WEBVTT

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Hello. This is Matt and Emily
from Scarecrow Video in Seattle, Washington.

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Did you know that we have the
largest video collection in the world. We

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have over one hundred and forty six
thousand titles and growing. That's over three

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times more than Netflix, Amazon Max, and Hulu combined. Plus a.

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Scarecrow now offers rent by mail service
throughout the US, so check out Scarecrow

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Video dot org for details. You
can catch Emily and I or Matt and

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I if that was going to be
you saying that on our biweekly YouTube show

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Viva Physical Media for video recommendations and
so much more. See ya, bye

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ee. Hello there, and welcome
back to the disc Connected. I'm here

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with Francisco Luopi, who is the
writer director of The Last Stop in You

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mccounty and an upcoming pretty big project
we'll get into just a little bit.

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Frank, thanks for doing this.
Yeah, thanks for having me, man.

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I'm so excited. This is is
like physical media is my favorite thing.

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Uh so, I'm excited to talk
to a fellow collector. It's i

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mean literally surrounded. I kind of
keep this like clean and it looks pretty

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cool. I'm on piles. It's
disgusting oh yeah, dude. So yeah,

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what I do is like I have
like wall the wall, wall the

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wall shelf, and like, uh
all, like all my new Blu rays,

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they start getting stacked in front,
you know. And then because I'm

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too lazy to like every Blu ray, I don't want to like move everything

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around because they're all alphabetical. So
like every few months, I'll be like,

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all right, here we go,
and I have to like start taking

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everything apart, and then like and
then I have a you know, then

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I put like I have to pick
which ones I'm that I'm like, all

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right, I these can go in
storage, right, Like the remake of

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RoboCop that doesn't need to be in
the on the shelf, right, I

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can put that in the in storage. And then when I go, when

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I expand, I can put all
those back. But yeah, amazing.

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Well, we'll get into physical media
more in a little while. The obvious

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first thing to discuss about here,
though, is like, how do you

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first get into film? There's a
lot of you know, buzz around surrounding

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Last Stop right now, and yes, there's a lot of influences in it,

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you can tell, So how'd you
first get into film? Yeah,

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I mean my background's music. So
I started playing punk bands when I was

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like, I don't know, ten
or twelve years old, started a band

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with my brothers, and like went
to college for music, spent my twenties

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touring and crappy punk bands and shitty
vans with no AC and stuff. But

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I was always really obsessed with film, you know, like I would sort

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of like rewatch the same movies over
and over again as kid, and then

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like got real. I think it
was like when I saw Funny Games in

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like two thousand and seven or whatever, the remake. That's when I really

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did a deep dive. I was
just I remember coming out of the cinema

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and just being like what the fuck
did I just experience? And that sent

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me down like a real deep rabbit
hole. And yeah, so like I

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was always obsessed with movies. I
honestly probably more obsessed with movies than I

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ever was with music, like in
terms of like being obsessed with like the

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history of films and like, so
I was always in the van with headphones

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on, like watching Hitchcock and you
know, movies and stuff. But I

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guess it just like it always seems
so unobtainable because you grew up watching like

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Terminator two and Back to the Future, and you're just like this seems impossible,

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Like I don't even know where to
start. And yeah, when I

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was like late twenties, I broke
my wrist and couldn't play drums for six

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months. So I just picked up
a T two I that I was like

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using for photography and made a short
film around the house with just my wife

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and I, like no lights or
anything. And it wasn't it. We

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didn't even have a script. It
was just like on the weekends, it

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was like, oh, let's do
this shot and then kind of piece together

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a story. And I just kind
of fell in love and I was like,

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I don't think I want to do
music anymore. I think I want

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to try this. So from there
it was sort of like my first short

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film. My buddy had a desert
house out by the Sultan Sea, so

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I just kind of like wrangled on
my friends and bandmates and I was like,

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you're going to be an ac and
you're going to be a grip and

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just kind of assigned roles. I
mean, we went out to the desert

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and we shot this thing with like
nobody that was experienced except for my DP

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who sort of like haphazardly came on
board, and thank god because he was

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the only one that knew what he
was doing and sort of like taught us

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all, you know. I mean, I went into that thing just as

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planned as I did with Last Stop, because that's just how I do things.

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But you know, I just learned
how to do everything myself. Like

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I learned how to I was doing
the sound design and the effects and like

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and scoring all my short films and
like, and so from there then I

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just like I was writing scripts based
on locations. We had free acts and

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we were able to do him for
like a few hundred bucks. And yeah,

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my first short film, he Desert
Hell, was playing at a festival

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in Cincinnati at Horror Round, and
I flew out there and I had no

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money at the time. And I
remember like I got there and they're like,

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you're it's gonna be playing at seven
am the morning after the fucking opening

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night like party. So nobody showed
up and I was like, do my

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day. I went out there with
my dad. My dad didn't even go.

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He's like too fucking early, I'm
not gonna like. But there was

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one guy that did show up and
it was James Clay's our EP on Last

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Stop, and he was like he
saw the short and was like, hey,

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i'll give you. I think at
the time it was like fifty grand

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for whatever you do next, and
I was like, holy shit, I

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can make three features for that,
you know, and like, so I

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kind of did what I was used
to doing. I mean, I sort

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of looked around the LA area and
was looking for like I always want.

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I'm very drawn to, like,
you know, period pieces and stuff.

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So I found this location four Race
is out in Palmdale, and which at

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the time I didn't know it was
such an overused location. Now it's I

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see it fucking everywhere. It's in
TV shows and commercials, and but I

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was like, this world, this
place is incredible, and so I went

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there, took a bunch of pictures, I drew an overhead of the diner

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and wrote the script for the Last
Stop. And I had been producing at

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a record label for a couple of
years. Again, something I just kind

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of bullshitted my way into, to
be honest with you, but I learned

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a lot and I you know,
I knew a lot about producing, and

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so I started I was like,
I'm gonna produce this myself and like,

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do it just how I did my
short films, hire my friends and James

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had a loose connection with Richard Brake, so he was the first person we

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sent the script to. This was
like five years ago maybe or four and

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a half years ago, whatever,
and we hopped on a call and he

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was like, I love the script. I want to do it. And

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I was like, oh shit,
like maybe we can do this bigger than

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fifty grand. So I ended up
optioning the script to a production company and

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that they were like, We're going
to make this movie for five million bucks.

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And I was like, oh my
god, this is insane. Where

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do I sign? And very quickly
learned because like I don't know shit about

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the business. I'm this is I
know. All I know is like get

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your friends together and go make shit. And it was like right away,

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it was just a lot of gatekeeping, you know. I wrote the script

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with a lot of these actors in
mind, Like Jocelyn I wrote her in

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mind when I was writing Charlotte,
and like Richard Brake, I was on

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a gym, and like Sierra McCormick. I had all these like this list

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of indie darlings that I really wanted
to cast, and it was very much

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like we need to get John claw
vand in, you know, like like

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you know, it was the foreign
sales thing, and it was a fucking

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nightmare, dude. It was like
I just felt my story and my movie

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like slipping away. And like even
when we did agree like okay, maybe

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I can make this work this like
name with quote unquote value, nobody said

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yes, you know, I'm a
first time filmmaker. Like it was just

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it was never gonna happen. So
once the option expired, I pulled it

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and I was like, I'm just
gonna make this thing with my friends and

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do it how I want to do
it. So I just started sort of

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making the movie as much as with
like however I could with no money.

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So I just like was prepping extensively, like I was shot listing and you

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know, doing using shot designer and
doing overheads of everything and like going to

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the location whenever they weren't shooting and
photo boarding it with my DP. It

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was hitting up hods and like getting
them on board. And then I wrote

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letters to all the casts. So
we with the development money that James put

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in, I still had David Googliamo, my casting director, so he helped

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me get like letters out to a
lot of these actors and like that.

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We were at one point we were
like fully cast and you know, ready

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to fucking go, and we had
no money. So my so James,

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like he had been messing around with
me, just saying like, hey,

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I'm gonna what if I just sell
my house to finance it? And I

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was like, that's fucking crazy.
Don't do that. And then finally I

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was like, hey, man,
I don't know if you're serious or not,

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but if you are, like this
is what it means, Like we

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can do the we can make the
movie that's on the page, you know,

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completely outside the Hollywood system. And
he sold his house and we were

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up and running in like a month. And yeah, I mean it was

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like it was an incredible experience.
Like it was really it was like summer

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camp. Every day. It was
made a little family and like got to

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work with some of my favorite actors, and you know, there's like there's

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always that worry. I was just
talking about this yesterday, like everyone was

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just like, oh God, this
is the best out I've ever worked.

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It was so much fucking fun and
you know, there's that like I don't

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know what the saying is, but
it's like the funner you have on set,

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the shittier the movie is kind of
thing. So that was it was

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such a fear of mine to be
like, oh my god, we're all

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such a good time and the eone's
gonna watch the cut and be like,

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oh god, that that's what you
were making. That's what we were making.

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And uh so I'm just so happy
that like it's getting the positive reception

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it's gotten, and like it feels
so good to just get it out in

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the world. Man, I'm like, I it's it's been four and a

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half years of my life working on
this thing, and I've had two kids

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in the process, and I never
expected, you know, any one of

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these things. Getting a physical,
getting a Blu ray. I never fucking

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thought that would happen again, theatrical
Like everything that's happened has just been like,

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you know, holy shit moment.
So sorry, that was, like,

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I know, I went past the
question, but yeah, yeah,

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yeah, like nine threads I want
to weave. No, I mean,

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obviously, the most poignant thing at
the end of there, having a buddy

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to sell a house to invest in
you it's got to feel great, but

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also the almost like insurmountable pressure that
feels like it's oh, brid but you

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have no idea. Man, It's
like yeah, and I knew that going

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on. I was like, this
is gonna be but I also had to

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just be like, you know,
he wanted it too, you know,

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like he wanted to do it.
There is never a moment where I had

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to like convince James, like he
almost convinced me to let him do it,

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you know, but I think we're
all happy he did. And look,

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there's there's no way this movie was
going to get made without him doing

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that. It's like, right,
it's a period piece. It's like,

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you know, the fucking bullshit mandate
people throw around. It's like this is

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everything outside of that mandate, you
know. It's everything people say doesn't work

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anymore. And so yeah, it
really took somebody like James. I just

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like was he he invested into me, you know, and not just the

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story, which is like people don't
do that as as much these days.

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So you're incredibly lucky with all with
all the success at the moment, how

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are you Obviously it feels great,
but how are you responding? This is

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you know, the first full length
feature and this is being talked about is

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like one of the one of the
year's best so far. Yeah. Man,

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uh, I just got a cousmumps
right now. I don't know,

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dude, it's so hard, like
it's uh, it still doesn't feel like

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I mean, it's so like it's
so fucking exciting. I mean, I

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never none of us thought we would
get this sort of reception. But it's

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almost like it feels like it's happening
to somebody else, you know what I

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mean. Like it's like you're like
excited for a friend. You're like,

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this isn't happening. This is not
happen. There's no fucking way, you

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know. But it's really cool,
man, I mean it's uh, you

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know, I'm sort of like in
the thick of it right now doing like

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just really juggling multiple things, and
I'm very excited to just sort of at

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this point very excited to just like
go in my little hole and write.

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You know. That's the cool thing
about filmmaking is like you know, it's

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it's this constant, like you say, it's like when I'm writing a script,

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it's just complete solidarity. I'm by
myself I'm in this thing, and

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then like, and then you start
making that you try to get the movie

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made, and then you kind of
have to become like a business guy,

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right and like and assemble all these
things. And then you get to be

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a director and like, and then
and you're just talking and answering a million

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questions. And then I edited last
stop and I hope hopefully I can edit

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everything I do, but like,
and then you go back into solidarity and

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you're just editing, right and like, and then you do the whole press

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thing, and then you're talking every
day and so now I'm doing that and

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I'm like, I can't wait to
get back into the script writing mode.

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You know, like wherever you're at, you're just like you kind of you

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looking forward to the next thing.
And then once you're by yourself for months,

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you're like, God, I can't
wait to be for this to be

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over and I can like start actually
having like creative conversations and like making things

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happen. So but it's all it's
all so fucking cool, man. I

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love it. One of one of
the things that some of the indie filmmakers

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I've spoke to have kind of dreaded
the most is the fact that when you

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are doing especially your first one ye, where literally every hat, yeah,

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there's no negotiation, you're wearing everybody's
wearing multiple hats on an Indian set,

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you know. But yeah, for
for those that I've spoke to that,

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they said that that's that's one of
the things that almost broke them down and

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literally stopped it from happening. During
this process. What was like the biggest

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thing other than you know, the
big investment, What was the biggest gatekeeping

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thing that you were able to accomplish
to get past it. It's really just

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like I had to I had to
realize that, Like, once I realize

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that nobody's going to care about this
movie more than me, you don't think

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like, oh, why aren't people
doing their jobs? Blah blah blah.

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You just kind of you're like,
well, because it's my fucking movie,

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Like they care, but they don't
care the way I care, you know

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what I mean. So like and
that's okay, No, Like, I

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don't care what fucking scale or budget
your movie is. Nobody's gonna care more

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than you, you know, And
the sooner you accept that, the sooner

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you're gonna stop like complaining about things. You just you just kind of inherently

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just like kind of do everything right, like you're sort of involved in every

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conversation and and yeah, so it
was like that. It was just like

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the moment I was like, I
am not going to wait for people to

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give me permission, right, Like
I'm not gonna wait for somebody to give

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me money to pay me to go
scout or something, right Like that's insane.

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Like it's indie filmmaking right where nobody's
here for a paycheck. You just

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go out and you do it,
man. Like you know, I I

238
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was with no money. I just
invested all my time into like you know,

239
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I was working producing full time at
a label, and like every minute

240
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spare minute I had, I was
investing it into Yuma. Like I was

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just like prepping and prepping and prepping
and like putting the pieces together so that

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when we actually had the financing,
like we were able to just fucking go,

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you know. So it's like,
yeah, you just gotta I don't

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know, fucking care enough to want
to do it, you know, and

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not wait for like quote unquote like
Hollywood to say you can. So I

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don't know if that answers your question, but yeah, it does. And

247
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really the when when you think about
it, logically, the difference is palpable

248
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for for most people that especially that
are gonna be the face of this movie,

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which oddly it will be you,
even though this were heart and soul,

250
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it'll be the people that are in
it. Yeah, they spent you

251
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know, a couple of months maybe
like fully in this thing, and this

252
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is like an eighth of your life
totally. Yeah, feel don't say that

253
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to Jesus Christ. Yeah, no, it's it's so true though, man.

254
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But but it's also like I get
it though too. It's like,

255
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like you said, it is their
faces, right it is, so you

256
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also have to like, I would
never be like, this is not like

257
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you don't understand. This is five
years of my life and it's only a

258
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month of yours. It's like,
but it also is an entire lifetime for

259
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them, right, This thing is
like it's like it's their face blasted on

260
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fucking iTunes, you know, and
their face blasted on the poster. And

261
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I'm totally respectful and acknowledge that.
I mean, look, it's it takes

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a village to make a movie.
And like, even though I said,

263
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yeah, you're the only one that
said, that's going to care as much

264
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as you do, but like you
need everybody. You can't do it alone,

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you know, And and I don't
know, the the more passionate you

266
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are about this kind of stuff,
like the more on board your casting career

267
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are going to be always uh yeah, like it was I always somebody told

268
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me before shooting Uma. I was
talking about like the process and how much

269
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I prep and all that stuff,
and they were like, oh, you

270
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know, like kind of like I
remember my first feature kind of thing,

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Like it was just like you don't
need to prep that much, Like we

272
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aren't eat on set, and everyone's
gonna say like I wouldn't stand there.

273
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I wouldn't say that, blah blah
blah. I never ran into that because

274
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one like I did one on one
zooms with every actor and like combed through

275
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the script and anything that did feel
contrived or forced or whatever, I would

276
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reride on the spot. And like
I had overheads and it was sort of

277
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like a football game every morning,
like we like would huddle and I'd be

278
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like, this is sort of the
blocking and this is your and like your

279
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cast. Granted, like I worked
with the amazing actors that really trusted me,

280
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but like, uh, they sort
of see how much prep you did,

281
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like how prepared, and they're like, I don't want to fuck with

282
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that, like you know what I
mean. But there was maybe like one

283
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time where somebody was like, can
I actually sit over here instead? And

284
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I was like totally, you know, And then I went back and like

285
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readd all the shot designers and like
moved his character just like oh, yeah,

286
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you know. But yeah, so
I know I'm going on a lot

287
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of tangents right now. But a
lot of stuff that we talked about on

288
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here is the technical side. And
yeah, yeah, with one of the

289
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things I wanted to talk about,
which is probably like one of the biggest

290
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characters in Yuma that I don't hear
people talking about, which is Yuma itself.

291
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I grew up in southern California.
I grew up I was a railroader

292
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for years to Yuma, and I
actually grew up close to PALMDA. I

293
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grew up in Barstow. Oh wow, So all of this, like this

294
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movie hit home on so many different
levels for me, because you you know,

295
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road trips, it's like, literally, if you got to go to

296
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the bathroom, this is the last
place that's not standing next one for one

297
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hundred miles literally. That was I
think that was sort of the catalyst of

298
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this script. Was like touring a
lot and coming across these diners and yeah,

299
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I having to take a piss,
like yeah, yeah, so yeah,

300
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I totally feel it, man,
I mean they exist, you know.

301
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At one point, like you know, there's a bear in the diner,

302
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and I really wanted to put a
polar bear in the diner. That

303
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was like, because you know,
you go to these roadside diners and they

304
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always have like weird shit, and
I just was like, that's funny,

305
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like you put a polar bear in
the middle of the desert. And then

306
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I wrote like they're they're extremely expensive
to rent, and it was just like,

307
00:20:33.359 --> 00:20:36.920
Okay, we can't afford polar bear, so it's gonna have to be

308
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a regular bear. Yeah. One
of the hard things with making a movie

309
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like this though, everything has to
be kind of gross and sweaty. Yeah.

310
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Oh man, every fucking take it
was like more, add more fucking

311
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glisher and add more fucking spray.
It was and I still don't think it's

312
00:20:53.880 --> 00:20:56.400
enough. I watched the movie and
I'm like, they should have been more

313
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sweaty. They should have been fucking
Awake and Fright. You know, that

314
00:21:02.440 --> 00:21:04.000
was sort of my have you seen
Wake and Fright? Oh yeah, yeah,

315
00:21:04.039 --> 00:21:07.039
so that was sort of like my
north star in terms of like sweat

316
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level, you know. But anyway, I cut you off, so no,

317
00:21:11.640 --> 00:21:14.759
might big question is when was it
filmed? Because in Palmdale, like

318
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a lot of people don't understand,
it's either ten degrees or one hundred and

319
00:21:18.559 --> 00:21:23.400
ten degrees like almost literally, dude, it was. I think we were

320
00:21:23.400 --> 00:21:26.680
like, oh, we're gonna be
fine. I think it rains four days

321
00:21:26.680 --> 00:21:30.400
out of the year. We got
three of those days. Like like there's

322
00:21:30.480 --> 00:21:36.160
every scene outside the actors are freezing, like we had to Actually, I

323
00:21:36.200 --> 00:21:40.319
have so many stories about the way. So the scene with like Jim doing

324
00:21:40.319 --> 00:21:44.599
the knife sales pitch, it is
pouring rain outside. I mean there's literally

325
00:21:44.640 --> 00:21:47.640
an HMI that fell over. There's
flags blown across the window. We had

326
00:21:47.640 --> 00:21:49.960
to frame up so you couldn't see
the ground because it was just you know,

327
00:21:51.319 --> 00:21:53.519
huddling up. So it's pouring rain
there, and we had to get

328
00:21:53.559 --> 00:21:59.680
all the fucking rain sound out and
post. Anytime you see characters outside,

329
00:21:59.680 --> 00:22:06.640
it's like the scene with Alex and
Sam, she had different wardrobe. She

330
00:22:06.759 --> 00:22:08.519
was like in like a tube top, I think, and like, uh,

331
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and the previous day we shot Jim's
coverage, I think, and then

332
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the next day we were flipping the
world and she was so fucking cold.

333
00:22:18.839 --> 00:22:22.480
We were like, we have to
reshoot everything because we need to put her

334
00:22:22.519 --> 00:22:26.200
in like so we had to like
piece together her her wardrobe because it was

335
00:22:26.240 --> 00:22:30.200
just too fucking cold, and we
had to reshoot it. Same thing with

336
00:22:30.400 --> 00:22:36.000
like we had to but with like
I think Sierra and Ryan standing out there,

337
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like I could still tell, like
like Sierra was trying so hard not

338
00:22:40.359 --> 00:22:42.119
to shiver her but I could tell. No one has said anything, but

339
00:22:42.200 --> 00:22:47.400
like I could tell she's just like
freezing. She's just like like you could

340
00:22:47.400 --> 00:22:49.400
fucking see it in her face.
She's trying to be like Nope, it's

341
00:22:49.440 --> 00:22:52.799
hot, it's sweaty, it's hot, Like yeah, so yeah, you're

342
00:22:52.839 --> 00:22:56.240
you're right, dude. It was
It was not fun. I went in

343
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there thinking like like Lancaster palm,
that oh yeah, it's gonna be hot

344
00:23:00.599 --> 00:23:03.119
as fuck, and like, no, dude, it was cold as shit.

345
00:23:03.400 --> 00:23:07.519
There's a lot of BTS photos where
I'm literally wearing a fucking ski mask

346
00:23:07.640 --> 00:23:11.640
on set. Because it was so
cold, and I was directing looking like

347
00:23:11.680 --> 00:23:15.599
the fucking Zodiac killar and shit like, you know that area so many people

348
00:23:15.599 --> 00:23:18.839
that have never been there don't understand
the weather is so extreme, and most

349
00:23:18.839 --> 00:23:25.160
people like they're used to thunderstorm extreme
weather or even like tornadoes, but there

350
00:23:25.319 --> 00:23:29.240
it's it's literally like there's no one
around for miles first of all, so

351
00:23:29.279 --> 00:23:32.160
you're all on your own in the
middle of nowhere. But yeah, it's

352
00:23:32.240 --> 00:23:37.000
literally like naked five degrees sometimes.
Oh yeah. Well, and the other

353
00:23:37.039 --> 00:23:41.119
crazy thing too, is like the
thing that really slowed us down was you

354
00:23:41.119 --> 00:23:45.920
know, it's a it's a three
way or there's like that intersection right on

355
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the corner, and I was like, I think when we scattered, I

356
00:23:51.480 --> 00:23:52.319
was like, oh, there's like
no traffic. It's gonna be fine,

357
00:23:52.759 --> 00:23:59.640
dude. We had to reset so
many fucking times because of cars, like

358
00:24:00.079 --> 00:24:03.880
especially like those long runners, Like
you'd be so close to nailing it and

359
00:24:03.920 --> 00:24:08.599
they're just like motorcycles zoom and we're
like fuck, you know. So yeah,

360
00:24:08.599 --> 00:24:12.759
that was also something that we weren't
expecting was just how much traffic goes

361
00:24:14.400 --> 00:24:21.799
goes through that that diner or that
film film location. Yeah, fucking Palmdale,

362
00:24:21.880 --> 00:24:25.319
Man, I had no idea.
Palm Fell's busy as hell, and

363
00:24:25.359 --> 00:24:27.839
it's it's one of those things where, like the it's people use it as

364
00:24:27.839 --> 00:24:32.960
an alternate route for the fifteen going
through California, and the fifteen gets so

365
00:24:33.039 --> 00:24:36.519
backed up because it's the way to
Vegas. It's the only way out of

366
00:24:36.680 --> 00:24:38.359
you know, Northwest, going out
of that part of California. Yeah,

367
00:24:38.480 --> 00:24:42.200
it's fucked. And then Palmdale gets
screwed over even and then on the alternate

368
00:24:42.279 --> 00:24:45.720
route. Oh, I'm sure,
yeah, is it I can't even remember.

369
00:24:45.799 --> 00:24:48.839
Is it Palmdale or is it Lancaster? That four races and I can't

370
00:24:48.880 --> 00:24:52.880
remember one of the two either way. Well, I mean Lancaster and Bakersfield.

371
00:24:52.880 --> 00:24:56.039
That whole area is pretty bad too. Yeah yeah, I mean they

372
00:24:56.119 --> 00:25:00.079
got the hatch Apee. And that's
the crazy thing. Both of these places

373
00:25:00.400 --> 00:25:03.880
are deserts because of the mountains there
nearby. So yeah, yeah, it

374
00:25:03.920 --> 00:25:07.039
gets super cold there. People don't
realize that. Yeah. Yeah, yeah,

375
00:25:07.400 --> 00:25:14.519
I'm looking right now. It is
in Palmdale, yeah yeah, yeah,

376
00:25:14.519 --> 00:25:18.960
And they shoot so much stuff there. I remember the did you see

377
00:25:18.000 --> 00:25:22.440
Dave last season? A Dave?
Oh no, not yet. The first

378
00:25:22.480 --> 00:25:26.799
episode was shot at four aces of
the last I think season three, and

379
00:25:26.799 --> 00:25:30.480
I think they shot right after us, and I was like, oh shit,

380
00:25:32.000 --> 00:25:37.319
but anyway, yeah, so uh
yeah, I'm always writing in like

381
00:25:37.359 --> 00:25:41.240
the worst locations. To be honest
with you, I like, one day

382
00:25:41.279 --> 00:25:44.759
I just want to like write something
on like this fucking like beautiful, like

383
00:25:45.039 --> 00:25:48.559
fucking island and make a little vacation
out of it. But it's always like

384
00:25:48.000 --> 00:25:52.319
snow and desert and like, you
know, places nobody wants to be.

385
00:25:52.759 --> 00:25:57.039
Inherently that creates tension, and that's
that's one of the best things about this

386
00:25:57.119 --> 00:26:02.160
movie is that it's so fucking no
matter what the situation is. Yeah,

387
00:26:02.240 --> 00:26:07.839
yeah, well thanks man. With
tension, I've kind of noticed, and

388
00:26:07.880 --> 00:26:08.920
this may just be for me.
I'd love you to explain it, since

389
00:26:08.960 --> 00:26:12.200
you're the one that wrote and directed
this, but yeah, writing tension always

390
00:26:12.200 --> 00:26:17.640
seems easier than creating it visually.
Do you have any like go to things

391
00:26:17.680 --> 00:26:21.519
for you that make it feel like
you can get tension on the screen that

392
00:26:21.680 --> 00:26:26.680
feels palpable? I would say the
opposite for me. Oh interesting, Yeah,

393
00:26:26.839 --> 00:26:30.039
Like I would say, I think
when a lot of people read this

394
00:26:30.200 --> 00:26:36.319
script, it wasn't like Oh my
god, there's so much tension. It

395
00:26:36.359 --> 00:26:38.359
would but I had to be like, this is how we create tension,

396
00:26:38.519 --> 00:26:41.240
you know what I mean? And
like it's you know, you watch a

397
00:26:41.279 --> 00:26:45.920
lot of Hitchcock, right, Like
so there's a lot I mean honestly,

398
00:26:45.960 --> 00:26:53.440
like anytime i'm pitching, like or
when i'm writing, I'm always like writing

399
00:26:53.480 --> 00:26:56.400
how we're like, how it's going
to be shot, and a lot of

400
00:26:56.440 --> 00:27:00.200
times like that's how I'm pitching.
It's probably really a not especially when I'm

401
00:27:00.240 --> 00:27:03.119
just like, you know, and
so we're here, then we're booming up

402
00:27:03.119 --> 00:27:04.440
and we're doing this and like I
was like, no, no, what's

403
00:27:04.440 --> 00:27:10.119
the story? And I'm like,
you know, so, but yeah,

404
00:27:10.119 --> 00:27:14.440
because I always kind of like when
i'm writing a tension, it's always I

405
00:27:14.799 --> 00:27:18.039
kind of asked myself what would Hitchcock
do? Because there's so many It's like

406
00:27:18.119 --> 00:27:22.359
what do you tell the audience that
the characters don't know or vice versa.

407
00:27:22.480 --> 00:27:25.960
Right, It's like or I just
think about like the bomb under the table

408
00:27:26.119 --> 00:27:30.279
scenario with the Hitchcock. You know, it's like two characters, I mean,

409
00:27:30.319 --> 00:27:33.480
you know the thing, it's like
two characters sitting at a table and

410
00:27:33.519 --> 00:27:36.519
the bomb explodes it's like, you
get the shock factor, but if you

411
00:27:36.680 --> 00:27:40.920
show the audience the bomb, then
all of a sudden, it's so much

412
00:27:40.960 --> 00:27:45.480
tension. And that was sort of
Also the idea with the field truck was

413
00:27:45.519 --> 00:27:48.279
like in the beginning, which a
lot of people didn't don't get the first

414
00:27:48.319 --> 00:27:51.640
time they watch it, or it
doesn't click till the very end. But

415
00:27:52.680 --> 00:27:56.920
yeah, it's like that field truck, Like the audience knows that the field

416
00:27:56.920 --> 00:28:00.680
truck is never showing up right,
and we show that the audience that in

417
00:28:00.680 --> 00:28:03.440
the very beginning. But weirdly,
I think a lot of people miss it.

418
00:28:03.359 --> 00:28:07.119
But it's cool. I mean,
it still works, you know if

419
00:28:07.119 --> 00:28:10.680
you don't catch it. But that
was the idea of just introducing an element

420
00:28:10.720 --> 00:28:12.920
that only the characters now, I
mean only the audience knows. Right.

421
00:28:14.119 --> 00:28:17.200
Also helps when you have rich your
break just staring at people the entire time.

422
00:28:18.079 --> 00:28:22.200
I mean, he is he's a
fucking force to be recking with.

423
00:28:22.240 --> 00:28:26.119
Man, he is, like,
Yeah, he's an incredible actor, he's

424
00:28:26.160 --> 00:28:30.680
an incredibly nice guy. I hope
to work with them many more times.

425
00:28:32.000 --> 00:28:36.559
Amazing. You say that this was
inspired by touring. Uh, would we

426
00:28:36.599 --> 00:28:38.960
know any of the bands that you
played in? Yeah, maybe I don't

427
00:28:38.960 --> 00:28:44.119
know. I mean, I played
in this band called Guttermouth, So they're

428
00:28:44.160 --> 00:28:48.720
a punk band from the nineties,
and I was like twenty twenty one when

429
00:28:48.720 --> 00:28:52.119
I started playing with them. And
then just like you know, like I'm

430
00:28:52.160 --> 00:28:55.920
like technically still in a band right
now, but we haven't played like we're

431
00:28:55.960 --> 00:28:59.519
we never like broke up, but
like the guitar player just moved and like

432
00:29:00.160 --> 00:29:03.039
is like right before COVID and then
we kind of just we still talk to

433
00:29:03.039 --> 00:29:06.279
the guys, but we just don't
play anymore. That band's called Insecure Alex.

434
00:29:07.519 --> 00:29:11.319
So yeah, just a bunch of
dude just hopping from you know.

435
00:29:12.480 --> 00:29:18.039
Amazingly. I I got started semi
in the music industry myself. I wasn't

436
00:29:18.039 --> 00:29:22.200
playing so much, but like doing
promoting, working on booking shows. I've

437
00:29:22.200 --> 00:29:26.720
had just played in my living room. I just helped scout for music videos.

438
00:29:26.720 --> 00:29:29.359
I've been in a couple of music
videos, helped well shoot a couple

439
00:29:29.440 --> 00:29:33.079
of those. But yeah, the
big thing people people never understand that it

440
00:29:33.240 --> 00:29:38.359
teaches you the fundamentals of so much
that you need for like literally any industry,

441
00:29:38.640 --> 00:29:44.480
any industry. I mean, I
think fucking I'm so thankful that I

442
00:29:44.519 --> 00:29:48.720
grew up with like punk rock and
like that diy ethos, Like it has

443
00:29:48.799 --> 00:29:52.000
taught me so much, dude.
Like I mean, it was like a

444
00:29:52.000 --> 00:29:53.440
freshman in high school, you know, I got like a four track recorder,

445
00:29:53.440 --> 00:29:57.680
and like I was, we were
making our own demos at home and

446
00:29:57.720 --> 00:30:03.519
like burning CDs and slanging CDs at
fucking school, and like you know,

447
00:30:03.839 --> 00:30:07.799
we would do these shows and I
would like rent an old fucking school bus

448
00:30:07.799 --> 00:30:08.799
and like pack it and bring everyone
in the shit, you know what I

449
00:30:08.799 --> 00:30:14.319
mean, Like you just sort of
especially with punk rock, like you just

450
00:30:15.039 --> 00:30:18.759
that that sort of diy ethosis.
Really, it's like it's in my fucking

451
00:30:19.200 --> 00:30:22.680
blood now. And I think if
it wasn't for that, I don't know

452
00:30:22.720 --> 00:30:26.240
if I would add if I would
have been like dumb enough to be like

453
00:30:26.559 --> 00:30:30.359
let's go to the fucking desert and
make a short film with zero experience,

454
00:30:30.599 --> 00:30:33.920
you know, like it was just
like it's always been fuck it, let's

455
00:30:33.960 --> 00:30:37.359
just do it, you know,
like fuck it, let's buy a van,

456
00:30:37.759 --> 00:30:40.519
let's hit the road, you know, let's figure it out. We

457
00:30:40.519 --> 00:30:42.559
don't have any money, and we'll
make some t shirts and sell them and

458
00:30:42.599 --> 00:30:51.279
pay for gas, like you just
but I think Having that sort of background

459
00:30:51.720 --> 00:30:56.160
has definitely contributed to some of the
dumb decisions I've made that have thankfully paid

460
00:30:56.160 --> 00:31:00.240
off in film. You know.
Yeah. The thing for me especially is

461
00:31:00.240 --> 00:31:03.960
it taught you rejection, like the
ability just to cope with being told no

462
00:31:04.039 --> 00:31:07.920
because somebody, Yeah, people that
start this and they get told no once,

463
00:31:07.079 --> 00:31:10.279
like oh, well pack it up, and it's like, well,

464
00:31:10.319 --> 00:31:12.480
hold on, there's four hundred and
twelve other things we can do. Yeah,

465
00:31:12.559 --> 00:31:15.519
I know, man, It's like
it bumps me out when I talked

466
00:31:15.519 --> 00:31:18.880
to filmmakers that are like, oh, I made this short film and like

467
00:31:19.680 --> 00:31:22.599
whatever, it didn't get into a
festival or whatever. And it's like and

468
00:31:22.640 --> 00:31:26.720
they just keep harping on the same
short. It's like, dude, make

469
00:31:26.759 --> 00:31:32.359
another one. Keep making them like
your first shit's going to be your worst

470
00:31:32.359 --> 00:31:34.119
shit, you know, like you're
just gonna get better. I mean,

471
00:31:34.200 --> 00:31:40.440
like and you never know when some
of these shorts are like gonna you know,

472
00:31:40.559 --> 00:31:44.599
sort of be a part of your
success. Like I did this short

473
00:31:44.599 --> 00:31:47.839
film called the Gemini Project. It's
like this black and white sort of like

474
00:31:47.880 --> 00:31:52.920
throwback to like Twilight Zone. I
shot an Oregon, uh and it came

475
00:31:52.960 --> 00:31:57.279
out like during COVID and nobody saw
it. I think it played at one

476
00:31:57.279 --> 00:32:01.839
festival and even my friends were like, what the fuck is this, dude,

477
00:32:02.079 --> 00:32:08.240
you know. And when I reached
out to light Jocelyn and Jim that

478
00:32:08.480 --> 00:32:13.000
it wasn't really hide Azer hell,
it was Gemini Project that they were like,

479
00:32:13.039 --> 00:32:15.720
this is really impressive and like,
I want to work with you.

480
00:32:15.799 --> 00:32:19.960
And I was like, oh my
god, Like somebody saw it and said,

481
00:32:20.000 --> 00:32:22.440
like it contributed to you know,
them, maybe them saying yes.

482
00:32:22.559 --> 00:32:24.759
But like at the time, I
was just kind of like, all right,

483
00:32:24.799 --> 00:32:28.599
well I made this thing and nobody
gave a fuck, but I kind

484
00:32:28.599 --> 00:32:30.599
of like it, you know,
so yeah, you never know, man,

485
00:32:30.640 --> 00:32:37.400
And like it, I would say, you should be saying yes to

486
00:32:37.400 --> 00:32:39.359
fucking everything, especially if you want
to be a director. Like literally,

487
00:32:39.359 --> 00:32:44.039
like I have gaff that crypt of
a seed of Adeed, I've done fucking

488
00:32:44.559 --> 00:32:49.440
wardrobe, I've done special effects,
I've like done every anytime a friend needed

489
00:32:49.440 --> 00:32:52.240
help, I'm like, I'm there, what do you need? And I

490
00:32:52.240 --> 00:32:59.960
can honestly trace back the sort of
the trajectory of like meeting James to finance

491
00:33:00.119 --> 00:33:02.319
the movie, all the way back
to the very first thing that I said

492
00:33:02.359 --> 00:33:07.079
yes to or like certain other things
where I'm like I was on set and

493
00:33:07.079 --> 00:33:08.599
I was like, why am I
doing this? Like, God, I'm

494
00:33:08.640 --> 00:33:12.400
working, I'm still working for free. And I'm like, oh, well,

495
00:33:12.400 --> 00:33:14.839
on that set, I met this
person and introduced me to this person.

496
00:33:15.119 --> 00:33:17.200
Then because of him bubble and you
can sort of connect the dots,

497
00:33:17.200 --> 00:33:21.759
and it's like, that's what you
have to be doing that constantly, just

498
00:33:21.799 --> 00:33:27.000
like saying yes and working and just
educating yourself, you know, not only

499
00:33:27.039 --> 00:33:30.599
with movies and physical media and watching
bonus features, but like spending time on

500
00:33:30.680 --> 00:33:37.559
set and learning the operations. Like
because I've done every job, I sort

501
00:33:37.559 --> 00:33:43.000
of can have that shorthand with my
hods and my crew and like and even

502
00:33:43.039 --> 00:33:46.759
like doing music has helped so much, and because I was producing my own

503
00:33:46.799 --> 00:33:50.720
bands and stuff that, like when
we're doing sound design and I'm in the

504
00:33:50.799 --> 00:33:53.839
room, I don't sound like a
complete idiot when I'm trying to explain what

505
00:33:53.920 --> 00:33:58.079
I want or like, how are
you hearing this thing? It's like they're

506
00:33:58.119 --> 00:34:00.160
not like I don't know what the
fuck you're talking about. Man, I

507
00:34:00.440 --> 00:34:05.759
can be very specific, you know. And I also like, I mean

508
00:34:05.799 --> 00:34:08.960
this was just dumb luck, but
like my composer because I was going to

509
00:34:09.000 --> 00:34:13.480
compose do the score for the last
stop, and then my son was born

510
00:34:13.880 --> 00:34:15.880
and I was like, there's I
have to spend time with a family.

511
00:34:15.960 --> 00:34:21.760
I can't do the score. So
I ended up hiring Matthew Compton, who

512
00:34:21.840 --> 00:34:24.559
is just incredible. I hope he
will do every movie for me. But

513
00:34:24.639 --> 00:34:29.719
he's also a drummer, so it
was great, like we have that very

514
00:34:29.760 --> 00:34:34.760
like drummer shorthand. I mean honestly, like though I didn't I barely gave

515
00:34:34.840 --> 00:34:37.639
him any notes, Like he just
fucking he took it. He ran with

516
00:34:37.679 --> 00:34:40.639
it and everything he did. I
was like, it's kind of perfect,

517
00:34:40.719 --> 00:34:44.400
dude. I don't know, like
at the very end, like we were

518
00:34:44.400 --> 00:34:47.039
tweaking things, but like, I
mean, he just he got it immediately,

519
00:34:47.280 --> 00:34:52.280
like he really got I mean,
he comes from comedy, he did

520
00:34:52.320 --> 00:34:55.679
like pop Star and mcgruber and shit
like yeah, And so that was the

521
00:34:55.719 --> 00:34:59.559
thing. I was auditioning a lot
of different composers, and the second I

522
00:34:59.599 --> 00:35:01.480
heard matth stuff, I was like, oh, you know, when to

523
00:35:01.519 --> 00:35:06.760
let the comedy breathe, Like you
understand the tone of this movie and it's

524
00:35:06.760 --> 00:35:10.519
playful but it's intense and like I
think he's a genius and I want to

525
00:35:12.039 --> 00:35:15.840
hopefully he'll do the next one for
me. It worked very well. It's

526
00:35:15.880 --> 00:35:17.559
one of the things that I noted
when I watched it is there's so many

527
00:35:17.920 --> 00:35:22.519
there's there's a handful of like really
obvious laugh out loud spots in a very

528
00:35:22.639 --> 00:35:27.800
tense movie. Yeah, work perfectly, and the music it dances around them

529
00:35:27.880 --> 00:35:32.159
like not many Indian films can do. It's mostly people that don't understand that

530
00:35:32.440 --> 00:35:37.719
capacity to allow your audience to actually
understand what happened there. Yeah, yeah,

531
00:35:37.719 --> 00:35:42.440
thanks man. I mean I hope
to always, you know, no

532
00:35:42.480 --> 00:35:45.239
matter how intense a movie is,
like, you got to bring some levity

533
00:35:45.280 --> 00:35:50.519
to it, you know. I
mean, that's that's life, right,

534
00:35:50.920 --> 00:35:54.320
We're always finding like comedy in the
most darkest fucking time. So I hope

535
00:35:54.360 --> 00:35:58.760
I can always stay true to that. I think that's just like sort of

536
00:35:58.800 --> 00:36:05.280
inherently how how I like writing too, So speaking of a tension and levity,

537
00:36:05.360 --> 00:36:08.079
we obviously can't talk much about it
yet, but all this technical knowledge

538
00:36:08.360 --> 00:36:13.400
is leading to an entry in a
beloved franchise. Oh yeah, yeah,

539
00:36:13.440 --> 00:36:16.440
man, that film coming next,
I do yeah, uh yeah, I

540
00:36:16.440 --> 00:36:22.039
mean going back to getting my friends
together and going out to the middle of

541
00:36:22.079 --> 00:36:25.079
nowhere and shooting something. I don't
know if I would have done that without

542
00:36:25.159 --> 00:36:29.960
seeing The Evil Dead, you know, like that was again going back to

543
00:36:30.119 --> 00:36:34.079
like what you grew up watching Terminate
weird like weirdly enough, like I have

544
00:36:34.119 --> 00:36:37.960
older brothers and they showed me so
many horror movies growing up, you know,

545
00:36:38.000 --> 00:36:40.559
I saw like I'm on Elm Street
and Halloween, all these movies.

546
00:36:40.719 --> 00:36:45.239
They never showed me Evil Dead.
Like weirdly, I discovered that movie by

547
00:36:45.280 --> 00:36:50.400
myself at an age where I was
like, holy shit, where like I

548
00:36:50.440 --> 00:36:53.920
could really understand like the technicality you
know, of that movie and like what

549
00:36:54.119 --> 00:37:00.960
Sam was doing with the campra it
was just like so fucking impressive and uh

550
00:37:00.960 --> 00:37:06.679
and groundbreaking really uh. And I
think that if I never saw The Evil

551
00:37:06.719 --> 00:37:09.639
Dead, I don't know if I
would have been I don't know if I

552
00:37:09.639 --> 00:37:12.800
would have done what I did,
And I don't know if I would have

553
00:37:12.800 --> 00:37:14.920
grabbed my friends been like let's go
to the desert make a horror movie.

554
00:37:14.960 --> 00:37:17.519
It was kind of like The Evil
Dead that sort of inspired that. If

555
00:37:17.559 --> 00:37:21.360
like you watch that movie and you're
just like man, like you could just

556
00:37:21.400 --> 00:37:24.440
tell Sam and Bruce are having the
best time making this thing with no money,

557
00:37:24.519 --> 00:37:30.239
and that's so inspiring, you know, and they're like not taking themselves

558
00:37:30.320 --> 00:37:35.480
too serious, right like. But
yeah, I mean I'm a massive Evil

559
00:37:35.519 --> 00:37:40.320
Dead fan. I'm like surrounded by
Evil Dead ship right now. So oh

560
00:37:40.440 --> 00:37:43.760
yeah, nice dude, Hell yeah, yeah, I have an Evil Dead

561
00:37:43.840 --> 00:37:47.239
two posts right there staring at my
one six scale ash and the neck chronomicon

562
00:37:47.440 --> 00:37:52.239
two necronomicons here, fucking yeah,
I have some original art in the back

563
00:37:52.239 --> 00:37:57.920
of the Evil Dead. Yeah,
so you're writing directing. Can't share any

564
00:37:57.920 --> 00:38:00.599
more details, but that's that's a
pretty damn big deal for somebody that's only

565
00:38:00.599 --> 00:38:04.199
done one big feature too. Yeah, I did. I know, man,

566
00:38:05.639 --> 00:38:09.320
I still can't really connect the dots, but I'm just doing the work,

567
00:38:09.400 --> 00:38:13.760
man. You know. Well,
obviously it hits a lot of boxes

568
00:38:13.800 --> 00:38:15.159
for you. But one of the
things that I was thinking about when this

569
00:38:15.280 --> 00:38:21.360
was announced, Horror is super forgiving
to new directors, Like they're more app

570
00:38:21.440 --> 00:38:23.239
to get people a chance than some
of these other genres. Julia, do

571
00:38:23.280 --> 00:38:27.760
you have a finger on the pulse? So why that may be? I

572
00:38:27.800 --> 00:38:31.639
don't know. I really don't know. I mean, I know ghost House

573
00:38:31.760 --> 00:38:36.639
is like they did this with Fede, right, Like fe did a short

574
00:38:36.639 --> 00:38:42.119
film and they hired him to make
Evil Dead and Lee had done one movie.

575
00:38:42.400 --> 00:38:49.599
You know, I think Sam just
trusts he's a filmmaker, right,

576
00:38:49.639 --> 00:38:54.719
He's like he he runs ghost House, but he's also a creative. So

577
00:38:54.840 --> 00:39:00.280
like if he sees something and he's
like this kid knows what he's doing whatever.

578
00:39:00.360 --> 00:39:04.280
Like it's it's really cool when you
have like a creative that is also

579
00:39:04.400 --> 00:39:07.960
running a company. I think it's
just like it's it's different than what typically

580
00:39:08.559 --> 00:39:13.519
how typically Hollywood is usually ran,
right, like where it's like quote unquote

581
00:39:13.599 --> 00:39:17.920
suits right that aren't filmmakers, and
they're just like they're really just looking at

582
00:39:17.960 --> 00:39:24.719
a spreadsheet, you know, where
like Sam saw Last Stop and just yeah,

583
00:39:25.000 --> 00:39:28.760
so I I but I don't know, but I mean agree with you.

584
00:39:28.800 --> 00:39:34.960
I think that like that definitely happens
more often in horror. But I

585
00:39:34.960 --> 00:39:37.360
don't know. I mean it also
happened like it happens though, I mean

586
00:39:37.440 --> 00:39:42.159
like John Watts, like he did
cop Car and then he did Spider Man,

587
00:39:42.480 --> 00:39:45.440
you know, like I mean James
Gunn he did like with Slither and

588
00:39:47.760 --> 00:39:52.360
Super and then Guardians of the Galaxy. So it happens right, but I

589
00:39:52.519 --> 00:39:55.119
definitely I think you're right more often
in horror well, and even then,

590
00:39:55.159 --> 00:39:59.960
like they're they're attached to horror somewhat, even cop cars very tension filed.

591
00:40:00.440 --> 00:40:04.320
I mean you look at any director, like any massive director, they started

592
00:40:04.360 --> 00:40:07.119
out in horror, Like I like, I just watched Dementia thirteen the other

593
00:40:07.199 --> 00:40:10.800
night, like Frances four Coppola,
that's horror, like you know, uh

594
00:40:12.920 --> 00:40:15.000
yeah, I mean it's like I
think, because you know, you can

595
00:40:15.039 --> 00:40:20.880
do things, it's a little bit
more forgiving, like when it's low budget

596
00:40:21.039 --> 00:40:25.079
and it's horror, you know,
uh that maybe that has something to do

597
00:40:25.119 --> 00:40:29.000
with it. I don't know,
but like you know, just the horror

598
00:40:29.000 --> 00:40:37.719
community is just the fucking best,
Like they're so supportive and yeah, man,

599
00:40:37.880 --> 00:40:39.960
it's the coolest fucking community. And
because I mean I just think like

600
00:40:40.480 --> 00:40:45.039
people that love horror, we're all
just giant nerds, you know, like

601
00:40:45.159 --> 00:40:47.800
we we buy the Blu ray,
we buy the toy, we buy the

602
00:40:47.800 --> 00:40:53.360
fucking like, we buy everything.
There's not really another genre like like that.

603
00:40:53.360 --> 00:41:00.960
That is so I say, it
was just like kids really quickly become

604
00:41:00.400 --> 00:41:07.960
culty, you know, right,
So yeah, people, the whole community

605
00:41:07.039 --> 00:41:10.920
just tend to always show up too, so even like all these it's pretty

606
00:41:10.960 --> 00:41:14.719
much they're always gonna make money.
It seems like, yeah, yeah,

607
00:41:14.760 --> 00:41:16.920
totally, totally. Yeah. I
mean I'm going to Monster Plouzer today and

608
00:41:17.000 --> 00:41:20.960
like it's just it's my favorite place, you know, just being surrounded by

609
00:41:22.000 --> 00:41:23.719
a group of people that all love
the same shit. You know. It's

610
00:41:23.800 --> 00:41:30.920
like I can go there and talk
about like my action figures and like I

611
00:41:30.920 --> 00:41:36.559
have a spindle from the Texas Chainsaw
NASCAR House and like people be like,

612
00:41:36.840 --> 00:41:38.280
what is that spindle doing on your
wall? What the fuck is that?

613
00:41:38.360 --> 00:41:40.800
And then when you're at Monster Palluzer, people are like, oh my god,

614
00:41:42.079 --> 00:41:47.599
you know, and you get it. Yeah, so yeah, yeah,

615
00:41:47.639 --> 00:41:51.840
well you just mentioned it. I
It's time to kind of hype up

616
00:41:51.880 --> 00:41:54.920
something a little bit and last stop
coming to physical media middle of July from

617
00:41:54.920 --> 00:41:59.079
will Go USA in the US,
and then Aero announced they acquired it,

618
00:41:59.119 --> 00:42:01.840
so probably coming to the UK,
yes, sir, Yeah, amazing,

619
00:42:02.360 --> 00:42:06.079
big deal. Yeah, dude,
I love Aero, I mean fucking like

620
00:42:07.159 --> 00:42:12.360
yeah, between Aero own criteria and
like those are the ones I look forward

621
00:42:12.400 --> 00:42:15.880
to the most. I mean,
especially like the the Collector's, the limited

622
00:42:15.039 --> 00:42:19.239
edition Aero stuff like so cool.
Takes up a lot of room in the

623
00:42:19.239 --> 00:42:22.440
spit in the fucking wall because they're
so thick, but I love it.

624
00:42:22.559 --> 00:42:24.840
Yeah, what what are you looking
for in a physical media release to make

625
00:42:24.880 --> 00:42:30.480
it special for you? One that
you appreciate more than others? Bonus features

626
00:42:30.199 --> 00:42:37.039
like that's why you know what I
gotten. I had this really long conversation

627
00:42:37.119 --> 00:42:39.280
with my DP. He went to
USC didn't I didn't go to film school,

628
00:42:39.280 --> 00:42:42.679
and like we were drinking on the
Mortal Day and we were just like

629
00:42:44.000 --> 00:42:46.360
I was talking about how film school
is a waste of money, and then

630
00:42:46.400 --> 00:42:50.840
he was like in my living room, He's like, you basically spent like

631
00:42:50.920 --> 00:42:54.599
this wall is probably more than film
school, you know. And I was

632
00:42:54.639 --> 00:42:58.199
like, you're not wrong, but
I think this wall has taught me more

633
00:42:58.280 --> 00:43:01.440
than what I would learn at film
school. And yeah, when anytime I

634
00:43:01.480 --> 00:43:05.719
have to like stream a movie or
something, I'm always like scouring YouTube to

635
00:43:05.760 --> 00:43:07.840
find bonus features. Like now,
it's just like whenever I watch something,

636
00:43:08.719 --> 00:43:12.719
I just have to like, yeah, I have to get more, you

637
00:43:12.719 --> 00:43:15.519
know, especially like if I go
and see a movie in theater, I'm

638
00:43:15.519 --> 00:43:19.639
like in theaters, I'm like,
what's on YouTube? What can I watch

639
00:43:19.679 --> 00:43:24.000
like what BTS shit can I watch
for the last stop. My buddy Eric,

640
00:43:24.440 --> 00:43:29.800
he's a DP for Naked and Afraid, and when I told him the

641
00:43:29.840 --> 00:43:31.400
story about James selling his house,
He's like, oh, man, can

642
00:43:31.440 --> 00:43:35.880
I come shoot like a ten minute
featurette And I was like, oh,

643
00:43:35.880 --> 00:43:37.800
fuck, yeah, it's gonna be
perfect for you know, for the Fiscal

644
00:43:37.880 --> 00:43:45.440
media. And uh. He showed
up and so much crazy shit happened on

645
00:43:45.519 --> 00:43:50.280
set that he just ended up staying
the whole time. Now, almost two

646
00:43:50.360 --> 00:43:53.599
years later, he's still filming and
he at one point he had like a

647
00:43:53.639 --> 00:43:59.400
six hour cut. Now it's going
to be like maybe two hours, maybe

648
00:43:59.400 --> 00:44:04.559
an hour and a half. But
it's really interesting. It's not gonna be

649
00:44:04.599 --> 00:44:07.119
on the Blu Ray. There's like
a nine minute teaser of that that's going

650
00:44:07.159 --> 00:44:15.920
to be on the Blu Ray.
And I did three different commentaries for the

651
00:44:15.960 --> 00:44:21.360
Blu Ray. So I tried,
I honestly, like I wanted so badly

652
00:44:21.400 --> 00:44:22.840
to put like bloopers and do all
this, but like I just didn't have

653
00:44:22.880 --> 00:44:24.960
time, dude, and it was
like we're up against the clock. So

654
00:44:25.719 --> 00:44:28.920
I wish there was more on the
Blu Ray. But I did do three

655
00:44:28.960 --> 00:44:34.840
commentaries and like a ten minute making
of So I hope maybe like by the

656
00:44:34.880 --> 00:44:37.880
time The Arrow of One comes out, I can get the more bonus features.

657
00:44:37.920 --> 00:44:40.400
But yeah, the more the better, man, I watch it all,

658
00:44:40.480 --> 00:44:45.039
dude, So any from the last
couple of years that stuck out to

659
00:44:45.039 --> 00:44:51.760
you is like especially moving or important
for you or even just all time,

660
00:44:51.840 --> 00:44:54.920
Like yeah, yeah, so of
all time, there's well and I think

661
00:44:54.960 --> 00:45:04.320
I just talked about this on another
podcast maybe U oh God, Burdello of

662
00:45:04.320 --> 00:45:09.840
Blood the on Shot Factory. There's
a there's a documentary on that Blu ray

663
00:45:09.960 --> 00:45:15.880
called Tainted Blood, and it's I
don't want to give it away. Do

664
00:45:15.920 --> 00:45:20.480
you have that movie on Blue Ray? Have you seen that documentary? It's

665
00:45:20.679 --> 00:45:25.559
fucking incredible and like funny, but
I probably shouldn't be laughing because it's like

666
00:45:25.599 --> 00:45:29.960
really sad. But like I mean, it's just like the most fucked up

667
00:45:29.960 --> 00:45:32.760
film experience ever. And I don't
know why that one came in my mind.

668
00:45:32.960 --> 00:45:37.679
I Tainted Blood it's great, obviously, all the Peter Jackson stuff.

669
00:45:37.679 --> 00:45:40.480
I mean, that guy like really
love I mean, there's like a four

670
00:45:40.519 --> 00:45:45.679
hour thing on The Frighteners where of
just like I mean, it's just like

671
00:45:45.079 --> 00:45:50.079
he literally just like sets the camera
down, he's like filming, like rehearsals

672
00:45:50.119 --> 00:45:52.920
and shiit and like I can watch
this for days. It's great. But

673
00:45:53.960 --> 00:45:57.320
yeah, I mean, I'm sure
there's a lot. I mean, dude,

674
00:45:57.400 --> 00:46:00.280
I don't know. Also, like
the making of The Last Jedi is

675
00:46:00.480 --> 00:46:05.840
really fucking good. If you haven't
seen that, it's really fucking good.

676
00:46:07.199 --> 00:46:09.880
I don't know. I mean,
yeah, anything with Peter Bogdanovich too.

677
00:46:09.920 --> 00:46:13.440
It's like I feel like that guy
is on every single Blu Ray. I'm

678
00:46:13.480 --> 00:46:15.280
like, well, of course,
of course he's on this one. Yeah,

679
00:46:17.280 --> 00:46:22.679
yeah, exactly, he would be
yeah, yeah, So but yeah,

680
00:46:22.679 --> 00:46:24.280
I love that stuff, man.
And hopefully I can get more on

681
00:46:24.320 --> 00:46:28.679
the Era O release. But like
I said, three three commentaries, one

682
00:46:28.760 --> 00:46:32.119
with me and my DP kind of
talking more technical stuff, me and the

683
00:46:32.159 --> 00:46:39.679
EP James mainly just kind of bullshitting, and then me Jocelyn and Jim talking

684
00:46:39.679 --> 00:46:45.840
about sort of the process. So
hopefully it's a hopefully people dig it.

685
00:46:46.960 --> 00:46:51.159
This is this is a super specific
question, but I've been saying the same

686
00:46:51.199 --> 00:46:54.360
thing for years that many of these
releases are literally film school at a box.

687
00:46:54.400 --> 00:46:58.679
There's something that you can grab onto
and learn how to go make out

688
00:46:58.719 --> 00:47:01.039
and make a movie or like just
kick your ass and get started. Basically

689
00:47:01.079 --> 00:47:06.719
sometimes yeah, weirdly specific. Can
you think of something on Last Stop that

690
00:47:06.800 --> 00:47:09.840
you did because you learned about it
in a physical media release, like something

691
00:47:09.840 --> 00:47:16.639
from a commentary? Oh god,
just to prove a point. Yeah,

692
00:47:16.679 --> 00:47:21.360
I can't think of anything specific right
now, but I know for sure there

693
00:47:21.880 --> 00:47:25.599
there definitely was, right, Like
I just can't think of anything at the

694
00:47:25.639 --> 00:47:30.639
moment, but one, you know, I mean some things like it's just

695
00:47:30.679 --> 00:47:35.239
like anything, right, Like you
just sort of consume all this, like

696
00:47:36.920 --> 00:47:40.360
you consume movies and bonus features,
and sometimes like you forget where they come

697
00:47:40.360 --> 00:47:47.400
from and you just inherently subconsciously use
it, you know. Like I was

698
00:47:47.480 --> 00:47:52.920
just I just rewatched The Killing a
few weeks ago, the Stanley Cabrick movie,

699
00:47:52.199 --> 00:47:54.440
and like with all the money flying
around at the end, I was

700
00:47:54.480 --> 00:48:00.239
like, oh, did this inspire
Lastop? And like maybe, you know,

701
00:48:00.280 --> 00:48:02.119
like I definitely don't think I was
thinking about it. I definitely wasn't

702
00:48:02.159 --> 00:48:07.960
thinking about it at the time,
but like I'm sure that that's maybe where

703
00:48:07.960 --> 00:48:09.079
it stemmed from, you know what
I mean. And it's same thing with

704
00:48:09.119 --> 00:48:13.400
like bonus feature that I've seen so
much that I'm like, yeah, there

705
00:48:13.480 --> 00:48:17.519
was probably there's probably a lot of
times where I was like in the middle

706
00:48:17.519 --> 00:48:21.960
of a situation where I felt like
everything was falling apart, and then you

707
00:48:22.000 --> 00:48:29.679
think about, like, you know, god, what's the apocalypse now documentary

708
00:48:29.920 --> 00:48:32.400
parts of darkness? Yeah, and
you're like, no, no, no,

709
00:48:32.400 --> 00:48:35.639
it's not as bad as that,
so we're good, you know.

710
00:48:37.239 --> 00:48:39.079
Yeah, yeah, but but speaking
of parts of darkness like that, that's

711
00:48:39.079 --> 00:48:44.960
what it's called, right, Yeah, that's one of the best. I

712
00:48:44.960 --> 00:48:50.480
mean, hands down, like that
fucking doc is incredible, man, but

713
00:48:50.599 --> 00:48:55.599
also like American movie, you know, American movies incredible, dude. Actually,

714
00:48:55.760 --> 00:49:01.960
somebody gifted me the Colbyn VHS.
I got it signed by Mark and

715
00:49:02.000 --> 00:49:07.639
stuff. Yeah, but yeah,
oh, you know, it's a really

716
00:49:07.719 --> 00:49:13.760
really good one. I mean,
and this is the documentary that inspired James

717
00:49:13.840 --> 00:49:17.559
r. Ep to like really want
to make movies. Is the Snowball Effect

718
00:49:19.320 --> 00:49:22.440
on. I don't know if you've
seen. It's on the ten year anniversary

719
00:49:22.519 --> 00:49:30.039
DBB of Clerks, but it's the
Making of Clerks and it is so fucking

720
00:49:30.159 --> 00:49:32.039
inspiring. I'm gonna put that as
my number one, Like that is one

721
00:49:32.079 --> 00:49:35.800
of the most inspiring docs I've ever
seen. I mean it's just Kevin Smithlake

722
00:49:36.440 --> 00:49:40.880
basically racking up his credit card to
make this thing and like and then people

723
00:49:42.039 --> 00:49:47.039
being like this movie sucks and it's
going nowhere, and then one person sees

724
00:49:47.079 --> 00:49:51.800
it and it's like it changes everything. I mean, that's exactly what happened

725
00:49:51.800 --> 00:49:53.039
with Last Stop. Dude, Like
we all were like, Okay, I

726
00:49:53.079 --> 00:49:57.719
think this is a good movie.
We got rejected into every festival, dude,

727
00:49:58.239 --> 00:50:00.599
Like, yeah, like we didn't
do all these like all the big

728
00:50:00.599 --> 00:50:04.039
ones. Everyone said no, I
mean not even the big ones, like

729
00:50:04.599 --> 00:50:08.199
the start naming names, but like
we got rejection letters from everybody. Nobody

730
00:50:08.239 --> 00:50:13.920
cared. And then like once it
premiered and people started like talking about it,

731
00:50:14.079 --> 00:50:16.760
everything changed. You know. It
takes one person to say yes and

732
00:50:16.800 --> 00:50:20.840
like or one person to like champion
something and be like no, no,

733
00:50:20.760 --> 00:50:24.440
no, no, look at this
thing. So I like and that was

734
00:50:24.559 --> 00:50:29.639
like a huge thing. And the
snowball effect of just like, oh,

735
00:50:29.679 --> 00:50:32.119
it's not they he wasted his time
and money and his now he's got to

736
00:50:32.119 --> 00:50:36.039
go get a job. And then
like one person, one person in the

737
00:50:36.039 --> 00:50:39.920
theater saw the movie and did a
write up and like just snowball effect.

738
00:50:40.159 --> 00:50:44.880
You know, and a lot of
times that's how it is, you know,

739
00:50:44.960 --> 00:50:47.760
it always takes that one person to
say yes, just like James saying

740
00:50:47.800 --> 00:50:52.880
yes to telling his house to finance
that nobody was going to make this movie.

741
00:50:52.880 --> 00:50:59.519
Nobody, right, you know.
So yeah, that's I mean,

742
00:50:59.519 --> 00:51:04.440
that's amazing. The amount of work
that went into this is it's palpable,

743
00:51:04.480 --> 00:51:06.960
literally you can tell. And that's
I mean, honestly, that's probably one

744
00:51:07.000 --> 00:51:09.039
of the unsung things that I don't
think I hear many people talk about as

745
00:51:09.079 --> 00:51:14.280
many Especially in the earlier like two
thousand to maybe twenty ten ish time,

746
00:51:14.480 --> 00:51:20.199
we were getting a lot of these
with like storyboard galleries or comparison between storyboard

747
00:51:20.199 --> 00:51:22.760
shots and how it actually turned out
in the film. Yeah, and a

748
00:51:22.800 --> 00:51:27.039
lot of those can teach people like
no, you you literally visualized the entire

749
00:51:27.119 --> 00:51:30.719
thing. Oh, the whole thing, dude. I mean, I this

750
00:51:30.760 --> 00:51:32.920
sounds crazy, but like I would
wake up in the morning and sort of

751
00:51:32.920 --> 00:51:36.960
close my eyes and like be able
to watch the movie in my head,

752
00:51:37.199 --> 00:51:39.480
like every single fucking pot. I
mean, I can show you all that

753
00:51:39.519 --> 00:51:43.559
real quick. I've showed this off
before, but like this is sort of

754
00:51:43.599 --> 00:51:45.599
like what it looks like. So
this is uh, this is like my

755
00:51:46.519 --> 00:51:52.639
sort of prep bible, and it's
like this is I mean, you can

756
00:51:52.679 --> 00:51:59.800
see it, but it's like,
wow, every single overhead the movie.

757
00:52:04.360 --> 00:52:07.760
But yeah, so it's every single
overhead of the movie. You know,

758
00:52:07.840 --> 00:52:10.280
it's that much prep. And like
on top of that, it was also

759
00:52:10.400 --> 00:52:15.159
going to the location and photoboarding,
and like for the Roy Orbison sequence,

760
00:52:15.199 --> 00:52:21.760
it was like, actually I shot
that sequence like five times, like you

761
00:52:21.800 --> 00:52:23.760
know, and everyone was like,
this is so stupid. You're putting a

762
00:52:23.800 --> 00:52:28.239
music video in the middle of your
movie. It's not gonna work. And

763
00:52:28.920 --> 00:52:30.159
I was just had to stick to
my guns. I'm like, I was

764
00:52:30.159 --> 00:52:32.760
filming it around the house and you
know, cutting it and be like what

765
00:52:32.800 --> 00:52:37.760
am I missing? Okay, I'm
missing over here or whatever. But yeah,

766
00:52:37.800 --> 00:52:40.480
man, I mean, look,
everybody works different, right. There's

767
00:52:40.519 --> 00:52:43.639
probably some directors that are like,
I don't need a shot list and they

768
00:52:43.639 --> 00:52:45.960
make a fucking great movie and they
figure it out on the spot. And

769
00:52:47.239 --> 00:52:51.280
sometimes I did have to ditch the
shot list right because we were up against

770
00:52:51.280 --> 00:52:53.440
the clock and it was like,
all right, dude, let's just put

771
00:52:53.480 --> 00:52:58.119
it on a steady cam and fucking
figure it out. You know. But

772
00:52:58.360 --> 00:53:01.519
when you prep, Like you know, it's a lot easier to pivot when

773
00:53:01.559 --> 00:53:07.679
you're disprepared. But I mean that's
just my process, you know, Like

774
00:53:07.760 --> 00:53:12.079
I have to prep that much.
Like you know, I use sketch up

775
00:53:12.079 --> 00:53:16.840
and I do like a three D
design of the entire location of every location

776
00:53:16.920 --> 00:53:21.639
that we shoot out, and then
I scale it down to a two D

777
00:53:21.760 --> 00:53:24.800
and then I implement it into shot
Designer and that's where I start planning my

778
00:53:24.840 --> 00:53:29.239
overheads. But like I actually have
to like physically see a space. That's

779
00:53:29.280 --> 00:53:31.000
just how my brain works, you
know. But it's probably overkill, but

780
00:53:31.480 --> 00:53:36.760
that's just my process, you know. Well not that not that you need

781
00:53:36.800 --> 00:53:39.360
more feedback on it. But the
Roy Orbison sequence isn't fucking incredible? Oh

782
00:53:39.440 --> 00:53:42.840
thanks man, But yeah, I
always he'll change on the end. On

783
00:53:42.920 --> 00:53:46.119
Richard Brake was like it was so
perfect, blowing the way that shot.

784
00:53:46.519 --> 00:53:50.639
Yeah, that Vigo fucking shot is. It was very hard to pull off

785
00:53:50.679 --> 00:53:53.280
with like we didn't have the Like
I think our second was like on a

786
00:53:53.320 --> 00:53:57.840
whip trying to do it and it
was God, I think I don't know,

787
00:53:57.840 --> 00:54:01.000
we did like thirty takes. It
was very very hard. But yeah,

788
00:54:01.079 --> 00:54:04.679
Jim will admit this he said it
before on a podcast, but it

789
00:54:04.719 --> 00:54:07.840
is funny because like he was really
trying to convince me to cut the Royal

790
00:54:07.920 --> 00:54:10.119
Verson thing. He was just like, dude, trust me, blah blah.

791
00:54:10.159 --> 00:54:13.280
Even when we were shooting, he
was like, friend, what are

792
00:54:13.280 --> 00:54:15.679
you doing? Dude? What is
this? What are you doing? Man?

793
00:54:15.920 --> 00:54:16.880
I was like, Jim, shoot
the look up like you know.

794
00:54:17.280 --> 00:54:22.000
And now I remember the first time
I think I showed Jim. It was

795
00:54:22.039 --> 00:54:24.199
me, Jim, my best friend
Scott, and James showed them the first

796
00:54:24.239 --> 00:54:29.880
cut and I had to pause it
because he was just like right away,

797
00:54:29.880 --> 00:54:31.440
He's like, I was so wrong. I've never been more wrong in my

798
00:54:31.480 --> 00:54:35.280
life. It's the best part of
the fucking movie. I was so like

799
00:54:35.440 --> 00:54:37.760
vindicating to be like, ah,
I'm so glad you like it, Jim,

800
00:54:37.760 --> 00:54:40.679
because also, like Jim is he's
a hero of mine, you know,

801
00:54:40.760 --> 00:54:45.800
like he's like he was sort of
like in My North Star in terms

802
00:54:45.800 --> 00:54:49.480
of like, oh, this guy's
making movies with his friends and making a

803
00:54:49.519 --> 00:54:52.159
career out of it, and like
that's all I really wanted, was like,

804
00:54:52.599 --> 00:54:57.519
how do I make movies with my
friends and like be able to make

805
00:54:57.559 --> 00:55:01.320
a living doing it? And Jim
did that so it was nice to hear

806
00:55:01.400 --> 00:55:07.360
him be like my favorite part of
the movie. Well, I know you

807
00:55:07.360 --> 00:55:09.880
got to get to Monster Palooza,
so out of immense respect for your time,

808
00:55:09.920 --> 00:55:13.480
I could talk to you for the
next three hours. But dude,

809
00:55:13.519 --> 00:55:15.760
me too, man, and this
has been awesome. Dude, I want

810
00:55:15.760 --> 00:55:17.519
to ask you, what are your
favorite Blu rays back there? It's your

811
00:55:17.519 --> 00:55:22.800
favorite? Like physical media? Oh
gosh, there's so damn many. I

812
00:55:22.840 --> 00:55:25.599
mean, shout out a recent one. I just watched The Case of the

813
00:55:25.599 --> 00:55:30.440
Bloody Iris. Oh cool from Celluloid
Dreams, a brand new label, and

814
00:55:30.480 --> 00:55:34.280
it looks like immaculate. One of
the best four K jolos I've ever seen.

815
00:55:34.480 --> 00:55:38.760
What's it called the Celluloid What Celluloid
Dreams? This was their first title,

816
00:55:38.840 --> 00:55:45.960
and then they've announced Black Belly of
the Tarantula another classic JOLLO. Okay,

817
00:55:45.000 --> 00:55:49.880
I'm on there web sorry now that
one's coming out on four K as

818
00:55:49.920 --> 00:55:52.239
well, And those are their first
two titles, so it's really so that's

819
00:55:52.239 --> 00:55:57.960
a big deal to step in with
those two. Totally dude, that is

820
00:55:58.599 --> 00:56:01.280
with big fan of Radiance. Have
you checked out Radiance yet? No so

821
00:56:02.000 --> 00:56:06.639
shares a name with you. Fran
used to work at Aero Video in the

822
00:56:06.719 --> 00:56:10.159
UK stipped out and made this company
Radiance. This is Bava's Planet of the

823
00:56:10.239 --> 00:56:15.440
Vampires. Oh that looks cool man, amazing art on all their releases.

824
00:56:15.559 --> 00:56:20.639
Yeah. The biggest thing a lot
of the films, they not a lot

825
00:56:20.679 --> 00:56:22.880
of them, but they get a
lot of unsung films that people just never

826
00:56:22.920 --> 00:56:27.599
talk about. But then they did
things like The hot Spot, the Dennis

827
00:56:27.639 --> 00:56:30.239
Hopper film. It's got a release
from Kino in the US, and to

828
00:56:30.280 --> 00:56:34.079
be quite honest, it's the same
scan. It doesn't look much different.

829
00:56:34.119 --> 00:56:40.400
However, the bonus features that Fran
chooses for his releases are produced to perfection.

830
00:56:42.639 --> 00:56:45.199
He did a he did a Hong
Kong film that I just watched a

831
00:56:45.239 --> 00:56:49.679
bonus feature from last month and it's
got maybe the best visual essay I've ever

832
00:56:49.679 --> 00:56:53.599
seen, and it was just breaking
down how Hong Kong cinema changed between literally

833
00:56:53.679 --> 00:56:57.360
the beginning to when that film came
out. I think it was on a

834
00:56:57.400 --> 00:57:02.440
moment of romance and it's it's some
of the most educational, just well thought

835
00:57:02.480 --> 00:57:07.239
out, beautiful, beautiful, put
together bonus features that I will champion till

836
00:57:07.239 --> 00:57:09.760
the day I die. Damn,
one day you and I should start a

837
00:57:09.800 --> 00:57:15.519
blue rite company. That'd be fucking
awesome talked about really, have you I

838
00:57:16.000 --> 00:57:21.000
genuinely yeah, maybe we got yeah
right, yeah, yeah, I just

839
00:57:21.159 --> 00:57:24.639
I just got that what's Vinegar Syndrome's
new like sub label. They just put

840
00:57:24.639 --> 00:57:30.400
out Red Rock Quest Cinematograph. Yeah
that those are really nice. I just

841
00:57:30.400 --> 00:57:34.079
got Red Rock Red Rock Quest and
it's so fucking cool, like the string

842
00:57:34.280 --> 00:57:38.840
and yeah yeah, the little ribbon
you pull out. Yeah. God,

843
00:57:38.880 --> 00:57:42.840
there was another one I just wanted
to talk about. Oh, did you

844
00:57:42.880 --> 00:57:45.800
pick up Rolling Thunder on the new
four K transfer? I don't have it

845
00:57:45.920 --> 00:57:52.199
yet, I do plan, but
four times before, so yeah, exactly,

846
00:57:52.239 --> 00:57:54.920
well I did the commentary on that
one. I did not know that.

847
00:57:55.320 --> 00:57:58.719
Yeah, I did the commentary.
Me and my buddy Jackson Stewart did

848
00:57:58.719 --> 00:58:05.559
the commentary for Rolling Thunder four K
and then they haven't analysis yet. But

849
00:58:05.599 --> 00:58:08.679
I'm also doing the commentary for Jackson
and I are in the commentary for the

850
00:58:08.719 --> 00:58:14.039
Village of the Damn the Carpenter four
K. I'm sure credible. So yeah,

851
00:58:14.559 --> 00:58:16.280
I hope they'll be able to do
some more with factory. Those guys

852
00:58:16.280 --> 00:58:22.360
are awesome and it's so much fun. Just I mean honestly with with Rolling

853
00:58:22.400 --> 00:58:25.320
Thunder, I mean, I definitely
did my homework and and you know,

854
00:58:25.519 --> 00:58:30.320
hopefully it's it's like, you know, giving you some tidbits about the movie,

855
00:58:30.360 --> 00:58:34.320
but for the most part, it's
just me like, fucking, oh

856
00:58:34.360 --> 00:58:37.800
my god, this shot is amazing. Wow, like just geeking out so

857
00:58:38.119 --> 00:58:42.719
weird choose too, that's me,
that's me just being a complete nerd,

858
00:58:42.840 --> 00:58:45.119
you know. Uh yeah, but
it's basically me just a guessing over the

859
00:58:45.119 --> 00:58:49.880
movie, you know. But yeah, so if you check that out,

860
00:58:49.920 --> 00:58:53.840
you can hear my obnoxious voice talk
about Rolling Thunder for an hour and a

861
00:58:53.880 --> 00:58:58.159
half. Incredible. Now it's on
the most by list. Yeah yeah,

862
00:58:58.440 --> 00:59:00.000
cool man, thank you, thank
you so much for your time. Yeah,

863
00:59:00.840 --> 00:59:04.280
if you're open to we got to
do this again. I mean I

864
00:59:04.320 --> 00:59:07.639
love that after after Evil Dead is
you know, close to finish. I

865
00:59:07.639 --> 00:59:09.320
would love to hear a lot of
details. Yeah, yeah, for sure,

866
00:59:09.360 --> 00:59:13.800
man, And hopefully that one gets
a nice uh physical media release and

867
00:59:13.840 --> 00:59:16.559
then we can talk about that too. Undoubtedly Evil Dead gets thirty five of

868
00:59:16.599 --> 00:59:21.079
them, so I'm sure, yeah, yeah, exactly. It's especially the

869
00:59:21.119 --> 00:59:24.159
fucking the first one, dude.
I've bought it so many fucking times.

870
00:59:24.239 --> 00:59:27.920
Dude, I think the one I
have right now is just the steal book

871
00:59:27.920 --> 00:59:30.159
from with the one sheet. But
yeah, man, well no, this

872
00:59:30.280 --> 00:59:34.119
was awesome. Thank you so much, man, And yeah, I'm sure

873
00:59:34.119 --> 00:59:37.639
we'll talk soon. And like,
outside of this, let's talk about starting

874
00:59:37.679 --> 00:59:40.400
our physical media company. You got
it. I have a good time at

875
00:59:40.400 --> 00:59:44.440
Mantral. Awesome. Thanks so much, man, We'll talk to you.

876
00:59:45.320 --> 00:59:50.079
If you're looking for more horror outside
of the mainstream, look no further than

877
00:59:50.199 --> 00:59:55.760
Unsung Horrors, a podcast about underseen
horror movies. I'm Lance and I'm Erica.

878
00:59:57.079 --> 01:00:00.679
Every other week we'll cover a horror
movie with fewer than one thousand views

879
01:00:00.719 --> 01:00:04.880
on letterbox. Will even give you
double feature recommendations to pair with the movies

880
01:00:04.960 --> 01:00:08.760
we discuss, from gothic to shot
on video, from slashers to comedies,

881
01:00:08.840 --> 01:00:14.320
from Giallo to j horror. We'll
cover all the subgenres. So join us

882
01:00:14.320 --> 01:00:17.679
as we unearth these hidden gyms of
horror. Follow us on Instagram, Twitter,

883
01:00:17.760 --> 01:00:22.440
and Facebook. All at Unsung Horrors, available wherever you listen to podcasts,

884
01:00:23.079 --> 01:00:29.719
and part of the Someone's Favorite Productions
podcast network. Thank you for listening

885
01:00:29.760 --> 01:00:32.199
to the Disconnected podcast. There's one
big thing that you could do to help

886
01:00:32.239 --> 01:00:36.119
the show, and that is to
leave a rating and review on the podcast

887
01:00:36.199 --> 01:00:39.360
service of your choice. Thank you. I am Adam Lundy, co host

888
01:00:39.400 --> 01:00:44.400
of the Live by Film, a
podcast dedicated to bringing you film discussion on

889
01:00:44.480 --> 01:00:47.760
interviews from around the world. Every
week, my co hosts Chris Haskell,

890
01:00:47.880 --> 01:00:52.719
Zuck Bryant, and I discuss a
wide range of films, from monumental classics

891
01:00:52.760 --> 01:00:57.440
like Vertigo and the Rules of the
Game to the craziest schlockiest movies ever made

892
01:00:57.599 --> 01:01:00.599
like Deathbed and everything in between.
We are also lucky enough to have sat

893
01:01:00.599 --> 01:01:05.360
down with some of the biggest players
in the boutique blu ray and film restoration

894
01:01:05.559 --> 01:01:07.280
game. If this is your thing, then come hang out with us every

895
01:01:07.280 --> 01:01:12.800
Thursday at seven pm Eastern wherever you
normally stream your podcasts, and now as

896
01:01:12.840 --> 01:01:15.000
part of the Someone's Favorite Productions podcast
network.