it's not
only a horror film, it's a bit

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macab and your character sets the tone
with his eyes from the beginning. Did

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you have to wear some sort of
contact lens to kind of blow out your

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pupil? No, that just happens, that's actually you know, But I

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did have to. I had to
listen to a lot of people who do

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what you do because the character I'm
playing is inspired by a number of real

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people who were entertainers and DJs and
talk show hosts from the you know,

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from the past. And so the
character I'm playing, Jack Delroy, was

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a radio DJ in Chicago who then
became a big late night talk show host.

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And so just finding that way of
presenting myself and speaking and looking directly

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into the camera and talking to it, you know, TV audience or finding

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the mics on set. It was
very different than when you would normally performing

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a scene. But I knew if
we got that right, if people felt

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like they were really watching a late
night talk show, then when things do

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take a turn for the worst,
they would be hopefully so caught up in

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the moment that it would be more
impactful. Late Night with the Devil is

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the film. David Desmalchin is with
us. He's the star. It's kind

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of a Rosemary's Baby meets Network,
and it takes place in that era,

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isn't it where horror movies and yakab
were they were really getting more gritty.

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Yes, yes, it's nineteen seventy
seven, it's October thirty. First,

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basically, my character is in second
place to Carson in the ratings and he

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is about to get canned, and
so he has to pull out all the

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stops. So what he does brings
on this young woman who has been being

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studied by the psychologist who wrote a
recent book that Clay aims to be possessed

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by this entity. And of course, for my character, this is an

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incredible opportunity to get the ratings boost, get the shock value, et cetera,

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et cetera. So you think about
those films of that era. You

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wanted to feel natural, you wanted
to feel seventies. You want the aesthetic

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to look right, from the Cassavetti's
movies to things like Rosemary's Baby, the

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Exorcist, Network, even those made
for TV horror films of that era,

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like Burnt Offerings. I just wanted
that energy, and thankfully Colin and Cameron

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Karen's who I give all the credit, who wrote and directed the film,

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invited me to be a part of
it and to help produce it. They

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just nailed it. Their whole team
did such a great job and I'm so

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proud of the way this film looks
and feels. David Desmalchin Late Night with

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the Devil. It is out now
everywhere getting a lot of as I started

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the conversation, getting a lot of
buzz with the international and independent film festivals.

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Why is that? Is it because
it has more of an independent production

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value? I think so. I
think people get really excited when they know

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you made a film for a very
very very small amount of money. We

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went to Melbourne, Australia to make
this movie, which is where Colin and

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Cameron are from. So the entire
crew is basically their friends and family.

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The cast was all local Melbourne actors
except for me. I'm the only American

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that was a part of the production. And they made this movie for you

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know, one tenth of even the
smaller budgeted or like the things that you

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see right now in theaters that are
smaller horror films. This is still like

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a tenth of those budgets, and
I think it's exciting for people when they

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go, oh, wow, you
don't have to spend you know, five

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million or ten million, or twenty
million or one hundred million dollars on a

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film to create something that is captivating
and engaging. If you use the old

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school style of filmmaking where you put
the writing, the performance, and then

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they used a lot of practical effects
which take more time and they're not as

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you know, easy to fix,
as say doing then there's nothing wrong with

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you know, digital effects. I
do lots of films with cool digital effects,

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but we just didn't have the money
for that. So I think people

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got excited by the reality that there
we were just like we're making an old

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John Carpenter film with the makeup artists
trying to put the the latex over the

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wound and make the blood splatter it
just the right time. You've only got

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one take to do it. You
can feel it on the screen, you

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know, it's a it's a cool
feeling. I was going to ask you

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about that too, because that's that
immediately when I was looking at it was

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like Wow, they used very little
CG in this if at all got it

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right. We had, we just
didn't have the money for it. So

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the planning that went into making sure
we nailed it now there is if you've

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seen the film, anyone who's seen
the film, and I hope you revisit

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it because it's a fun movie.
And I'm not just saying this because I'm

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think after producer, and I do
think it's a fun movie to watch a

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couple of times because then you catch
stuff you missed the first time. But

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there's one big moment in the film
which we knew was going to require some

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visual effects and some CGI. So
the idea was, let's get everything that

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we possibly can hand with practical you
know, Latex kro Syrup and guyed Red

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and all the old school tricks,
and then we know we can make this

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one moment really shine and put whatever
bit we've got to do that. And

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so it's always a collaborative effort if
you're making a good film, it's always,

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you know. And everybody was pitching
in. Like I said, it

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felt like a little family down there, and I was just so lucky.

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I couldn't believe how great all the
dialects were too, because I showed up

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and I thought, oh my gosh, I'm the only American. And then

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all of the other cast were just
pitch perfect in their voices and their performances.

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It was really impressive. See it
all with Late Night with the Devil

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David Dustmunchin is the Star and it's
available livery where you get movies. Thank

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you for joining us, David,
Thank you so much. It's great to

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talk to you. Have a great
one. Nice Lee. Thanks for listening

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to Later with Lee Matthews, the
Lee Matthews Podcast, and remember to listen

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to The Drive weekday afternoons from five
to seven. And iHeartMedia presentation.