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Hello there, and welcome back to
the Disconnected. I am alive here with

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Troy Howorth, somebody that everybody's heard
his name when you're watching a channel like

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this. Troy, thanks for making
time for us tonight. Well, thank

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you for having me. Especially lately, it seems like your name's coming up

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a lot more on commentaries. Feels
like you're beef and lows up. Is

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that something that you're noticing a big
uptick for? Especially it seems like you

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and Nathaniel doing a lot together lately. I mean it's been pretty steady actually

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over the last several years. It
started at the end of two fifteen,

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and it took a little while for
to build a little momentum, so I'd

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say probably since twenty seventeen has been
fairly steady. Nathaniel and I started working

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together back in twenty nineteen, which
seems like forever ago. Up until then,

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I'd always worked alone. But you
know, fortunately with him and several

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other people have worked with two,
I've found a good report makes the more

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entertaining to do. So, yeah, there's been a lot and I'm sure

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there's a lot of people groaning and
say, oh God, not him again.

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Get somebody else, which fair enough. There's there's plenty of voices out

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there and they should all be heard. I agree with the diversity, but

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I will I will push back on
your voice being boring because it seems like

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you, especially when you and Nathaniel
lately have been together, there's something special

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about that chemistry. It's sort of
magnetic, something that feels like you are

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learning from people that you are just
hanging out with. It's basically just chill

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time with smart friends. Well I
don't know about the smart part, but

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it is it is designed to be
conversational and hopefully Yeah, your description is

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pretty much that's all the more we
could hope for. I don't like commentaries

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that feel like lectures. I don't
like when they get very sort of dry

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and pseudo intellectual and so forth.
I mean, everybody has their approach,

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and I just, you know,
from somebody starting listening commentaries all the way

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back in the nineties, kind of
figured out what I like and what I

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don't like. And yeah, that's
always been the goals, to try and

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make it hopefully partly entertainment as well
as hopefully somewhat educational. I mean,

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you can't make everybody happy, though, that's true. That's true. A

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lot of people really want that dry, educational aspect. But I'm just glad

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that a lot of the current ones
they are getting more attention, aren't just

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pointing out what's happening in the movie. Yeah, those are bad, aren't

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they. I mean, I think
a little bit of that is sometimes okay,

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just especially when you're working alone,
it can be a challenge, so

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sometimes you need that little bridge.
It gets you from one thought to another

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and say, well, now,
John Saxon walks across the fiata, you

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can do that. But if you
do that the whole way through and you

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start doing oh, don't open that
door girl, stuff like that, it

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gets really it gets really irritating really
quick. Who are some of your favorite

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commentators listen to? Well, I've
always enjoyed Oh, put me on the

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spot here tell you. Some of
my favorites are Greg Mank who's done a

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lot of the universal classic horror films. I've always enjoyed his commentaries very much.

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Christopher Frayling, who sort of specializes
in sergeo Leoni, although he's done

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other things as well, but he's
always great fun to listen to, very

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educational. Jonathan Rigby I like very
much. You'll hear him on a lot

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of especially British films, hammer films, things of that. He's kind of

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the gold standard. Who else David
Kllett who tends to do more kind of

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films and silent films and so forth. You might have heard him like Doctor

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Mabusa for example, some of the
Fritz Lang films. He's always good to

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listen to. I'm sure there's some
others that are kind of escaping me right

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now, but I always like Kim
Newman. Kim Kim Newman seems to be

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kind of uh uh love him or
hate him kind of proposition for some people.

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I I I enjoy him though.
I think he's I think he's very

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funny and uh but also quite interesting
and he's able to sort of tap into

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a variety of different topics. So
I always enjoy him very much as well.

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And he get into someone like the
noir commentators like Imogen Sarah Smith.

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I like her very much. He
has a wonderful voice and it's very very

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articulate, very interesting to listen to. And Alan k Roadie and Eddie Eddie

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Bieler and so forth. So there's
there's a bunch and you know, so

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obviously as far as directors go,
I mean, there's there's a bunch there

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that I really like listening to as
well. Yeah, and I love you

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hearing so many names because it really
shows how rich this hobby can be.

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It's certainly not a one man show
or anything like that, because really you

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can ask a lot of people who
buy a lot of these discs, and

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you can get five different answers and
feel that they're all valid easily. Yeah.

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That's why I don't object personally to
multiple commentaries on discs, because I

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think it's good to have options.
Somebody may not like listening to me,

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but they might like listening to somebody
else, or vice versa. There's also

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the danger sometimes of kind of monopolizing
certain subjects, which has happened traditionally with

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certain people. I suppose I'm in
danger of monopolizing tar Argento and Lucho Polti,

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and I'd hate for that to happen, although I know other people have

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done them, so that makes me
feel a little bit better. But I

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mean, but on the other hand, sometimes it's tough. I mean,

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you gets somebody Paul Talbot, who
when it comes to Charles Bronson. He

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can't do any better than Paul Talbot. I mean, he just he knows

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his stuff. I mentioned this,
literally wrote a book too. He did

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well several books at this point,
and he's he's great to listen to.

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Christopher Frayling I mentioned, I mean, you can't do better than that when

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it comes to talking about Sergio Leoni, although I like Alex Fox as well.

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But it's nice to have some variety, and I think it's a good

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idea when they when they do that. I've been asked before sometimes you know,

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on certain releases, well do you
mind if there's another No, So

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it shouldn't be a competition. To
me, it's it's all about more bang

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for the buck and the kind of
the real enthusiasts. They tend to like

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to listen to multiple tracks that they're
available to. Some people don't listen to

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any of them. That's fair enough
to Yeah, And there's some of these

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newer films that are not newer films, but newer releases that are getting sometimes

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three commentaries, and it's always nice
to see the variety there because usually when

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that happens, it's not even the
same style, it's not the same topics

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that they go over. There's just
so much to glean from some of these

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films, especially the ones that have
had wide, sweeping impacts, and it's

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just nice to hear, yeah,
three might be gilding the lily a little

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bit. Sometimes. I know there
was a release I was going to be

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involved in and there was some mix
up and there was you know, I

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had an option to feed a third
and I said, that's probably too much.

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I'll skip this one. But too
certainly is always advisable. Sometimes you

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can get away with three. I
mean, it just really depends some some

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films really they're they're important enough and
they have enough and as you say,

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it doesn't really matter. I mean, there's going to be crossover. That's

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why it's nice to know if there
is going to be somebody else that way,

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if you're on speaking terms with them, if you know them or whatever,

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you can kind of coordinate and say, well, what are you you

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know, planning to talk about.
I'll try to avoid this. Maybe you

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can try to avoid that, but
there's going to be crossover, and it's

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okay. Everybody's going to approach it
differently. My approach is radically different from

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whoever else you care to mention and
that's as it should be. And then

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on top of that, there are
you know, there's certain films that have

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these random stories, you know,
like City of the Living Dead. Everybody

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knows the random these are real cow
intestines or whatever you're gonna say in different

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scenes. So yeah, I imagine
there are a couple of stories that even

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get copied. But you know,
you you brought up Paul Talbot writing the

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book and how you've been monopolizing Folchi
and Argento, But when you've also written

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the book. Here are three of
Troy's books on Jello, we're gonna be

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talking about Yallo just a little bit. That makes sense for you to sort

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of monopolize those a little bit.
So what what got you into yallow originally?

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Well, you know, funnily enough, I saw my first Jallo films

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before I knew what Ajello was.
I mean, in the in the eighties,

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growing up and in a small town
in Pennsylvania, you know, you

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you were kind of limited to what
was either on the video shelves or what

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was on TV. And they did
run some weird movies on Channel nine,

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including The Night Eveline Came out of
the Grave, which was the very first

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commentary I ever did, and probably
the first yellow I ever saw a phenomena.

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Creepers would have been one of the
early ones too. That was a

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very early commentary for me as well. So I love them wearing that shirt

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as you as you mentioned there you
go, yeah, I mean it all

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kind of goes back to Mario Bava
for me becoming a fan of Bava by

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way of Bar and Blood. Seeing
it when I was very very young and

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kind of realizing there was something different
about it. I couldn't articulate what or

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why or how at that time,
because I'm just a little kid. I

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mean I'm less than ten years old. I've probably posted a five or six,

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and it was there was just something
different about the different feel of it,

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the different look of it. It
just had had a flavor that was

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unique, and that stuck with me. And gradually I started seeing some of

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those other films as well and realizing
something a little bit funky and weird about

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some these movies, like the music
and the voices are a little strange.

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And it eventually started to figure that
out. And I did see in Phil

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Hardy's Encyclopedia of Horror Films, which
is one of my kind of seminal books

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that made me want to write about
movies. He would refer to Jallo every

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now and again. I was like, Gallo, what is that? What

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is that supposed to meet? And
eventually came to realize that it was this

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kind of brand of Italian thrillers that
are very sort of lurid, pulpy,

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and you know, not always especially
violent. I mean, sometimes they're more

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psychological than they are violent. But
that was kind of a path. Eventually

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I started getting into through Boba's films
and Ardento and Folchi and realizing this is

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really interesting stuff, and then just
from there starting to seek out everything that

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I could and started to think about
the idea of maybe writing a book that

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kind of cataloged all the films,
because there had been not terribly in depth

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book from I guess the nineties.
I believe it was called Blood and Black

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Place, which was kind of a
review book, but it seemed to me

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it was a little bit incomplete.
It was certainly out of date at that

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time, and it seemed like the
reviews were fairly sort of short. I

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thought it might be interesting to go
back and do something a little bit more

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in depth. But now you know, here we are coming into twenty twenty

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three soon, which is like ten
years after I started it, and I

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think to myself, I'd like to
do it over again. I could.

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I'd like to go back and redo
it and revise it and revamp it.

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Maybe I will someday. I don't
know. Interesting me personally, I love

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everything I've read through all three of
these. I've taken so many notes,

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discovered multiple films. They are incredible. Yallo is something that really hits people

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differently, and there's something about the
way that they're written about in these that

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it sort of gives that tone that
certain films are talked about different ways.

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And it's hard to explain, but
they really it's not just the tone or

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what necessarily is in the film,
but they they just speak to different generations

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differently when you go back and watch
them with different experiences. And it's nice

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to see somebody like you that gives
a very neutral voice to something like Yallo,

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because they have so much behind them
that a lot of the time,

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if you're just trying to educate on
them, they kind of speak for themselves.

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Yeah, there's a lot to be
said there. I mean, for

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one thing, there are movies that
don't play really well for people who are

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really married to the kind of British
and American style of murder mysteries. They

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don't always play fair logically. I've
always said they kind of make emotional sense

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rather than they make logical sense.
If you're really concerned with all the loose

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ends getting gathered up and tied up
in neat bo at the end, go

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watch Agatha Christie, Go watch you
Know even and well it was out of

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Hitchcock. Funn enough, Hitchcock's coms
aren't always as logical as All I've Vertigo

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is a tearly a logical movie when
you think about it, But a lot

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of his films tend to be,
and they tend to focus more on the

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story and the plot, the plot
very important, whereas with jaello films it's

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it's more about the set pieces,
it's more about going for very specific effects

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and so forth. And again,
there are different types of Jalli. Some

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people think that all jallo films are
just about, you know, men running

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around in black trench coats with black
cloves slicing up beautiful women. And that

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is true that there's a lot of
those, but there's a lot of other

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types of films too, the kind
of cosmopolitan sexy jelly for example, with

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these impossibly good looking people, you
know, lounging around swimming pools and board

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with their lives and being absolutely hideous
to one another and plotting against each other.

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So there's all kinds of different things
that are hybrids that Flitzieski that became

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very popular in the sixties and seventies
kind of uses with the jallo. At

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one point they're Western jalli. I
mean, I included some in my book,

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but you know, you could even
make a case for a couple of

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films like Once Fun Time in the
West and for a few dollars more as

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well, that have jallo elements in
them definitely. And now even after a

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certain point they got so desperate that
there's porno jali as well. Get things

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like play Motel and Jallo and Venice
and so forth, and even more extreme

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examples than that. So yeah,
it's a it's a wide palette, and

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it doesn't do to take them all
terribly seriously. Some of them are are

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quite interesting, and they're made by
directors who have a real vision and have

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a real kind of artistic intention,
and some of them are just garbage,

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and some of the garbage is fun, some of it's not. Some of

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the films are really really bad,
and that was funny. I don't seek

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out reviews of my books because it
just doesn't pay to do that. But

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somebody pointed out a review to me
one time, and they one of the

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books on Amazon, which is kind
of assessed pool because anybody can go on

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there and say whatever they want to
say and it doesn't even have to be

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a review. That's put upside,
this guy sucks and they leave it.

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It doesn't have anything to do with
anything. But it was kind of complimentary,

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but at the same time saying,
this guy, he's too negative about

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too many of the films, Like, what the hell do you want?

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I mean, you're talking about hundreds
of films, some of them are awful.

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I mean, I'm sorry. It
doesn't mean you have to turn in

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your fan card just because you don't
like all of them. So yeah,

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it is what it is. There
are a lot of people that you spend

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a lot of time complaining about people
being positive on films too, which I

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always laugh at. But a lot
of times people just choose to talk about

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what they like. So if you're
doing a real deep dive, and I

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mean three big books about Yallow,
that's a deep dive. There's gonna be

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some trash in there. Well,
I mean, I wouldn't have wasted all

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that time if I didn't like them. There is such a thing as toxic

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positivity. I see this sometimes with
you know, particularly horror fans, just

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say we got to support this film
because we've got to support the genre,

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to which I said, to hell
with that. That's that's ridiculous, because

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they're a bad horror film. They're
bad films in any genre. So it

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doesn't mean that you have to like
every You don't have to like everything that

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Dario Jenna ever made to be a
fan. It's okay to say Dracula three

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D sucks because it does, at
least from my point of view. Some

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people do like it, but it
is it is a matter of opinion,

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and I did talk about this recently. I've put something up on Facebook about,

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you know, these people who who
sort of contort themselves into pretzels and

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and try to somehow invalidate opinions of
other people and saying you've got it wrong,

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you're wrong to not like this movie, or you're wrong to like it.

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Who cares? Just if you like
it, then be happy with that.

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You don't need validation, You don't
need other people to agree with you.

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If you like it, it worked
for you. Yeah, that's that

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would solve a lot of arguments right
there that I've got a lot of want

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to say about that. But man, that was just kind of a perfect

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statement. Let that sit. You
brought up Fulch, you brought up oar

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Gento. What are some more of
your favorite directors? Oh boy, there's

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so many. I mean, Mario
Bava's number one for me. He's the

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king. Uh Dario Argento, of
course, ful Chi, Roman Polanski canceled.

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I know, but I love his
movies. I think Man's a genius.

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Whatever one thinks of him as a
human being, whatever, but his

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films are extraordinary. Scorsese, Bernard
Hertzog, William Freakin, Fritz Lang,

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Michael Powell, Alfred Hitchcock, Parence
Fisher, God Almighty. I mean,

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I'm sitting here with all these reference
books. Billy Wilder, Stanley Kubrick.

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Yeah, I mean, the list
just goes on and on on. Sidney

248
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Lumett would be another one. Coppola, at least through the seventies, and

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you know it's choppier after that,
but certainly the seventies, it's pretty amazing.

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Yeah, I mean a ton of
Jean Pierre Melville be another one.

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I really love his films. Part
Chen I love his work as well.

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Yeah, lots of good stuff.
I just saw A Thirst for the first

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time, and my god, that
is such a unique movie. Yeah,

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that's good. Well, all of
his films are. I haven't seen his

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newest one yet, but I'm sure
it's good. I mean everything else has

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been. It would be hard to
believe that he would all of a sudden

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make a lousy movie, but could
happen. I suppose he is one.

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I don't. I don't think there's
a single thing that I've even felt any

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sort of negative feelings about. No, I've liked them all. I mean,

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you know, not to the same
extent. Some of them I like

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a little less than others. But
even something that is sort of a weird

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film, like I'm a Cyborg and
that's okay, it's a really charming little

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movie. I mean, it's it's
different than the other ones. It's slighter,

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perhaps, but it's it's an endearing
film. I kind of feel the

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same way about Plans gam And he's
been making films now for sixty years and

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he's yet to make one that I
think is a really bad movie. Some

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of them I like less than others, But you know, even a little

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little weird movie like what which many
people throw aside, like Scarbage, I

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think it's a really good movie.
Right, So yeah, I might certainly

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my people who are able to sustain
that level of quality over that length of

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a period of time. That's pretty
rare because most people, at some point

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or an they're going to end up
making a bad movie. It just ends

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up happening. Well, not only
period of time, but genres too,

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because Polanski and a handful of others
they they've like di Pauma's kind of the

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perfect example of this, that Diploma's
made basically an incredible movie in almost every

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single genre. Yeah, it's so
hard to transcend that type of thing,

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and it's it's really nice to reflect
on somebody that can do it properly.

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Yeah, I mean, you get
somebody like Dario Argento who was a specialist

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and he's pretty much stayed within that
wheelhouse for his career and has had a

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certain degree of success. It's gone
a little choppier lately, but for a

281
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long time maintained a certain degree of
success. Leoni was another one. Obviously,

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Sergio Leoni, you know, pretty
much stayed with westerns most of his

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career, although he ends his career
with a great gangster film, so there's

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you know, obviously he had talents
that went beyond it. People tend to

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think of Scorsese as the mob guy, but I mean he also made the

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Age of Innison's Last Temptation of Christ
comedy. I mean, all these different

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films, great films and different genres. Fulci was a very eclectic filmmaker.

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He made movies and just about all
the different genres and did very well by

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them. To Lenzi, who isn't
quite on the same here as some of

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them, but still a director I
liked very much. Obviously, spent a

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long time writing about him as well
as another guy who went from genre to

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genre and did very well. Baba
did too, with the exception of the

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western. The western was the one
genre that really he kind of didn't do

294
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so good at. I wouldn't necessarily
say completely failed, but didn't do nearly

295
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as well there for reasons that really
kind of makes sense when you think about

296
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it. But other than that,
you know, going into different types of

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films and so forth, did really
well. So I admire that type of

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eclecticism very much. Yeah, me
too. You finally brought up Lenzi.

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Why don't we spend some time talking
about make Him Die Slowly. This is

300
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a brand new book that you literally
just released. What is the official release

301
00:21:06.680 --> 00:21:07.480
date on this, like two and
a half, three weeks ago something?

302
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Yeah about that? It is so
far really nice this edition especially it's the

303
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hardcover, color pages, beautiful book
by the way, it's it's an incredible,

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incredible feat to get something like this
out in twenty twenty two. I

305
00:21:23.680 --> 00:21:29.519
would say, Well, the aesthetic
aspect of it, You've got to give

306
00:21:29.519 --> 00:21:32.839
a lot of credit to Tony Strauss
at WK Books, who did the layout,

307
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did the design, and he just
you know, he's phenomenal. Every

308
00:21:37.000 --> 00:21:40.160
time I've worked with him on a
book has been a joy. It's a

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00:21:40.200 --> 00:21:42.680
fun process working with him because he's
got a very good eye, very good

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sensibility, and he really knows how
to how to make me look good.

311
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But yeah, I mean that was
an interesting project for me because, as

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I talked about in the book at
one point, if you ever would have

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said to me, you're going to
write a book about Lensi, I would

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have laughed at the idea, because
for years I really didn't take him seriously

315
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at all. I had formed an
impression of him as this sort of obnoxious

316
00:22:07.160 --> 00:22:11.039
old curmudgeon in sweaters who just always
talked about what a genius he was and

317
00:22:11.119 --> 00:22:15.079
make kind of hackey movies and didn't
realize for years how good a lot of

318
00:22:15.079 --> 00:22:18.880
his films really were. And part
of that was being introduced to some of

319
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the weaker later films that came in
the eighties, which is not the ideal

320
00:22:23.039 --> 00:22:27.880
way to be introduced to Lensi's work, and also bad transfers, so he

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00:22:27.920 --> 00:22:32.720
didn't really get to appreciate the esthetic
quality that he brought to his films was

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00:22:32.839 --> 00:22:37.759
very good. Crash yeah, so
yeah. I mean when I finally started

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having to kind of think about his
work a little more seriously doing commentaries because

324
00:22:41.839 --> 00:22:45.200
it just so happened I was hired
to do a lot of Lensi commentaries,

325
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I started to realize, you know, there's there's something here that could be

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interesting, and there hadn't been a
book written about him in English. He's

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00:22:52.799 --> 00:22:57.400
obviously very popular among the Italian genre
fans, so I thought, well,

328
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I mean, it might as well
be me. Nobody else is done it,

329
00:23:00.200 --> 00:23:03.160
so I'll go ahead and from my
head into the ring and write a

330
00:23:03.160 --> 00:23:07.279
book about Lendsy. Hopefully not the
only book. I'm hoping other people will

331
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follow, but it was a fun
project to do. How much time do

332
00:23:11.480 --> 00:23:15.680
you spend working on this one?
Oh, it's hard to say altogether.

333
00:23:15.759 --> 00:23:21.000
I mean I feel like from the
time I started until the time it came

334
00:23:21.039 --> 00:23:26.920
out, probably about a year and
a half, which is not really that

335
00:23:26.039 --> 00:23:30.880
much time really when you think about
it, the amount of work that went

336
00:23:30.920 --> 00:23:36.519
into it. But part of it
is because I should preface this by saying,

337
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I do have a day job,
so I can't just sit home and

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write and watch movies all the time. I wish I could, but I've

339
00:23:41.200 --> 00:23:44.880
got to go to a day job
and then come home, and you're tired

340
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and everything. But when I get
working on a project, I'm always terrified

341
00:23:48.599 --> 00:23:51.880
that I'm going to lose momentum,
so I just keep going out a day

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00:23:51.920 --> 00:23:55.640
after day after day after day,
so I keep writing. I don't care

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00:23:55.680 --> 00:23:57.119
how much he gets done. You
go to get something done in the day

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00:23:59.039 --> 00:24:02.759
in order to keep going because if
you stop, there's always that potential just

345
00:24:02.759 --> 00:24:06.440
just lose it and you won't be
able to get it back. So that

346
00:24:06.519 --> 00:24:11.440
was pretty intense concentrated work over that
period of time. Helped too that I

347
00:24:11.440 --> 00:24:17.720
had Eugenio Urkilani, who you've had
on your show involved. He wrote a

348
00:24:17.799 --> 00:24:21.559
lovely forward because he knew Lendsy very
well interviewing him. As a matter of

349
00:24:21.599 --> 00:24:26.039
fact, that's why I contact him
because his book Darkening the Italian Screen as

350
00:24:26.119 --> 00:24:29.400
the best Lendsy interview you're ever going
to read in your life. I mean

351
00:24:29.440 --> 00:24:37.079
it is a full tilt, no
hold part. Roberto really just vomiting forth

352
00:24:37.319 --> 00:24:41.720
in great detail, and I thought, God, this is great. And

353
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I didn't really know Eugenio at that
time, but I knew I was going

354
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to lean heavily on that interview,
so I thought i'd better get his I

355
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mean, you don't have to because
it's published, it's out there. As

356
00:24:49.559 --> 00:24:53.440
long as you're citing it, it's
fair. But when you're gonna lean heavily

357
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on something like that, if I
can, I like to try and contact

358
00:24:56.960 --> 00:24:59.759
person and say, hey, I'm
going to use this luck you mind you,

359
00:25:00.039 --> 00:25:03.000
And of course he said no,
that's perfectly fine, and he was

360
00:25:03.039 --> 00:25:07.519
able to help out a lot.
Frederico Candeo, whose name you'll know too

361
00:25:07.559 --> 00:25:12.160
from extras. I think he runs
of freak rama productions. We'll see their

362
00:25:12.200 --> 00:25:15.880
interviews on a lot of Blu Ray
releases. He had a lot of material

363
00:25:15.920 --> 00:25:19.599
too, especially pictures, so got
a lot of great behind the scenes pictures

364
00:25:19.920 --> 00:25:25.440
and rare shots that were a great
addition to books. And we're finally getting

365
00:25:25.480 --> 00:25:29.160
good releases of Lindsay's films. It
was kind of lagging there for a while,

366
00:25:29.160 --> 00:25:32.599
but you brought up transfers. It
is unreal in twenty twenty two,

367
00:25:32.680 --> 00:25:36.640
the way that some of these films
can be viewed. We just had a

368
00:25:36.680 --> 00:25:41.599
conversation about this recently, how it
seems that many of these films are playing

369
00:25:41.640 --> 00:25:45.119
better than they've ever played, even
in a theater, in home theaters across

370
00:25:45.200 --> 00:25:49.240
the world right now, because you
know, four K scans are better than

371
00:25:49.640 --> 00:25:55.160
some old dim bulb in you know, some Washington, DC theater. What

372
00:25:55.559 --> 00:25:57.640
are some of the most remarkable upgrades
you've seen recently. They've been just beyond

373
00:25:57.640 --> 00:26:06.440
impressive. Oh boy, I know, that's an intimidating question. That's a

374
00:26:06.519 --> 00:26:10.039
tough one to answer. I only
just recently went to four K myself for

375
00:26:10.200 --> 00:26:11.880
years saying I wasn't gonna do it. Of course, inevitably I did.

376
00:26:12.960 --> 00:26:17.000
And the reason I did was because
I got hired to do a commentary for

377
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Deep Red, which is one of
my all time favorite films, and they

378
00:26:19.119 --> 00:26:22.279
put it out only in four K, and I was like, well,

379
00:26:22.960 --> 00:26:26.119
I guess I have to do it
now, not just because of the obvious,

380
00:26:26.240 --> 00:26:29.240
you know, because I don't really
listen to my own stuff, but

381
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I don't know, I don't particularly
I'll maybe listen to a little bit,

382
00:26:32.759 --> 00:26:34.279
but I'm not going to sit there, you know, like normal Desmond.

383
00:26:34.720 --> 00:26:40.920
We're living my former glories. But
because it's Deep reds like, well,

384
00:26:40.920 --> 00:26:42.400
I've got to see what this looks
like, because they did a scan and

385
00:26:42.440 --> 00:26:48.039
everything. I'll tell you what.
The Synapse Suspiria, which I was also

386
00:26:48.079 --> 00:26:52.880
happy to be a part of,
well that's an amazing, amazing looking transfer.

387
00:26:52.920 --> 00:26:56.799
If you get a chance to see
that four K, that is really

388
00:26:56.079 --> 00:27:03.119
absolutely a sort of mind melting experience
in its own right. Some wonderful stuff

389
00:27:03.160 --> 00:27:07.119
with black and white movies too,
like The Apartment, Billy Wilder's The Apartment

390
00:27:07.519 --> 00:27:12.519
fantastic, really really happy with that, and you know some of the John

391
00:27:12.559 --> 00:27:18.160
Carpenter stuff that's been upgraded as well. But also I think by far the

392
00:27:18.200 --> 00:27:22.759
best, the most satisfying home video
release ever of the Good, the Bad,

393
00:27:22.799 --> 00:27:27.480
and the Ugly from Pino, where
they finally got it looking correct.

394
00:27:27.880 --> 00:27:32.160
It doesn't have that sort of ugly
tint yellow tint that it had for a

395
00:27:32.160 --> 00:27:36.440
while. And along the same lines, their new version of Fist Bowl Dollars

396
00:27:36.599 --> 00:27:40.599
was just amazing as well, because
that last Blu ray they put out was

397
00:27:40.960 --> 00:27:44.200
hot garbage. It looked awful.
I got rid of it. I was

398
00:27:44.279 --> 00:27:48.160
so disappointed when I watched it.
This looked terrible, but the Blue the

399
00:27:48.240 --> 00:27:52.440
four K looks absolutely amazing. I've
been very happy with Keno. It seems

400
00:27:52.480 --> 00:27:56.400
like since about twenty twenty eighteen twenty
nineteen, they started to really listen to

401
00:27:56.400 --> 00:28:03.279
feedback and they've come around to just
suddenly being this powerhouse. It's astonishing to

402
00:28:03.279 --> 00:28:07.279
me that they can release like five
movies a week and somehow three of those

403
00:28:07.359 --> 00:28:12.079
will be great releases of films.
And it's not twenty fourteen anymore, where

404
00:28:12.079 --> 00:28:15.440
they would just put out a film
with a trailer and call it good.

405
00:28:15.640 --> 00:28:18.799
They'll put out a film with the
commentary and maybe one or two other things,

406
00:28:18.839 --> 00:28:21.440
and then on top of that,
three months later Beyond Sale for eight

407
00:28:21.480 --> 00:28:23.720
bucks. Yeah, that's the thing. I mean, there are a lot

408
00:28:23.759 --> 00:28:30.039
of really good labels now, which
you know, I'm gonna I'm gonna go

409
00:28:30.039 --> 00:28:33.200
there. I'm gonna say I think
some people think this they don't want to

410
00:28:33.240 --> 00:28:37.640
say. I really think Criterion has
been coasting for years. At this point.

411
00:28:37.000 --> 00:28:41.200
Everybody gets so, you know,
I hope they put this out on

412
00:28:41.279 --> 00:28:45.400
Criterion. Why I've got a fantastic
addition, Why do you need it?

413
00:28:45.720 --> 00:28:48.960
But these people have this it's kind
of like the name value, and they

414
00:28:49.000 --> 00:28:53.000
earned that for years, going back
in the nineties and so forth. But

415
00:28:53.119 --> 00:28:56.160
lately, I don't know, they've
put out some very flawed discs. And

416
00:28:56.240 --> 00:29:00.680
when they when they upgrade their there
are movies to four K, they're not

417
00:29:00.720 --> 00:29:07.599
adding new features, They're not doing
anything really different with it. I mean,

418
00:29:07.640 --> 00:29:10.359
don't get me wrong, They've done
some amazing work. I love their

419
00:29:10.400 --> 00:29:11.839
release at Night of Living Dead,
for example. I thought that was,

420
00:29:12.079 --> 00:29:15.559
you know, an amazing release.
But you know, they ain't all could

421
00:29:15.920 --> 00:29:19.079
cracked up to be these days in
my opinion. Anyway, Whereas you look

422
00:29:19.119 --> 00:29:23.319
at some of these other boutique labels, like, uh, you know,

423
00:29:23.400 --> 00:29:27.559
eighty eight has been doing amazing work
lately. Ero obviously, you know,

424
00:29:27.640 --> 00:29:33.359
may lead some bounds over their early
stuff too, h Synapps, Blue Underground

425
00:29:33.440 --> 00:29:37.559
and so forth. I mean,
Criterion, you know, it's always going

426
00:29:37.599 --> 00:29:41.640
to have that cachet, I suppose, because it has that that kind of

427
00:29:42.160 --> 00:29:45.359
name value to it. You know, it's like Nike or Adidas or something.

428
00:29:45.400 --> 00:29:51.119
It just has that, you know, that special something. But man,

429
00:29:51.119 --> 00:29:53.160
from my point of view, I
think they've been eclipsed by some of

430
00:29:53.160 --> 00:29:59.240
these other labels. I agree fully, especially before prior to twenty twenty two.

431
00:29:59.400 --> 00:30:04.000
I've been saying since about twenty seventeen
or eighteen that they're just not what

432
00:30:04.039 --> 00:30:07.400
they used to be. A lot
of the stuff. This year the titles

433
00:30:07.400 --> 00:30:12.400
got me, but then they are
coasting with the features again. And yeah,

434
00:30:12.440 --> 00:30:15.680
the four K re releases are nice
to see some of these in the

435
00:30:15.759 --> 00:30:18.480
highest quality. But like you said, it's like screen factory. When you're

436
00:30:18.480 --> 00:30:22.720
putting out a four K of something
that you put out previously, at least

437
00:30:22.759 --> 00:30:26.519
give the fans something, and I
get it. A lot of these a

438
00:30:26.559 --> 00:30:30.559
lot of the people involved are either
dead or dying. But there's like fifty

439
00:30:30.559 --> 00:30:33.000
five people we can name right now
that would be more than willing to do

440
00:30:33.039 --> 00:30:38.160
a new commentary for something. Well, they seem to have kind of a

441
00:30:38.200 --> 00:30:44.000
good old boys club going there as
far as contributors are concerned. It's very

442
00:30:44.039 --> 00:30:48.279
tough to get involved. I've not
tried, and I'm not saying this out

443
00:30:48.319 --> 00:30:51.440
of bitterness or anything. I'd love
to do something for them if they ever

444
00:30:51.559 --> 00:30:53.799
had an interest. They're not going
to ask me, right, but if

445
00:30:53.839 --> 00:30:57.039
they ever did, sure, that'd
be great. But they're all kinds of

446
00:30:57.039 --> 00:31:00.119
people. I mean, this is
not a small field anymore. There's a

447
00:31:00.119 --> 00:31:07.279
lot of people jostling around looking for
jobs, and you know, I think

448
00:31:07.319 --> 00:31:11.279
they would be spoiled for choice.
You know, it would be I think,

449
00:31:11.440 --> 00:31:15.680
really really worthwhile to get somebody in
to do it. I mean,

450
00:31:15.279 --> 00:31:19.400
Okay, they put out Raging Bull
on four K last year and they did

451
00:31:19.440 --> 00:31:22.079
a very nice job. Well it's
got some nice features on it, and

452
00:31:22.160 --> 00:31:26.640
you know, it's a beautiful transfer. But it would have been really nice

453
00:31:26.759 --> 00:31:30.559
if they could have gotten somebody,
you know, somebody interesting to go and

454
00:31:30.599 --> 00:31:33.400
do a commentary on a film like
that, kind of delve into it,

455
00:31:33.519 --> 00:31:37.480
talk about it and so forth,
but just don't they don't seem to be

456
00:31:37.480 --> 00:31:40.119
interested in doing that. Well.
Really disappoints me is when they get some

457
00:31:40.480 --> 00:31:45.039
you know, an old catalog title
like Tunes of Glory, a really wonderful

458
00:31:45.039 --> 00:31:49.920
British film with John Mills and Alec
Gunnis and Dennis Price, which is,

459
00:31:51.839 --> 00:31:55.079
you know, it's another one of
his movies. Everybody's dead. Obviously they're

460
00:31:55.119 --> 00:31:57.759
not gonna get anybody connected to the
film with it. But they only ever

461
00:31:57.839 --> 00:32:01.359
had like a five minute long interview
with the director and a poster and still

462
00:32:01.359 --> 00:32:04.759
gallery and that's all the more it's
still gone. It's like, why didn't

463
00:32:04.799 --> 00:32:08.079
she had something in but a commentary
or something, But I don't, you

464
00:32:08.160 --> 00:32:13.279
know, the people who are married
to Criteria will be just actually cursing my

465
00:32:13.400 --> 00:32:15.240
name for saying this, because of
course they can do no wrong. But

466
00:32:15.480 --> 00:32:21.440
they've also they put out some very
compromised editions, spent a lot of controversy

467
00:32:21.519 --> 00:32:27.200
with color timing on some of their
releases and things. You know. Addressed

468
00:32:27.200 --> 00:32:32.519
to Kill was notoriously kind of batched
initially, and every label has their mistakes,

469
00:32:34.359 --> 00:32:37.279
but she kind of hold Criteria to
a higher standard. It's sort of

470
00:32:37.319 --> 00:32:43.160
surprising when sometimes you hear underwhelming things
about their releases, and I don't I

471
00:32:43.279 --> 00:32:45.519
just I feel like, again,
they seem to be slightly coasting a little

472
00:32:45.559 --> 00:32:51.599
bit. I can't remember who it
was. Somebody from Arrow I think it

473
00:32:51.640 --> 00:32:53.720
was about a year and a half
ago said that some of these color timing

474
00:32:53.799 --> 00:33:00.000
questions with directors are directors coming in
and saying something different about their film.

475
00:33:00.400 --> 00:33:05.440
What I've suggested, just put out
both versions if possible. I mean a

476
00:33:05.480 --> 00:33:07.559
lot of us they grew up with
these discs for forty years seeing it one

477
00:33:07.599 --> 00:33:13.079
way, and if something comes out
looking completely differently tinted, yeah, sure

478
00:33:13.119 --> 00:33:15.000
the director may like it, but
what about the rest of the world that

479
00:33:15.079 --> 00:33:20.680
viewed this as something different? Yeah, it's revisionism, and it's something that

480
00:33:21.000 --> 00:33:24.359
I've always respected Scorsese for refusing sort
of tinker with his films, with the

481
00:33:24.400 --> 00:33:28.799
exception of New York, New York, which I think I understand why he

482
00:33:28.799 --> 00:33:30.599
did that, because he was a
mess when he made it, and the

483
00:33:30.640 --> 00:33:32.640
studio kind of tampered with it and
everything. They kind of went back with

484
00:33:32.680 --> 00:33:37.200
a clearhead and was able to fix
up with it. But even a movie

485
00:33:37.240 --> 00:33:39.599
like Kangs in New York, which
we know was heavily compromised and material was

486
00:33:39.640 --> 00:33:43.240
cut and everything. He won't touch
it, he said, no, no,

487
00:33:43.279 --> 00:33:45.200
it's it's my film, you know, it's I agreed to this version.

488
00:33:45.200 --> 00:33:50.359
It's ways to stay. Just get
people like Coppola and James Cameron and

489
00:33:50.440 --> 00:33:53.240
Ridley Scott and Michael Mann, and
they love to go back and with George

490
00:33:53.319 --> 00:33:58.160
Lucas course famously, oh yeah,
tinkering with their films. And I don't

491
00:33:58.160 --> 00:34:02.160
have a problem with it, but
they should preserve the original version as well

492
00:34:02.160 --> 00:34:06.359
as the new version. I think
that's perfectly fine. I mean, Papola

493
00:34:06.440 --> 00:34:10.840
going back and changing The Cotton Club
and The Godfather three were improvements, definitely.

494
00:34:12.280 --> 00:34:16.599
He definitely made those into better and
more coherent, cohesive films. And

495
00:34:16.880 --> 00:34:22.760
I know that The Godfather Part three
is available in its original version as well.

496
00:34:22.800 --> 00:34:24.960
I don't know if the Cotton Club
really is or not, but it's

497
00:34:25.039 --> 00:34:29.599
nice when they make both versions available. But of course, William Friedkin is

498
00:34:29.599 --> 00:34:32.320
really well known for loving to tinker
with the colors and so forth, and

499
00:34:32.599 --> 00:34:36.760
I said, let them tinker with
it, but put as you say,

500
00:34:36.840 --> 00:34:39.440
both versions on there, so you
can have a version of Cruising that's really

501
00:34:39.559 --> 00:34:44.239
very blue but let's have the version
that we're familiar with the way it was

502
00:34:44.239 --> 00:34:46.920
originally shown as well, French connection, et cetera, et cetera. I

503
00:34:46.920 --> 00:34:52.559
think that's perfectly fine. Or you
have a really weird situation of something like

504
00:34:52.800 --> 00:34:58.599
Alien which the theatrical cut is the
director's cut. Really. Scott has said

505
00:34:58.639 --> 00:35:01.599
this many times that is his The
version that sold as a director's cut on

506
00:35:01.679 --> 00:35:06.400
video is not his preferred version.
That was just something he did to kind

507
00:35:06.400 --> 00:35:07.960
of appease the fans. Add in
a little bit of footage and take some

508
00:35:08.000 --> 00:35:12.760
footage out that more or less runs
the same running time. But they put

509
00:35:12.800 --> 00:35:15.440
in that scene with Tom Skarrett in
the cocoon and all that stuff, and

510
00:35:15.519 --> 00:35:20.639
they shortened some other bits and so
forth. It's not really a director's cut.

511
00:35:21.320 --> 00:35:24.360
The Exorcist to the two thousand version, which which I in many respects

512
00:35:24.440 --> 00:35:30.679
don't like, was really something he
did to appease William Peter Bladdie, who

513
00:35:30.960 --> 00:35:32.760
had for years complained about all these
things in the film he didn't like.

514
00:35:34.400 --> 00:35:37.119
They kind of did this is shut
him up. But now he's like,

515
00:35:37.199 --> 00:35:39.239
oh, yeah, it's it's my
that's my cut of the movie. Wait

516
00:35:39.280 --> 00:35:45.159
a minute. Seventy three versions better, So I you know, all these

517
00:35:45.239 --> 00:35:49.800
kinds of things, this kind of
revision, revisionism and so forth. As

518
00:35:49.840 --> 00:35:52.599
long as the directors are doing it, I don't have a problem with it,

519
00:35:52.679 --> 00:35:57.159
but they should preserve the original version
that we're familiar with as well.

520
00:35:57.840 --> 00:36:00.039
And the hardest part for me is
that there are some of these instances and

521
00:36:00.840 --> 00:36:06.440
not to just continue shooting on Criterion
or anything. But their Miller's Crossing disc

522
00:36:06.679 --> 00:36:09.519
is kind of the biggest example of
that. Recently, they took like it's

523
00:36:09.519 --> 00:36:13.960
not a lot, but it's like
seventy five seconds worth of footage out because

524
00:36:14.159 --> 00:36:17.119
the directors said that they wanted it
cut from the film. That's not the

525
00:36:17.159 --> 00:36:22.000
same movie though, that's it's something
completely different, and it's I'm really against

526
00:36:22.039 --> 00:36:27.519
censorship altogether. We got to be
able to at least archive what we all

527
00:36:27.639 --> 00:36:30.639
knew so that we can have that
history. Yeah, I mean, even

528
00:36:31.599 --> 00:36:36.960
sort of bastardized versions that were put
out by the studio against the wishes of

529
00:36:37.000 --> 00:36:40.639
the director. I think should be
preserved just for comparative purposes. Growing up

530
00:36:40.639 --> 00:36:45.880
in the eighties, the version of
the Fearless Vampire Killers that I knew and

531
00:36:46.039 --> 00:36:50.760
fell in love with does not exist. Anymore. It was the version that

532
00:36:50.800 --> 00:36:55.719
Martin Ransohoff had completely overhauled and cut
and re dubbed it and tinkered with extensively.

533
00:36:55.760 --> 00:37:00.760
It's vastly inferior to plant spuversion,
but I'd love to see it again,

534
00:37:01.079 --> 00:37:05.760
you know, with the animated cartoon
prologue and everything in it that they

535
00:37:05.800 --> 00:37:07.960
put in, and they kind of
added all these silly sound effects and changed

536
00:37:07.960 --> 00:37:14.039
the voices and things. It's definitely
travesty. But I think it should be

537
00:37:14.159 --> 00:37:17.840
preserved just because, you know,
I think for the for the sake of

538
00:37:19.559 --> 00:37:22.360
sort of further research, you should
be able to have access to it.

539
00:37:22.400 --> 00:37:25.519
That was one thing that was I
was happy about when Nathaniel and I did

540
00:37:25.519 --> 00:37:30.599
a commentary for Jess Franco's film Just
Teen. This was just announced today.

541
00:37:30.960 --> 00:37:35.880
The specs were announced today anyway,
and as part of the commentary, we

542
00:37:35.880 --> 00:37:39.719
were talking about this shorter version of
the film that was available for years called

543
00:37:39.719 --> 00:37:45.840
Deadly Sanctuary. And you never know
whether these companies actually even listen to commentary

544
00:37:45.880 --> 00:37:49.639
tracks. Sometimes I think they just
take them and they slap on a distance

545
00:37:50.000 --> 00:37:53.480
whatever. But these guys listen because
they realized, oh, that would be

546
00:37:53.519 --> 00:37:59.039
an interesting extra feature to have so
they are now presenting Deadly Sanctuary as an

547
00:37:59.079 --> 00:38:01.320
extra on the day for the first
time ever. So I think that's really

548
00:38:01.320 --> 00:38:05.079
great. That's how you do it. I mean, listen to that.

549
00:38:05.320 --> 00:38:08.159
It's not it's not something especially with
a lot of people don't know what it's

550
00:38:08.199 --> 00:38:12.840
called. But seamless branching on these
four K discs is where they take all

551
00:38:12.880 --> 00:38:15.760
the same footage that is in one
version and utilize it for multiple versions of

552
00:38:15.800 --> 00:38:21.760
the same film, so you don't
compromise the integrity of the compression levels or

553
00:38:21.760 --> 00:38:25.039
anything like that on the disc.
And they unfortunately they have limited space they

554
00:38:25.039 --> 00:38:28.920
can put on these discs, and
if they had to do that, I

555
00:38:28.960 --> 00:38:30.760
could see it being a problem.
But with that, I mean, Blue

556
00:38:30.800 --> 00:38:34.639
Underground is the epitome of high quality
on four k's. I don't know how

557
00:38:34.679 --> 00:38:38.840
many you've seen yet, but their
four k's are mind blowing. I've seen

558
00:38:38.960 --> 00:38:43.440
several. I mean I've been fortunate
enough to be involved in several, and

559
00:38:43.480 --> 00:38:46.960
I've got more coming. They're great. I mean, I'm absolutely thrilled with

560
00:38:47.000 --> 00:38:51.559
the way that Zombie looks, for
example in the New York Ripper. Yeah,

561
00:38:51.880 --> 00:38:57.360
absolutely, absolutely beautiful. So yeah, that's great when they can do

562
00:38:57.400 --> 00:39:00.960
that, or alternatively, when you
have a case like Roserrado Dotto going back

563
00:39:01.039 --> 00:39:07.159
and deciding to do an animal cruelty
free version of cannibal Holocaust, which is

564
00:39:07.199 --> 00:39:10.519
fine, but you know, there
again, if you offer both versions,

565
00:39:12.360 --> 00:39:15.559
if you've seen less branching or whatever, or do two discs or whatever you

566
00:39:15.599 --> 00:39:22.159
need to do. As long as
you're presenting it in a kind of a

567
00:39:22.199 --> 00:39:25.800
good way like that, and allowing
people to have the often to see which

568
00:39:25.880 --> 00:39:30.159
version they want to see, which
version they prefer, that's the way it

569
00:39:30.159 --> 00:39:36.000
should be. I completely agree.
In terms of censorship. I didn't really

570
00:39:36.039 --> 00:39:37.800
plan on bringing this up, but
we brought a plan. Ski For a

571
00:39:37.840 --> 00:39:42.920
minute, it sounds like you feel
a lot of the same way about this

572
00:39:42.960 --> 00:39:46.199
whole cancel culture idea that I do. I'm curious, just so we could

573
00:39:46.239 --> 00:39:51.079
try to share with everybody. How
do you try to separate the art from

574
00:39:51.079 --> 00:39:55.599
the artist? Yeah, well,
cancel colleture. It's a difficult thing to

575
00:39:55.639 --> 00:40:00.239
get in talking about because you sound
like a right winger and I'm certain not

576
00:40:00.320 --> 00:40:07.639
that there. I've always maintained that
art has no moral obligations whatsoever. I

577
00:40:08.159 --> 00:40:15.280
think the only sin art can commit
is to be boring. So that's a

578
00:40:15.400 --> 00:40:17.559
very subjective thing. You know,
you look at a film, you look

579
00:40:17.599 --> 00:40:21.519
at a painting, you listen to
a piece of music and respond to it

580
00:40:21.639 --> 00:40:23.639
or you don't. You like it
or you don't. You either have the

581
00:40:23.679 --> 00:40:27.760
ability to articulate why you like it
or don't like it or you don't.

582
00:40:28.360 --> 00:40:32.960
This is where you see online some
people writing lengthy dissertations versus some people just

583
00:40:32.960 --> 00:40:37.639
saying it sucks. It's both reactions
are valid, but you know, some

584
00:40:37.679 --> 00:40:40.960
people can can get a little deeper
than others. Some people, you know,

585
00:40:42.639 --> 00:40:47.039
don't seem to have those skills when
it comes to artists. I mean,

586
00:40:47.239 --> 00:40:51.400
Planski is certainly example. Klass Kinsky
is even greater example. I mean,

587
00:40:51.440 --> 00:40:53.360
there's a lot of stories about class
Kinskin If even a fraction of them

588
00:40:53.360 --> 00:40:57.920
are true, he was a pretty
despicable human being. However, he was

589
00:40:57.960 --> 00:41:00.199
also one of the most compelling screen
presents of all time. And I'm not

590
00:41:00.239 --> 00:41:04.400
going to throw out I have films
with him and them because of some of

591
00:41:04.400 --> 00:41:07.079
the things they say he did.
I don't know that he did all these

592
00:41:07.079 --> 00:41:10.400
things. I expect he did at
least some of them. Polanski, certainly,

593
00:41:10.440 --> 00:41:14.679
there's no ambiguity there. We know
what happened, you know, in

594
00:41:14.760 --> 00:41:19.960
nineteen seventy seven, and has been
dogging him for years. Unfortunately, it's

595
00:41:20.000 --> 00:41:24.239
resulted in a situation where his last
three films have not been released over here

596
00:41:24.360 --> 00:41:30.320
in any shape whatsoever. You can
get them imported if you you know,

597
00:41:30.559 --> 00:41:35.159
you know where to look, but
unfortunately that means that you're not getting an

598
00:41:35.159 --> 00:41:39.280
opportunity to see some some really fine
films. Now, whether you think that's

599
00:41:39.880 --> 00:41:43.039
a good thing or a bad thing, I mean, that kind of depends

600
00:41:43.039 --> 00:41:46.320
on what side of this argument to
come down on. But my opinion is

601
00:41:46.360 --> 00:41:51.920
basically, you know, if we
start looking at art as if it needs

602
00:41:51.920 --> 00:41:54.440
to be created by nice people,
we're going to be getting rid of a

603
00:41:54.440 --> 00:41:59.119
lot of the best art ever created, because some of the best art ever

604
00:41:59.280 --> 00:42:01.880
created has been made by really awful
people. I mean, go back,

605
00:42:01.960 --> 00:42:07.679
even painting, literature, music,
you name it. You have to get

606
00:42:07.719 --> 00:42:13.599
rid of everything that Richard Wagner ever
wrote so many different examples down through the

607
00:42:13.679 --> 00:42:19.599
years of people who are what is
the word I can't think of the word

608
00:42:19.679 --> 00:42:28.239
now, not compromised, but complicated, I guess in the contemporary sense,

609
00:42:29.559 --> 00:42:32.079
you know, because they did something
that we disapprove of, or we know

610
00:42:32.159 --> 00:42:37.159
something that really problematic is probably what
you were thinking of. Problematic. Problematic

611
00:42:37.280 --> 00:42:43.440
is the word, Yes, thank
you. It's it's kind of ludicrous,

612
00:42:43.480 --> 00:42:46.800
really, it's it's not up to
me to pass moral judgment on these people.

613
00:42:46.840 --> 00:42:50.960
I'm not interested in having a argument
about whether these are good people or

614
00:42:50.960 --> 00:42:54.519
bad people. They're great artists talking
about and their works deserve to be preserved

615
00:42:54.519 --> 00:42:59.280
and deserve to be discussed. And
you know, people were dismissing with the

616
00:42:59.360 --> 00:43:04.280
Allen based on allegations that have never
really been terribly well but pantiated. I

617
00:43:04.280 --> 00:43:06.679
mean there's a lot of reasons to
think that. I mean, yeah,

618
00:43:06.880 --> 00:43:10.360
his relationship with Sunny might might be
strange. I mean it might have been,

619
00:43:10.519 --> 00:43:15.599
you know, not the ideal.
But she was of age, she

620
00:43:15.719 --> 00:43:22.079
was not a blood relative. Oh, I mean yeah, live and let

621
00:43:22.199 --> 00:43:25.480
live. I really don't care if
you don't like his movies because you just

622
00:43:25.480 --> 00:43:29.760
don't like his movies, that's one
thing. But if you're going to adopt

623
00:43:29.760 --> 00:43:35.440
this kind of handwringing moral outrage over
somebody just because they did something you disagree

624
00:43:35.480 --> 00:43:39.079
with or said something you disagree with, I mean, there are admittedly people

625
00:43:39.119 --> 00:43:43.079
who sometimes are shooting themselves in the
foot. I mean, John Police has

626
00:43:43.079 --> 00:43:45.840
been shooting himself in the foot lately
with some of the things he's been saying.

627
00:43:45.519 --> 00:43:52.280
He's starting from a good place,
which is talking about the dangers of

628
00:43:52.440 --> 00:43:58.159
losing our ability to use humor and
satire because we won't engage certain subjects because

629
00:43:58.159 --> 00:44:01.639
you don't want to offend anybody.
That's a valid point. But then he's

630
00:44:01.679 --> 00:44:05.840
taking it to a degree where he's
just starting to sound like a bitter old

631
00:44:05.880 --> 00:44:08.519
man and it's kind of compromising his
legacy a little bit. It's like,

632
00:44:08.719 --> 00:44:13.480
you're in your eighties, just shut
up. You're not helping yourself at this

633
00:44:13.599 --> 00:44:16.880
point. You're appealing, if anything, you're appealing to the people that you

634
00:44:16.960 --> 00:44:21.599
really don't like, because this is
a guy who for years was lasting Trump,

635
00:44:22.000 --> 00:44:27.599
which is good in my book,
But you're appealing to that kind of

636
00:44:27.719 --> 00:44:31.679
person now by arguing against all these
sort of woke liberals and everything, you

637
00:44:31.719 --> 00:44:37.639
know, trying to cancel everybody and
you know, take away our sense of

638
00:44:37.719 --> 00:44:40.079
humor and take away our freedom of
expression. So you're kind of, you

639
00:44:40.119 --> 00:44:44.159
know, you're losing the plot a
little bit by by taking it too far.

640
00:44:45.719 --> 00:44:51.599
I don't think it's something that will
ever be successfully resolved. It's just,

641
00:44:52.239 --> 00:44:54.199
especially now, I think social media
has a lot to answer for.

642
00:44:54.360 --> 00:44:59.400
I mean, there's no good railing
against it because it's not going anywhere.

643
00:44:59.440 --> 00:45:01.519
I mean, you can't put the
genie back in the bottle. But everybody

644
00:45:01.559 --> 00:45:06.760
having a platform and everything unfolding in
real time, and everybody having the ability

645
00:45:06.800 --> 00:45:09.599
to comment on things immediately without thinking
about it, without letting it sync in,

646
00:45:09.719 --> 00:45:14.079
without having that little bit of time
to sort of process, and many

647
00:45:14.079 --> 00:45:19.480
of those being anonymous, too anonymous, and too immediate two knee jerk,

648
00:45:19.840 --> 00:45:23.840
and everybody just wants to have a
hot tape, and it's it's created a

649
00:45:23.880 --> 00:45:28.639
lot of problems too. So there
are these these kinds of ridiculous situations that

650
00:45:28.719 --> 00:45:32.639
come up. Some of the situations
that are brought up are admittedly things that

651
00:45:32.880 --> 00:45:38.360
are being said by a very very
small number of people that somebody reads about

652
00:45:38.400 --> 00:45:40.840
and they think, oh my god, all these lefties want to do this.

653
00:45:42.039 --> 00:45:46.000
Oh not not everybody left lust There's
just a few people. So it

654
00:45:46.119 --> 00:45:53.000
all just becomes terribly, terribly muddy
and terribly everybody just shouting over each other

655
00:45:53.159 --> 00:45:57.480
and wanting to kind of vertue signal
all the time about you know, I

656
00:45:58.320 --> 00:46:01.280
refuse to support this artist because I
you know, I respect women. I

657
00:46:01.320 --> 00:46:05.719
respect women too, but I also
happen to love on a plant movies.

658
00:46:05.800 --> 00:46:10.360
I'm sorry that, you know,
what he did is not what I'm celebrating.

659
00:46:10.519 --> 00:46:15.880
So I think those things have to
be sort of separated. I agree,

660
00:46:15.960 --> 00:46:20.039
And there's a lot of times that's
even come up recently, like Keino

661
00:46:20.159 --> 00:46:22.400
just put out a four K of
the Usual Suspects, and I have to

662
00:46:22.519 --> 00:46:27.320
I had to remind people, like, you're not a bad person for liking

663
00:46:27.320 --> 00:46:30.280
a film that Kevin Spacey was in. It's not like you watching that in

664
00:46:30.280 --> 00:46:36.199
twenty twenty two means that you are
morally reprehensible or anything. You almost have

665
00:46:36.239 --> 00:46:38.800
to bear in mind that films are
made by hundreds of people, sometimes thousands

666
00:46:38.880 --> 00:46:45.719
of people, and it is terribly
unfair to suppress or somehow try to remove

667
00:46:45.960 --> 00:46:50.079
the efforts of all these people just
because of the actions of one. If

668
00:46:50.119 --> 00:46:57.880
you went to every single company across
the globe, every single manufacturer, every

669
00:46:58.119 --> 00:47:01.639
single publishing house, et cetera,
whatever it is, you're going to run

670
00:47:01.679 --> 00:47:06.480
into problematic people in every single place. What do you do? Just shut

671
00:47:06.519 --> 00:47:10.639
everything down? There's only so much. You complete, you know, allegations

672
00:47:10.679 --> 00:47:14.840
that were made against Kevin Spacey,
which again may or may not be true.

673
00:47:14.920 --> 00:47:21.440
I gather they recently were dismissed.
The case was decided in his favor.

674
00:47:22.079 --> 00:47:25.719
You know that he was on trial
for It's not for me to get

675
00:47:25.719 --> 00:47:29.079
into it. It doesn't interest me. I happen to think he's a good

676
00:47:29.079 --> 00:47:32.079
actor. He's not one of my
top ten favorites or anything, but I've

677
00:47:32.079 --> 00:47:37.280
always enjoyed watching him. Uh And
I'm again, I'm not going to throw

678
00:47:37.280 --> 00:47:42.960
out my copies of you know seven
or Glengarry Glenn Ross or even you know

679
00:47:43.079 --> 00:47:46.320
during early his appearance on The Equalizer, or his role in See No Evil

680
00:47:46.360 --> 00:47:51.719
Here No Evil with Dean Wilder and
Richard Pryor. I'm not going to get

681
00:47:51.800 --> 00:47:55.000
rid of those because of you know, the stories that or or to get

682
00:47:55.079 --> 00:47:59.639
rid of a film produced by Harvey
Weinstein, for example, who is undoubtedly

683
00:47:59.840 --> 00:48:05.000
a a greade as Gumbag. It
is what it is. I mean,

684
00:48:05.039 --> 00:48:08.360
it's it's not something that you know, decided. It's the same thing that

685
00:48:08.559 --> 00:48:15.440
happened when Trump was in office and
Robert de Niro was was going on a

686
00:48:15.559 --> 00:48:20.440
tear about Trump every chance he got
Trump and everything else, and all these

687
00:48:20.639 --> 00:48:22.840
right wingers were getting really bent out
of shape about that, and people saying,

688
00:48:22.840 --> 00:48:24.920
well, I'm not going to watch
anymore Robert Niro movie. Do you

689
00:48:24.920 --> 00:48:29.679
think he really cared? Do you
think it's hurting him that you are getting

690
00:48:29.760 --> 00:48:31.280
rid of your copy of Taxi Driver? It's not hurting him one bit.

691
00:48:31.880 --> 00:48:36.119
It's kind of a ridiculous knee jerk
thing, and it happens on both sides

692
00:48:36.119 --> 00:48:40.199
of the equation, and unfortunately it
doesn't fix the problem. It does nothing

693
00:48:40.199 --> 00:48:43.840
to fix the problem. The problem
is already, it's already happened, it's

694
00:48:43.840 --> 00:48:47.159
already done. You're not making anything
better by saying, well, I refuse

695
00:48:47.239 --> 00:48:51.480
to watch anything that so and so
has his hand in. So okay,

696
00:48:51.559 --> 00:48:53.880
I mean that if that makes you
sleep better at night, then that's fine.

697
00:48:53.920 --> 00:48:59.800
But I just I don't see the
sentiment I agree. And it's not

698
00:48:59.880 --> 00:49:04.119
like watching Kevin Spacey film, even
if the allegations are true, it's not

699
00:49:04.199 --> 00:49:07.800
like those you watching that film means
that somebody else is getting assaulted tomorrow or

700
00:49:07.840 --> 00:49:14.920
something. So art we still have
it. It's like going back and cutting

701
00:49:15.440 --> 00:49:20.360
the animal violence out of some of
the Italian cannibal movies. I'm gonna bring

702
00:49:20.400 --> 00:49:22.840
those animals back to life. I
don't like that they did that either.

703
00:49:23.039 --> 00:49:27.360
You know, it's not something that
I personally am a fan of. I

704
00:49:27.400 --> 00:49:30.840
love animals. I mean I'm also
a meat eater, so I guess I'm

705
00:49:30.880 --> 00:49:32.960
a hypocrite on a certain level,
or at least at least I mean,

706
00:49:34.199 --> 00:49:36.599
I don't yell them myself. I
just go to the store and buy them

707
00:49:36.639 --> 00:49:40.239
wrapped in plastic and I cook them. But you know, what good does

708
00:49:40.320 --> 00:49:44.920
cutting it do? I mean,
to remove that footage? What does that?

709
00:49:45.599 --> 00:49:49.960
And it's not something limited to just
grubby Italian exploitation film. You could

710
00:49:50.039 --> 00:49:52.920
point the scenes in Pat Garrett and
Billy the Kids, the Sampack and Palm

711
00:49:52.920 --> 00:49:58.920
movie, for example, or Apocalypse. Now. You know, these things

712
00:49:59.000 --> 00:50:02.199
happenferent times, different sensibilities. And
that's the other thing, too, is

713
00:50:02.239 --> 00:50:07.559
the danger of trying to look at
old art through a contemporary lens and trying

714
00:50:07.559 --> 00:50:09.880
to impose these things on it.
Yes, there are certain films from the

715
00:50:09.920 --> 00:50:14.239
thirties that are outrageously racist. If
you look at the Mask of Pu Mantu,

716
00:50:14.320 --> 00:50:17.320
for example, with Forrest Carlock that, even by nineteen thirty two standards

717
00:50:17.400 --> 00:50:22.719
was outrageously racist, but it's so
over the top, how could you possibly

718
00:50:22.760 --> 00:50:28.000
take it seriously? It's just fun
the same token. You could look at

719
00:50:28.000 --> 00:50:30.519
the ones that Christopher Lee did in
the sixties and say, wow, it's

720
00:50:30.519 --> 00:50:32.679
still kind of racist, but me
Lee's playing it more straight and it's not

721
00:50:32.840 --> 00:50:37.280
nearly as cringey, and it doesn't
seem to be done with quite that sort

722
00:50:37.280 --> 00:50:42.679
of racist sensibility in mind. So
it's just something, you know, you

723
00:50:42.800 --> 00:50:45.360
just have to put things into a
certain context and understand that when certain things

724
00:50:45.360 --> 00:50:51.119
were made, it was acceptable you
could get away with it. There are

725
00:50:51.159 --> 00:50:54.719
certain things that you know you wouldn't
get away with today, nor should you

726
00:50:54.719 --> 00:51:00.880
get away with today, But you
can't. You can't impose that on on

727
00:51:00.159 --> 00:51:04.320
something that was made fifty years ago, sixty years ago, seven years ago.

728
00:51:04.599 --> 00:51:07.800
I remember when I was in college, a friend of mine was dating

729
00:51:07.800 --> 00:51:12.480
a girl who was a very,
very outspoken feminist. I have no problem

730
00:51:12.519 --> 00:51:15.039
with feminists. I wanted people to
understand that, but I thought it was

731
00:51:15.119 --> 00:51:20.239
hysterically funny that he said that they
watched The Seventh Seal together and this girl

732
00:51:20.280 --> 00:51:22.239
was just absolutely appalled by the way
the women were treated in this film.

733
00:51:22.280 --> 00:51:25.719
It's set in the medieval time,
right, this is how it was.

734
00:51:27.360 --> 00:51:34.320
You can't make this into an enlightened
thing just because that's how it is now.

735
00:51:34.800 --> 00:51:37.159
It would be unfair, it would
be inaccurate, and it really would

736
00:51:37.320 --> 00:51:43.199
grossly distort everything, so that,
in my opinion, that'd be more misogynistic.

737
00:51:43.280 --> 00:51:46.639
You were erasing the travesties that occurred. At least at least have them

738
00:51:46.679 --> 00:51:50.239
be visible so that we can keep
them in mind so that we can learn

739
00:51:50.239 --> 00:51:53.559
from them. Well, it'd be
like suggesting you can't talk about slavery,

740
00:51:53.679 --> 00:51:57.119
or you can't talk about, you
know, any of the other terrible things

741
00:51:57.119 --> 00:52:00.119
that have happened. You have to
acknowledge these things. You have to be

742
00:52:00.159 --> 00:52:04.800
aware that they happen. The best
way to ensure that something terrible is going

743
00:52:04.880 --> 00:52:08.719
to happen again is never talk about
it. You know why banning books is

744
00:52:08.719 --> 00:52:14.239
so bad. It's not banning,
but any kind of censorship. I'm not

745
00:52:14.280 --> 00:52:16.800
in favor of. I mean it, really, it's it's just not again,

746
00:52:16.840 --> 00:52:22.599
it's not addressing the problem. I
mean, certain words are are not

747
00:52:22.119 --> 00:52:27.480
advisable to say. I don't use
them myself, but I understand that in

748
00:52:27.519 --> 00:52:32.840
a certain context you can have a
racist character without being a racist person yourself.

749
00:52:32.880 --> 00:52:36.760
There's there's a racist language in some
of the Sorsese films. Does that

750
00:52:36.840 --> 00:52:40.159
mean that he is a racist?
Absolutely not, But it makes sense for

751
00:52:40.280 --> 00:52:44.760
some of the characters that he deals
with that are scumeback that they would have

752
00:52:44.840 --> 00:52:49.280
these kinds of beliefs, So therefore
they're going to say nasty things and that's

753
00:52:49.360 --> 00:52:53.239
just the way it is. That's
a damn fine point. Uh. The

754
00:52:53.519 --> 00:52:57.199
other thing I wanted to point out
too, is where some of these films

755
00:52:57.239 --> 00:53:00.960
are made, because we're we were
watching films in such a global sense now,

756
00:53:00.559 --> 00:53:05.639
especially people that are really in a
home video that you can't really just

757
00:53:06.639 --> 00:53:08.920
brush aside that, you know,
the Philippines were different in nineteen sixty than

758
00:53:08.920 --> 00:53:15.000
the US in nineteen sixty or even
something like Germany from a few decades ago,

759
00:53:15.119 --> 00:53:22.440
like Necromantic. That movie came out
and there is a rabbit. It's

760
00:53:22.440 --> 00:53:25.920
not even like online it's described as
a rabbit torture scene. It's just a

761
00:53:27.000 --> 00:53:30.679
rabbit butchering scene. There's not even
anything like inhumane about it. They're just

762
00:53:30.880 --> 00:53:36.119
butchering a rabbit for food, it
looked like, and everybody describes it online

763
00:53:36.119 --> 00:53:38.159
as this most horrendous, awful thing, which, yeah, it's not fun

764
00:53:38.199 --> 00:53:43.199
to watch necessarily, but the movie
itself was made to go against censorship.

765
00:53:44.639 --> 00:53:47.960
Yeah, I mean, it's hard
to fall to film when it's trying to

766
00:53:49.559 --> 00:53:54.760
when it's subjective, is really to
be disturbing. It's meant to be sort

767
00:53:54.800 --> 00:53:59.320
of confrontation on me. I think
there's a limit to how much anybody can

768
00:53:59.360 --> 00:54:02.960
take. I mean, I remember
there was something called August Underground that I

769
00:54:04.000 --> 00:54:07.800
saw years ago, and it was
I mean, it's fine for what it

770
00:54:07.920 --> 00:54:08.559
is. I mean, if you
just want to watch an hour and a

771
00:54:08.599 --> 00:54:13.480
half of atrocities, it's it's fine. I mean, it's it is successful

772
00:54:13.480 --> 00:54:16.480
what it sets out to do.
A more contemporary example would be a Serbian

773
00:54:16.519 --> 00:54:21.320
film, which is you know,
it's quite a well made movie. I

774
00:54:21.360 --> 00:54:23.880
mean to me, after a certain
point, it took on an amazing predictability.

775
00:54:24.320 --> 00:54:28.440
I knew where it was going to
go because I could just sense you're

776
00:54:28.800 --> 00:54:31.559
trying really hard to upset people's I
know, or we're going to get to

777
00:54:31.599 --> 00:54:36.880
it the end, and that's what
happened. Yeah, I mean to me,

778
00:54:37.000 --> 00:54:39.960
after a certain point, it also
becomes almost sort of unintentionally funny because

779
00:54:39.960 --> 00:54:45.159
it's like, it's just it piles
on so much that it just it's too

780
00:54:45.239 --> 00:54:49.199
much. But I mean, if
a film is really setting out to do

781
00:54:49.239 --> 00:54:52.960
that, if it's that is it's
m then one must accept that and go

782
00:54:53.000 --> 00:54:55.480
along for the ride, or else
just not watch it. I mean,

783
00:54:55.840 --> 00:55:02.760
don't don't watch Sallo if you have
a particularly delicate tensibility, because that movie

784
00:55:05.320 --> 00:55:08.719
hit you over the head for two
hours with really harsh imagery. You know,

785
00:55:08.840 --> 00:55:13.000
all in the name of decrying fascism. We all know fascism, well,

786
00:55:13.039 --> 00:55:17.320
we don't all know it some people, but we you know, most

787
00:55:17.320 --> 00:55:22.599
of us reasonable people know that fascism
is good. But two hours being punched

788
00:55:22.639 --> 00:55:28.360
the face and the fascism is bad. Yeah, I mean, that's exactly

789
00:55:28.400 --> 00:55:32.360
what it is. And it's hard
to get too worked up about that sometimes,

790
00:55:32.400 --> 00:55:37.719
you know, if that's what the
filmmaker is trying to do. Sometimes

791
00:55:37.119 --> 00:55:43.400
kind of confrontational, nasty, vicious, violent movies work, and sometimes they

792
00:55:43.440 --> 00:55:47.360
don't. It's very true. Protest
cinema is is there and exists for lots

793
00:55:47.400 --> 00:55:53.280
of different reasons. Period. So
back to Yellow, how about we get

794
00:55:53.320 --> 00:55:57.440
into shallow We were we were speaking
beforehand, what we all want to talk

795
00:55:57.440 --> 00:56:00.119
about and you and I share the
sense of bbil of enjoying a lot of

796
00:56:00.119 --> 00:56:04.480
different things. So I was curious
what's to talk about first? But really

797
00:56:04.800 --> 00:56:07.400
the thing that really got me into
Troy was these these Yallow books, and

798
00:56:07.440 --> 00:56:10.400
so I figured, why not go
back to something that I loved hearing from

799
00:56:10.440 --> 00:56:16.000
you about. So I wanted to
share with everybody Troy's thoughts on five five

800
00:56:16.039 --> 00:56:21.639
to get into Yallo if it's your
first time or you're getting interested in the

801
00:56:21.679 --> 00:56:25.159
genre, and then five great deep
cuts. So let's go with the intro

802
00:56:25.239 --> 00:56:30.840
to Yallow films. First, let's
go with your first one, well Blood

803
00:56:30.840 --> 00:56:35.480
in Black Place Mario Bava. I
mean it's the one that kind of sets

804
00:56:35.559 --> 00:56:38.760
the uh sets the golden standard in
many respects that it's the first of the

805
00:56:38.760 --> 00:56:44.159
body count Jalley. It all kind
of goes from there. I mean,

806
00:56:44.199 --> 00:56:46.760
there's really how much said beyond that. I mean it is it is the

807
00:56:47.440 --> 00:56:53.840
first film to feature that sort of
iconic imagery and the really incredibly intense murder

808
00:56:53.880 --> 00:56:59.639
sequences. WHI they're still disturbing because
it's a real physicality to them. I

809
00:56:59.679 --> 00:57:04.960
think particular of the scenes the girl
getting her face really nasty. I mean,

810
00:57:05.320 --> 00:57:08.039
it has a real intensity to it, but you know, contrasted with

811
00:57:08.159 --> 00:57:14.559
the glamour and and the sexiness and
the beautiful sort of poetic imagery and so

812
00:57:14.599 --> 00:57:15.719
forth. You know, if you
really want to get a sense of what

813
00:57:15.760 --> 00:57:19.880
it Jallow is all about, it's
hard to talk that one as a prime

814
00:57:20.920 --> 00:57:23.559
and it's it's genuinely still such a
great film, especially for when it was

815
00:57:23.599 --> 00:57:29.360
made. It it shines. I'm
I'm trying to think. I don't think

816
00:57:29.360 --> 00:57:31.840
there's any even current release of that
one in print right now? Do you

817
00:57:31.880 --> 00:57:35.519
know if any? Because I know
the Era one went out of print?

818
00:57:35.760 --> 00:57:37.320
Oh did it? I didn't know
that. I know bc I put out

819
00:57:37.320 --> 00:57:40.840
a version, but I never looked
at it because it's BCI. I'm sorry

820
00:57:40.880 --> 00:57:46.360
that I tend to avoid their discs. Uh. Yeah, I wasn't aware

821
00:57:46.400 --> 00:57:50.440
it had gone out of print.
Well, hopefully somebody will pick it up

822
00:57:50.480 --> 00:57:53.079
and do a nice four K at
some point. Yeah, I would agree

823
00:57:53.119 --> 00:57:57.000
with that, And I think a
lot above his films would benefit from four

824
00:57:57.079 --> 00:58:00.400
K. And not when people hear
four K, they just are to think

825
00:58:00.440 --> 00:58:04.239
of the resolution. But a lot
of these because of the dark imagery and

826
00:58:04.320 --> 00:58:08.320
literally the dark cinematography that hdr to
stop the black banding in the corner of

827
00:58:08.320 --> 00:58:13.199
your screen when you're watching on you
know, some shitty LCD panel or something.

828
00:58:13.639 --> 00:58:15.280
That's where these are really going to
show up and shine for you.

829
00:58:16.400 --> 00:58:21.719
Yeah. I it was recently announced. I can say I was. I

830
00:58:21.800 --> 00:58:24.079
was absolutely thrilled to do a commentary
on the Whip and the Body, another

831
00:58:25.199 --> 00:58:30.079
one of my great favorites by Bava
Forrady eight Films. And they went back

832
00:58:30.119 --> 00:58:32.920
into the new scan, which is
gorgeous. I mean, I've only seen

833
00:58:32.920 --> 00:58:37.000
a standard definition, but they finally
got it looking right. The previous high

834
00:58:37.000 --> 00:58:40.719
def version looked awful. The colors
were all wrong, it was far to

835
00:58:40.840 --> 00:58:46.519
murky. Somehow or another they got
a hold of some materials did this new

836
00:58:46.559 --> 00:58:50.360
transfer. I thought it looked amazing
and I said, is this gonna be

837
00:58:50.519 --> 00:58:52.719
a UHD too, And he said, no, no, we don't think

838
00:58:52.760 --> 00:58:55.159
the materials are quite good enough for
that. Well, I mean, even

839
00:58:55.199 --> 00:58:58.880
in a standard definition version of this
thing popped. So I can't wait to

840
00:58:58.880 --> 00:59:01.960
see what looked like blue or Baba
has. I think there's only been one

841
00:59:02.320 --> 00:59:07.039
UHD release so far. I think
there was a French release of Black Tabbath

842
00:59:08.039 --> 00:59:14.480
The Spoken Cat. I believe interesting. Yeah, that's the only one.

843
00:59:15.440 --> 00:59:21.119
Most of Bob's films are controlled by
Alfred of Leoni would be slightly difficult to

844
00:59:21.119 --> 00:59:27.559
deal with, So I think,
I hope somebody somewhere is going to explore

845
00:59:27.599 --> 00:59:30.760
they were supposed to do Planning of
the Vampires as the qHD. That was

846
00:59:30.800 --> 00:59:34.079
my understanding. And then they put
it out again on Blu Ray, which

847
00:59:34.320 --> 00:59:37.559
made no sense to me whatsoever.
Yeah, same disc as before and everything.

848
00:59:37.320 --> 00:59:43.960
They added a new commentary not by
me. Well, yeah, they

849
00:59:43.960 --> 00:59:47.639
did add a new commentary that the
Old Woman. Uh, and it was

850
00:59:47.639 --> 00:59:52.039
a new transfer of the lague.
But it was. Oh, I may

851
00:59:52.079 --> 00:59:55.239
be thinking of one of the other
Vinent Price films that they announced. I

852
00:59:55.719 --> 00:59:59.639
apologize, Yeah, I might have
been thinking of that. They just re

853
00:59:59.639 --> 01:00:04.119
released couple of the really old Vincent
Price ones they did in like twenty fourteen.

854
01:00:04.599 --> 01:00:08.519
Oh yeah, nothing. They've been
putting out some of the like the

855
01:00:08.599 --> 01:00:14.119
Poe films and Last Man on Earth, I think, yeah, yeah,

856
01:00:13.960 --> 01:00:17.559
the Bava things. Speaking of Kino
all of I think all of their Bava

857
01:00:17.559 --> 01:00:21.960
titles were going out of print.
I don't know if they're all out out

858
01:00:22.039 --> 01:00:25.800
now, but the word going behind
the scenes is that they they might be,

859
01:00:27.079 --> 01:00:30.119
or the people who hold the rights
might be noticing how much their stuff

860
01:00:30.159 --> 01:00:34.519
is in demand and suddenly be charging
a lot more for the licenses. So

861
01:00:34.639 --> 01:00:37.480
I really hope it's not the end
of the home video stuff for a while.

862
01:00:37.320 --> 01:00:42.519
It happens unfortunately. I mean,
I was so impressed that David Gregory

863
01:00:42.599 --> 01:00:47.760
was finally a hole to get Rene
Chateau to agree to doing Faceless, because

864
01:00:47.800 --> 01:00:51.880
he's been asking for The Moon of
the Stars for ages for that film.

865
01:00:52.119 --> 01:00:54.000
I mean, some of these people
they ask for you know, there's a

866
01:00:54.039 --> 01:00:59.280
lot of complaints about re releasing the
same films over and over again, and

867
01:00:59.280 --> 01:01:00.840
why don't they put out this film, put out that film. There are

868
01:01:00.840 --> 01:01:05.679
a lot of reasons for this.
One of them is sometimes the right holders

869
01:01:05.719 --> 01:01:09.679
are impossible to deal with. Sometimes
the materials just simply aren't there. Sometimes

870
01:01:09.719 --> 01:01:14.920
they can't figure out who owns the
rights some Lendsi's best film, For example,

871
01:01:15.480 --> 01:01:21.400
I've been pushing for releases of from
Fully Owning Brooklyn and Violent Naples and

872
01:01:21.840 --> 01:01:23.400
they just can't seem to figure out
who owns the rights. I mean,

873
01:01:23.719 --> 01:01:28.039
we thought we'd figured out who it
was, and it turned out they denied

874
01:01:28.079 --> 01:01:29.840
it. So it was like well, I don't know. I don't know

875
01:01:29.840 --> 01:01:32.559
who owned the film, so there
are certain ones that are just difficult to

876
01:01:32.599 --> 01:01:38.480
get access to for that reason.
But I also don't object to re releasing

877
01:01:38.519 --> 01:01:40.880
the same films over and over again
as long as you're going to do them

878
01:01:40.880 --> 01:01:45.159
better if you can get a better
transfer and hopefully add into new extras too.

879
01:01:46.119 --> 01:01:50.400
I don't see a prom with that, all right, What is your

880
01:01:50.440 --> 01:01:58.519
second intro to Jolly Film? Keep
read? Nice choice? Keep Read is

881
01:01:58.519 --> 01:02:02.760
my favorite Giallo. I mean,
it's another one if you really want a

882
01:02:02.800 --> 01:02:06.760
sense of what these films are like, what they're all about. It's an

883
01:02:06.800 --> 01:02:14.840
ideal primer in many respects. It
is probably the most coheats of Argento's Galley

884
01:02:14.840 --> 01:02:19.280
in many respects. I think he
really benefited from the participation of Bernardino's and

885
01:02:19.320 --> 01:02:23.920
Pony on the screenplays that Tony had
worked a lot with Billin and was great.

886
01:02:23.960 --> 01:02:29.119
It takes kind of wild ideas and
giving them a tape of something and

887
01:02:29.239 --> 01:02:32.039
creating a coherent narrative. So this
is one of the movies that actually kind

888
01:02:32.039 --> 01:02:36.599
of kind of makes sense. I
still some bits that really don't make a

889
01:02:36.599 --> 01:02:39.239
lot of sense. The doll doesn't
really make any sense, But I'm glad

890
01:02:39.239 --> 01:02:44.480
it's there, so it's okay.
And the movie does wander off into the

891
01:02:44.480 --> 01:02:47.880
irrational, but that's intentional, so
it's not like it's sloppy things that Ardento

892
01:02:49.039 --> 01:02:52.639
like to do. I love David
Hemmings and it I love Darian Nickelodeon and

893
01:02:52.719 --> 01:02:55.960
they make such a great couple.
And of course the music by Goblin is

894
01:02:57.079 --> 01:03:02.360
just absolutely, you know, mind
blowing to this day. I was fortunate

895
01:03:02.440 --> 01:03:07.840
enough about two and a half weeks
ago to see Goblin playing with Suspiria at

896
01:03:07.920 --> 01:03:13.119
the local theater here. They played
it live and afterwards they did like a

897
01:03:13.159 --> 01:03:17.519
full hour hour and ten show of
just other themes modern music that they've been

898
01:03:17.519 --> 01:03:21.800
working on. And when they play
Deep Bread, it just it hits so

899
01:03:21.960 --> 01:03:27.159
hard live in person. They yeah, they're special. Yeah, it's my

900
01:03:27.280 --> 01:03:30.960
favorite of the scores they've done Deep
Read, even though it's not entirely theirs.

901
01:03:30.000 --> 01:03:34.119
But Georgia GASLINI was hired to do
the score originally, and so some

902
01:03:34.159 --> 01:03:37.679
of the music is his. I
love that score. I love the film.

903
01:03:37.719 --> 01:03:39.880
I mean, it's just an amazing
piece of work. I mean,

904
01:03:39.880 --> 01:03:45.239
it's really Ardento coming back to the
Gallo and saying I'm going to, you

905
01:03:45.280 --> 01:03:50.119
know, make the Jallo end All
Galley, which I think he did to

906
01:03:50.159 --> 01:03:53.280
me. It's it's the absolute best
that the genre has to offer. Absolutely.

907
01:03:53.599 --> 01:03:58.320
Number three then well, I hate
to keep with Argento, but I

908
01:03:58.360 --> 01:04:03.000
will put number three with Berber's Crystal
Plumage, just because I think that's another

909
01:04:03.039 --> 01:04:08.159
one that's just a great primer for
people. It's another one that actually tells

910
01:04:08.239 --> 01:04:13.000
a really kind of gripping, compelling
story that essentially makes sense. It calls

911
01:04:13.039 --> 01:04:16.159
a nice coherent through line. It's
it's a little more sort of straightforward and

912
01:04:16.199 --> 01:04:21.320
linear than some of his later films. It's a little less eccentric as wonderful,

913
01:04:21.360 --> 01:04:26.719
wonderful humorous touches in it too.
Some of the characters, the stammering

914
01:04:26.840 --> 01:04:31.719
temp so long, for example Borrow
Adorf as the cat eating painter who's pulled

915
01:04:31.800 --> 01:04:35.519
himself up in the house, that
it paints mystical scenes because it's feeling mystical.

916
01:04:36.639 --> 01:04:42.239
I love I love that film.
It wouldn't, frankly but wouldn't be

917
01:04:42.239 --> 01:04:45.280
in my top ten if I'm making
a top ten list of Gallo films.

918
01:04:45.320 --> 01:04:48.960
But I think, as you know, intro movies go, that's a really

919
01:04:49.000 --> 01:04:54.159
solid place to start. Did you
did you happen to see Dark Glasses yet?

920
01:04:54.840 --> 01:04:57.039
Yes? I did? How do
you? How do you feel about

921
01:04:57.039 --> 01:05:00.079
that one? I think it's the
best thing he's done, best feature he's

922
01:05:00.119 --> 01:05:04.480
done since the spend All Syndrome.
I think spend All Syndrome is his last

923
01:05:04.480 --> 01:05:12.599
great film today. Dark Glasses is
not a great film. It's one of

924
01:05:12.599 --> 01:05:15.480
those things. I was talking with
somebody recently about the Halloween sequels lately,

925
01:05:15.599 --> 01:05:24.000
and I do this parallel that,
you know, fan Sometimes it's like when

926
01:05:24.039 --> 01:05:28.119
you're being fed dog food for years
and all of a sudden your handed a

927
01:05:28.199 --> 01:05:30.960
fatty overdone, you know, rock
hard piece of steak, but it's still

928
01:05:31.039 --> 01:05:35.760
steak. He's think this is really
good. Eh. You know, the

929
01:05:35.880 --> 01:05:40.079
new Halloween movies weren't that good,
but they're better than the ones that came

930
01:05:40.159 --> 01:05:44.239
right before it. Dark Glasses I
wouldn't put down there. I think it's

931
01:05:44.239 --> 01:05:46.599
a good film. I think it's
a genuinely good film. I did see

932
01:05:46.639 --> 01:05:49.519
some of the fans really kind of
losing their minds over it, like it

933
01:05:49.559 --> 01:05:55.280
was active. It's good. It's
a good movie, and for twenty first

934
01:05:55.280 --> 01:05:59.920
century ardento that will do so I
like it. I actually do like it.

935
01:06:00.039 --> 01:06:02.159
I think has some really interesting things
that I love. The relationship between

936
01:06:02.559 --> 01:06:09.079
the girl and the little little boy, which recalls the relationship to Carl Malden

937
01:06:09.159 --> 01:06:15.320
and Tinsia Carlist in Cana nine Tales. So it's a movie that has all

938
01:06:15.400 --> 01:06:19.159
kinds of callbacks to his earlier films. And it's a slight plot, which

939
01:06:19.199 --> 01:06:21.519
is borne out by the fact it's
a very short film. It's less than

940
01:06:21.559 --> 01:06:27.239
an hour and a half, which
is very short for ourgento. But it's

941
01:06:27.280 --> 01:06:30.920
got energy and he shot in an
Italian It's the first movie he's shot in

942
01:06:30.000 --> 01:06:33.519
Italian since The Five Days back in
nineteen seventy three, which really helped.

943
01:06:33.559 --> 01:06:40.440
I think. So the movie doesn't
have that ear splitting issue with some of

944
01:06:40.480 --> 01:06:44.079
the voices that have heard some of
the more recent films. Right, all

945
01:06:44.159 --> 01:06:48.639
righty, what's your number four intro
to jiallo movie? I think another really

946
01:06:48.679 --> 01:06:56.159
good intro to jiallo would be Palokavara's
film The Black Belly of the Tarantula with

947
01:06:56.280 --> 01:07:00.920
gian Carlo Jemini. I don't know
where that movie is on Blu Ray.

948
01:07:00.039 --> 01:07:04.320
Please somebody make it happen. Invite
me along if you wish, I'd love

949
01:07:04.360 --> 01:07:11.199
to do it. I it has
probably any of Morconi's best score for a

950
01:07:11.280 --> 01:07:15.639
jello, which is a big recommendation
of itself. It has an unusually complex

951
01:07:15.760 --> 01:07:19.239
policeman protagonist in the form of Genini, who's just you know, if you

952
01:07:19.239 --> 01:07:21.840
don't know the name right off the
top of your head's a brilliant factor.

953
01:07:21.960 --> 01:07:27.199
Worked a lot with Lena wurk Miller
films like Castaway in Seven Beauties, but

954
01:07:27.239 --> 01:07:30.519
more recently even things like Hannibal and
Casino Royal and so forth. He's one

955
01:07:30.519 --> 01:07:35.239
of the great Italian actors. And
it is one of those movies with the

956
01:07:35.360 --> 01:07:39.360
killer and black slicing up gorgeous women, so it is. It is kind

957
01:07:39.400 --> 01:07:43.800
of a classic example. Is very
much a imitation of what was going on

958
01:07:43.960 --> 01:07:46.400
with Argenta's films at the time.
But it's a really, really good invitation.

959
01:07:47.079 --> 01:07:50.000
And I think, uh, you
know, a movie that ticks off

960
01:07:50.039 --> 01:07:55.639
all those boxes if you're looking for
something that really gives you a sense of

961
01:07:55.639 --> 01:07:58.119
what a gallo is all about,
which is what I'm trying to limit myself

962
01:07:58.159 --> 01:08:01.000
to with these ones. I think
that's a good example. Yeah, And

963
01:08:01.159 --> 01:08:04.320
I think for the people that are
trying to get into the genre, that's

964
01:08:04.360 --> 01:08:09.719
got to kind of be where you
start is what are the quintessential this is

965
01:08:09.760 --> 01:08:13.239
what it's all about type of titles, and so far these four have nailed

966
01:08:13.239 --> 01:08:15.439
it. Eager to see your fifth
one here? So what is number five?

967
01:08:15.520 --> 01:08:19.920
Then number five? I could go
in a couple of different directions,

968
01:08:19.920 --> 01:08:23.399
but I feel like I need to
have Bolshie here, and I think for

969
01:08:23.640 --> 01:08:28.520
a kind of classic representation, you
would be hard pressed to do better than

970
01:08:28.560 --> 01:08:33.640
Elizabeth and Woman's Skin one of his
best films. Great cast, I mean,

971
01:08:34.000 --> 01:08:39.279
really really distinguished actors in it,
like Famley Baker and Leo Gain in

972
01:08:39.279 --> 01:08:44.680
addition to the more familiar Jallo faces
like Anita Strindberg and John Stirell. Another

973
01:08:44.680 --> 01:08:49.800
great more Tony score, trippy imagery
of Francis Bacon inspired dream sequences. There's

974
01:08:49.800 --> 01:08:54.000
an animated bird at one point.
It's like something out of the alf Pitchcock,

975
01:08:54.119 --> 01:09:00.920
Salvador Dolly dream sequences in spell,
Mountain, lesbianism, lots of blood,

976
01:09:01.039 --> 01:09:04.199
you know, hippies. What else
could you ask for? I mean,

977
01:09:04.239 --> 01:09:09.319
it's just a great little montage with
Leo again and his family sort of

978
01:09:09.920 --> 01:09:13.520
having dinner, a very stuffy,
you know, buttoned down Leo again complaining

979
01:09:13.520 --> 01:09:16.119
about you know, those neighbors next
door making old that racket and they're having

980
01:09:16.159 --> 01:09:19.680
an orgy next door and smoking pond. That's just great. It's great stuff.

981
01:09:20.760 --> 01:09:24.800
It is a really great blue ray
at from Anto Macabreau on this one.

982
01:09:25.399 --> 01:09:28.800
This is yet another one I think
would do very well on four K,

983
01:09:29.239 --> 01:09:32.800
especially with ful cheese. I don't
know, there's something about his cinematography

984
01:09:32.800 --> 01:09:38.880
that just begs you to pause every
scene and digest it in because he has

985
01:09:38.920 --> 01:09:43.960
such an eye for like his angles
are just one of a kind on most

986
01:09:43.960 --> 01:09:45.680
of his films, like Don't Torture
a Duckling. I don't know if that's

987
01:09:45.680 --> 01:09:48.439
going to be a part of the
other top five, but that movie is

988
01:09:48.720 --> 01:09:55.199
astonishing for every single scene that you
pause and just look at every quarner and

989
01:09:55.239 --> 01:10:00.199
go, he knew what he was
doing in every single shot. Yeah.

990
01:10:00.199 --> 01:10:03.000
It mystifies me when people dismissed him
as a hack, because I suspect it

991
01:10:03.079 --> 01:10:08.199
because of some of the later films. The later films were heavily compromised a

992
01:10:08.439 --> 01:10:11.800
by his own health, B by
the budgets. I mean, you know,

993
01:10:12.800 --> 01:10:15.800
he just wasn't capable at that point
of getting the same results. Although

994
01:10:15.800 --> 01:10:19.439
they're better film than they're off given
credit for the later movies. I tend

995
01:10:19.439 --> 01:10:23.439
to like them more than most people
do. But if you look at his

996
01:10:23.479 --> 01:10:27.399
stuff in the sixties and seventies and
into the eighties, oh, he was

997
01:10:27.399 --> 01:10:30.239
doing things that Brian de Palmer got
a lot of credit for later, using

998
01:10:30.239 --> 01:10:34.680
split screens, split diopter, things
like that, especially in Lizard and Woman's

999
01:10:34.720 --> 01:10:40.039
chem but also in Perversion Story,
which was his first Gallo from nineteen sixty

1000
01:10:40.119 --> 01:10:47.560
nine. Really really cutting edge stuff, really inventive dynamic filmmaking. And another

1001
01:10:47.600 --> 01:10:50.720
man who just you know, had
boundless talent. He made great westerns.

1002
01:10:50.800 --> 01:10:56.159
He did one Pilitzisco, but it
was a really good one. Did some

1003
01:10:56.199 --> 01:11:00.159
good comedies, He did some good
action movies, I mean, did a

1004
01:11:00.159 --> 01:11:02.640
little bit of everything and did them
really really well. You know, since

1005
01:11:02.640 --> 01:11:06.560
we get on his subject for a
moment, I'm curious. Obviously Severn is

1006
01:11:06.600 --> 01:11:11.680
diving deep into Franco and Mono Micabroo
has done a few. Fulci is kind

1007
01:11:11.680 --> 01:11:14.640
of similar in a lot of aspects
to to Franco's output. At least,

1008
01:11:14.880 --> 01:11:16.359
do you think there's a chance anytime
soon that we get to see any of

1009
01:11:16.399 --> 01:11:24.000
those early Fulci comedies on Blu Ray
because I don't think anybody's dive had Dovan

1010
01:11:24.119 --> 01:11:29.079
dive in whatever into any of those
movies. Yet, Uh, it would

1011
01:11:29.159 --> 01:11:32.920
sell great for like three people.
I think you and me and Nathaniel Thompson

1012
01:11:32.920 --> 01:11:35.960
if we would buy them. I
don't know if anybody else would. Uh.

1013
01:11:36.560 --> 01:11:40.760
I would love to see it happen. Daniel and I've talked about this

1014
01:11:40.760 --> 01:11:44.119
before, because there are other directors
who like Massimo Dlamano, And you know

1015
01:11:44.159 --> 01:11:47.279
there's some some lesser known films that
he did, like the End of Innocent

1016
01:11:47.399 --> 01:11:51.520
for example, or Innocent of Desire. Oh, I'd love to see that

1017
01:11:51.560 --> 01:11:57.079
put them. I don't know,
but you know you say that. And

1018
01:11:57.199 --> 01:12:00.279
Severn's got The Five Days coming out
not just on rate but on a four

1019
01:12:00.359 --> 01:12:04.000
KUHD. Now that you could have
knock me over with a feather. I

1020
01:12:04.000 --> 01:12:06.399
thought they were just doing Blu Ray, had no idea they were going at

1021
01:12:06.479 --> 01:12:11.720
well, go go big or go
home. I'd love to see it happen.

1022
01:12:11.760 --> 01:12:15.239
I think they should absolutely do a
box set of full two comedies.

1023
01:12:16.359 --> 01:12:23.279
You know, I mean companies like
Severn as they are releasing more and more

1024
01:12:23.279 --> 01:12:27.680
box sets that are intriguing people and
buying them and so forth. They might

1025
01:12:27.720 --> 01:12:31.720
be able to rope some people in
with something like that. I think it

1026
01:12:31.760 --> 01:12:34.880
would be worth a try. I
would certainly love to see it happen.

1027
01:12:36.000 --> 01:12:41.119
His comedies have a lot of manic
energy to them, especially his Franco and

1028
01:12:41.159 --> 01:12:45.439
Chichio films. Franco and Chiccio were
kind of, you know, they were

1029
01:12:45.439 --> 01:12:48.840
like Abin and Costello, you know, Sicilian comics. The humor doesn't always

1030
01:12:48.880 --> 01:12:51.920
translate. It's very topical, it's
very political, it's very you know,

1031
01:12:51.960 --> 01:12:55.880
it's very relevant to the time,
and a lot of the gags just aren't

1032
01:12:56.000 --> 01:13:00.279
planned. But I think they're interesting
films and I would certainly love to see

1033
01:13:00.279 --> 01:13:01.520
it happen. I don't know how
they would do, and I don't know

1034
01:13:01.520 --> 01:13:04.000
if anybody's wanted to take a chance
on it, but I hope that somebody

1035
01:13:04.039 --> 01:13:11.119
will. I think with Severn's Box
as a good seven Luciofolgi comedy box,

1036
01:13:11.159 --> 01:13:14.520
that would do Gangbusters. I mean, if they can sell us Adamson and

1037
01:13:14.560 --> 01:13:17.479
have that go out print immediately,
come on, well, I think you

1038
01:13:17.479 --> 01:13:19.760
know they would do. If they
would do it, they would be wise

1039
01:13:19.880 --> 01:13:26.000
to also include something like Young Dracula, which is you know, that's Buci

1040
01:13:26.520 --> 01:13:30.279
in Vampire Terrain, Scot John Steiner
in it. You know, it's got

1041
01:13:30.279 --> 01:13:33.399
some names that would be actually chi
chos in that one as well. Funnily

1042
01:13:33.439 --> 01:13:39.079
enough, grass isn't that Uh?
You could maybe put in My Sister in

1043
01:13:39.159 --> 01:13:42.960
Law, which is Ed beach Baneck
film that he did, sexy comedy,

1044
01:13:43.359 --> 01:13:46.119
and The Eurotosist, a totally nonsensical
title. The original title was something like

1045
01:13:46.119 --> 01:13:53.159
The Senator Likes Women Despite Public Appearances, which is a very very stylish,

1046
01:13:53.279 --> 01:13:58.880
very visually inventive and I think extremely
funny movie that really has a lot to

1047
01:13:58.920 --> 01:14:03.840
say about Italian politics, Italian kind
of gender politics as well, but also

1048
01:14:03.920 --> 01:14:09.439
the church. It's very very bitter
and it's portrayal of the church. So

1049
01:14:09.520 --> 01:14:13.079
maybe put those three films in and
add in a couple of the early black

1050
01:14:13.119 --> 01:14:15.159
and white ones and maybe you'd have
a maybe you'd have a winner, and

1051
01:14:15.199 --> 01:14:19.279
then give us like a fulcy documentary. I'd kill I'll take my money right

1052
01:14:19.279 --> 01:14:25.119
now. That'd be incredible, all
right For people that checked out your five

1053
01:14:25.199 --> 01:14:28.199
that you just gave and now they're
looking to get deeper, what are some

1054
01:14:28.239 --> 01:14:32.039
of your deep cuts, Maybe some
overlooked titles, something that are just these

1055
01:14:32.079 --> 01:14:40.000
are the heart of great jolly films, well deeper cut movies. I would

1056
01:14:40.039 --> 01:14:43.760
certainly say one of them for me
would be Pupi Avati's film House with the

1057
01:14:43.840 --> 01:14:51.359
Laughing Windows, which is an incredibly
creepy and disturbing film so far unavailable on

1058
01:14:51.439 --> 01:14:56.199
Blu Ray, although hopefully something will
change with that. Some of Avati's works

1059
01:14:56.239 --> 01:14:59.880
are starting to come out, so
there may be some hope there for that.

1060
01:15:00.079 --> 01:15:04.239
It's Uh. It's also one of
the relatively few regional ja Alley.

1061
01:15:05.279 --> 01:15:09.680
It's not the film set in the
city. It's set in a very small

1062
01:15:09.800 --> 01:15:15.960
village community and deals very much with
you sort of superstition in addition to sort

1063
01:15:15.960 --> 01:15:20.880
of a series of killings that are
going on, comes to very very memorably

1064
01:15:20.920 --> 01:15:25.800
creepy finale. It's it's I think
it's a master Yeah, it's a great

1065
01:15:25.840 --> 01:15:30.439
movie. There's a I think there's
a Shameless DVD that's probably the most common

1066
01:15:30.479 --> 01:15:33.560
release that people pick up for this
one. But Shameless is uh is kind

1067
01:15:33.600 --> 01:15:36.640
of shameful a lot of the time, So it's not one that I recommend.

1068
01:15:38.159 --> 01:15:40.720
They're well, they're well named.
When they get it right, they

1069
01:15:40.720 --> 01:15:44.439
get it right, but they very
often get it wrong. Yeah, not

1070
01:15:44.600 --> 01:15:48.159
much really be said about that,
but uh, and they often trash their

1071
01:15:48.159 --> 01:15:51.600
movies up too, and they make
them look really goodly trashy, which is

1072
01:15:51.600 --> 01:15:56.439
is unfortunate. Ban Arrow did that
too in the beginning. Lest we forget

1073
01:15:56.600 --> 01:16:00.239
the early days. If anybody remembers
the cover for Pay of Blood or Inferno,

1074
01:16:00.680 --> 01:16:03.560
they they threw good taste out the
window in the beginning, but they

1075
01:16:03.840 --> 01:16:08.159
made up for it later. Yeah, they think have turned it around.

1076
01:16:08.199 --> 01:16:12.199
What's what's number two on this list? Well, that's one you've already mentioned.

1077
01:16:12.239 --> 01:16:15.479
It's my favorite Lucco Bulci film and
and really one of the great films

1078
01:16:16.159 --> 01:16:18.880
of all time for me, one
of my top ten favorite films. Forture

1079
01:16:18.960 --> 01:16:28.680
Duckling when another regional Jallo film that
again very much rooted in uh sort of

1080
01:16:28.720 --> 01:16:33.760
superstition and dealing with class conflict and
prejudice and superstition and all these things kind

1081
01:16:33.800 --> 01:16:38.720
of going on. What's a kind
of barbed commentary about the church and about

1082
01:16:38.760 --> 01:16:43.439
the authorities and so forth. The
movie that was one of the one of

1083
01:16:43.479 --> 01:16:45.640
the two Filmschi was proudest of.
They both start to mass Milia and the

1084
01:16:45.640 --> 01:16:50.760
other one Theater Tenci, which is
another movie very much political and very much

1085
01:16:50.800 --> 01:16:57.399
pointed against the church. He was
man of a very complicated relationship with and

1086
01:16:57.640 --> 01:17:01.800
uh, it's it's just an amazing, an amazing piece of work. The

1087
01:17:01.840 --> 01:17:05.520
most famous infamous scene in the film, of course, is when a character

1088
01:17:05.960 --> 01:17:12.359
is brutally beat to death in a
graveyard anticipates the opening of the beyond.

1089
01:17:12.399 --> 01:17:15.239
There's change whipping going on, but
the use of sound and editing and camera

1090
01:17:15.319 --> 01:17:23.479
angles everything that seems just well,
yeah, uh, don't torture Duckling is

1091
01:17:23.520 --> 01:17:28.399
one that kind of changed Jallo's for
me. By the time I finally saw

1092
01:17:28.479 --> 01:17:31.840
this, I said, so,
this is what they can do. Basically,

1093
01:17:32.279 --> 01:17:38.880
it really elevated the appreciation for these
films so much for me because this

1094
01:17:38.920 --> 01:17:43.600
is, in my opinion, Fulchee's
masterpiece. Everything about this is just a

1095
01:17:43.920 --> 01:17:48.439
breath taking, immersive experience that is
so hard to not have it sit with

1096
01:17:48.520 --> 01:17:53.239
you for a couple of days afterwards
because it's so thought provoking. I love

1097
01:17:53.279 --> 01:17:57.399
that movie. Yeah, I know
some people had some problems with the effects

1098
01:17:57.399 --> 01:18:00.680
at the end, which I you
know, I get if I like the

1099
01:18:00.720 --> 01:18:03.760
symbolism. I've always found a fascinating, full sort of fascination with the destruction

1100
01:18:03.880 --> 01:18:09.840
of the body, sometimes going even
into cartoonish extremes with something like the Spider

1101
01:18:09.880 --> 01:18:12.319
scene and the Beyond for example.
Yes, it's very fake, but at

1102
01:18:12.359 --> 01:18:15.159
the same time it's something kind of
fascinating about the way he just loves seeing

1103
01:18:15.560 --> 01:18:19.159
seeing the body being torn to pieces, very often slow motion. So the

1104
01:18:19.239 --> 01:18:24.319
ending I think absolutely works that.
Yeah, it's in a great cast too,

1105
01:18:24.319 --> 01:18:27.359
if you're if you're immersed in these
films, it's not a cast that

1106
01:18:27.479 --> 01:18:30.680
is going to be well known among
more mainstream people, but if you're familiar

1107
01:18:30.680 --> 01:18:33.760
with Italian films are diventage, you've
got people like Comas Milian, Barbara Bouchet,

1108
01:18:33.840 --> 01:18:39.920
Florinda Bulkan. It's a great cat
absolutely all right. Getting deeper,

1109
01:18:39.960 --> 01:18:45.640
what's our number three? I'm trying
to think of more kind of offbeat,

1110
01:18:45.880 --> 01:18:49.520
unusual jalli and one that comes to
mind is then of Macabo put out recently

1111
01:18:49.600 --> 01:18:56.800
called Hotel Fear or Pension Poor,
a nice Francesco Gurelli film, which is

1112
01:18:56.800 --> 01:19:00.960
a very very interesting film. And
other regional film Believe me, there aren't

1113
01:19:00.960 --> 01:19:02.920
too many of them, but it's
a thing. We have three in a

1114
01:19:03.000 --> 01:19:09.720
row like this, and stars the
French actor Luke Mirenda, who was very

1115
01:19:09.720 --> 01:19:12.760
popular in the time film at this
time. Plays a very nasty kind of

1116
01:19:12.760 --> 01:19:19.000
proto fascist character in that film,
and a very very interesting, kind again,

1117
01:19:19.159 --> 01:19:24.600
kind of weirdly unsettling film that sneaks
up on you. It's a movie

1118
01:19:24.640 --> 01:19:29.079
of subtlety. It's got a lot
of great sort of tactile little touches and

1119
01:19:29.119 --> 01:19:33.640
it that really kind of immerse you
into the film sort of set around the

1120
01:19:33.640 --> 01:19:39.479
time of the Second World War,
and yeah, it's an off beat film,

1121
01:19:39.560 --> 01:19:44.439
very interesting, not one that's necessarily
going to appeal to the body count

1122
01:19:44.520 --> 01:19:47.479
crowd perhaps, but I think a
very worthwhile movie. I unfortunately have not

1123
01:19:47.479 --> 01:19:50.640
been able to see this one yet, so that just intensifies my desire to

1124
01:19:50.640 --> 01:19:55.560
see it. And from everybody that
has picked up as Blue, I've only

1125
01:19:55.600 --> 01:19:58.960
heard great things that it is.
It was the winner of that bundle.

1126
01:19:59.159 --> 01:20:04.239
It was one that people really appreciated. And Monto Micabro they are definitely deserving

1127
01:20:04.279 --> 01:20:08.720
of all of the championing any of
us can give because they've brought out some

1128
01:20:09.319 --> 01:20:15.119
offbeat, wild off the wall titles
for years. Pete and Jared together,

1129
01:20:15.560 --> 01:20:19.600
they they've got something magical going on
because none of the movies are truly when

1130
01:20:19.640 --> 01:20:24.720
you put twelve of them together.
They're not similar necessarily, but the label

1131
01:20:24.840 --> 01:20:29.159
has this odd personality that is just
like I know that when their name is

1132
01:20:29.199 --> 01:20:33.079
on something, I know I'm probably
gonna love it. Yeah, not everything

1133
01:20:33.119 --> 01:20:36.199
they put out necessarily appeals to me. There's certain things I'm like, yeah,

1134
01:20:36.279 --> 01:20:40.680
I'm good, But you know,
a lot of them really do.

1135
01:20:40.760 --> 01:20:45.359
And I'm very very grateful to them, in particular for diving into some of

1136
01:20:45.359 --> 01:20:47.520
the Jess Franco stuff they've done,
the Paul Nashy stuff they've done, for

1137
01:20:47.560 --> 01:20:51.880
example, and some of these other
just wonderfully offbeat titles that they've picked up

1138
01:20:51.880 --> 01:20:56.680
and given really nice additions to.
I mean, I was so glad when

1139
01:20:56.800 --> 01:21:00.640
somebody finally put out a good edition
of The Devil's Nightmare for Exit, which

1140
01:21:00.680 --> 01:21:05.079
is another one of those early sort
of formative euro Code experiences with me.

1141
01:21:05.159 --> 01:21:10.439
IF used to show on USA network
a lot in eighties, So nice to

1142
01:21:10.479 --> 01:21:13.640
finally have that in a really nice
edition. Also, Legend of Blood Castle

1143
01:21:13.800 --> 01:21:18.119
of Blood Ceremony to Cordy Grau film, well not really about Countess Bath three,

1144
01:21:18.159 --> 01:21:24.199
but based loosely on really excellent film. So yeah, they've done a

1145
01:21:24.199 --> 01:21:28.119
lot of good stuff. I realized
as we were talking about that I may

1146
01:21:28.199 --> 01:21:30.560
miscounted. I don't know if that
was number three or four, but I

1147
01:21:30.600 --> 01:21:32.319
know that we got at least one
more left. I think it was three.

1148
01:21:32.520 --> 01:21:36.119
So this one, I feel like
I have to have a Lensi in

1149
01:21:36.159 --> 01:21:41.760
here, So I'm going to go
with Orgasmo, which was the first and

1150
01:21:41.800 --> 01:21:45.880
I think best of his jali.
He is somebody who did a lot of

1151
01:21:45.880 --> 01:21:51.039
work in jalli ninjallo genre in general. He did a number of them through

1152
01:21:51.079 --> 01:21:56.640
the sixties and seventies, and they're
all well worth seeing. They're all interesting,

1153
01:21:56.680 --> 01:21:59.199
they're all kind of radically different from
one another. I mean, some

1154
01:21:59.279 --> 01:22:02.800
of them are closer to the Argento
mold than others. This is part of

1155
01:22:02.800 --> 01:22:08.399
that kind of group of sexy jali
I was talking about before, about good

1156
01:22:08.439 --> 01:22:12.760
looking people being atrocious to one another
in beautiful settings. It's very much based

1157
01:22:12.760 --> 01:22:17.119
on Diabolique, the great arm Joors
Blueseau film the fifties. So it's it's

1158
01:22:17.159 --> 01:22:20.680
a plot film. It's it's all
about trying to drive somebody crazy, but

1159
01:22:20.720 --> 01:22:25.840
there's a couple of really nice twists
along the way. A great soundtrack by

1160
01:22:25.880 --> 01:22:30.640
Piero Omaeani and yeah, yeah,
it's good, good, good stuff.

1161
01:22:30.439 --> 01:22:33.560
This is one that is a part
of the wonderful box set from Severn for

1162
01:22:33.640 --> 01:22:39.560
the Lindsay Baker box set, and
it is that box set. I feel

1163
01:22:39.600 --> 01:22:43.319
like, and I've said this before, but I feel like that is going

1164
01:22:43.359 --> 01:22:45.640
to be the turning point for Severn. I feel like after from that box

1165
01:22:45.680 --> 01:22:50.079
set on, they've sort of gotten
this air of prestige, that everything is

1166
01:22:50.119 --> 01:22:54.760
just taken this this quality leap.
And not that they were terrible beforehand,

1167
01:22:55.079 --> 01:22:59.479
but it seems like they really got
in touch with what makes Severn truly great

1168
01:23:00.039 --> 01:23:04.359
and that box set was just that
specific turning point. And it's so well

1169
01:23:04.439 --> 01:23:10.319
done. The films they chose for
mostly all great. Obviously the Carol Baker

1170
01:23:10.359 --> 01:23:15.119
of all she's incredible, but just
a really good choice, great great movie.

1171
01:23:15.319 --> 01:23:18.199
Yeah, I was glad that they
did that. Obviously. That was

1172
01:23:18.199 --> 01:23:24.039
the first ever LENSI set probably anywhere
in the world actually, that they attempted

1173
01:23:24.079 --> 01:23:29.800
to do kind of a set specifically
devoted to Lenzi And yeah, it's a

1174
01:23:29.800 --> 01:23:32.039
good one. All the films in
that set are well worth watching, you

1175
01:23:32.079 --> 01:23:39.680
know. And yeah, they really
went all out on it, so they

1176
01:23:39.800 --> 01:23:42.960
deserve all the high marks they can
get for that one. I agree,

1177
01:23:43.239 --> 01:23:45.680
all right, let's bring it in
for Landing. What is our fifth one?

1178
01:23:45.800 --> 01:23:51.479
For our deep cuts five? I
think I'm gonna go with five dollars

1179
01:23:51.520 --> 01:23:58.640
for in August Moon Mario Bova film
kind of in the Ten Little Indians vein,

1180
01:24:00.319 --> 01:24:05.399
a perversely blood free film, but
at the same time, again beautiful

1181
01:24:05.439 --> 01:24:13.840
settings, of beautiful cinematography and extraordinary
soundtrack. Biro Ominiani again did one of

1182
01:24:13.840 --> 01:24:16.800
the great scores for not just any
Dowalo, but for any film. For

1183
01:24:16.880 --> 01:24:21.159
this movie, it's an amazing contract. It's a movie Bob I hated because

1184
01:24:21.239 --> 01:24:24.680
it was an assignment that he came
to late in the day. He had

1185
01:24:24.720 --> 01:24:27.119
nothing to do with setting it up, He had nothing to do with casting

1186
01:24:27.159 --> 01:24:30.840
it, so everything was just kind
of you given to him. He hated

1187
01:24:30.880 --> 01:24:33.119
the script, threw it away and
improvised the movie. And you can kind

1188
01:24:33.159 --> 01:24:38.880
of tell because it doesn't always make
sense, but it's okay because it's just

1189
01:24:38.920 --> 01:24:42.600
so beautifully done. And it's a
great example of a great director taking a

1190
01:24:42.640 --> 01:24:46.000
not very good script and making something
really interesting out of it. And had

1191
01:24:46.000 --> 01:24:48.640
that been handed to a less inspired
filmmaker, I think it would have been

1192
01:24:48.680 --> 01:24:53.720
a really plotting movie, but the
movie that he made certainly is not plotting.

1193
01:24:55.000 --> 01:24:58.279
I think the last time I saw
this I had none of that context,

1194
01:24:58.319 --> 01:25:00.560
not knowing that was thrown together.
It was very confusing at the time.

1195
01:25:01.439 --> 01:25:08.039
But knowing that and knowing knowing much
more so who Baba is now it

1196
01:25:08.119 --> 01:25:12.159
is much much richer than if you
would. You know, if you saw

1197
01:25:12.199 --> 01:25:15.000
this as an opening to Giallo film
and that was one of your first tastes,

1198
01:25:15.319 --> 01:25:18.199
you would probably be turned off pretty
quickly. So, yeah, this

1199
01:25:18.319 --> 01:25:21.720
is a good deep cut choice,
and I think that it's it's one that

1200
01:25:21.920 --> 01:25:27.840
is deserving of a nice, really
strong release and needs one. Yeah.

1201
01:25:27.880 --> 01:25:30.119
They Keino put it out over here, and Iro did it in the UK,

1202
01:25:30.439 --> 01:25:34.800
and they did nice enough with it, but you know, there's a

1203
01:25:34.840 --> 01:25:39.840
room for a better version. Hopefully
it'll show up again. Uh you know,

1204
01:25:40.000 --> 01:25:44.359
I'm I don't think we've mentioned vinegar
syndrome at all tonight. How do

1205
01:25:44.399 --> 01:25:48.520
you feel about their their their little
forgotten jolly box sets that they've put out

1206
01:25:48.560 --> 01:25:53.800
so far. I was involved in
the first one. I did a commentary

1207
01:25:53.800 --> 01:25:57.800
on a movie called Trauma, not
to be confused with the Argento film,

1208
01:25:57.800 --> 01:26:01.479
but it was play on Claymobski's last
film, the Argentinian film director who who

1209
01:26:01.520 --> 01:26:06.880
did a lot of calling Ashty's film. It's a really odd film and actually

1210
01:26:06.920 --> 01:26:13.199
a movie that significantly improved seeing it
again in a better version character when I

1211
01:26:13.199 --> 01:26:16.960
first saw it, when I wrote
about it in the third volume of The

1212
01:26:16.960 --> 01:26:23.039
Dead least so perverse. So again
it's helpful to see these things in good

1213
01:26:23.199 --> 01:26:26.880
editions. I mean, I thought
they were sort of hit and miss as

1214
01:26:26.880 --> 01:26:30.039
far as collections go. Some of
the films were you know, they were

1215
01:26:30.079 --> 01:26:32.600
they were from the shallow end of
the poll, let's say. But some

1216
01:26:32.640 --> 01:26:35.600
of the films were really, really
quite good. And I was really glad

1217
01:26:35.600 --> 01:26:43.680
to see something like Autopsy, for
example, or My Dear Killer another one

1218
01:26:43.760 --> 01:26:46.840
that thinks a really really good film
getting a release. Forgotten. I don't

1219
01:26:46.840 --> 01:26:49.479
know about Forgotten, I mean,
because some of them are fairly well known,

1220
01:26:49.560 --> 01:26:54.159
so I thought that was slightly slightly
odd is a name? But and

1221
01:26:54.239 --> 01:26:58.039
of course it gets into the complicated
issue too of what is it jallow and

1222
01:26:58.039 --> 01:27:00.479
what it's not a gallow? And
different people have very different feelings on that

1223
01:27:00.520 --> 01:27:05.159
particular subject. So but I thought
there was a worthy series, and I

1224
01:27:05.159 --> 01:27:11.279
hope they do more. I agree
fully. The forgotten part is that the

1225
01:27:11.279 --> 01:27:13.760
only thing that I've ever really had
an issue with, Because many of these

1226
01:27:13.800 --> 01:27:16.439
are titles people have been clamoring for
for years, I wouldn't really call them

1227
01:27:16.479 --> 01:27:21.239
necessarily forgotten. Last question for you, just so you can have your night

1228
01:27:21.319 --> 01:27:26.600
back. I always laugh because there's
so many people that are quick to say

1229
01:27:26.720 --> 01:27:30.680
something that comes out in twenty twenty
two is like a modern American jallo or

1230
01:27:30.720 --> 01:27:36.119
something like that. So often I
don't even get the parallels. It seems

1231
01:27:36.159 --> 01:27:41.600
like sometimes they're just grabbing on to
bright colors or something. Are there any

1232
01:27:41.640 --> 01:27:45.319
films from the last say, ten
years that you would say really fit the

1233
01:27:45.359 --> 01:27:49.119
mold of a modern jallo and really
kind of hit all the spots for you

1234
01:27:49.159 --> 01:27:54.479
that you've enjoyed quite a bit.
I'll give you one that was supposed to

1235
01:27:54.479 --> 01:27:58.279
be and that it wasn't. That
was Last Night Soho, which I saw

1236
01:27:58.479 --> 01:28:01.279
I didn't particularly care for, to
be honest with you, and I was

1237
01:28:01.359 --> 01:28:08.000
like, I don't see how this
is anything like gallow Uh and the colored

1238
01:28:08.039 --> 01:28:11.159
lighting. Okay, yes you get
that in Baba. You'll get that to

1239
01:28:11.199 --> 01:28:13.920
a certain extent with Fulk and Argenta, but not so much in a lot

1240
01:28:13.920 --> 01:28:16.840
of the other films, it's not
really they don't really tend to go.

1241
01:28:16.960 --> 01:28:21.319
That's really more of an Italian horror
thing. That's the Gothic or like,

1242
01:28:21.439 --> 01:28:27.199
you know, the Argento Suspiria Inferno
type thing. So I think that was

1243
01:28:27.239 --> 01:28:30.479
that was a bit of a you
know, mishmash uh kind of an idea

1244
01:28:30.640 --> 01:28:35.960
that that people lacked onto. It's
like a Gallows. It really isn't over

1245
01:28:36.000 --> 01:28:40.000
the last few years something that that
really got it, I mean, I

1246
01:28:40.039 --> 01:28:43.880
think, and I didn't like it
at first. It took me two or

1247
01:28:43.920 --> 01:28:45.720
three viewing to really come to like
it, but I really grew to like

1248
01:28:45.800 --> 01:28:53.319
Barbarian sound studio. M hm.
That is admittedly probably closer to like DNIONI

1249
01:28:53.399 --> 01:28:58.840
felt than it is to a typical
Gallow. The typical Gallo is really more

1250
01:28:58.840 --> 01:29:02.079
of a mainstream kind of a slightly
trashier movie, so it's not really as

1251
01:29:02.159 --> 01:29:06.479
a sort of ethereal and yea artsy
is all that. But I thought that

1252
01:29:06.560 --> 01:29:14.000
film got that atmosphere and that that
kind of feeling of suspense down rather well.

1253
01:29:14.279 --> 01:29:16.800
So I would certainly point to that
one as a good example. It's

1254
01:29:16.800 --> 01:29:20.159
a good choice. I'd probably throw
out Knife plus Heart. I think it

1255
01:29:20.239 --> 01:29:24.760
got the you know, the black
glove killer aspect. I think that even

1256
01:29:24.760 --> 01:29:27.560
a lot of the thematic sides of
it you could throw in with some of

1257
01:29:27.600 --> 01:29:31.119
the sexier jallo. At least it
is. It's a really well made movie

1258
01:29:31.119 --> 01:29:36.359
and also got a good release from
Altered Innocence the Vender Syndrome partner label very

1259
01:29:36.520 --> 01:29:40.159
very interesting, too, nice,
nice modern take. I would say,

1260
01:29:41.119 --> 01:29:45.520
yeah, I'd like to see somebody
like us Fornoe do something in that thing.

1261
01:29:45.560 --> 01:29:49.600
Yeah, I'd love to see him
do something like that. He definitely

1262
01:29:49.720 --> 01:29:54.439
has that capacity for that kind of
stuff. You look at something like I

1263
01:29:54.560 --> 01:30:00.239
feel like the climax is far closer
to the remake of Dyspiria than the remake

1264
01:30:00.239 --> 01:30:03.279
that we got, which was an
interesting film, not nearly as good as

1265
01:30:03.319 --> 01:30:06.119
the original. It's interesting. It
was too much, it was too excessive,

1266
01:30:06.640 --> 01:30:10.199
it was too indulgent, it was
far too long, and there was

1267
01:30:10.239 --> 01:30:15.279
far too much too to swin for
my taste. But you know, at

1268
01:30:15.359 --> 01:30:16.800
least they took it in a different
direction. I could respect that. But

1269
01:30:16.920 --> 01:30:21.119
I thought the climax was really like, oh, that's closer to what I

1270
01:30:21.239 --> 01:30:26.399
thought, you know, with the
pounding music, and the aggressive style and

1271
01:30:26.439 --> 01:30:30.279
everything, and just kind of unrelenting, just punching it, punching it,

1272
01:30:30.359 --> 01:30:33.399
punching it. I thought that was
far closer to what a really good remake

1273
01:30:33.479 --> 01:30:38.399
of Suspiria ought to have been.
So I'd like to see him do something

1274
01:30:38.479 --> 01:30:42.199
like that. He's he's a director
kind of rises above any kind of real

1275
01:30:42.279 --> 01:30:45.680
genre though he's he's almost just a
genre unto himself. So I don't see

1276
01:30:45.760 --> 01:30:49.920
him doing a straightforward There was talk
of Nicholas finding Refin was going to do

1277
01:30:51.079 --> 01:30:54.880
or at least produce a remake of
What Have You Done to Salange, which

1278
01:30:54.920 --> 01:30:58.640
is another one of the great Gallo
films, massive with Delemano's film Ininte seventy

1279
01:30:58.640 --> 01:31:03.600
two. I don't know. I
mean, why if he could do it,

1280
01:31:03.640 --> 01:31:05.760
if he could do justice to it, then why not. It could

1281
01:31:05.800 --> 01:31:10.159
be interesting, but I kind of
wonder. I don't know how that subject

1282
01:31:10.239 --> 01:31:15.000
matter would play today, very timely
now, certainly with some of the controversy

1283
01:31:15.039 --> 01:31:18.720
that's going on with bro v Wade
and all that. You know that that

1284
01:31:18.840 --> 01:31:25.000
could be interesting, but I don't
know how that would go over So but

1285
01:31:25.119 --> 01:31:28.680
no, definitely somebody that I would
love to see you know if he was

1286
01:31:28.720 --> 01:31:30.800
going to do something a little bit
along those lines, I'd be the first

1287
01:31:30.840 --> 01:31:34.880
one in mine to see that.
Yeah, and I agree with you for

1288
01:31:34.920 --> 01:31:39.359
the most part on Last Night and
So, I'd honestly love to see Edgar

1289
01:31:39.399 --> 01:31:44.319
Wright do an all out horror with
his attempt at some of his jump cut

1290
01:31:44.399 --> 01:31:48.079
editing. I feel like he could
do something frenetic and interesting, but I

1291
01:31:48.119 --> 01:31:50.439
don't know. I feel like he
wanted to go there with Last Night and

1292
01:31:50.479 --> 01:31:56.560
Soho, and just something held him
back for some reason. It's almost like

1293
01:31:57.119 --> 01:32:00.199
I just always felt like that way
with Tim Burton. I mean, when

1294
01:32:00.239 --> 01:32:03.199
Timbert was still making decent movies,
it was like he was afraid to commit

1295
01:32:03.279 --> 01:32:06.279
seriously to something, so there was
always this kind of jokey thing, like,

1296
01:32:06.720 --> 01:32:12.479
you know, Sleepy Hollow has got
the look of an Italian Gothic across

1297
01:32:12.560 --> 01:32:15.159
with like a Hammer or Roger Corman
Poe movie. Some of the visuals are

1298
01:32:15.159 --> 01:32:19.600
really beautiful, the story's a mess, and the jokey tone just throws me

1299
01:32:19.640 --> 01:32:23.960
out all the time. It's like, can't you just commit something now?

1300
01:32:24.039 --> 01:32:27.199
He did get closer to that with
something like Sweeney Todd, which I thought

1301
01:32:27.239 --> 01:32:31.640
was more interesting on the Wold.
But you know, it's like they get

1302
01:32:31.640 --> 01:32:35.720
the aesthetic aspect right, but they
can't quite get the mood of the atmosphere.

1303
01:32:35.760 --> 01:32:39.920
Right. I mentioned Halloween sequels.
The reason Halloween sequels, you can

1304
01:32:39.960 --> 01:32:43.479
tell that David Gordon Green has studied
John Carpenter and studied it very closely,

1305
01:32:44.319 --> 01:32:46.239
but he doesn't get it. He
doesn't understand it. He doesn't understand how

1306
01:32:46.239 --> 01:32:51.680
to time things. He doesn't have
Carpenter's sense of how to time those scarets,

1307
01:32:51.880 --> 01:32:55.720
you know, and how to generate
the tension and suspense. There's no

1308
01:32:55.800 --> 01:33:01.079
suspense in those mountain sometimes. Yeah, it's just it's it's like you get

1309
01:33:01.119 --> 01:33:03.920
it, your heart's in the right
place, but somehow or another you just

1310
01:33:03.960 --> 01:33:10.199
can't quite add it up quite right
to get the right effects. I agree

1311
01:33:10.239 --> 01:33:14.840
fully. I'll remind everybody make them
die slowly. Just released link for this

1312
01:33:14.880 --> 01:33:17.560
will be in the description below,
So deadly superverse. I think you're still

1313
01:33:17.560 --> 01:33:21.279
out there to purchase right now,
right, yeah, all those books should

1314
01:33:21.319 --> 01:33:26.560
still be you know, they are
technically, like you know, printed on

1315
01:33:26.640 --> 01:33:29.279
demand, so as long as people
want to buy them, they should be.

1316
01:33:29.880 --> 01:33:33.920
They should be available all through Amazon. I would love an updated hardcover

1317
01:33:34.000 --> 01:33:39.279
of all three of them in one
giant book with some updates. Yeah.

1318
01:33:39.399 --> 01:33:44.199
I it's tough. You know,
you worry about you don't want people to

1319
01:33:44.199 --> 01:33:47.319
think you're just being indulgent and ridiculous. And you know, I've done two

1320
01:33:47.439 --> 01:33:50.039
versions of the Bava book, but
I still don't feel I got it right.

1321
01:33:50.039 --> 01:33:51.880
I'd like to go back to do
a third, but you know,

1322
01:33:51.880 --> 01:33:56.960
how many times can you do that
before people get this book. I'd like

1323
01:33:57.079 --> 01:34:00.439
to revisit the fool g to a
certain extent as well, and certainly the

1324
01:34:00.800 --> 01:34:06.000
Jallo books. I would approach it
differently now, I would. I would

1325
01:34:06.039 --> 01:34:11.039
definitely do it differently now than what
I did at the time. So I

1326
01:34:11.319 --> 01:34:13.800
thought about it to a certain extent, and I'm like, you know,

1327
01:34:14.359 --> 01:34:17.840
I could theoretically go back and do
a slightly different approach and just do a

1328
01:34:17.840 --> 01:34:23.000
different book on the subject. But
I don't know. I'd have to give

1329
01:34:23.000 --> 01:34:28.159
it some more thought. Uh that
sounds yeah, I get that. It's

1330
01:34:28.199 --> 01:34:30.680
difficult to write that line properly.
Troy. Thank you so much for your

1331
01:34:30.680 --> 01:34:33.720
time. This has been incredible.
I really hope everybody checks out a lot

1332
01:34:33.760 --> 01:34:38.319
of these recommendations. They are they
were There were some great picks and then

1333
01:34:38.439 --> 01:34:42.119
not to mention, the entire conversation
just went to some of those places that

1334
01:34:42.119 --> 01:34:45.560
a lot of people won't be willing
to talk to, so I'm appreciative of

1335
01:34:45.600 --> 01:34:50.319
that. I don't know, I'll
find myself being burned in effigy maybe,

1336
01:34:50.359 --> 01:34:53.800
but no, it was. It
was a lot of fun, and I

1337
01:34:53.800 --> 01:34:57.079
thank you for having me. Hopefully
you'll come back some time and we'll see

1338
01:34:57.079 --> 01:35:21.279
you next time. Thanks, be
happy to to me. No