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Good morning everybody, and welcome back
to the disc Connected. We are here

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with Jonathan from Fun City Editions.
Good morning, Jonathan, how are we

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doing well. Good to meet you, Ryan, and thanks for having me

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on. Same to you. We
have talked about Fun City Editions countless times.

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I am always singing the praises of
this label, and it is one

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of It is one of the handful
of labels that I seem to identify as

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having an actual, identifiable voice,
and a lot of labels are a little

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all over the place. So one
of the things that really excites me about

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Fun City is when it was first
announced. And actually if you go to

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all of the uh the the listings
on vinegar cynem right now, it lists

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that these are for Maverick Repertory Cinema
that can best be described as works outside

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of their time or sorry, works
that exist outside of their time. Can

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you share what that means with everybody
to you? Sure? Well, First

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of all, thanks you know,
for you know, for for saying all

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that. No nobody's I don't know
that anyone's put it exactly like that before.

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As far as our label having you
know, such a definable voice to

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use, so that's yeah, that's
really cool and still kind of blows my

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mind that that anyone would would see
that or or would you know, would

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would get it, so to speak, because we're not because we're not you

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know, as easily identifiable as a
genre type of label or you know,

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doing something that's well just more definable
because our films, those films that exist

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outside of their time. I mean, it is it is a it is

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a pretty uh there, you know, it's it that doesn't that doesn't quite

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that doesn't quite tell you what we
do, like like if we if we

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said horror or something like that,
so you know, but there's obviously plenty

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of other labels that that are doing
that and and do that well. So

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really it kind of, I guess
goes back to the types of films I

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think that I that really have excited
me or that I've always been excited to

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discover, which is films that that
aren't that aren't easily that don't fit into

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an easy category, that that were
trumple you know, that maybe had trouble

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uh hooking on with an audience when
they first came out for one reason or

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another, maybe because they sort of
rest in you know, more than one

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place that people had a hard time
maybe making sense of, Like I mean,

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like a good example is for one
of our early which would be one

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of our early titles was I Start
Counting, which is, you know,

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a good example of a of like
a tweener kind of movie in that it's

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sort of it's part partially a thriller, partially and partially a coming of age

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story. And that when you have
things like that where it's like, what

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is this movie? You know,
is it this or that? You know,

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when there's tonal shifts or there's or
there are those or or it kind

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of belongs to multiple categories, that
something that a lot of times people aren't

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that, you know, a general
wider audience isn't into that. So yeah,

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some movies that exist outside of their
time. Is just the way of

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it's just a cute way of saying
this movie was too was a little was

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a little too we or a little
too ahead of its time or a little

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bit you know, just too far
left field to be accepted by you know,

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by by the widest audience possible.
But but then because of that,

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now years decades later, those a
lot of those films are still sort of

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untapped or haven't really been haven't really
been you know, released in the way

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that we're doing them. And that's
another thing that we, you know,

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strive to do a lot of times
is release things that haven't been released yet,

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just because we've seen so many movies
that you can double and triple dip

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on, and uh, you know, it's just more fun to it's more

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fun to work on something that hasn't
been that hasn't been done yet, and

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that hasn't really had a lot of
discussion around it. You know, you

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can kind of make the discussion,
make the conversation, and you're not and

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then you're also not. I you
know, I don't I don't want to

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be trying to stack up against something
that's you know, another label that's already

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done some something great for a particular
film. You know. It's just it's

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just more fulfilling to do it for
something that hasn't had it yet. And

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that's that's one of the things that's
excited me about this is all of these

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they seem to be able to generate
the first round of hype for some of

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these films, and I think that
the Internet age is really going to give

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things like this that second breath they
really need. And I inevitably, when

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you do something like I do,
I get literally, probably every single day,

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somebody messaging me, hey, I
like these few films, what's something

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I would like? And I think
back in the day when you were relying

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on like TV guide excerpts and really
quick snippets at the end of a you

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know, Ciskel and Ebert segment,
maybe a lot of these you can't explain

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in you know, twenty five words. And now when you can literally be

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speaking on the internet or gushing to
somebody in private message or how one of

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these just really grabbed onto you,
that's when something like this is gonna get

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legs and maybe get a real fan
base. And there are certain things.

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I mean, I wasn't really going
to go to individual titles, but like

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Walking the Edge, it seems to
have grabbed on to so many people,

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and it's got big names in it. So it's one of those things that's

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kind of surprising that it didn't have
a huge presence then, but it's got

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power. Yeah. Yeah, well, well they're cult they're cult names those

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right, everything's relative there. Yeah, but yeah, well that's a movie

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that that yeah, it for us, that's probably the closest that we've come

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to a title that. Oh that
that was a title that easily you could

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have seen been a vinegar syndrome title
or something like that. It's more it

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is a more straight up genre revenge
movie, but at the same time it

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does have this really interesting character arc. You know, it's also it is

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also you know, ends up being
a movie about about a guy who's you

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know, who's thrown into this situation. But it's sort of what kind of

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you know, what what what precipitates
his you know, his his growth,

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his his his arc, and it's
like an arc and an actor and a

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quality of performance and equality of of
I guess writing character development that you just

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don't usually see and I guess,
you know, in a movie like that,

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And that's what people respond to because
Bob, because Bob Forster was like,

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you know, such an incredible actor
and a guy who you know,

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of course, at that point he
was not in the great you know,

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it wasn't a he wasn't at the
peak of his career in terms of success,

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but you know, he did this
part and and you know, infused

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it, injected it with a level
of quality that you didn't normally in a

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you know, in a in a
quote unquote grindhouse film like that. So

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yeah, that that is so yeah, so it is. It still does

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sort of fall into what I was
saying before about these movies being more than

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one thing at the same time,
and it always and it is fulfilling when

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people do see that, because not
everyone does, but I'll read the reviews,

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say like on a letterbox or something, which I think is a good

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gauge for seeing that, you know, sort of up to the minute audience

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engagement with these films, especially because
they're small. The films. I'm a

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lot of these films have such few
views before we you know, before we

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release the Blu ray, so it's
always interesting just to see the numbers and

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the review the ratings sort of go
up when the Blu Ray comes out.

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So anyway, I just use that
as you know, walking the edge when

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I read a review on there,
for instance, where someone does get that

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where they're sort of like, yeah, it's a revenge thriller, but really

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it's really about this guy, you
know, getting off the ground and kind

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of getting a shit together, and
it's a character it is. It does.

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It is sort of in line with
a lot of the the the really

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great character based stories of the American
cinema from the seventies, you know,

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the previous decade where it was it
was a lot of good you know,

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there were a lot of good character
stories. It seems to be one of

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those titles you can review shortly but
then but add the like but also not

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really because there's so many quirks in
it, and a lot of these they

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feel that way. I mean,
even something like Jeremy. For the people

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that really got this early on when
it was released from you guys, it

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it didn't seem to have a lot
of hype, but then when people started

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watching it, just watching people's feedback
steam roll was such a really cool thing

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to see. And I don't know
if you felt that, but a lot

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of those those groups that I follow, it really happened like that. It

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was word of mouth caught fire on
Jeremy. Yeah, no, absolutely,

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that that was That's probably I've said
it before, but like that was a

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movie that was maybe the closest to
my heart of everything that we've released.

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It was a movie that I've loved
for many, many, many years,

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and but I you know, I
always knew that it was kind of like

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one of those movies that a few
people knew about. It was like it

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was the movie, it was that
movie or one of those movies that the

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people who know about it loved that
movie, but it was it was definitely

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under the radar, and it wasn't
at this point. I mean, it

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was a popular movie when it came
out, but it was an example of

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a movie that wasn't really quote unquote
fashionable, you know, in the in

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the subsequent years, like all these
other things. Even though it's a New

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York movie, there's so many,
you know, so many other movies around

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it. I felt like, yeah, people were, people liked, but

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this was one of those movies that
kind of got left behind. So it

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was very special just to see that. You know, it's almost fifty years

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old, but there is a universal
quality to it in terms of what the

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characters going through and people. That
was what was funny to see was there

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would be like people whose profile I'd
see on letterbox and they're like all into

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like gore and slasher movies, and
like really like straight up there's no there's

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you know, there's no if says
or butts, like they're they're they're not

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people you'd think would be into something
like Jeremy and they're like, oh my

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god, this movie, this is
this is about me, you know,

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or you know, I cried,
like I never cried in a movie at

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a movie before. So yeah,
no, that wasn't That was incredibly fulfilling.

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And also just because like the actors
were because we had the actors on

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the on the disc and had an
interview, you know, we had the

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interviews with the two main stars.
So the fact that they were around to

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see it, to to sort of
enjoy the movie and their performances getting a

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new look and almost getting treated like
because there's so many people just had never

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heard of the movie before and it's
a fifty you know, like I say,

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it's almost fifty years old. So
yeah, just this just the fact

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that we had them involved and they
were able to kind of uh you know,

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get a little taste of that is
was was really cool. I know,

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they really appreciated, you know,
getting dimensions like you know, when

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like when Quentin talked about them on
the Pure Cinema podcast, like stuff like

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that. I mean, I mean
that blew me away, right, But

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yeah, I like shared that with
with Glennis O'Connor, you know, and

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she she just loved that, Like
they're they're talking, they're talking about me

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on on you know, on a
podcast now fifty years later and it's Quentin

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Tarantino. So you know, you
can't do much better than that, especially

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with the you know, audience we're
trying to grow. So one of the

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things that I've gotten a lot of
feedback on lately with a lot of OCN

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titles, people are appreciating that we
are getting a not really a surplus,

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but more of these smaller labels are
picking up that we love booklets and you've

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been doing a lot of them since
the beginning, and Jeremy is one of

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the better ones. I think that
it really gives just an additional side to

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what you can absorb through a product
like this, and it's it's so nice

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to be able to have, you
know, after the movie and you absorb

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it for a little while, pick
that up and then really dive into that

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and just get an overall like like
putting a bow on it at the end.

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I always love doing that and I
just want to say thank you.

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Oh well, well, well you're
welcome, but thank you also for actually

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reading the booklet. And you know
that appreciating that it's there or knowing that

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it's there. Cause yeah, I
mean you you know, you see like

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a lot of labels don't don't do
booklets, and right, definitely, I

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definitely had some advice advising against it
early on, you know, or like

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you don't need to do that,
But yeah, I definitely felt well that

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First of all, the Jeremy booklet
is the essay was by Bill Ackerman,

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who's a friend of mine and he's
collaborated with us I think a number of

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times where he will be in the
future, and he is well he and

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I he's one of the few people
who I knew who knew this movie and

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enjoyed this movie before. So that
was a movie that wasn't as easy to

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find people to do supplement or because
it's not a movie where everyone's like,

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oh me, me, I'll do
it. You know. You know you

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talked about Jeremy being really close to
you. I'm curious for a lot of

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people, and I think I know
the answer to this, but most people

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when they are trying to get into
partner labels through vinegar syndrome, they don't

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understand just how small some of these
outfits are so the way this has a

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unified voice, it seems like this
is all Jonathan. Is this entire thing

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curated by you specifically? You know? Yeah, well I am the one,

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you know, I'm the one full
time person here. Yeah, it's

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a one man band, but I
mean it would be disingenuous for me to

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say that, like I don't have
I don't do Obviously, every release has

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different collaborators, and then there's also
of course all my partners at OCN and

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Vinegar Syndrome who are with me on
every release. And but yeah, as

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far as the curating goes, yes, it's primarily yeah, it's me,

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but you know, obviously sometimes I
don't know about something and someone might suggest

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something to me and then it ends
up being something that I'm like, oh

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yeah, wow, that's great,
Yeah we should do it. So yeah,

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certainly for the most part though,
yes, it's just a you know,

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one one man show. That's awesome. And like I said, you

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can tell it seems every single choice
has seemed very personal. And you brought

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up Vinegar Syndrome. So one of
the things that I was going to ask

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about is you were you were literally
one of the first like O g Partner

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Labels. How how did that come
about for you back then? Well,

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it's I've known uh, quite a
few of the people over there for years

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as you know, acquaintances or you
know, half a degree of separation and

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you know, just mutual uh mutual
mutual friend and colleague of mine, who's

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a who has who's done distribution on
his own before and he he has he's

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sort of acts as a broker with
studios, uh. And there's people there's

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you know, a lot of there
are a number of people like that in

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the industry who are sort of like
you don't have who have relationships with with

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people, you know, various studios, you know, reps, people who

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represent libraries and stuff like that.
So a friend of a you know,

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a friend of ours mine and vinegar
syndrome who's also just personal friend, you

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know, who put together a deal
with MGM, and I was, you

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know, it was something where I
had I had started this label or I

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had formed the business, I had
the business foundation for the label for several

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years, and I just you know, hadn't done anything with it yet,

225
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and it was just sort of like, hey, would you like to you

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know, piggyback on this on this
deal, you know, with Vinegar Syndrome,

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and we just you know, went
from there. And it wasn't really

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at the at the beginning, it
really wasn't a formulated plan to be a

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partner label that didn't even really exist. I mean, AGFA was around.

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I don't remember even when they I
don't know if if if if my dealings

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predated AGFA becoming a partner label.
But then by but by the time the

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these movies started, this deal came
together, uh, it was you know,

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and it was time to release them. It was, oh, yeah,

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you're going to be a partner label. So I just come along for

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that. I was just along for
the ride. And yes, at the

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beginning it was AGFA, and it
was then it was fun City Editions,

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and then from there it's just gotten. You know, it's crazy, like

238
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there's I don't I totally lost track
of how many partner labels there are at

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this point. It's pretty crazy.
Yeah, it's pretty overwhelming. But the

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funny thing is like at the beginning, since there wasn't really this whole little

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cottage industry over there wasn't this there
wasn't this whole separate machinery that was established

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yet people didn't really there wasn't really
the partner label thing. There was AGFA,

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and there was you know, Vinegar
Syndrome, and then you know,

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and then they're assorted sub labels.
So people assuming that the Fun City was

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like a new Vinegar Syndrome offshoot,
and sometimes that's still how we are referred

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to. I don't think that happens
with the other partner labels that came later.

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Now people don't think, oh,
it's all just you know, they're

248
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all they're all part of the Vineger
Syndrome. They're all curated by Obviously,

249
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people don't think that now because there's
they're so varied and they're just doing so

250
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many different things, all these different
labels. So and I think a part

251
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of that is because a lot of
us that do this, we've had to

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hammer home this is a completely different
label and just spill it out for them.

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And now that there's I mean,
I think the last time I counted,

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there's like twenty one partner labels or
something. Oh, I think I

255
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thought it was even more, but
it might be. No. But at

256
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the beginning it was funny. It
was kind of annoying, but it was

257
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funny at the same time, because
people would say, oh, they're not

258
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any there. It's like they would
treat it was almost like a conspiracy,

259
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the conspiracy theories. Oh it's a
it's a new it's a new etiquette.

260
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It's just the same thing as etiquette. They just changed the name that Fun

261
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City Editions. So, because we
obviously have some things, there's some there,

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there's some connective tissue between a lot
of the stuff that we've done and

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and what etiquette, what they were
doing were trying to do with etiquette,

264
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and already, I mean, you
have more than tripled the amount of things

265
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they put out over etiquette, and
there's still more coming. You got a

266
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title that was just announced for this
month. You want to give us some

267
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not insider knowledge necessarily, but some
feelings on The Coca Cola Kid. Yeah,

268
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sure. So The Coca Cola Kid
is a is a good example of

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a movie that a lot of people
of a certain age remember from when it

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came out, because it actually did
have a pretty wide release at the time

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in nineteen eighty five. You know, it was you know, it wasn't

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a huge success box office wise,
but for someone like me that was had

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HBO and I watched a lot of
stuff at the time that I don't even

274
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remember that I didn't remember until I
saw it as an adult that was an

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R rated film, because I just
remember watching it as a kid and I

276
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liked it. And I mean obviously
like wow, so much of this went

277
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right over my head. I don't
know, but I remember I liked it.

278
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But anyway, my point is it
was a movie that people saw on

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video and saw on you know,
on cable, but then it kind of

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it kind of went away for a
while. It did have a DVD about

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twenty years ago from MGM, and
but it's like, you know, even

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though it's a even though the film
has is by a by a you know,

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recognized au tour Doujon Macaveev, it
kind of did. It is kind

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of like an outlier movie for him. And then it's sort of like a

285
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more for it's a weird movie for
most filmmakers, and for him it's a

286
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mainstream movie and it has you know, Eric Roberts and Gretiskaki and you know,

287
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but these are actors that they're they're
their peak years are sort of in

288
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the past for the most part,
although of course Eric Roberts is doing like

289
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eight hundred movies, you know,
well, not eight hundred movies a year,

290
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but I think that's what he's up
to on IMDb at this point.

291
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Is I know, he's on Righteous
Gemstone, so he's having a you know,

292
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he's having a moment. But my
point is like his time as like

293
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a leading man was you know,
obviously a long time ago, back when

294
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when Coca Cola Kid was made,
so yeah, and it hadn't come out

295
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on Blu Ray, it hadn't been
restored, it hadn't been updated for the

296
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you know, for the HD era, so so you know, it just

297
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seemed like a title that was even
though the MGM catalog has been so so

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deeply mined by so many boutique labels
over the last ten years or whatever,

299
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the Coca Cola Kid was one of
those that somewhat surprisingly had not been And

300
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as I said before, as I
just said before, it it is kind

301
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of a weird movie. And I
and I say that in a in a

302
00:22:48.920 --> 00:22:56.920
most positive sense in that it's again
a movie that has it has a lot

303
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of things that sort of on the
surface are kind of mainstream, kind of

304
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has a mainstream you know, kind
of a classic screwball kind of set up

305
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but then of course it has so
many odd ball things inject you know,

306
00:23:11.160 --> 00:23:17.319
injected throughout it that sort of would
make people scratch their heads like, okay,

307
00:23:17.359 --> 00:23:18.759
I got all this stuff, but
then what the fuck is this?

308
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Like you know, like you know, like it just sort of like and

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that's kind of why it's again a
fun movie to do, because it is

310
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gonna split. It is going to
split people, and it split Peur back

311
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back then when it came out too, because because it's doing you know,

312
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it's doing more multiple things at once. And it's also it does this is

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a movie that even though it has
an American star, it was made in

314
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Australia. It has a European filmmaker, so it's an international you know,

315
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mix of people making this movie.
And it's so it's not like and like

316
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I said, it has some Hollywood
elements, but then it also has art

317
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house elements. And it has some
stuff that's sort of you know, very

318
00:24:03.079 --> 00:24:08.000
sort of goofy obvious surface level humor, but then stuff that's that's sort of

319
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cutting deeper and is more you know, is on a is sort of on

320
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a more you know, on another
level, and and and a little and

321
00:24:18.160 --> 00:24:21.200
and it's gonna so it's gonna be
a little bit. Yeah, it's gonna

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some people are gonna be like,
yeah, pass, and then other people

323
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are gonna say this is brilliant.
I think it's It's definitely one of those

324
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there's no middle ground, you know. I have a discord community through this

325
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channel, and one of the people
that is involved in the discord, uh,

326
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he was elated just the fact that
we are getting a I can never

327
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say that. The director's last name, right, Dujon Makayeev Is that correct?

328
00:24:45.599 --> 00:24:51.480
Mak Okay, there we go.
Uh, And he is just immensely

329
00:24:51.519 --> 00:24:55.160
excited that we're getting titles like that, and that has seemed to come up

330
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for a few of these I mean, you've got that name that a lot

331
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of people are attached to. Michael
Ritchie Lynn Ramsey was probably the biggest one

332
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that everybody's like, oh my gosh, this partner was putting out this title

333
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right right. This seems just great
for a label like this to be able

334
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to attract those people that are looking
for some of these underseen titles from some

335
00:25:12.119 --> 00:25:15.480
of these directors. Yeah sure,
yeah, well yeah, you're you're yeah,

336
00:25:15.480 --> 00:25:18.839
they're all they're all directors that sort
of have a little bit of an

337
00:25:18.880 --> 00:25:26.000
a tour kind of reputation or quality
and and yeah, so it's surprising when

338
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things like Smile hadn't come out yet
or you know again hadn't come out,

339
00:25:32.160 --> 00:25:37.079
hadn't come out on you know,
hadn't been updated since the DVD era.

340
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And even that DVD from MGM from
the early really early days of DVD was

341
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just like a really poor, outdated
you know master. I mean it was

342
00:25:48.559 --> 00:25:52.359
I don't even know if it was
anamorphic. So you know, yeah,

343
00:25:52.400 --> 00:25:57.839
it's always surprising because people will people
know those filmmakers and think of them as

344
00:25:59.640 --> 00:26:03.480
as important filmmakers. They're not,
you know, they're they're they're certainly not

345
00:26:03.599 --> 00:26:07.640
anonymous like you know it was.
Obviously, we have some films where no,

346
00:26:07.960 --> 00:26:11.279
you know, where the director is
not as well known and it doesn't

347
00:26:11.400 --> 00:26:17.440
doesn't have a following. You know, nobody's been excited that we put out

348
00:26:17.480 --> 00:26:22.000
a Norbert and Myzell film, you
know, with Walking the Edge. But

349
00:26:22.000 --> 00:26:26.279
but no disrespect, but yeah,
when you have when you can, when

350
00:26:26.319 --> 00:26:30.799
you can release a movie by Lynn
Ramsey that nobody else has has has done

351
00:26:30.920 --> 00:26:36.279
on on you know, on Blu
Ray, you know, and you know

352
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kind of give it, give it
a little you know, polish it off.

353
00:26:38.759 --> 00:26:45.000
You know, it's certainly very it's
very attractive, and it's very exciting

354
00:26:45.039 --> 00:26:48.599
and and and it gets more people's
eyes. You always get more eyes on

355
00:26:48.640 --> 00:26:52.880
the label when it's like someone like
someone like that, because because we're still

356
00:26:52.960 --> 00:26:59.039
so new, and what we're doing
is obviously niche and I mean not only

357
00:26:59.079 --> 00:27:03.160
what are our catalog is, but
just the world we're in in general is

358
00:27:03.279 --> 00:27:07.559
very nat So whenever you can,
so whenever you can, you know,

359
00:27:08.039 --> 00:27:12.920
put something out there that that has
the potential like get a whole new audience

360
00:27:14.160 --> 00:27:18.759
or you know, get get some
new audience. That's always a good thing

361
00:27:18.799 --> 00:27:21.599
because then they then they look back
at the then they go to you.

362
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They're like, oh, how did
I not hear about these guys? And

363
00:27:22.720 --> 00:27:26.039
they look back and see what else
you've done? And you know, so

364
00:27:26.559 --> 00:27:30.000
it hopefully maybe gives it gives a
little bit of a little juice to some

365
00:27:30.079 --> 00:27:36.400
of the earlier titles too. We
at this at this channel, everything we

366
00:27:36.440 --> 00:27:41.920
always talk about is physical media.
And I am always excited to see when

367
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somebody takes design sensibilities from previous sorts
of physical media and uses them in exciting

368
00:27:48.079 --> 00:27:52.440
ways like you've done on something like
Radio on and the way it looks,

369
00:27:52.920 --> 00:27:56.960
and on top of that, just
the overall packaging for all this is over

370
00:27:57.000 --> 00:28:03.759
the top great. I am always
singing the praises of the complete package from

371
00:28:03.839 --> 00:28:07.000
fun City because not only and you
just mentioned the DVD quality of some of

372
00:28:07.000 --> 00:28:12.160
these, your restorations are have been
over the top amazing. I'm loving the

373
00:28:12.160 --> 00:28:15.720
way that these look. Oh well, thank you. I mean that that

374
00:28:15.720 --> 00:28:18.880
that that, you know, both
of these things, the packaging and the

375
00:28:18.920 --> 00:28:26.519
restorations, a lot of that has
you know, obviously helps to be aligned

376
00:28:26.599 --> 00:28:30.480
with with Vineger Syndrome and OCN,
you know, as as because that not

377
00:28:30.519 --> 00:28:36.480
only are they you know, just
a distributor of their own stuff and then

378
00:28:36.519 --> 00:28:38.640
a distributor of other labels, but
they're also a lab you know, so

379
00:28:40.039 --> 00:28:47.680
they're they're doing and they've been doing
film to digital restorations now for i mean

380
00:28:48.160 --> 00:28:52.240
the life of the company at this
point. So you know, so you

381
00:28:52.240 --> 00:28:56.559
you know, by being a partner
label, and we're pretty closely aligned partner

382
00:28:56.640 --> 00:29:00.160
label, and we are one of
the only not the one of the I

383
00:29:00.160 --> 00:29:03.920
don't know how many there are at
this point, but I feel like I

384
00:29:03.920 --> 00:29:08.400
feel like we're one of the only
partner labels that is really strictly working on

385
00:29:08.400 --> 00:29:12.720
on films shot on film, because
a lot of the other partner labels are

386
00:29:12.759 --> 00:29:17.960
more are releasing more contemporary films.
So anyway, so you know, we

387
00:29:18.039 --> 00:29:22.079
have a sort of a different we
have a different workflow. So but it

388
00:29:22.160 --> 00:29:26.960
makes a lot of sense for us
to be aligned with with with Venditor Syndrome

389
00:29:26.960 --> 00:29:34.000
on the UCN because there's already this
machinery in place and really talented people in

390
00:29:34.079 --> 00:29:38.960
place that that do a lot,
that are so expert and do all this

391
00:29:40.079 --> 00:29:45.079
great work from the quality of the
scans to the color grading and so on,

392
00:29:45.680 --> 00:29:52.279
and so that's what you're seeing,
is you're seeing the you know,

393
00:29:52.319 --> 00:29:57.359
because I if I was by myself, you know it would be it would

394
00:29:57.400 --> 00:30:03.319
have been a much bumpier, much
mumpier ride and a much much uh longer

395
00:30:03.559 --> 00:30:10.039
learning process learning curve. So and
then on the design side, you know,

396
00:30:10.079 --> 00:30:15.880
obviously obviously those those folks really kind
of set the bar pretty high with

397
00:30:15.880 --> 00:30:22.279
with the quality of the packaging that
you've seen on the Vinegar Syndrome releases now

398
00:30:22.319 --> 00:30:26.200
for years. And you know,
obviously, you know, we're here to

399
00:30:26.240 --> 00:30:30.720
put movies out and and you know
they're there to be watched, not to

400
00:30:30.759 --> 00:30:33.720
be you know, cradled and you
know, looked at on your shelf.

401
00:30:33.799 --> 00:30:38.559
But they look when they look good. When when they when people think they

402
00:30:38.640 --> 00:30:41.200
this is going to look good on
my shelf, or this is going to

403
00:30:41.240 --> 00:30:45.200
feel nice to cradle. That's a
good thing. That's a good book,

404
00:30:47.839 --> 00:30:49.279
you know. So it's all part
of the package. I mean, because

405
00:30:49.359 --> 00:30:53.599
like you said, it's an it's
a you know, it's it's physical media.

406
00:30:53.920 --> 00:30:59.319
It's these these then these products don't
they're not they're not cheap. And

407
00:30:59.519 --> 00:31:03.480
there's a lot the competition out there, so I mean, there's there's a

408
00:31:03.519 --> 00:31:06.920
lot of great stuff coming out.
So if you can set yourself apart,

409
00:31:07.599 --> 00:31:11.160
like especially when it's a movie like
Jeremy and Nobody, so many I don't

410
00:31:11.200 --> 00:31:15.279
say nobody, but so many people
don't know this movie. Right, if

411
00:31:15.279 --> 00:31:18.200
I had just released it with a
vintage some vintage artwork on the cover,

412
00:31:18.279 --> 00:31:22.839
I don't know if it would have
had the same if it would have had

413
00:31:22.839 --> 00:31:29.680
this, if it would have caught
as many eyes as it did by us

414
00:31:29.759 --> 00:31:33.319
having Jess Roder do that artwork,
and you know, and then of course

415
00:31:33.359 --> 00:31:38.400
the whole the slipcover, which you
know, again the quality of the slip

416
00:31:38.400 --> 00:31:44.759
cover and having the front and the
back artwork and the embossing and the spot

417
00:31:44.839 --> 00:31:48.160
gloss and all that stuff. Yeah, I mean that's like that was just

418
00:31:48.200 --> 00:31:52.079
so much fun to do that one. And she was just you know,

419
00:31:52.160 --> 00:31:53.960
she was just someone an artist that
I you know, whose work I was

420
00:31:55.000 --> 00:31:57.640
familiar with. That I just thought
very early on that she would be perfect

421
00:31:57.640 --> 00:32:02.079
for that movie. And it worked, and it worked out. And I

422
00:32:02.119 --> 00:32:07.000
mean, I'm not a I'm not
an artist. I'm not a designer myself,

423
00:32:07.039 --> 00:32:14.039
but I but I appreciate and I
always have package design and you know,

424
00:32:14.160 --> 00:32:19.599
the marketing materials for movies, but
also for other forms of physical media

425
00:32:19.640 --> 00:32:22.680
as well. So like you saw
the radio on is the cassette tape,

426
00:32:22.720 --> 00:32:27.000
which is kind of kind of riffing. It is not kind of it is

427
00:32:27.079 --> 00:32:32.640
riffing another one that's very well stylized. Yeah, certain thing, right,

428
00:32:32.920 --> 00:32:37.359
Uh well, radio but I'm just
saying that radio one was was riffing off

429
00:32:37.359 --> 00:32:42.279
the Island Records cassette tape. So
you know, we're mixing physical media here.

430
00:32:42.319 --> 00:32:46.039
But yeah, uh yeah, it's
just it's it's certainly it's it's certainly

431
00:32:46.039 --> 00:32:51.119
something that that I've always had an
appreciation for. So it's fun to be

432
00:32:51.200 --> 00:32:59.079
able to to utilize it or and
and bring really cool, really talented artists

433
00:32:59.079 --> 00:33:01.160
in, you know, on a
and mix it up. Obviously, I

434
00:33:01.160 --> 00:33:06.880
have different different looks for every movie. And speaking of mixing physical media,

435
00:33:06.960 --> 00:33:12.119
Fun City also has put out not
just Blu rays, but cassettes and vinyl

436
00:33:12.359 --> 00:33:15.880
and uh, they have their own
website that I'm gonna be linking the description

437
00:33:15.960 --> 00:33:17.960
below, so make sure you check
that out. They've done a couple of

438
00:33:17.960 --> 00:33:22.759
pieces of merch. The the enamel
pin you guys put out is really nice

439
00:33:22.799 --> 00:33:28.960
in person. Have that on my
wall. It is super super nice.

440
00:33:29.240 --> 00:33:34.319
Is there plans for more of that
coming soon? More merch, more everything,

441
00:33:34.400 --> 00:33:38.599
more more vinyl, more everything.
Yeah, well yeah, there's definitely.

442
00:33:39.240 --> 00:33:42.480
I think there will be more vinyl, but it's always going to be

443
00:33:42.480 --> 00:33:46.880
something which is a which is which
is sort of secondary to write the movies.

444
00:33:47.680 --> 00:33:52.039
Oh, it's a tough time for
vinyl right now too. Yeah,

445
00:33:52.079 --> 00:33:55.720
well it's it's sort of. It's
it's not it isn't. I'm a I'm

446
00:33:55.799 --> 00:34:00.599
a you can look you see behind
me, the shelf full of vinyl.

447
00:34:00.799 --> 00:34:06.000
I'm obviously someone that's collected records for
a long time. And and I actually

448
00:34:06.119 --> 00:34:08.599
I listened to them too. They
don't just sit on the shelf there.

449
00:34:09.239 --> 00:34:14.840
But uh, you know, but
it's not necessarily what I've worked im my,

450
00:34:15.039 --> 00:34:20.760
most of my work experience is in
film distribution, so much more.

451
00:34:21.360 --> 00:34:24.559
I have many more contacts in film
than in music, and more experience in

452
00:34:24.639 --> 00:34:30.519
terms of licensing films and working on
films than on music. But I loved

453
00:34:30.679 --> 00:34:36.079
doing Cafe Flesh, and I hope
there's more, you know, more,

454
00:34:36.400 --> 00:34:38.880
I hope to have more things like
that once in a while, something like

455
00:34:38.920 --> 00:34:44.320
that that just fits the you know, fits what we're trying to do,

456
00:34:44.480 --> 00:34:46.519
and you know, we'll so we'll
see. But yeah, it's it's it's

457
00:34:46.719 --> 00:34:52.320
very expensive to do well to do
vinyl, good quality, and and there's

458
00:34:52.360 --> 00:34:59.400
just a lot of there's you know, that's not what we're here to talk

459
00:34:59.440 --> 00:35:02.760
about. But I've there's been a
resurgence and you know, and it just

460
00:35:02.880 --> 00:35:08.480
keeps growing in terms of people collecting
vinyl and you know, the records.

461
00:35:09.679 --> 00:35:16.000
What's happened, of course, is
the demand has has sort of surpassed the

462
00:35:16.079 --> 00:35:22.960
supply in terms of in terms of
the facilities that can they can produce the

463
00:35:22.679 --> 00:35:27.920
format that you know, do the
work. And so that's the problem is

464
00:35:27.960 --> 00:35:30.280
that for a small label, uh, you kind of get pushed, you

465
00:35:30.800 --> 00:35:34.960
know, if there's a if there's
a big like major label reissue or something

466
00:35:35.039 --> 00:35:37.519
like that, you sort of get
kicked down the line at the pressing plants

467
00:35:37.559 --> 00:35:40.599
because there's just not enough of them. Unfortunately, so many places shut down

468
00:35:42.159 --> 00:35:46.719
sort of not that long before.
Suddenly people were like records, Yeah,

469
00:35:47.280 --> 00:35:51.519
it's great, this great new thing, you know, and then of course

470
00:35:51.559 --> 00:35:55.280
all these pressing plants that had been
dormant or had not really been used for

471
00:35:55.360 --> 00:36:00.599
decades they were closed. So anyway, I don't know if you saw another

472
00:36:00.599 --> 00:36:04.320
conversation for another show, well not
really. I mean we talked about vinyl

473
00:36:04.360 --> 00:36:07.800
on here all the time. There
was a video. Yeah, Jack White

474
00:36:07.840 --> 00:36:09.239
a couple months ago put out a
video. I don't know if you saw

475
00:36:09.280 --> 00:36:15.400
this that basically said, with all
of the resurgence in vinyl and all of

476
00:36:15.559 --> 00:36:19.159
the demand that's going on right now, one of these major labels, I'm

477
00:36:19.159 --> 00:36:22.320
calling you out to open your own
pressing plant in the United States and hire

478
00:36:22.440 --> 00:36:29.039
US workers. And haven't heard anything
about it. So I really wish something

479
00:36:29.119 --> 00:36:31.239
like that could get something kickstarted,
and he seems like the voice that could.

480
00:36:31.320 --> 00:36:35.280
So time will tell, but I
wish. I mean, some of

481
00:36:35.320 --> 00:36:38.480
these, even like the boutique vinyl
labels right now in the US, they're

482
00:36:38.800 --> 00:36:43.679
from what I hear, like twelve
to fourteen months out on getting stuff pressed.

483
00:36:43.800 --> 00:36:46.559
So it's yeah, I mean,
I can tell you that our process

484
00:36:46.639 --> 00:36:52.800
on Cafe Flesh was I mean it
predated the pandemic by a few months,

485
00:36:52.880 --> 00:36:58.239
and then that really shut things down
for a while because there was that you

486
00:36:58.320 --> 00:37:00.159
know, basically like in twenty twenty
for a good part of that year,

487
00:37:00.679 --> 00:37:04.920
the places were just the mastering place
that we were, you know, those

488
00:37:04.920 --> 00:37:07.880
places were just like close closed for
months, and then the pressing and then

489
00:37:08.000 --> 00:37:13.280
and then we just got kicked down
the line at the pressing plant because of

490
00:37:13.840 --> 00:37:19.960
obviously bigger releases. You know,
uh that kicked us, you know,

491
00:37:20.199 --> 00:37:24.559
that kicked us down the line.
So the whole process for us was well

492
00:37:24.559 --> 00:37:30.199
over two years from when it when
it when it began to when we had

493
00:37:30.199 --> 00:37:36.239
the product out there. So yeah, that's amazing and shows just the the

494
00:37:36.280 --> 00:37:38.719
absolute passion behind the scenes on a
label like this. So well, also,

495
00:37:38.760 --> 00:37:43.519
once we're there, you it wasn't
like I could just like you know,

496
00:37:43.880 --> 00:37:46.360
Abart Aboard, I was already in
it. You know, it was

497
00:37:46.400 --> 00:37:52.599
already processes where it started, and
you know, money's already been spent,

498
00:37:52.840 --> 00:37:54.079
and then it was just sort of
like, ok everything was just sort of

499
00:37:54.119 --> 00:38:00.239
like frozen for a while. I
get that. Uh, going back to

500
00:38:00.280 --> 00:38:02.920
the Blu Rays I as far as
I remember, let me take a look.

501
00:38:04.000 --> 00:38:06.400
Yeah, I don't think any of
the partner labels has put out a

502
00:38:06.400 --> 00:38:08.280
box set yet. You guys,
I believe are the only ones. And

503
00:38:08.719 --> 00:38:15.679
this Primetime Panic is it's pretty special. It's it's fairly unique, is there.

504
00:38:15.440 --> 00:38:17.840
You know, what was the thought
process behind the box set? How

505
00:38:17.880 --> 00:38:22.400
did you come up with it?
And is there anything because it seems to

506
00:38:22.440 --> 00:38:23.800
me like not a lot of people
are talking about that, and that's one

507
00:38:23.800 --> 00:38:27.920
that I'd love to get a little
more buzz going on. Really. Oh

508
00:38:28.039 --> 00:38:30.440
okay, well I'd love to talk
about it. Yeah. That was an

509
00:38:30.440 --> 00:38:37.039
example of like looking at a catalog
of you know, of movies, and

510
00:38:37.119 --> 00:38:45.599
it was a company that has a
very very wide range of types of movies.

511
00:38:45.679 --> 00:38:49.519
A lot of the stuff that was
not for us at all. Right,

512
00:38:50.159 --> 00:38:52.440
a lot of a lot of you
know, nineties direct video stuff that

513
00:38:53.079 --> 00:38:58.760
I'm even though I was there in
the nineties, I didn't know what it

514
00:38:58.800 --> 00:39:00.800
was. But there's a lot of
stuff that Vinegerson Drome for instance, or

515
00:39:01.079 --> 00:39:05.760
some other labels have have a license
from this catalog. But for us,

516
00:39:05.960 --> 00:39:10.079
I saw the these TV movies from
you know, from the sort of golden

517
00:39:10.079 --> 00:39:14.920
age of TV movies from the seventies
and eighties, and they were a lot

518
00:39:14.960 --> 00:39:21.920
of them had been newly, newly
restored and from the best film elements from

519
00:39:22.000 --> 00:39:27.400
the from the camera negative And I
said, oh, well, these are

520
00:39:27.440 --> 00:39:30.360
interesting. I couldn't do them by
them. I don't think you couldn't,

521
00:39:30.559 --> 00:39:36.199
you know. It was it was
an example of there's certain things where for

522
00:39:36.360 --> 00:39:39.880
to be a standalone title would be
a bit of a bridge too far right,

523
00:39:39.880 --> 00:39:43.960
But if you could, if you
could say, creatively package a few

524
00:39:44.000 --> 00:39:46.480
titles, you know, it makes
sense to do box set. So that's

525
00:39:46.480 --> 00:39:50.400
why we did that. And I
said, you know, so these all

526
00:39:50.440 --> 00:39:52.280
came from people. People will say
why didn't you do this TV movie and

527
00:39:52.360 --> 00:39:55.320
that TV movie, and you know, on and on, and it's like,

528
00:39:55.360 --> 00:39:59.519
well, they're you know, the
TV movie has to be owned by

529
00:39:59.519 --> 00:40:04.280
someone that we can that we have
a relationship or we can have a relationship

530
00:40:04.320 --> 00:40:07.719
with and you can't just mix and
match, like say, like a box

531
00:40:07.719 --> 00:40:14.239
set of like movies from all different
owners. Either. It's more complicated because

532
00:40:14.239 --> 00:40:19.639
you have royalty splits and things like
that, so you know you can't and

533
00:40:19.679 --> 00:40:24.840
also sometimes you just have stipulations that
you can't package a movie and a multi

534
00:40:24.880 --> 00:40:29.719
pack set either. Anyway, we
didn't have those stipulations with these movies,

535
00:40:29.760 --> 00:40:32.519
and they all came from the same
catalog, and I just looked at a

536
00:40:32.559 --> 00:40:37.880
bunch of them and I realized that
the three we chose for that box set,

537
00:40:37.880 --> 00:40:42.440
I could see at least a little
a little connection between those films.

538
00:40:43.000 --> 00:40:46.960
Those titles. By the way,
there are people, so people are actually

539
00:40:46.960 --> 00:40:51.760
going to see this. It's not
it's not just absolutely okay, great,

540
00:40:51.800 --> 00:40:53.880
I would have cleaned up my background
a little bit more. You're good do

541
00:40:54.000 --> 00:41:00.679
that anyway. So, so those
three movies are all produced by the same

542
00:41:00.199 --> 00:41:05.760
the same producers, and they were
all restored recently, so it's just sort

543
00:41:05.800 --> 00:41:07.800
of they just sort of fit together. And then we just had to try

544
00:41:07.800 --> 00:41:15.519
to come up with an alliterative catching
idle, and you know, of course

545
00:41:15.559 --> 00:41:21.039
something these are not horror movies.
Uh not, panic is really kind of

546
00:41:21.199 --> 00:41:25.239
like over selling it and whatnot.
And I well, no, they're all

547
00:41:25.280 --> 00:41:30.039
they all are sort of scare films. They all have aspects to those films

548
00:41:30.039 --> 00:41:34.119
which are sort of ripped from the
headlines and which have the idea they're they're

549
00:41:34.119 --> 00:41:37.079
also they were all sort of pitched
at at parents. They were all sort

550
00:41:37.119 --> 00:41:42.599
of pitched at, you know,
concerned parents, like these are these are

551
00:41:43.440 --> 00:41:45.920
and that's a lot of TV movies. You know, they're they're they're they're

552
00:41:46.519 --> 00:41:52.480
sort of heightened heightened reality. They're
they're they're you know, they're the scenarios

553
00:41:52.519 --> 00:41:55.440
are, like I said, ripped
from the headlines a lot. They're sort

554
00:41:55.480 --> 00:42:00.360
of based on stuff that people were
talking about, are scared about at the

555
00:42:00.480 --> 00:42:05.559
time, are concerned about, and
that's why people get and so like when

556
00:42:05.599 --> 00:42:09.159
people criticize Dreams Don't Die, it's
like as being like, you know,

557
00:42:09.320 --> 00:42:16.119
a corny like you know, having
this like moral sort of moralizing element to

558
00:42:16.159 --> 00:42:19.920
it. It's like, well,
that was just that's how it got made.

559
00:42:20.159 --> 00:42:24.199
That's why it got made. That
was the reality of TV movies,

560
00:42:27.360 --> 00:42:30.360
you know, that was that was
what that was sort of what the market

561
00:42:30.679 --> 00:42:37.880
dictated so it's kind of cool that
the other cool stuff in that movie,

562
00:42:37.000 --> 00:42:42.880
the graffiti and the grungy New York, was able to slip in there.

563
00:42:43.119 --> 00:42:45.920
Okay, you know, but and
you know, that was port of my

564
00:42:45.039 --> 00:42:50.719
hesitancy on the first time I was
looking at some of these movies was well,

565
00:42:51.079 --> 00:42:53.079
because I had seen Dreams Don't Die
when I was a kid, like

566
00:42:53.199 --> 00:42:58.840
on late night TV, because it
did get rerun a lot throughout the eighties

567
00:42:58.880 --> 00:43:00.519
and nineties, and I was like
drawn to it because I was like,

568
00:43:00.559 --> 00:43:04.760
oh, it's like a really hid
the graffiti and it kind of reminded me

569
00:43:04.840 --> 00:43:07.519
a little of The Warriors, and
it was New York of that same same

570
00:43:07.599 --> 00:43:12.800
time period, you know, with
the you know showing the subways with the

571
00:43:12.840 --> 00:43:17.039
graffiti and everything, and you know
it pregentrified Outer brew in New York.

572
00:43:19.119 --> 00:43:22.039
But yeah, I looked at it
again, you know, and I thought,

573
00:43:22.239 --> 00:43:24.679
I don't know, I don't know, it might be a little too

574
00:43:25.320 --> 00:43:30.239
you know, Like I said that
the sort of graffiti is bad, you

575
00:43:30.320 --> 00:43:34.679
know, don't do it. I
wasn't sure. I was, you know,

576
00:43:34.880 --> 00:43:36.920
totally with it. But then I
said, but it but his,

577
00:43:37.159 --> 00:43:40.719
it's that's just the his. That's
just how this stuff happened at the time,

578
00:43:40.920 --> 00:43:45.239
so you kind of have to.
That's that's why we have the extra

579
00:43:45.320 --> 00:43:52.079
features. That's why we try to
have historic historic historic historian commentaries or essays

580
00:43:52.159 --> 00:43:55.920
and booklets and things like that,
which is historicize the piece, to contextualize

581
00:43:55.960 --> 00:44:01.840
it, because context is everything you
need. I really feel like, especially

582
00:44:01.920 --> 00:44:07.400
with all the films we have,
there's things that are quote unquote problematic.

583
00:44:07.519 --> 00:44:13.039
Now you know part parts of these
movies that were made because because of when

584
00:44:13.079 --> 00:44:15.679
they were made, they were just
made in a different time. And you

585
00:44:15.760 --> 00:44:20.800
know, very often when you see
things streaming, there's no context, so

586
00:44:20.920 --> 00:44:25.039
people, you know, might stumble
upon something like dreams don't die, and

587
00:44:25.119 --> 00:44:31.199
if they have no idea that if
they're younger and they just completely are they

588
00:44:31.280 --> 00:44:37.440
didn't if they weren't alive or sentient
during the time when the when a movie

589
00:44:37.519 --> 00:44:39.960
like that was made, they're not
going to know like, hey, yeah,

590
00:44:40.000 --> 00:44:43.800
I know there, I know it's
outdated. You know it's outdated.

591
00:44:44.239 --> 00:44:49.719
You know it's it's it has things
that are easy to criticize from a twenty

592
00:44:49.880 --> 00:44:52.960
twenty two point of view. You
know, whether it's the fact that,

593
00:44:53.079 --> 00:45:00.800
yeah, the main character is is
the main character the main parton Agnes Graffiti

594
00:45:00.880 --> 00:45:06.039
Writer is you know this, you
know it's Ike Eisenman, who he's like

595
00:45:06.199 --> 00:45:10.159
Lily White Disney Kid. And yes, it's easy to critique that, you

596
00:45:10.239 --> 00:45:15.599
know, if it was made now
and and and we have we have much

597
00:45:15.679 --> 00:45:22.639
more diversity and casting and and things
are much more inclusionary, and we've we've

598
00:45:22.079 --> 00:45:27.239
we've evolved in that way so that
it probably would not be you know,

599
00:45:28.039 --> 00:45:34.920
lily white, you know, apple
cheeked Eisin. He's good, he's good

600
00:45:34.960 --> 00:45:37.159
in the movie. But yeah,
I mean there's things about it that are

601
00:45:37.199 --> 00:45:42.000
authentic, and then there's things about
it which are dictated by the market at

602
00:45:42.039 --> 00:45:45.199
the time. And also just like
what you know, what people at the

603
00:45:45.400 --> 00:45:50.519
you know at the time, what
would be accepted and what what wouldn't be

604
00:45:50.719 --> 00:45:53.320
and you know you just so anyway, my my point is if you have

605
00:45:53.559 --> 00:45:59.320
context, then you can watch something
and understand, like watch it, you

606
00:45:59.440 --> 00:46:01.639
know, you you to have you
you you can then have at least a

607
00:46:01.679 --> 00:46:06.079
little more of an idea of what
it was like to see it when it

608
00:46:06.239 --> 00:46:08.159
was when it came out and when
it was new. And that's the case,

609
00:46:08.280 --> 00:46:13.559
Like I said, we have a
lot of films which have things in

610
00:46:13.639 --> 00:46:16.119
them which nowadays you can't do.
You know, they show things, or

611
00:46:16.199 --> 00:46:22.119
they portray things, or have plot
elements or whatever that are or you know,

612
00:46:22.320 --> 00:46:27.639
or they have or some of the
filmmakers that are you know not uh

613
00:46:27.920 --> 00:46:32.960
would be canceled now or are canceled
you know. And and so but I

614
00:46:34.079 --> 00:46:37.159
do I do, you know,
I do subscribe to for the most part,

615
00:46:37.440 --> 00:46:43.679
try to separate the art from the
artists. And and and I felt

616
00:46:43.840 --> 00:46:47.159
again like so for something like Vilitus, you know, I felt it was

617
00:46:47.239 --> 00:46:53.440
important to have historian commentary and and
and and really kind of uh not shy

618
00:46:53.519 --> 00:46:59.679
away from any of the the controversy
about the film or the filmmaker. And

619
00:47:00.239 --> 00:47:02.960
you know, it kind of just
I think, I think as long as

620
00:47:05.280 --> 00:47:07.440
I mean, I think, as
long as you address those things, I

621
00:47:07.519 --> 00:47:09.360
mean, that's sort of that's the
idea. That's the opportunity that we have

622
00:47:09.519 --> 00:47:15.800
here is to is to not only
not only present the film, but you

623
00:47:15.880 --> 00:47:19.280
know, the film itself, but
that you know, just the everything that

624
00:47:19.400 --> 00:47:22.800
was happening or a lot of what
was happening around it. That's what the

625
00:47:22.880 --> 00:47:27.679
form. That's that's the nice thing
about physical media is having that space to

626
00:47:27.760 --> 00:47:30.719
have the packaging to have a booklet
like you that that you know you mentioned

627
00:47:30.760 --> 00:47:35.599
before that you enjoy. We'll keep
doing those, and then having the commentary

628
00:47:35.679 --> 00:47:38.880
and having if we can, you
know, have you know, relevant valuable

629
00:47:39.079 --> 00:47:45.159
video features as well interviews. And
that's one thing we've dived into on this

630
00:47:45.400 --> 00:47:50.039
channel quite a lot, is the
archival aspect. And I I've got a

631
00:47:50.119 --> 00:47:53.760
little old letterboard sign on my wall
that says the Disconnected Museum and Library,

632
00:47:53.960 --> 00:47:58.719
because that's why I try to do
a lot of this. I want to

633
00:47:58.880 --> 00:48:02.079
curate it for myself, and then
on top of that, I want to

634
00:48:02.079 --> 00:48:06.440
be able to look back at this
in thirty years and step back into a

635
00:48:06.480 --> 00:48:09.719
period of time and learn something new. And I felt that way at most

636
00:48:09.880 --> 00:48:14.960
in a library. And when you
are seeing some of these yes, some

637
00:48:15.079 --> 00:48:20.639
of them might be problematic or not
PC or however you want to attack a

638
00:48:20.719 --> 00:48:22.960
lot of the imagery in some of
these things. But in all reality,

639
00:48:23.039 --> 00:48:28.599
if we don't archive it and you
do something like sensor it or ban it,

640
00:48:29.360 --> 00:48:32.199
what opportunity is there to learn from? What opportunity is there to actually

641
00:48:32.320 --> 00:48:37.039
have a piece of history and grow
as a person and as a society.

642
00:48:37.199 --> 00:48:40.440
So completely agreed with you there.
Yeah, And also I just and I

643
00:48:40.639 --> 00:48:46.800
feel like it's just more. It
gives you something more to talk about,

644
00:48:47.159 --> 00:48:51.119
you know. But yeah, I
think it's important what you said, you

645
00:48:51.199 --> 00:48:55.239
know, as far as learning from
these things. And that's the thing is

646
00:48:55.320 --> 00:49:00.559
that we're there's many ways that were
more. But then there's many ways in

647
00:49:00.639 --> 00:49:07.079
which I think the cost of that
that in some ways has been nuanced.

648
00:49:07.880 --> 00:49:15.280
There's been there's sort of been like
middle ground, and there's been gray area

649
00:49:15.320 --> 00:49:22.679
that sort of has been shaved off
or lost, you know in you know,

650
00:49:22.800 --> 00:49:29.920
in sort of the the move or
you know, the move towards a

651
00:49:30.039 --> 00:49:37.559
more evolved collective mind space. And
I mean and we and in many ways

652
00:49:37.599 --> 00:49:42.480
and in many ways that's been achieved. But yeah, I feel like sometimes

653
00:49:43.320 --> 00:49:50.079
certain things we really I see qualifying
things on like when people are reviewing some

654
00:49:50.239 --> 00:49:53.000
of our titles, like from the
seventies, like something like Smile, you

655
00:49:53.079 --> 00:49:57.599
know, and I'll see like a
like a review on Letterbox and maybe who

656
00:49:57.679 --> 00:50:00.719
knows, I'm citing some of these
reviews by memory, and then I'm like,

657
00:50:00.760 --> 00:50:02.039
oh, you know, some of
the people might be it might actually

658
00:50:02.159 --> 00:50:07.159
be be like disconnected viewers or subscribers. Who knows, but anyway, I

659
00:50:07.199 --> 00:50:10.320
read this review on on Smile and
it's like a positive review and then it

660
00:50:10.440 --> 00:50:15.039
was like at the bottom trigger alert, seventeen year old Melanie Griffith, and

661
00:50:15.239 --> 00:50:21.400
it's I don't know, and I
and I just feel like that's the kind

662
00:50:21.440 --> 00:50:24.400
of thing where I'm like, like, what what are you signifying there?

663
00:50:24.639 --> 00:50:29.800
Like you know, you're, you're, you're sort of like it's it's like

664
00:50:29.880 --> 00:50:32.639
a I don't know, it's it
feels to me sometimes in a way like

665
00:50:32.719 --> 00:50:38.000
you're you're above You're putting yourself above
the film in a way like you know,

666
00:50:39.239 --> 00:50:43.719
you're that, you know, we're
you're more evolved and that than the

667
00:50:43.960 --> 00:50:47.199
than than the people that made it
in the film itself. And it's just

668
00:50:47.320 --> 00:50:52.679
it's very easy to do when when
you're nearly fifty years in the future for

669
00:50:52.679 --> 00:50:57.639
when that movie was made, it's
a very different world. And I mean,

670
00:50:58.119 --> 00:51:00.559
yes, trigger alerts are probably not
necessary for a lot of these movies,

671
00:51:00.639 --> 00:51:05.320
but h yeah, it does take
a lot of nuance. But thanks

672
00:51:05.360 --> 00:51:10.280
social media for taking a lot of
that gray out. Yeah. Well yeah,

673
00:51:10.280 --> 00:51:13.760
it's just it's just it's a yeah, it's a it's definitely there's a

674
00:51:13.880 --> 00:51:16.800
there's it does encourage people to,
you know, obviously, to to to

675
00:51:17.440 --> 00:51:22.199
in one way or another, tell
you that they're that they're right right,

676
00:51:22.920 --> 00:51:25.480
or they know better. So yep, we we've lost a lot of our

677
00:51:25.800 --> 00:51:30.440
take a moment to think before we
speak as a society. Unfortunately. On

678
00:51:30.519 --> 00:51:34.400
that note, I wanted to thank
you for your time. I know that

679
00:51:34.440 --> 00:51:37.360
i'd give you about an hour and
it's about to be nine o'clock here,

680
00:51:37.440 --> 00:51:40.599
so thank you for everything. I
appreciate the time today. It has been

681
00:51:42.079 --> 00:51:45.039
absolutely a joy. I sincerely hope
people check out Fun City editions, and

682
00:51:45.679 --> 00:51:49.039
not only for what's coming up in
the sale at the end of the month,

683
00:51:49.119 --> 00:51:52.880
but for the foreseeable future, because
there's no no signs of slowing and

684
00:51:52.119 --> 00:51:57.719
every single release has been a winner. It might be. Thanks so much

685
00:51:58.079 --> 00:52:01.360
Ryan for saying that and and you
know, and for and for talking about

686
00:52:02.000 --> 00:52:07.079
on the show as long as you
have Champ Champion Us and uh, you

687
00:52:07.199 --> 00:52:10.519
know, and I'm happy to have
been able to spend some time with you

688
00:52:10.639 --> 00:52:38.800
here. Thank you, sir.
Tell me no