WEBVTT 1 00:00:00.720 --> 00:00:04.519 If you're looking for more horror outside of the mainstream, look no further than 2 00:00:04.599 --> 00:00:11.119 Unsung Horrors, a podcast about underseen horror movies. I'm Lance and I'm Erica. 3 00:00:11.480 --> 00:00:15.119 Every other week we'll cover a horror movie with fewer than one thousand views 4 00:00:15.119 --> 00:00:19.280 on Letterboxed. We'll even give you double feature recommendations to pair with the movies 5 00:00:19.359 --> 00:00:24.199 we discuss. From gothic to shot on video, from slashers to comedies, 6 00:00:24.280 --> 00:00:28.679 from Giallo to j horror, We'll cover all the subgenres. So join us 7 00:00:28.760 --> 00:00:33.079 as we unearth these hidden gems of horror. Follow us on Instagram, Twitter, 8 00:00:33.159 --> 00:00:37.799 and Facebook. All at Unsung Horrors, available wherever you listen to podcasts, 9 00:00:38.479 --> 00:00:56.079 and part of the Someone's Favorite Productions podcast network. Hello there, and 10 00:00:56.119 --> 00:01:00.439 welcome back to the disc Connected. I'm here with Alexandra Heller Nick, who 11 00:01:00.520 --> 00:01:04.439 is a director, writer, editor, producer. Everything extraordinary. Alexandra, 12 00:01:04.480 --> 00:01:08.000 thank you for doing this again. Hi, nice to be here, Thank 13 00:01:08.040 --> 00:01:12.680 you for having me. I have wanted to have you on here for ages 14 00:01:12.719 --> 00:01:17.200 because genuinely, and I truly do not say this to everybody, but you 15 00:01:17.280 --> 00:01:22.400 are one of two or maybe three people that if the name Alexandra Heller necklace 16 00:01:22.439 --> 00:01:25.159 is on the back of a physical media release. I have to have it. 17 00:01:25.159 --> 00:01:30.599 It goes on the wish list immediately because it is always fascinating. That's 18 00:01:30.719 --> 00:01:34.000 really nice to hear because it's such I'm sure so many of your guests have 19 00:01:34.079 --> 00:01:37.840 said the same thing. It's quite in sealer work. You sort of sit 20 00:01:37.920 --> 00:01:40.760 in your little bubble, quite literally, when you're recording, you're in like 21 00:01:40.799 --> 00:01:44.200 a little bubble. So it's really nice to know that there's a sort of 22 00:01:45.920 --> 00:01:51.879 at least one grateful recipient leaf on the end of it. Now that I've 23 00:01:51.920 --> 00:01:53.959 started doing some of this, yeah, there's some of it where you get 24 00:01:55.000 --> 00:01:57.799 lost and not really understanding if people are ever even going to care. So 25 00:01:59.359 --> 00:02:01.480 I get it, and I'm glad that you're out there still working, because 26 00:02:01.519 --> 00:02:06.879 man, it is overwhelming the number of titles that you've been on, the 27 00:02:06.920 --> 00:02:09.080 number of books that you've written, and I'm I'm just happy to be able 28 00:02:09.319 --> 00:02:13.560 to know that you're out there doing the work. It's a joy being here. 29 00:02:13.680 --> 00:02:17.879 Thank you for inviting me. Well. One of the reasons just all 30 00:02:17.960 --> 00:02:22.400 the work over the last year. I feel like We've gotten so many announcements 31 00:02:22.439 --> 00:02:25.000 from you, and I'm going to highlight that I think is the most recent 32 00:02:25.000 --> 00:02:30.319 one at the moment, You're gonna be Kindergarten Cop four K from Keno Lawber. 33 00:02:30.599 --> 00:02:36.159 What the heck really excited about that one? That is with my friend 34 00:02:36.199 --> 00:02:39.159 and my very long term colleague of mine, a guy called Josh Nelson. 35 00:02:40.479 --> 00:02:46.520 Josh and I used to do a radio show together in Australia on a very 36 00:02:46.840 --> 00:02:53.240 well known community radio station here in Melbourne called Triple A, and Josh moved 37 00:02:53.240 --> 00:03:00.319 to the United States around twenty sixteen, I think, and I just missed 38 00:03:00.360 --> 00:03:04.319 him. I just missed talking to him about film that sort of you know, 39 00:03:04.479 --> 00:03:06.919 we would catch up once a week and do our radio show together and 40 00:03:07.400 --> 00:03:12.439 doing commentaries together is kind of filled that gap. And yeah, I think 41 00:03:12.520 --> 00:03:15.800 Kindergarten Cop was the last one that we recorded together. And I just I 42 00:03:15.800 --> 00:03:19.439 mean, I love the film and it's always a challenge, I think too, 43 00:03:19.800 --> 00:03:23.120 because it's quite outside the sort of normal stuff that I do. But 44 00:03:23.159 --> 00:03:25.199 it's such a comfort film for me, and it's always a bit of a 45 00:03:25.240 --> 00:03:30.400 challenge, I think, to kind of try to bring a critical approach to 46 00:03:30.439 --> 00:03:34.080 a film that you love on that kind of passed out on the couch with 47 00:03:34.120 --> 00:03:38.520 a hangover kind of level, and Josh always just raises the bar for me, 48 00:03:38.759 --> 00:03:42.479 like he's really the you know, I have a lot of really wonderful 49 00:03:42.520 --> 00:03:46.159 colleagues, but without failed, Josh is always the one that really kind of 50 00:03:46.199 --> 00:03:50.120 make demands that I lift my own game. So it was it was a 51 00:03:50.159 --> 00:03:54.159 delight just doing it with Josh, And yeah, it was it was a 52 00:03:54.240 --> 00:03:57.879 challenge. It was a real challenge because, as I said, it's so 53 00:03:58.599 --> 00:04:02.719 you know, I do mostly kind of horror or expectation films, and so 54 00:04:02.879 --> 00:04:06.960 that one is very much out of my my typical area. But no, 55 00:04:08.199 --> 00:04:11.680 I'm we're both really happy I think with the with the final product on that 56 00:04:11.719 --> 00:04:15.279 one. Well, your your typical arena. I mean, you mentioned horror, 57 00:04:15.279 --> 00:04:18.000 but it is so much more than that. I mean, there are 58 00:04:18.079 --> 00:04:23.800 books focused on female horror filmmakers. They're you know, one of the biggest 59 00:04:23.800 --> 00:04:28.279 ones, of course, is the Reprevenge Films book You've written on Suspiria specifically 60 00:04:28.279 --> 00:04:32.079 you've written on fan footage films. Is the Reprevenge film book that the one 61 00:04:32.079 --> 00:04:35.959 that you still get the most like overall feedback on and people reading and reaching 62 00:04:36.000 --> 00:04:41.160 out about. It's a really good question. Interestingly enough, I think probably 63 00:04:41.199 --> 00:04:47.560 the most successful book that I've had in terms of sales and widespread kind of 64 00:04:47.600 --> 00:04:54.839 coverage and response was my twenty twenty book, which is called One Thousand Women 65 00:04:54.920 --> 00:04:58.560 in Horror. And that's the closest that I've come to really doing like a 66 00:04:58.600 --> 00:05:00.560 coffee table book, like I really want to sort of step away from I 67 00:05:00.560 --> 00:05:03.319 wanted to do do something fun. I really wanted to step away from doing 68 00:05:03.399 --> 00:05:09.600 the kind of more kind of academic survey style, kind of in depth stuff. 69 00:05:09.639 --> 00:05:12.199 I wanted to do something that I found fun and that would reach a 70 00:05:12.240 --> 00:05:14.560 different audience. So that book, certainly, you know, that's the kind 71 00:05:14.560 --> 00:05:17.319 of book that people would give each other for Christmas, whereas stuff on Rape 72 00:05:17.319 --> 00:05:20.279 Revenge you're probably not going to give somebody unless you know them pretty well, 73 00:05:20.279 --> 00:05:23.519 You're probably not going to you know, it's not really a stocking filler. 74 00:05:24.360 --> 00:05:29.800 Doesn't make Amazon stocking filler list that book. But that being said, I 75 00:05:29.879 --> 00:05:34.279 mean it really raises an interesting question about how you, as an author, 76 00:05:34.600 --> 00:05:40.000 how you view the idea of reception. Because without failed my work on Rape 77 00:05:40.000 --> 00:05:43.279 Revenge. So there's the original book that came out in twenty eleven, and 78 00:05:43.319 --> 00:05:47.720 then I wrote a quite heavily revised second edition which came out for the tenure 79 00:05:47.759 --> 00:05:53.920 anniversary in twenty twenty one, which has like a whole new chapter and it's 80 00:05:54.000 --> 00:05:56.680 yeah, it's quite a different book in many ways. But I also wrote 81 00:05:56.720 --> 00:06:00.000 a book on Abel Ferrara's Miss forty five. So I've written a couple of 82 00:06:00.000 --> 00:06:02.279 books on rape revenge, and without fail, when I go to film festivals 83 00:06:02.360 --> 00:06:05.519 or when I do public speaking, that's the book that people want to talk 84 00:06:05.560 --> 00:06:11.279 to me about, without fail, and it's never I mean, I guess 85 00:06:11.319 --> 00:06:14.360 it doesn't surprise me now, but when I first started talking about it, 86 00:06:15.360 --> 00:06:20.000 the thing that I wasn't expecting was men. A lot of men want to 87 00:06:20.040 --> 00:06:29.839 talk about that book, and in really interesting ways in that a lot of 88 00:06:30.120 --> 00:06:35.680 men who are survivors themselves come to rape revenge films, certainly not all survivors, 89 00:06:38.079 --> 00:06:40.839 but come to rape prevenge films which are predominantly about you know, male 90 00:06:40.879 --> 00:06:46.519 perpetrators and women survivors. And it's sort of a cathartic process for men, 91 00:06:46.639 --> 00:06:49.720 for male survivors just as much as women survivors. Right, these films sort 92 00:06:49.720 --> 00:06:53.199 of really help some people, you know, for some people, they are 93 00:06:53.199 --> 00:06:57.040 obviously very traumatic and horrible, and I certainly don't expect everybody to have the 94 00:06:57.040 --> 00:07:00.399 same reaction to these quite challenging films. But I think that was the thing 95 00:07:00.439 --> 00:07:04.240 that I wasn't I wasn't prepared for, was how many men who are survivors 96 00:07:04.399 --> 00:07:12.120 who might not have the same kind of social or cultural framework to talk about 97 00:07:12.120 --> 00:07:15.720 their experiences as some women might. These men really want to talk to me 98 00:07:15.720 --> 00:07:18.560 about their books, and a lot of them it's almost asking for permission, 99 00:07:19.120 --> 00:07:23.040 you know, like is it you know, like and it's always hypothetical, 100 00:07:23.040 --> 00:07:25.160 but it's like, you know, if a man was if there's a man 101 00:07:25.199 --> 00:07:29.560 who's a survivor and he finds these films helpful, does that mean that he's 102 00:07:29.600 --> 00:07:32.360 a bad guy? Like really those kind of that conversations at that kind of 103 00:07:32.439 --> 00:07:38.279 level, and it's heartbreaking, it's devastating, and of course it doesn't make 104 00:07:38.319 --> 00:07:42.319 you a bad person. These films can be hugely cathartic. And I'm not 105 00:07:42.360 --> 00:07:45.160 the only person that sort of has written about that and talked about that. 106 00:07:46.120 --> 00:07:49.680 Yeah. I put out a video early early this year about how some of 107 00:07:49.720 --> 00:07:55.720 these traumatic films people go to for a sense of catharsist not just about assault 108 00:07:56.040 --> 00:08:00.439 or sexual assault, but I mean even religious trauma or I mean some of 109 00:08:00.480 --> 00:08:05.040 these, even like loneliness, people just find solace in feeling absolutely accepted in 110 00:08:05.079 --> 00:08:09.759 some of these, and specifically with rape revenge. It's it's obviously a bit 111 00:08:09.800 --> 00:08:13.360 of an awkward topic because who's going to come out and say this is my 112 00:08:13.399 --> 00:08:18.360 favorite genre. That's the first thing. But there are some people that they 113 00:08:18.439 --> 00:08:24.199 can be somewhere that you turn too often and really get not enjoyment, it's 114 00:08:24.240 --> 00:08:28.160 not even the right word, but it's more of feeling seen, and it's 115 00:08:28.199 --> 00:08:31.159 so important to have people like you speaking about it out there. I think 116 00:08:31.200 --> 00:08:35.120 these films, you know, whether we're talking about something kind of extreme like 117 00:08:35.240 --> 00:08:39.320 rape revenge or even like like you said, like you know, during lockdown, 118 00:08:39.399 --> 00:08:41.759 I think that a lot of horror things, like you know, like 119 00:08:43.600 --> 00:08:48.080 pandemic films, seems like zombie zombie films or kind of other viral they kind 120 00:08:48.120 --> 00:08:50.399 of give us a language, you know, they give us a kind of 121 00:08:50.879 --> 00:08:52.720 a kind of reference point, like how do we talk about these things, 122 00:08:54.240 --> 00:08:56.960 how do we feel about these things? How do we you know, how 123 00:08:56.960 --> 00:09:00.960 do we kind of frame these things in our brain? You know, when 124 00:09:00.960 --> 00:09:03.840 September eleven happened, there was like there's been a really amazing writing about it 125 00:09:03.879 --> 00:09:09.039 in that so many people who were there in New York described it as like 126 00:09:09.120 --> 00:09:13.960 it's just like a movie, because they there's no other real point of reference. 127 00:09:13.240 --> 00:09:18.919 So movies, I think when it comes to trauma or experience in general, 128 00:09:18.559 --> 00:09:22.799 you know, screen culture I think can give us a kind of toolkit, 129 00:09:22.200 --> 00:09:28.200 a kind of discursive toolkit that kind of provide, you know, often 130 00:09:28.200 --> 00:09:31.360 in a very kind of loose way, a kind of way to kind of 131 00:09:31.360 --> 00:09:35.039 conceive of stuff, even if it's not to talk about it, just to 132 00:09:35.120 --> 00:09:37.960 kind of get our own heads around stuff, which is you know, for 133 00:09:39.000 --> 00:09:43.240 me, which gives it enormous value. There are so many different nuanced ways 134 00:09:43.320 --> 00:09:46.600 just to speak on stuff like this, and there are so many people that 135 00:09:46.639 --> 00:09:50.159 probably would speak on it if they felt free to. But the way that 136 00:09:50.240 --> 00:09:54.039 you approach some of these topics one thing that I'm a huge fan of. 137 00:09:54.080 --> 00:09:56.919 I've listened to multiple times, so I'm gonna throw it out there for everybody 138 00:09:56.960 --> 00:10:01.360 to try to seek out. You did a sort of a podcast called Somebody's 139 00:10:01.399 --> 00:10:07.080 Watching with Eleanor, and it's all about male nudity, and it's so enlightening 140 00:10:07.120 --> 00:10:11.799 to really just think back on how if somebody's not here pointing this out. 141 00:10:11.039 --> 00:10:13.840 I'm not ever going to think that there's something odd about this. But the 142 00:10:15.279 --> 00:10:18.879 way that you and the other expert on there in Eleanor just drive into everything 143 00:10:20.240 --> 00:10:28.600 it felt so important and needed. Ellenor is a really profound person. She's 144 00:10:28.600 --> 00:10:33.519 a really brave There's something about her like she's she's so brave and so thoughtful. 145 00:10:33.679 --> 00:10:41.440 Yet nothing about her comes across as pretentious or like she's kind of performative. 146 00:10:41.720 --> 00:10:43.919 She's just so kind of in her persona. She's very sort of gentle 147 00:10:43.960 --> 00:10:48.399 and very kind of matter of fact. So to tackle that, and I've 148 00:10:48.440 --> 00:10:50.960 gone blank, You'll have to forgive me. I've gone was it Professor Lehman? 149 00:10:52.440 --> 00:10:56.639 I think he's I think that's the name. Let me who's whose work 150 00:10:56.799 --> 00:11:01.279 on masculinity is something that I've admired, you know, for years, and 151 00:11:01.320 --> 00:11:09.559 I actually cite him in my Rape Revenge book and just this extraordinary thinker. 152 00:11:09.320 --> 00:11:13.360 Yeah. No, that was one of the most exciting conversations I've had have 153 00:11:13.720 --> 00:11:18.000 because even for me sort of certainly compared to Professor Lehman, I'd not really 154 00:11:18.120 --> 00:11:26.200 kind of kind of dived in depth into the concept of of especially male full 155 00:11:26.200 --> 00:11:28.399 frontal nudity or wasn't something that i'd really sat down, like I'd never written 156 00:11:28.399 --> 00:11:33.000 about that specifically, But again, so much of my work has sort of 157 00:11:33.039 --> 00:11:35.080 pivoted around that, you know, the idea of that. So that, 158 00:11:35.159 --> 00:11:41.600 yeah, that was such a rewarding experience and provided me with a really interesting 159 00:11:41.639 --> 00:11:46.360 way to kind of rethink my own work. You know, the yeah that 160 00:11:46.840 --> 00:11:50.200 I do really I agree with you, Like just to hear Professor Lehman, 161 00:11:50.840 --> 00:11:54.240 you know, really the master really like the kind of expert on male full 162 00:11:54.279 --> 00:11:58.240 frontal nudity, if you will, And he would embrace that label ethic. 163 00:11:58.320 --> 00:12:01.879 So I don't say, but I'd say that in a sort of cutting way. 164 00:12:01.919 --> 00:12:05.960 I say that is a kind of compliment. Remarkable man, remarkable thinker, 165 00:12:07.159 --> 00:12:09.519 very generous with his ideas. A lot of academics get a very kind 166 00:12:09.559 --> 00:12:13.000 of upity, and nothing about that with him at all. Like he's such 167 00:12:13.000 --> 00:12:16.919 a generous communicator, and he just he's so excited and he wants people to 168 00:12:18.000 --> 00:12:22.399 kind of join into his sort of thought processes. Just lovely stuff. Well, 169 00:12:22.519 --> 00:12:26.120 funny enough. That's one of the reasons I wanted to bring up some 170 00:12:26.159 --> 00:12:30.960 of your work because so much of even just like the visual essays that are 171 00:12:30.960 --> 00:12:33.320 obviously about something that you're passionate about, but they are they're done in a 172 00:12:33.360 --> 00:12:37.759 way that are magnetic. I guess, in a way that not only am 173 00:12:37.759 --> 00:12:43.080 I absorbing just simply the words that you're saying, but I feel drawn into 174 00:12:43.240 --> 00:12:46.080 wanting to research the topic more. And that is the sort of thing that 175 00:12:46.080 --> 00:12:50.519 I'm striving to do in everything I'm editing for some of these discs, And 176 00:12:50.559 --> 00:12:54.279 it's it's just amazing to hear some of the topics that you've broached on, 177 00:12:54.480 --> 00:12:56.720 and one of the things that's been a big part of it, obviously is 178 00:12:56.799 --> 00:13:03.039 gender. And I would love to hear from someone like yourself just explain, 179 00:13:03.080 --> 00:13:07.799 just as kurts or as obvious as you want to, why it's important for 180 00:13:07.879 --> 00:13:13.039 us to highlight gender still in twenty twenty three. Yeah, it's it's a 181 00:13:13.080 --> 00:13:18.720 really good question. My wonderful colleague, League Gambon, who I believe you 182 00:13:18.879 --> 00:13:24.039 have cross paths with, the excellently Gambon. He was telling me recently that 183 00:13:24.080 --> 00:13:26.440 there are these forums. I don't go to these forums, but he said 184 00:13:26.480 --> 00:13:31.639 there's one in particular where they it's a lot of sort of older gentlemen and 185 00:13:31.679 --> 00:13:35.639 they just they like there's kind of like a running gag apparently that like, 186 00:13:35.720 --> 00:13:39.919 oh God, it's Alex talking about feminism again. Then you know they're gonna 187 00:13:39.000 --> 00:13:43.440 kind of cranky about it as well. Can't she talk about it? You 188 00:13:43.440 --> 00:13:46.200 know? And it's such a classic, But it's like, not everything's about 189 00:13:46.279 --> 00:13:50.000 gender, And it's like, well, when you live in a gendered body, 190 00:13:50.080 --> 00:13:52.799 when you live in a racialized body, when you lived in a when 191 00:13:52.799 --> 00:13:56.440 you live in a body that is othered in whatever way that is, you 192 00:13:56.440 --> 00:14:01.200 know, it could be in terms of ability, gender, sexuality, whatever, 193 00:14:01.279 --> 00:14:03.879 you know, if you live in a body that is broadly culturally others, 194 00:14:05.080 --> 00:14:09.039 everything kind of is about that, you know, Like and to me, 195 00:14:09.080 --> 00:14:11.720 that's the power of horror, is that horror has always been about gender. 196 00:14:13.120 --> 00:14:18.519 And I'm quite conscious for me, like I'm certainly like I identify as 197 00:14:18.519 --> 00:14:22.759 a feminist, that work can mean very different things to very different people, 198 00:14:22.759 --> 00:14:28.799 and I feel that it's commonly weaponized in ways that people do I think in 199 00:14:28.879 --> 00:14:37.159 quite a deceptive, unwholesome manner in that they kind of work from an assumption 200 00:14:37.240 --> 00:14:41.919 of what feminism is without defining their terms. And that's why we have, 201 00:14:41.039 --> 00:14:46.799 you know, we have people that are that are transphobic who call themselves feminists, 202 00:14:46.840 --> 00:14:50.519 you know, so and then you have people that have the exact opposite 203 00:14:50.559 --> 00:14:54.320 ideology who also call themselves feminis. So it can get very deceptive. So 204 00:14:54.440 --> 00:15:00.639 I'm very conscious of how people weaponize the word feminism. First some yeah, 205 00:15:00.639 --> 00:15:03.919 for unwholesome reasons to kind of you know, they come in with a bias 206 00:15:03.960 --> 00:15:07.200 on what that word means. So I'm very conscious of, like, of 207 00:15:07.200 --> 00:15:09.840 course I'm a feminist, but you also have to add to that, well, 208 00:15:09.879 --> 00:15:13.200 you know, I'm not a turf, like I embrace my transgender sisters 209 00:15:13.600 --> 00:15:18.279 and brothers and non binary folk, you know, because I'm not an asshole. 210 00:15:18.519 --> 00:15:22.200 It's it's just that easy, right, I mean, that's what feminism 211 00:15:22.279 --> 00:15:24.919 is, Just like, don't be an asshole, Like it's like most you 212 00:15:24.960 --> 00:15:30.039 know, just don't don't be horrible, don't be hateful, don't be shit. 213 00:15:31.399 --> 00:15:33.200 So that's that's what feminism is to me. But you know, even 214 00:15:33.559 --> 00:15:37.759 sadly in twenty twenty three, you kind of need to actually spell that out. 215 00:15:39.759 --> 00:15:41.799 So I tend to use the phrase gender politics in that I talk about 216 00:15:41.879 --> 00:15:45.759 gender politics. And what I find that for me that enables is that it 217 00:15:45.799 --> 00:15:48.519 also and this comes back to what we were just talking about. That also 218 00:15:48.600 --> 00:15:52.120 gives me space to talk about masculinity because I'm not just talking about women, 219 00:15:52.399 --> 00:15:58.240 you know, I'm not just talking about about you know, half half of 220 00:15:58.279 --> 00:16:00.919 the picture. Like to me, it's about gender polar it's about much broader 221 00:16:02.000 --> 00:16:06.720 things about how gender is defined and utilized and how gender works as a kind 222 00:16:06.759 --> 00:16:15.399 of sort of governing concept or point of difference culturally and socially. And it's 223 00:16:15.559 --> 00:16:18.639 it's in film from the very start of film history, you know, like 224 00:16:19.000 --> 00:16:23.000 you go back to something, I'm fascinated. I think it's an eighteen eighteen 225 00:16:23.080 --> 00:16:29.080 ninety eight film. The execution of Mary, Queen of Scott's could be eighteen 226 00:16:29.120 --> 00:16:33.000 ninety five. I'm going from memory here, but it's like it goes for 227 00:16:33.080 --> 00:16:36.759 like ten seconds if that, and it's literally just Mary going up to the 228 00:16:36.879 --> 00:16:41.639 shopping block and having her head chopped off. So it's a really important film 229 00:16:41.639 --> 00:16:45.679 because it's like it's really the first special effect, you know, a horror 230 00:16:45.679 --> 00:16:48.440 special effect that we have in cinema. But of course, the woman who 231 00:16:48.440 --> 00:16:52.879 plays Mary Queen of Scott's was not a woman. It's a I think it 232 00:16:52.919 --> 00:16:57.360 was an accountant for the film company called Robert Thomas or Robert Tommay, and 233 00:16:57.399 --> 00:17:03.679 that character is credited as miss Robert Tommy or missus Robert Thomas, but it's 234 00:17:03.759 --> 00:17:07.200 him. It's a man in address, so you know, like the queer 235 00:17:07.640 --> 00:17:11.440 history of horror is the history of horror from the get go, from the 236 00:17:11.480 --> 00:17:15.640 start. So yeah, gender politics gives me a much bigger space to talk 237 00:17:15.720 --> 00:17:21.000 about these things in the word feminism because I don't have to kind of go 238 00:17:21.079 --> 00:17:25.839 through this sort of rigmarole of kind of trying to defuse people's biases when they 239 00:17:25.880 --> 00:17:29.079 come to that term. And that doesn't mean that I'm anti feminist or anything 240 00:17:29.160 --> 00:17:30.960 like that at all. Like I very confidently define myself, you know, 241 00:17:32.039 --> 00:17:36.960 very comfortably define myself as a feminist. But yeah, especially when I'm dealing 242 00:17:37.000 --> 00:17:38.880 with people that I don't know, which is what you know, when you're 243 00:17:38.920 --> 00:17:41.960 doing a video, I say, when you're doing a commentary, you're talking 244 00:17:41.000 --> 00:17:48.160 to people that you don't know, And yeah, I just don't want to 245 00:17:48.160 --> 00:17:52.160 spend half an hour of every commentary defusing the history of what the word feminism 246 00:17:52.279 --> 00:17:56.720 means. To end up with that statement like just don't be an asshole. 247 00:17:56.960 --> 00:18:03.960 Like the funny thing is that ideology I swear. It can apply to half 248 00:18:03.000 --> 00:18:07.160 the incendiary terms that people are just lit by nowadays. I mean, one 249 00:18:07.200 --> 00:18:10.799 of the biggest ones in the US over the last few years has been woke, 250 00:18:10.960 --> 00:18:12.440 and half the people when they hear that word, they don't even know 251 00:18:12.480 --> 00:18:15.799 what the hell it means. They can't define it. They just know what's 252 00:18:15.839 --> 00:18:19.160 their boogeyman they I think about. You know, even ten twenty years ago, 253 00:18:19.200 --> 00:18:22.160 it used to be the big kind of cliche like woke. To me 254 00:18:22.240 --> 00:18:27.400 feels like the kind of contemporary manifestation of this earlier phrase, which is political 255 00:18:27.440 --> 00:18:32.400 correctness gone mad. It's like, what does that actually mean? Like, 256 00:18:32.480 --> 00:18:34.240 what does that actually mean? Again? It just comes down to don't be 257 00:18:34.359 --> 00:18:37.079 a dick, like, don't be a dick, don't be an asshole, 258 00:18:37.559 --> 00:18:42.759 and suddenly woke. Yeah, Like it's this slippery, homorphous, hugely weaponized 259 00:18:42.799 --> 00:18:47.160 concept that it's like it's an onion. You peel it, you peel it, 260 00:18:47.160 --> 00:18:49.160 you peel it, and then the onion's gone, there's nothing inside. 261 00:18:49.359 --> 00:18:59.519 It's just ridiculous. This sort of rhetorical you know, what's the phrase that 262 00:18:59.519 --> 00:19:02.440 I'm after? It's deceptive, you know, it kind of takes us away 263 00:19:02.440 --> 00:19:06.839 from you know, like the word I have a bugbear with the word problematic 264 00:19:06.960 --> 00:19:08.640 too, and that people use the word woke, and they use the word 265 00:19:08.640 --> 00:19:12.680 problematic to shut down conversation. It's like, oh, this is problematic, 266 00:19:12.839 --> 00:19:15.920 full stop, end story. And it's like no, no, no, 267 00:19:15.920 --> 00:19:18.440 that should be the start of the conversation, right, and work should be 268 00:19:18.440 --> 00:19:22.400 the start of a conversation, and it never is. It's like, go 269 00:19:22.440 --> 00:19:25.480 woke, go broke, like a kind of final line, and it's like 270 00:19:25.480 --> 00:19:29.599 it just means nothing. It's this hollow yeah, kind of catch, you 271 00:19:29.640 --> 00:19:32.599 know, this hollow kind of thing, and it's it's political correctness gone mad. 272 00:19:33.920 --> 00:19:37.000 That's that's where we start to have really interesting conversations. And the tragedy 273 00:19:37.000 --> 00:19:40.599 of the time that we live in is that it's used to the opposite effect. 274 00:19:40.640 --> 00:19:45.720 It's used to shut down confistration and some things you shouldn't have conversations about, 275 00:19:45.759 --> 00:19:48.440 right, Like it's not that it's not that everything is open for debate, 276 00:19:48.640 --> 00:19:52.920 because we come back to just don't be an asshole, right, And 277 00:19:52.240 --> 00:19:56.480 with that surrounding gender, I think that's where we find a lot of the 278 00:19:56.519 --> 00:20:02.319 problems why it still needs to be discussed, because I'm always fascinated just how 279 00:20:02.359 --> 00:20:06.759 ignorant I am when certain facts come out and you find out this is the 280 00:20:06.799 --> 00:20:11.200 first female winning Oscar, first female director that won an Oscar or something, 281 00:20:11.240 --> 00:20:15.960 and it's way later than you'd ever imagine, or this was only the seventh 282 00:20:15.960 --> 00:20:18.519 film directed by a female that we know of, and it's like the fifties 283 00:20:18.559 --> 00:20:22.960 and you're like, wait, hold on, what now, let's discuss this 284 00:20:22.000 --> 00:20:26.960 because that's crazy to me. So yeah, the books that you've written and 285 00:20:26.559 --> 00:20:32.119 the way that you're out there spreading this, it's not even just about separating 286 00:20:32.240 --> 00:20:36.039 fields in any way. It's understanding where we are so that we can start 287 00:20:36.039 --> 00:20:40.920 to bring those fields closer together. It's interesting. I've just submitted the manuscript 288 00:20:40.920 --> 00:20:45.519 for my next book. The title is still being debated with my wonderful publisher, 289 00:20:45.559 --> 00:20:51.279 God bless them. They're very patient with me. But it's on women 290 00:20:51.400 --> 00:20:56.119 directed films about witches and witchcraft. That's the topic. And when I say 291 00:20:56.160 --> 00:20:59.400 that to people, they're like, so that maybe that's like five ten films. 292 00:20:59.440 --> 00:21:03.039 It's like I've got like sixty or seventy. And it goes right back 293 00:21:03.200 --> 00:21:08.920 to the silent Ero. You know, things like Lenny uh not Reef and 294 00:21:08.960 --> 00:21:14.440 styles sorry not Lenny the Prince Akhmed. I've gone completely blank on her name. 295 00:21:14.480 --> 00:21:15.440 Please forgive me. I'm terrible. I'm going to look this up. 296 00:21:17.960 --> 00:21:23.799 It's like it's it's literally the first full feature length Lotty Renninger. I always 297 00:21:23.839 --> 00:21:27.799 forget her name for some reason. Nineteen twenty six, nineteen twenty seven. 298 00:21:27.839 --> 00:21:33.319 It's the first feature length an animated film ever made. Wow, it was 299 00:21:33.319 --> 00:21:36.559 by this amazing German animator. And you would know her style if you saw 300 00:21:36.599 --> 00:21:40.200 it. It's it's she does this. She did this sort of beautiful sort 301 00:21:40.240 --> 00:21:45.240 of shadow puppetry style animation, kind of silhouette, just absolutely gorgeous. And 302 00:21:45.599 --> 00:21:48.799 you know, the figure of the witch in that film is incredible. So 303 00:21:48.880 --> 00:21:53.759 you know, we have Maya Darren of course, the incredible American experimental filmmaker. 304 00:21:56.480 --> 00:22:00.599 Like history is full of women who have made films about witches and witchcraft, 305 00:22:00.000 --> 00:22:06.759 which to me is really interesting because witchcraft and the kind of historical idea 306 00:22:06.799 --> 00:22:11.559 of witches as a kind of broader kind of concept, there's a really interesting 307 00:22:11.599 --> 00:22:15.880 parallel with women's filmmaking. You know, the idea that filmmaking is a kind 308 00:22:15.920 --> 00:22:21.079 of male domain and that women who dabble in this is sort of messing with 309 00:22:21.160 --> 00:22:23.279 like male knowledge. You know that the sort of the you know, the 310 00:22:23.440 --> 00:22:29.039 kind of the kind of male science is sort of in opposition to the idea 311 00:22:29.079 --> 00:22:33.400 of the kind of of kind of feminine knowledge that is sort of embodied in 312 00:22:33.440 --> 00:22:37.480 the figure of the witch. But it's not just horror, so it's it's 313 00:22:37.519 --> 00:22:41.880 you know, obviously things like Annabilla is the love Witch and you know, 314 00:22:41.160 --> 00:22:45.480 I Think I am not as I am not a witch. The amazing film 315 00:22:45.519 --> 00:22:49.359 by I Think She's a Welsh Zimbabwean filmmaker came out a couple of years ago, 316 00:22:49.400 --> 00:22:55.400 which is incredible. But the second hocus Pocus film was directed by a 317 00:22:55.400 --> 00:22:59.240 woman, the second Nanny McFee film was directed by a woman. The Bewitched 318 00:22:59.279 --> 00:23:03.079 film with the cole kitment was directed by women. So it's yeah, it's 319 00:23:03.160 --> 00:23:07.319 really interesting. It's a really interesting when you start sort of thinking about women's 320 00:23:07.359 --> 00:23:11.640 filmmaking outside of that kind of top ten listical Hey, can you believe women 321 00:23:11.680 --> 00:23:15.880 make films? Which I think that we're still at a little bit. I'd 322 00:23:15.920 --> 00:23:19.240 like to think that we're slowly moving past the listical way of thinking about women's 323 00:23:19.240 --> 00:23:23.079 filmmaking, because when we kind of step beyond that, we start to get 324 00:23:23.119 --> 00:23:26.759 some really interesting kind of histories come out of it, and for me, 325 00:23:26.799 --> 00:23:30.160 that was one of them was just how many women had made films about witches 326 00:23:30.200 --> 00:23:33.359 and witchcraft. Yeah, and that's what it all always comes back to to 327 00:23:33.440 --> 00:23:36.720 me, because you hear some of these facts, are like, well, 328 00:23:36.759 --> 00:23:41.079 hold on, because we're just not discussing a lot of these that actually exist. 329 00:23:41.119 --> 00:23:45.200 So let's just educate on that rather than in a sense like almost hiding 330 00:23:45.200 --> 00:23:48.960 the history or in all realities, belittling the achievements of other people and raising 331 00:23:49.039 --> 00:23:53.359 up others. Absolutely, and a lot of it comes down to really practical 332 00:23:53.400 --> 00:24:00.279 things. And this takes us back to physical media and home entertainment in certainly 333 00:24:00.359 --> 00:24:06.000 with women's and I'm not just talking about horror or expectation film, but women's 334 00:24:06.079 --> 00:24:11.720 filmmaking in general. The issue has been as much about distribution and archiving as 335 00:24:11.759 --> 00:24:15.240 much as it's been about women getting money to make films in the first place. 336 00:24:15.720 --> 00:24:18.880 And the same thing applies to, you know, to queer filmmakers, 337 00:24:18.880 --> 00:24:22.160 to filmmakers of color, to black filmmakers, so it's not just women. 338 00:24:22.200 --> 00:24:25.920 I think that that's the kind of useful example of these kind of other filmmaking 339 00:24:25.960 --> 00:24:33.559 practices, But I'm always really excited by the concrete role that home media has 340 00:24:33.599 --> 00:24:38.720 to play in both archiving and distributing these films and finding these films in the 341 00:24:38.759 --> 00:24:44.319 first place. And it's not just Criterion, you know, it's not just 342 00:24:44.359 --> 00:24:48.160 these wonderful, hybrow kind of companies. It's people like Terror Vision, It's 343 00:24:48.160 --> 00:24:52.480 people like Vinigers Syndrome. It's people like Arrow that are really in the guts 344 00:24:52.480 --> 00:24:59.119 of the archive finding these women directed treasures and really doing the hard yards on 345 00:24:59.720 --> 00:25:03.319 resis, storing them, on distributing them, on you know, getting them 346 00:25:03.319 --> 00:25:07.119 to people that will value them and will appreciate them. So actually, genuinely, 347 00:25:07.119 --> 00:25:11.039 certainly for Horror and Expectation, I actually think we're living at a really 348 00:25:11.079 --> 00:25:18.440 exciting time for women's filmmaking history in that these films are really coming out from 349 00:25:18.519 --> 00:25:22.440 places that you would not necessarily expect. Terror Vision in particular, and Brad 350 00:25:22.480 --> 00:25:27.160 Henderson I think need particular acknowledgement and Viniga Syndrome as well. You know, 351 00:25:27.400 --> 00:25:32.960 the stuff that they're digging up is just jaw dropping to me, Like, 352 00:25:33.160 --> 00:25:37.519 really exciting stuff is coming out from these people in terms of women's filmmaking history. 353 00:25:38.640 --> 00:25:42.079 I fully agree. Yeah, there's you know, having worked behind the 354 00:25:42.079 --> 00:25:47.960 scenes with Brad on some of the releases already, it is always enlightening to 355 00:25:48.039 --> 00:25:52.839 hear how much he respects the filmmakers and how much he desires diversity through everything 356 00:25:52.880 --> 00:25:56.640 that he's doing. I have a mental respect for Bread and what he's hit 357 00:25:56.680 --> 00:26:02.200 there. He's the king. And it's why I can't I can't come at 358 00:26:02.200 --> 00:26:06.720 this kind of question of of you know, women's filmmaking and gender politics and 359 00:26:06.839 --> 00:26:11.160 genre. I just can't come at it as a girl's versus boys thing because 360 00:26:11.200 --> 00:26:17.920 there are so many proper allies. The American genre film people are doing incredible 361 00:26:18.039 --> 00:26:22.480 work that I can't list everybody who's doing this amazing work. You know, 362 00:26:22.559 --> 00:26:26.200 Saturn's core. You know, these these amazing people are really doing incredible work, 363 00:26:26.640 --> 00:26:30.319 and they're not. You know, that's a really great example. I 364 00:26:30.359 --> 00:26:33.559 hate to sort of narrow down on him personally, but you know he would 365 00:26:34.000 --> 00:26:36.880 He's not the kind of person that be like, oh, you know, 366 00:26:37.160 --> 00:26:40.599 I'm here saving women's filmmaking. You know, he's not that. He's just 367 00:26:40.680 --> 00:26:45.079 he's too busy working to kind of you know, ask for credit, you 368 00:26:45.079 --> 00:26:47.039 know, for that for that kind of stuff. You know, he's too 369 00:26:47.079 --> 00:26:52.160 busy doing the grunt work, like the really hard work of finding this stuff. 370 00:26:52.160 --> 00:26:56.119 And yeah, to me, like, that's that's he's a proper ally 371 00:26:56.160 --> 00:26:57.799 And I don't know how he would feel about me saying that, so I'm 372 00:26:57.799 --> 00:27:04.640 sorry. I'll make sure to link him too this part specifically, everybody should 373 00:27:04.640 --> 00:27:08.920 be buying TerrorVision. Everybody should be buying you know, Vinigers, Syndrome, 374 00:27:11.200 --> 00:27:15.000 AGFA, you know all of these great you know a lot of the partner 375 00:27:15.119 --> 00:27:22.160 labels from Vinegar Syndrome these, It's really exciting stuff. I'm constantly surprised with 376 00:27:22.240 --> 00:27:25.279 the stuff that I see being put out. It's like I never thought, 377 00:27:25.960 --> 00:27:27.720 you know, I mean there's stuff that you know, like that I got 378 00:27:27.720 --> 00:27:32.400 off like Cinemageddon like fifteen twenty years ago, and it's like getting like a 379 00:27:32.480 --> 00:27:36.519 Blu ray release. It's like, are you kidding me? Like it's so 380 00:27:36.720 --> 00:27:41.640 exciting if I can mention Cinema againton, can I do that? No? 381 00:27:41.640 --> 00:27:45.279 No, No, we're not canceled yet. There's another inflammatory right right. 382 00:27:48.079 --> 00:27:51.000 You You bring up a great point, and I really want to highlight something 383 00:27:51.079 --> 00:27:55.400 especially we had a discussion about this today, and my discord actually is a 384 00:27:55.400 --> 00:27:57.480 lot of people are looking at the idea of film Mark Cavell somehow is pretentious, 385 00:27:57.519 --> 00:28:02.160 which is hilarious to me. But beyond that, one part that is 386 00:28:03.480 --> 00:28:07.519 really associated with that is not just the archiving aspect of the physical film, 387 00:28:07.039 --> 00:28:11.279 but accessibility. Because archiving film, if it's locked in a vault somewhere, 388 00:28:11.319 --> 00:28:15.720 it's safe, but that does nothing for me and the education of all of 389 00:28:15.799 --> 00:28:18.559 us. We need to be able to see this film, consume the art, 390 00:28:18.880 --> 00:28:22.640 pass it around, learn from it, and not only that, embrace 391 00:28:22.839 --> 00:28:25.960 those filmmakers and see what else that they've had on the impact of film. 392 00:28:26.119 --> 00:28:30.920 So all of these home video companies, it is so important that they're out 393 00:28:30.920 --> 00:28:34.680 there and available. So completely agree absolutely, I mean, and the thing 394 00:28:34.680 --> 00:28:38.559 that I love about these labels that I've mentioned is that, you know, 395 00:28:38.599 --> 00:28:42.839 there's a kind of there's an audience that will buy anything that Terror Vision put 396 00:28:42.839 --> 00:28:47.400 out just by virtue of the quality of their work. And there's a trust, 397 00:28:47.519 --> 00:28:51.759 there's like a consumer trust that companies like TerrorVision and Vinego and Viniger, 398 00:28:51.799 --> 00:28:53.799 Syndrome, you know, the partner labels Arrow, you know, so many 399 00:28:53.799 --> 00:28:57.799 of these companies, even Quinolaba. You know, there's a trust that some 400 00:28:59.000 --> 00:29:04.039 you know, what is what what these companies put their energies into into bringing 401 00:29:04.160 --> 00:29:08.960 us is worthy of is worthy of our attention, And there's a kind of 402 00:29:10.000 --> 00:29:14.119 consumer good will there that cannot be faked, Like you can't buy that, 403 00:29:15.480 --> 00:29:19.599 and it's it's extraordinary because it puts these films into the hands of people who 404 00:29:19.759 --> 00:29:26.440 might not normally watch or consciously go out of their way to watch films directed 405 00:29:26.440 --> 00:29:30.880 by women filming, you know. And and I think that's that's really part 406 00:29:30.920 --> 00:29:36.039 of the the excitement and and the preciousness of what we find happening in physical 407 00:29:36.079 --> 00:29:38.160 media at the moment, especially in the films of you know, not just 408 00:29:38.160 --> 00:29:42.559 horror and expectation filming, you know, pornography, and these these are areas 409 00:29:42.559 --> 00:29:47.759 that are you know, I don't mean to dissc Criterion, because Criterion is 410 00:29:47.759 --> 00:29:49.839 imaginable, incredible, but you know, there's you know, there's sort of 411 00:29:49.880 --> 00:29:55.319 there's these BFI criterions at a highbrow you know, and these companies that I'm 412 00:29:55.359 --> 00:29:59.640 talking about are dealing with very different kinds of film but putting the same kind 413 00:29:59.680 --> 00:30:04.319 of you know, giving these giving these releases the same kind of attention and 414 00:30:04.400 --> 00:30:12.519 can that to me, it's it's just indefinable how important this work is because 415 00:30:12.559 --> 00:30:17.039 this is the work that people like, you know, where I am in 416 00:30:17.039 --> 00:30:19.920 Australia, you know, the National Film and Sound Archive here would never put 417 00:30:19.960 --> 00:30:25.200 the attention into some of the Australian films that I've seen Umbrella really focus on, 418 00:30:25.359 --> 00:30:26.880 you know, and they've kind of had to kind of do it on 419 00:30:26.920 --> 00:30:33.359 their own to really bring these releases to light and to help them find their 420 00:30:33.400 --> 00:30:37.839 audience because these sort of more formal film bodies, I think still have this 421 00:30:37.960 --> 00:30:41.720 kind of you know, high brow, lowbrow thing, and you know, 422 00:30:41.799 --> 00:30:45.480 sometimes some films might break through that, you know, things like Suspiria or 423 00:30:45.960 --> 00:30:51.559 but it's very rare. It's very very rare. Funny enough, the highbrow, 424 00:30:51.640 --> 00:30:53.880 lowbrow thing really brings to light something else that you did earlier this year, 425 00:30:53.960 --> 00:30:57.279 which is you were invited to Spain to be a part of a film 426 00:30:57.359 --> 00:31:03.079 festival. And film festivals are such an interesting topic of conversation because it's great 427 00:31:03.160 --> 00:31:07.160 that film is getting out there, and then we're just not seeing a lot 428 00:31:07.200 --> 00:31:11.279 of those films ever again, So I mean, the first thing, how 429 00:31:11.319 --> 00:31:14.960 did that feel? How did that feel going all the way across the world 430 00:31:15.319 --> 00:31:21.759 to be judging this massive film festival. It was huge both personally and professionally 431 00:31:21.920 --> 00:31:23.799 for me, like, I hadn't traveled since lockdown. So where I am 432 00:31:23.920 --> 00:31:27.799 in Melbourne in Australia, we had I think we had the second longest lockdown 433 00:31:29.000 --> 00:31:32.400 in the world, next to a city somewhere in Argentina, I believe. 434 00:31:33.440 --> 00:31:37.640 So we really didn't come out of lockdown until late twenty twenty two. No, 435 00:31:37.839 --> 00:31:40.960 sorry, twenty one twenty twenty one, let me get the date right 436 00:31:41.000 --> 00:31:45.359 there. And it was it was very difficult. It was very very difficult. 437 00:31:47.079 --> 00:31:51.799 I mean Australia had lockdowns, but Melbourne had very long, long, 438 00:31:51.880 --> 00:31:55.680 long lockdowns. So just I mean, that was the first time that I 439 00:31:55.799 --> 00:32:00.880 traveled wow overseas, and yeah, you know, I was sort of saying 440 00:32:00.880 --> 00:32:04.759 to you before we started recording, like Melbourne has quite you know, a 441 00:32:04.920 --> 00:32:10.240 decent population, but there's not really the kind of horror community or kind of 442 00:32:10.279 --> 00:32:14.519 cult film community that you get even in cities that are much smaller in the 443 00:32:14.640 --> 00:32:19.119 United States. You know, it's a very small community. So my people 444 00:32:19.279 --> 00:32:24.359 mostly most almost completely are in the Northern Hemisphere. So it was really nice 445 00:32:24.480 --> 00:32:29.680 just to go back and find my people again, you know, sort of 446 00:32:30.200 --> 00:32:32.279 you know, people that I'd known online for a long time, like Alex 447 00:32:32.359 --> 00:32:39.799 West from Toronto, who's wonderful, Kim Newman in the UK, everybody's god, 448 00:32:39.920 --> 00:32:43.880 you know, just the most beautiful human being I think I've ever met 449 00:32:43.920 --> 00:32:46.920 in my life. And just being around my people. So if anything, 450 00:32:47.000 --> 00:32:51.759 I mean, Citrus just felt like like school camp. It was like a 451 00:32:51.839 --> 00:32:55.200 sort of horror or cult film nerd boot camp like it was. It was 452 00:32:55.279 --> 00:33:00.880 incredible. But I do find film festivals really be exciting just as a kind 453 00:33:00.920 --> 00:33:06.640 of broader concept and citchs. I have to say Monica and how they treated 454 00:33:06.720 --> 00:33:08.799 us like royalty. And if you ever want to go to an international film 455 00:33:08.880 --> 00:33:13.599 festival, a genre film festivals, put citches at the top of your list. 456 00:33:13.680 --> 00:33:17.079 It's it's magic. It's just an incredible, incredible experience and I can't 457 00:33:17.519 --> 00:33:22.000 I can't rave about it enough. But yeah, film festival, so I 458 00:33:22.119 --> 00:33:27.200 used to do for years. I did sort of you know what I now 459 00:33:27.319 --> 00:33:30.559 call like the meat grinder of new releases, like I would sort of you 460 00:33:30.640 --> 00:33:32.960 know, sort of you know, like there's a new film coming out and 461 00:33:34.000 --> 00:33:37.440 I have to review it, and I don't do that anymore. I feel 462 00:33:37.480 --> 00:33:39.359 like I did my time in the yeah, you know, with the grinder 463 00:33:39.640 --> 00:33:43.559 of new releases, and there's there's value to that, and there's virtue to 464 00:33:43.640 --> 00:33:45.799 that, but to me, it kind of had a shelf life. So 465 00:33:46.039 --> 00:33:52.519 my my new release film criticism tends to focus now on film festivals, where 466 00:33:52.519 --> 00:33:54.279 I kind of, you know, I will go to a film festival and 467 00:33:54.319 --> 00:33:58.160 I will spend two weeks, you know, watch five films a day and 468 00:33:58.359 --> 00:34:01.119 just like blah bla, do four or five hundred world reviews of every single 469 00:34:01.200 --> 00:34:04.680 film that I see, and it's it's like going to the gym. Like 470 00:34:04.759 --> 00:34:09.159 it's like it's like good camp, like sort of exercise the muscles, and 471 00:34:09.280 --> 00:34:12.599 I love it. I love it. But you're right, like I, 472 00:34:13.000 --> 00:34:16.559 so many films fall through the cracks, and it's again, you know, 473 00:34:16.599 --> 00:34:22.199 it's interesting because it's places like I was speaking to a colleague at Arrow today 474 00:34:22.280 --> 00:34:23.440 and they're they're I'm not going to say what title it is, but they've 475 00:34:23.440 --> 00:34:29.159 picked up a film that played quite well on the film festival circuit last year 476 00:34:29.639 --> 00:34:31.679 but effectively vanished after that, and it was like, this was a great 477 00:34:31.719 --> 00:34:36.000 film and nobody talks about it anymore and it's sort of been forgotten. So 478 00:34:36.199 --> 00:34:40.119 it's really lovely that these films are sort of given this sort of second life 479 00:34:40.280 --> 00:34:43.599 if you will. You know that these are films that are never going to 480 00:34:43.639 --> 00:34:49.440 make the multiplex circuit. You know, they're not going to play, They're 481 00:34:49.440 --> 00:34:52.679 probably not going to be picked up by Netflix. You know that they're they're 482 00:34:52.760 --> 00:34:54.559 just going to fall outside. So what happens to them after that? You 483 00:34:54.639 --> 00:34:58.280 know, they might go really well on the festival circuit, but what happens 484 00:34:58.320 --> 00:35:01.960 to them after that? And yeah, Home Entertainment unfortunately can't pick up all 485 00:35:02.039 --> 00:35:07.760 of them, but I think does do incredible work in picking up the slack 486 00:35:07.800 --> 00:35:10.519 for at least catching some of these films before they sort of lost completely. 487 00:35:12.559 --> 00:35:15.360 And it's heartbreaking when films, you know, really good films do vanish, 488 00:35:15.039 --> 00:35:20.760 right, Yeah, and with film festivals not only you know, is it 489 00:35:20.880 --> 00:35:22.519 something that if they're going to one of these places, they're hoping for distribution? 490 00:35:22.719 --> 00:35:27.519 But if you don't get that, what is the next rung of the 491 00:35:27.599 --> 00:35:30.039 ladder down? Like, if you have a bit of a disappointing play, 492 00:35:31.280 --> 00:35:36.639 what is the next step other than languishing and literally being a lost film? 493 00:35:37.000 --> 00:35:39.719 You are stuck in an area where people can't they can't see it, they 494 00:35:39.800 --> 00:35:44.079 don't know anything about it. So they don't think they're missing anything. And 495 00:35:44.199 --> 00:35:46.920 for some reason, people think that if it's not Top Gun two or something, 496 00:35:47.559 --> 00:35:51.639 it doesn't exist. It's not a film to them. They don't even 497 00:35:51.639 --> 00:35:53.960 know that it's art that's out there. Yeah, I think we're lucky in 498 00:35:54.159 --> 00:36:00.639 horror in particular and that we have shut Up Shut It does a huge amount 499 00:36:00.679 --> 00:36:04.719 of work in kicking up these films that really would just not find a home. 500 00:36:05.480 --> 00:36:10.239 Also, and it's not necessarily. What I like about the curation is 501 00:36:10.320 --> 00:36:15.280 that it's not necessarily films that have been like a quote unquote hit on the 502 00:36:15.360 --> 00:36:19.519 festival circuit. I think there's something very intuitive. You know, Sam Zimmermon 503 00:36:20.360 --> 00:36:25.519 needs particular referencing here. I think he's a very intuitive programmer and curator for 504 00:36:25.800 --> 00:36:29.159 Shutter, amongst all the many other things that he does, and that he 505 00:36:29.599 --> 00:36:34.440 he just has a gut feeling for what will work, and he really believes 506 00:36:34.480 --> 00:36:37.719 in the films that that that you know that that shot of picks up and 507 00:36:37.760 --> 00:36:38.760 all the people that you know it shut are are great. But Sam in 508 00:36:38.800 --> 00:36:44.280 particular, I think has a real intuitive, kind of a real instinct for 509 00:36:44.400 --> 00:36:49.480 what for what will what needs to be sort of salvaged from this sort of 510 00:36:49.559 --> 00:36:55.360 festival circuit film festivals. One of the things that is attached to this that 511 00:36:55.480 --> 00:37:01.719 I'd really love to hear about is you you judging it and considering by the 512 00:37:02.000 --> 00:37:07.199 photos and living vicariously through your travels, it seemed that you had a wonderful 513 00:37:07.239 --> 00:37:09.480 time, So just the work that goes into that. Did you feel this 514 00:37:09.639 --> 00:37:15.199 immense pressure? How did you feel stepping into those days where you're giving scores 515 00:37:15.239 --> 00:37:20.840 to things and talking with your peers and making the best of it. One 516 00:37:20.880 --> 00:37:24.320 of the best things that ever happened to me as a film critic was working 517 00:37:25.239 --> 00:37:32.000 as a film festival programmer. Very briefly, but I was gifted with the 518 00:37:32.119 --> 00:37:37.880 experience of seeing people like James Shapiro, Luke Mullen, e from Ursuoy, 519 00:37:37.960 --> 00:37:45.000 these great film people. Just seeing how they worked close up was such a 520 00:37:45.079 --> 00:37:50.000 gift to me, and James in particular, you know, and all of 521 00:37:50.079 --> 00:37:52.480 them that film programmers in general, I think are a lot kinder to film 522 00:37:52.599 --> 00:37:58.559 than film critics are, and James, you know, James's kind of drum 523 00:37:58.599 --> 00:38:02.559 beat was always it's really hard to make a film, and that was a 524 00:38:02.679 --> 00:38:06.920 gift to me and it changed completely changed the way that I worked as a 525 00:38:06.960 --> 00:38:09.800 film critic because it's like, yeah, it's actually really hard to make a 526 00:38:09.880 --> 00:38:14.199 film, and most film critics don't think like that. There's this sort of 527 00:38:14.480 --> 00:38:19.480 Rottweiler like attack, attack, attack, and it's like it's really expensive and 528 00:38:19.599 --> 00:38:22.519 it's really hard to make a film, and that any film gets finished to 529 00:38:22.679 --> 00:38:27.000 completion, whether you like it or not, is almost neither here nor there 530 00:38:27.079 --> 00:38:34.039 because it's so hard to make a film, and coming to judging for film 531 00:38:34.119 --> 00:38:40.000 festivals with that fundamental belief actually makes it especially with peers that you know, 532 00:38:40.039 --> 00:38:45.119 I was gifted, you know, just the most incredible for Sicha's you know, 533 00:38:45.480 --> 00:38:49.400 an A Torrent, the great Spanish actress, was on our jury. 534 00:38:49.719 --> 00:38:54.079 Kim Newman, My King, who I've already mentioned, David Fine, an 535 00:38:54.119 --> 00:39:00.239 American god that I adore, and Jimpallard, who was the guy that really 536 00:39:00.280 --> 00:39:06.960 started and ran the Calm film festival market for decades. So you know, 537 00:39:07.039 --> 00:39:09.400 these people who were really sort of very much at the top of their game. 538 00:39:09.480 --> 00:39:14.039 So seeing how they kind of approached film and how they worked it was 539 00:39:14.079 --> 00:39:16.960 a very generous experience, I have to say, very positive, not really 540 00:39:17.079 --> 00:39:21.880 bad vibes, like there wasn't like it would be a very different experience. 541 00:39:21.920 --> 00:39:25.320 I think talking with film critics purely about it, you know that it was 542 00:39:25.400 --> 00:39:30.079 with this sort of these sort of industry peers. It was a really exciting 543 00:39:30.159 --> 00:39:36.679 thing and I find that it was very rewarding and very intuitive. I have 544 00:39:36.800 --> 00:39:39.039 to say that we didn't There wasn't a lot of deliberations. We had a 545 00:39:39.079 --> 00:39:43.440 lot of prizes to give, so there was like which film gets which award, 546 00:39:43.800 --> 00:39:45.440 but we were also very much on the same page of what films were 547 00:39:45.480 --> 00:39:50.119 really you know, the cream floats to the top. So it was such 548 00:39:50.159 --> 00:39:53.400 a positive experience and there was real respect for the craft of filmmaking. So 549 00:39:53.519 --> 00:39:57.960 even films that didn't that were in competition, that didn't get an award, 550 00:39:58.239 --> 00:40:01.039 there was nothing petty or bitchy. Was always like good. I can't believe 551 00:40:01.079 --> 00:40:06.159 these people made a film like they finished their film, whether it whether it 552 00:40:06.280 --> 00:40:07.760 works for me or not. As I said, it's almost besides the point, 553 00:40:07.800 --> 00:40:14.400 because it's so fucking hard to make a film. One thing that people 554 00:40:14.519 --> 00:40:16.000 never point out about some of these not only is it difficult to make a 555 00:40:16.039 --> 00:40:22.039 film, but somebody that has no income coming from this the first time they're 556 00:40:22.079 --> 00:40:25.159 doing it, and they're they're doing it with no studio backing or anything like 557 00:40:25.239 --> 00:40:29.719 that. When they make a movie, they're basically signing up to work on 558 00:40:29.800 --> 00:40:32.880 this thing for months to get it out. And it's not it's not the 559 00:40:32.960 --> 00:40:37.079 asylum. It's not where they're they're put into a machine that has support and 560 00:40:37.119 --> 00:40:40.000 they're putting something out in nine days. It's this is their life for months 561 00:40:40.199 --> 00:40:45.599 and months and months. If you love respects months like you're lucky because you 562 00:40:45.679 --> 00:40:49.559 know often if you I mean, I know it's not rare, but I 563 00:40:49.639 --> 00:40:52.519 know people that have made movies on their credit card. You know, when 564 00:40:52.519 --> 00:40:55.239 you go in and you don't know if you're going to finish it, you 565 00:40:55.320 --> 00:40:58.360 know, and you kind of have to wait for you know, if you're 566 00:40:58.480 --> 00:41:00.079 doing all the work, you're waiting for money come in so you can pay 567 00:41:00.199 --> 00:41:06.199 people, or you know, if you're working on a budget down from that, 568 00:41:06.320 --> 00:41:08.239 you're not even paying people. It's you know, you've got favors coming 569 00:41:08.320 --> 00:41:14.280 in. There's a whole kind of complex balancing act, and you never you 570 00:41:14.360 --> 00:41:15.599 don't know what's you know, we even know from like big, big, 571 00:41:15.719 --> 00:41:21.480 big budget productions, not every film that goes into production will finish. Not 572 00:41:21.559 --> 00:41:24.119 every film that goes into production, even if it is finished, will get 573 00:41:24.119 --> 00:41:27.239 released. You know. That's the kind of weird time that we're living in 574 00:41:27.360 --> 00:41:30.760 now. You know that they might get shelved for tax reasons or whatever. 575 00:41:30.800 --> 00:41:35.320 It's really hard to make a movie, and anybody who does it, whether 576 00:41:35.400 --> 00:41:38.880 I like your movie or not, like, Wow, you made a movie, 577 00:41:42.039 --> 00:41:45.000 just bravo. That's incredible to me. It's incredible to me that anything 578 00:41:45.079 --> 00:41:52.039 gets finished. Ever, yeah, I agree, funny enough behind the scenes 579 00:41:52.079 --> 00:41:54.519 some of these. I'm just looking around at the massive styles, massive piles 580 00:41:54.519 --> 00:41:58.440 of discs I have around me some of these, like it's I feel the 581 00:41:58.480 --> 00:42:01.679 same way about some of these releases. You know, they find film reels 582 00:42:01.920 --> 00:42:07.599 in some coffee shop in South America, and they find the director alive and 583 00:42:07.800 --> 00:42:10.239 the hills of Switzerland, and they get all these things together on some of 584 00:42:10.320 --> 00:42:15.880 these and you bring just this amazing context to so many of these releases. 585 00:42:15.960 --> 00:42:19.920 And this year alone, the number of releases that have come out. I 586 00:42:19.960 --> 00:42:23.719 would love to hear just how the year, how you feel about the industry 587 00:42:23.719 --> 00:42:27.639 as a whole, because I mean, you've been on the Psycho collection this 588 00:42:27.760 --> 00:42:32.159 year, Kids from Umbrella on Kindergarten cop Like I would not have guessed that 589 00:42:32.320 --> 00:42:37.440 six months ago. There's so many the partner labels that you've done, You've 590 00:42:37.480 --> 00:42:42.000 done Gasper no Way titles this year. It's it has been such a lovely, 591 00:42:42.719 --> 00:42:45.719 lovely time just to see what you bring to the table on some of 592 00:42:45.800 --> 00:42:49.480 these. So how does it feel overall as a whole. What's your temperature 593 00:42:49.519 --> 00:42:54.760 of the industry at the moment. I'm really positive about it for partially, 594 00:42:54.840 --> 00:42:57.840 you know, for the reasons that I've already said, just in terms of 595 00:42:57.960 --> 00:43:02.119 like this kind of you know, in the trenches archival work, but this, 596 00:43:02.480 --> 00:43:07.559 you know, and it's so important, like I can't I can't emphasize 597 00:43:07.599 --> 00:43:10.519 that enough. But for me personally, in terms of the work that I'm 598 00:43:10.559 --> 00:43:15.719 getting, I'm very grateful to be getting it, and I certainly feel that 599 00:43:15.800 --> 00:43:19.280 there is a kind of renaissance of physical media. Just in terms of the 600 00:43:19.679 --> 00:43:24.199 work that's coming to me. I'm always sort of impressed by the breadth of 601 00:43:24.320 --> 00:43:29.320 the of the kind of work that is available. So, as I said, 602 00:43:29.320 --> 00:43:31.920 you know, it's not just sort of high brow films, it's not, 603 00:43:32.039 --> 00:43:36.440 you know, I've had the good fortune a couple of years ago I 604 00:43:36.559 --> 00:43:40.000 worked on some Bourbon films for the ber Fire, which was a delight, 605 00:43:42.480 --> 00:43:45.280 but not everything has to be Igma Bourban. You know, you can you 606 00:43:45.360 --> 00:43:49.599 can have Infernal Rapist and that's okay, and it's you know, and I 607 00:43:50.079 --> 00:43:52.239 love that I'm at a point. And I don't mean to sound like cocky 608 00:43:52.280 --> 00:43:54.679 about it, but I feel like I've I feel like I've been doing this 609 00:43:54.800 --> 00:44:00.280 long enough that it's I can kind of I feel like I've earned the right 610 00:44:00.360 --> 00:44:02.639 to be at the point where people will bring me the Virgin Spring by in 611 00:44:02.719 --> 00:44:07.920 mar Bergmann and also bring me Infernal Rapist. Like I kind of it's like 612 00:44:07.039 --> 00:44:10.280 good, this is how things should be. It's like a universe in harmony. 613 00:44:13.400 --> 00:44:15.159 And you know, while I've sort of been, I guess emphasizing this 614 00:44:15.280 --> 00:44:21.800 sort of more sort of low budget, sort of more sort of culturally denegrated 615 00:44:21.880 --> 00:44:24.760 material, kind of exploitation film, I do think it speaks to a much 616 00:44:25.039 --> 00:44:32.679 of a very healthy kind of landscape or terrain for for home entertainment in general, 617 00:44:32.760 --> 00:44:37.159 and that we are getting a real diversity of stuff coming out. You 618 00:44:37.239 --> 00:44:40.679 know, it's not it's not it's not just sort of high brass stuff that 619 00:44:40.719 --> 00:44:45.960 we think should be celebrated. Interestingly enough, though the most controversial you know, 620 00:44:45.440 --> 00:44:50.679 all of the stuff that I've done on like rape film and you know, 621 00:44:51.000 --> 00:44:53.760 really kind of violent exploitation film. Without doubt, the most controversial film 622 00:44:54.039 --> 00:45:00.760 that I've worked on that had the most heated uh noise on social media was 623 00:45:00.039 --> 00:45:02.719 for Keno Lauba and it's actually one of the commentaries that I'm probably the most 624 00:45:02.760 --> 00:45:07.000 proud of. And it was with Josh Nelson, which was cool as Ice 625 00:45:07.400 --> 00:45:13.800 for king O Lauba, people lost their minds, Like people were really angry, 626 00:45:14.280 --> 00:45:19.559 really really angry, and really offended. It was fascinating. There was 627 00:45:20.000 --> 00:45:22.239 one guy on Twitter was like, there's no like he listened Josh and I 628 00:45:22.320 --> 00:45:24.800 buy names like these are just made up names. There's no way that these 629 00:45:24.840 --> 00:45:31.079 people really exist. Okay, come on, And that was that was really 630 00:45:31.199 --> 00:45:34.840 fascinating to me because I think, you know, I had this idea of 631 00:45:34.960 --> 00:45:37.079 like low bra hybra being a kind of related to budgets, you know, 632 00:45:37.199 --> 00:45:42.320 like you know, big budget kind of impressive, highbrow movies and lower budget 633 00:45:42.719 --> 00:45:46.639 infernal rapist type stuff. But then you get something like cool as Ice in 634 00:45:46.719 --> 00:45:51.599 this in the middle, and you had the response to that, and funnily 635 00:45:51.679 --> 00:45:53.920 enough, I think that that that was probably one of you know, the 636 00:45:53.960 --> 00:46:00.119 people that actually did listen to the commentary. We got really positive feedback for 637 00:46:00.199 --> 00:46:01.920 that, and that's yet to this day. That's probably one of the commentaries 638 00:46:01.920 --> 00:46:06.840 that I'm the proudest of in a way which I think surprises people. But 639 00:46:07.320 --> 00:46:13.920 why shouldn't Cool as Ice have exactly attention? You know, It's a really 640 00:46:14.000 --> 00:46:16.679 interesting film. It speaks to a moment of time in a way that I 641 00:46:16.760 --> 00:46:20.679 think not a lot of other films from that year ado. I think it's 642 00:46:20.719 --> 00:46:24.400 a fascinating movie that is hilarious. I'd love to hear what anybody has to 643 00:46:24.440 --> 00:46:29.239 be offended by that. I mean, you bring up a good point with 644 00:46:29.679 --> 00:46:32.719 being proud of some of these releases, and as somebody that's getting into, 645 00:46:34.239 --> 00:46:37.480 you know, doing visual essays and commentaries myself, what are what are you 646 00:46:37.559 --> 00:46:40.440 most proud of? What are the ones that you feel like should have the 647 00:46:40.519 --> 00:46:45.239 biggest impact and what you've done so far? That's a really good question. 648 00:46:45.320 --> 00:46:49.199 I'm only going from memory here, so I'm just this isn't like me having 649 00:46:49.239 --> 00:46:51.679 gone through a list of everything that I've done well, when you've done so 650 00:46:51.800 --> 00:46:54.280 many, this has got to be her the video I say that, I 651 00:46:54.400 --> 00:46:58.679 think I'm the proudest of and a lot of I have to say here, 652 00:46:58.800 --> 00:47:01.199 I don't do I don't do visual editing. So I you know, there's 653 00:47:01.199 --> 00:47:07.320 wonderful people like Jonathan Zaraen, so many people that do the kind of nuts 654 00:47:07.360 --> 00:47:09.480 and bolts. You know, they get the visuals together. You know phil 655 00:47:09.599 --> 00:47:14.960 Escott at Second Sight really you know, they are kind of co authors in 656 00:47:15.039 --> 00:47:17.679 these in these video essays. You know, I record the audio, I 657 00:47:17.719 --> 00:47:21.320 write the script, and I do all the research and I record the audio 658 00:47:21.400 --> 00:47:24.159 and then I give them to a genius who pulls together the visual So that 659 00:47:24.360 --> 00:47:30.000 needs to be acknowledged. I think that it's a collaborative thing. But the 660 00:47:30.079 --> 00:47:31.920 one that I think I'm the most proud of was with Second Sight for a 661 00:47:32.000 --> 00:47:42.679 film called Swallow, which is just Carlo Mirabella Davies. I think the director's 662 00:47:42.760 --> 00:47:45.599 name is my apologies if I've gotten that wrong. It's a recent film twenty 663 00:47:45.719 --> 00:47:49.880 nineteen. I think movie. It's an incredible movie, right, and I 664 00:47:50.239 --> 00:48:00.800 love that movie so much. And Carlo is an extraordinarily thoughtful and generous and 665 00:48:00.960 --> 00:48:06.840 kind filmmaker. I think there's an enormous compassion and intelligence to his work that 666 00:48:06.920 --> 00:48:10.159 you don't normally see that kind of combination of But I believe I'm going from 667 00:48:10.199 --> 00:48:15.000 memory here, but I think the audio that I submitted for that video essay 668 00:48:15.440 --> 00:48:17.599 was about an hour and a half. I think it was about the run 669 00:48:17.679 --> 00:48:22.559 time of the actual film, and I think it was I believe I could 670 00:48:22.599 --> 00:48:24.440 be mistaken in my apologies if I've got the name wrong. I believe it 671 00:48:24.480 --> 00:48:29.239 was Phil Escott who edited that together and actually made it kind of coherent. 672 00:48:30.360 --> 00:48:37.039 But yeah, like that's a film that I I just can't speak more highly 673 00:48:37.119 --> 00:48:38.599 of. And to be you know, I mean, so many of these 674 00:48:38.679 --> 00:48:44.000 films, you know, with commentaries very close together. I was able to 675 00:48:44.119 --> 00:48:50.920 do idol Apino's Outrage for Imprint the wonderful people at Imprint here in Melbourne, 676 00:48:51.280 --> 00:48:58.039 Hi Josh, and very close to that, I was able to do with 677 00:48:58.400 --> 00:49:04.599 Josh Nelson more than Color by Lynn Ramsay for Fun City Editions. And they 678 00:49:04.639 --> 00:49:07.280 are two films that I never thought would get out on Blu Ray. They 679 00:49:07.360 --> 00:49:09.760 and they came very very close together, and they just sort of arrived in 680 00:49:09.840 --> 00:49:13.639 my inbox, you know, these invitations to do commentaries for those films, 681 00:49:14.000 --> 00:49:16.079 and it was really exciting. It was such an exciting thing. It's like 682 00:49:16.119 --> 00:49:21.280 these are films that that I never thought would ever get released, let alone 683 00:49:21.360 --> 00:49:28.679 have these kind of considered, really thoughtfully put together packages. Trouble every Day 684 00:49:28.920 --> 00:49:35.440 is another one which recently came out the the Claar Dni films Trouble every Day, 685 00:49:36.000 --> 00:49:37.440 Like, I never thought that I would see that, you know, 686 00:49:37.760 --> 00:49:43.719 a on a really solid home entertainment release, that that had that we that 687 00:49:43.800 --> 00:49:47.199 we have now. So they're the ones that leap to mind. But I'm 688 00:49:47.199 --> 00:49:52.679 forgetting so many things. Session nine is another one for Second Sight, like 689 00:49:52.760 --> 00:49:58.199 that was just a delight to work on. But Arrow, sorry, no, 690 00:49:58.360 --> 00:50:00.280 I was just gonna say, I'm always baffled what Second Sight is able 691 00:50:00.360 --> 00:50:05.800 to get for some of these releases. And even Swallow is a great example, 692 00:50:05.880 --> 00:50:09.800 because I there's something about that film. It was released at the perfect 693 00:50:09.840 --> 00:50:14.760 time, because I think twenty nineteen is right, like you said, because 694 00:50:14.760 --> 00:50:16.360 I had I had a four year old and a three year old at that 695 00:50:16.440 --> 00:50:21.760 time, and we had just we had just sort of recovered from my youngest. 696 00:50:21.960 --> 00:50:25.360 We thought that he might have pika like the individual in Swallow has, 697 00:50:25.920 --> 00:50:31.039 and he for thirteen months straight he was spitting up constantly. We couldn't get 698 00:50:31.159 --> 00:50:35.079 actual food in him. But everything that wasn't food he put in his mouth 699 00:50:35.119 --> 00:50:37.639 immediately, and it was it was a rough time. And then watching that 700 00:50:37.760 --> 00:50:42.320 movie was just, God, this is beautiful, but this is also terrifying. 701 00:50:44.719 --> 00:50:47.199 I saw that at a fantastic fest. I think it might have been 702 00:50:47.239 --> 00:50:51.679 the North American No, the US premier, I'm not sure. My apologies 703 00:50:51.719 --> 00:50:54.480 if I've got that wrong. And you know, the kind of you know, 704 00:50:54.679 --> 00:50:57.880 synopsis, the blurb of the film is, you know, there's basically 705 00:50:57.960 --> 00:51:00.559 like a pretty little young blonde thing and she she eats funny things. You 706 00:51:00.599 --> 00:51:05.480 know, she swallows thumbtacks and batteries and and poops them out, you know 707 00:51:05.559 --> 00:51:07.559 that sort of Aha. So there was a lot of you know, there's 708 00:51:07.559 --> 00:51:09.559 a lot of kind of you could see that there were guys, and there 709 00:51:09.599 --> 00:51:13.920 was let's let's watch let's watch this chick eat weird shit, you know, 710 00:51:14.400 --> 00:51:16.840 and the way that the place that that film goes. And I remembered quite 711 00:51:16.880 --> 00:51:22.199 early on in the film thinking if this wasn't good, like where this should 712 00:51:22.239 --> 00:51:27.199 go is so cutting edge and so brave, and there's no way it's going 713 00:51:27.280 --> 00:51:30.159 to do it. And it's exactly where it went. And I was just 714 00:51:30.280 --> 00:51:32.840 so excited by this film because I just didn't think it would have the guts 715 00:51:32.960 --> 00:51:37.000 to do what it did, and it does, and it's such a you 716 00:51:37.079 --> 00:51:39.440 know, I don't want to give it away for people who haven't seen it, 717 00:51:39.519 --> 00:51:43.679 but it's I think, on the subject where it goes to. I 718 00:51:43.719 --> 00:51:46.559 think it's one of the most powerful and timely films on this particular thing. 719 00:51:47.039 --> 00:51:51.519 And these poor guys at a fantastic Beast, you know, they went in 720 00:51:51.840 --> 00:51:53.079 few it was like, hey, she's got a sort of she's got to 721 00:51:53.199 --> 00:51:58.440 poop bad a battery ah ha ha, and it got somewhere so whoa, 722 00:51:58.840 --> 00:52:02.719 and you could just see them like Frozen. It's a magic film. It's 723 00:52:02.760 --> 00:52:07.599 a really magical film. And I mean Second Sight is a really good example 724 00:52:07.639 --> 00:52:09.320 when it comes to acquisitions. You know, I talked about Brad Henderson, 725 00:52:09.360 --> 00:52:14.719 but Chris at the Second Sight is such an intuitive person when it comes to 726 00:52:14.840 --> 00:52:20.719 acquisitions, Like he really just gets it sometimes, you know, I wonder. 727 00:52:20.719 --> 00:52:22.960 I mean I've not talked to him about this side. I don't want 728 00:52:22.039 --> 00:52:24.159 to, you know, put put words in his mouth, but I do 729 00:52:24.280 --> 00:52:30.239 wonder, Like I think it's just instinct. I think sometimes he just is 730 00:52:30.280 --> 00:52:30.760 like, you know what, I love this film and I'm going to do 731 00:52:30.840 --> 00:52:37.519 it and it never misses, it never misses. So that kind of intuition 732 00:52:37.719 --> 00:52:43.840 I think for acquisitions for home media needs a lot more acknowledgment and sort of 733 00:52:44.280 --> 00:52:50.599 respect for that alone, because I think it's quite It kind of drives the 734 00:52:50.679 --> 00:52:53.760 industry really, you know that the kind of gut feeling that sometimes dominates these 735 00:52:53.760 --> 00:53:00.199 acquisitions as much as anything on a spreadsheet. It's exciting, it is. 736 00:53:00.519 --> 00:53:04.440 And I mean the titles that they've gotten the big thing for a second sait. 737 00:53:04.960 --> 00:53:07.000 It's not a it's not a genre. They're all across the board. 738 00:53:07.079 --> 00:53:12.280 It's not it's not a well known film versus you know, a film that's 739 00:53:12.360 --> 00:53:15.880 lesser known. It's not highbrow versus low brown. They kind of have everything 740 00:53:15.960 --> 00:53:21.039 at Second Seit it's interesting. I've done quite a few Australian films for Second 741 00:53:21.119 --> 00:53:24.599 Sight, which has been fascinating to me. You know, Umbrella, Umbrella 742 00:53:24.719 --> 00:53:28.559 and in Print do some great work, were really really great work. So 743 00:53:28.599 --> 00:53:31.480 I don't want to sort of denigrate what they're doing at all, but I 744 00:53:31.639 --> 00:53:36.519 was really surprised to see this sort of wave of Australian films that Second Sight 745 00:53:36.599 --> 00:53:40.639 picked up and put such enormous care into you know. I think the first 746 00:53:40.679 --> 00:53:45.760 one that I did for them was Lake Mungo. Yeah, and then you 747 00:53:45.840 --> 00:53:51.559 know picnicke At Hanging Rock and Chopper. Around the same time, you know, 748 00:53:51.639 --> 00:53:55.239 I was working on I worked on a release of Snowtown. I can't 749 00:53:55.280 --> 00:53:59.360 remember who that was for, and for someone else I did Romper Stomper. 750 00:53:59.760 --> 00:54:02.639 These well, I think I believe all UK companies they were Snowtown I believe 751 00:54:02.719 --> 00:54:07.800 was one on one films and I think Rompers eighty eight eighty eight. Yeah, 752 00:54:07.840 --> 00:54:12.079 and they were you know, delights to work on, really delightful projects 753 00:54:12.159 --> 00:54:15.280 to work on. So yeah, it was really interesting coming to those as 754 00:54:15.320 --> 00:54:19.519 an Australian critic for a kind of international audience or for a UK audience, 755 00:54:20.400 --> 00:54:22.440 because you kind of need to reframe a lot of the stuff critically that you 756 00:54:22.440 --> 00:54:27.360 would sort of take for granted here in terms of you know, first nation's 757 00:54:27.440 --> 00:54:31.760 history and these sort of more nuanced local kind of things, especially for you 758 00:54:31.800 --> 00:54:35.360 know, something like Chopper or Picnic and Hanging Rock. You know that Lake 759 00:54:35.440 --> 00:54:38.400 Mungo is a really obvious one, and even the title Lake Mungo, the 760 00:54:38.519 --> 00:54:43.320 significance of that title for people in the UK might not be as kind of 761 00:54:43.400 --> 00:54:46.920 common knowledge as it is here. Yeah, you're you're an ambassador of sorts 762 00:54:47.000 --> 00:54:51.559 at that point delivering it. It feels a little bit like that. Yeah, 763 00:54:51.639 --> 00:54:54.599 like almost like a little bit of a kind of kind of a kind 764 00:54:54.639 --> 00:54:59.679 of summarized history lesson. Yeah. Well, and look at what they did 765 00:54:59.760 --> 00:55:04.760 for The Nightingale. I mean everything on that release is that movie itself was 766 00:55:04.840 --> 00:55:07.559 one that delivered that culture. It was like an ambassador for people to understand 767 00:55:07.960 --> 00:55:14.159 what happened. Yeah, Second Sight did both the Babaduk and Nightingale. I 768 00:55:14.239 --> 00:55:19.840 think and I believe that Josh and my commentary for Baba Duk is actually the 769 00:55:19.880 --> 00:55:24.760 Australian four K release UHD release sorry of Baba Duk. I believe has our 770 00:55:24.800 --> 00:55:30.800 commentary from the UK amazing made its way back to the homeland. Yeah, 771 00:55:34.679 --> 00:55:37.960 okay, So we talked about some of the ones that you're more proud of. 772 00:55:37.840 --> 00:55:42.400 What do you think are someones that are overlooked, some that people should 773 00:55:42.400 --> 00:55:45.400 seek out that maybe you don't ever hear any feedback on that you'd love people 774 00:55:45.480 --> 00:55:54.079 to check out. It's a really good question. Probably the stuff that I 775 00:55:54.119 --> 00:56:00.519 did video essays for Yeah, yeah, I mean for commentaries I would say, 776 00:56:00.599 --> 00:56:04.079 like I was fortunate enough a couple of years ago, again with Josh 777 00:56:04.119 --> 00:56:08.000 Nelson, we did a couple of may West Common treats for Kino Lauba, 778 00:56:08.079 --> 00:56:13.239 which was there was like a may West box set, and they were great. 779 00:56:13.519 --> 00:56:17.199 They were really fun to do. But yeah, video, I really 780 00:56:19.000 --> 00:56:22.559 I love doing video essays because I think as a I'm a very visual person 781 00:56:23.800 --> 00:56:29.519 and I really like with a video essay and that you're not sort of restricted 782 00:56:29.559 --> 00:56:32.559 in the same way that you are with a commentary to sort of you know, 783 00:56:32.639 --> 00:56:37.079 focus on particular moments all kind of general themes or a video essay, 784 00:56:37.440 --> 00:56:39.760 you have a lot more elasticity with time. You can sort of take one 785 00:56:39.880 --> 00:56:44.400 shot or one scene and really stretch it out and really play with it. 786 00:56:45.320 --> 00:56:47.360 And for me, just my critical style, I think, I really that's 787 00:56:47.400 --> 00:56:51.800 what I really like doing, is like really getting getting deep into the guts 788 00:56:51.840 --> 00:56:55.960 of like a camera composition or the particular framing or the mess on scene or 789 00:56:57.000 --> 00:57:00.480 some aspect like that. And video essays give me a lot of to do 790 00:57:00.639 --> 00:57:10.400 that that I feel is the most freeing. So yeah, I guess I 791 00:57:10.480 --> 00:57:15.400 guess the video so rather than a particular release, I would say that that's 792 00:57:15.440 --> 00:57:17.599 the form that I feel that I've kind of thrived in the most. Yeah, 793 00:57:19.400 --> 00:57:22.400 I would agree. There's quite a few that you've done that I feel 794 00:57:22.440 --> 00:57:27.159 like nobody talks about. And I know last year when I did the shelf 795 00:57:27.159 --> 00:57:30.199 Shock Rewind Awards, I filled out my initial thing that I was looking at 796 00:57:30.239 --> 00:57:34.360 for visual essays, and I think I had a list of like twelve, 797 00:57:34.440 --> 00:57:39.000 and I think you were six of them. Can you remember? I'm curious 798 00:57:39.000 --> 00:57:43.480 which one. Gosh, I probably have the notes somewhere on the computer still, 799 00:57:44.400 --> 00:57:49.320 I can find them eventually. One that I really loved doing that because 800 00:57:49.320 --> 00:57:52.400 I think I also had a written release on I've already mentioned the Second Sight 801 00:57:52.880 --> 00:57:58.760 release of Session nine. Yes, that was a video essay I loved doing 802 00:57:58.840 --> 00:58:01.039 because that was all about collar in that film. It's a film about collage 803 00:58:01.079 --> 00:58:04.599 and the way that collage works in that film, and that's the kind of 804 00:58:04.639 --> 00:58:06.960 thing. You couldn't do that in any other way. You couldn't do that, 805 00:58:07.639 --> 00:58:09.760 You couldn't present that in any other format. It has to be visual. 806 00:58:10.159 --> 00:58:15.079 It wouldn't work on a commentary because you're speaking about very specific shots at 807 00:58:15.199 --> 00:58:17.960 very specific moments that kind of tie in back to each other. It's this 808 00:58:19.039 --> 00:58:22.760 sort of patchwork, so that in a way, that's the one that I 809 00:58:22.800 --> 00:58:25.800 think that really kind of culminates all of the things that I find the most 810 00:58:25.880 --> 00:58:30.559 rewarding in doing a video essay. Yeah, and again much that depends on 811 00:58:30.639 --> 00:58:34.840 the editor, you know, the visual editor. So I again really want 812 00:58:34.880 --> 00:58:37.840 to amplify that I don't do I don't do the magic. I just give 813 00:58:37.880 --> 00:58:40.639 them the words and these genius in people like Phil and Jonathan come in and 814 00:58:42.000 --> 00:58:46.360 weave their magic. As someone who's been editing a lot over the last couple 815 00:58:46.400 --> 00:58:52.800 weeks, I appreciate that Jared Gahan is another one. Jared Gahan needs a 816 00:58:52.880 --> 00:58:57.599 shout out as well. He does some amazing, amazing video essay editing on 817 00:58:57.719 --> 00:59:00.440 things that I've worked on. And there are people that I'm not forgetting to 818 00:59:00.519 --> 00:59:05.000 mention, but I really want to put those names out there. I will 819 00:59:05.119 --> 00:59:07.960 use the moment to highlight visual essays. I feel like as a whole are 820 00:59:07.039 --> 00:59:09.880 being overlooked a lot. I feel like a lot of people are looking at 821 00:59:09.920 --> 00:59:15.760 audio commentaries and that is like the gold standard, a bonus feature. If 822 00:59:15.000 --> 00:59:19.199 this disc doesn't have an audio commentary, what's the point. But in all 823 00:59:19.239 --> 00:59:23.079 reality, there is so many of these releases that you can put something in 824 00:59:23.119 --> 00:59:28.920 a visual essay that makes zero sense in an audio commentary. You're not going 825 00:59:29.000 --> 00:59:34.000 to do an audio commentary on the director's filmography, for example. Why would 826 00:59:34.039 --> 00:59:37.199 you watch a movie with that playing in the background. It doesn't make a 827 00:59:37.280 --> 00:59:39.840 lot of sense. So yeah, those visual essays that you can do documentaries, 828 00:59:39.880 --> 00:59:45.440 you can highlight certain things in a scene, certain actors, and you've 829 00:59:45.519 --> 00:59:47.480 done a great, great job with many of those, So yeah, people 830 00:59:47.559 --> 00:59:51.880 need to check those out. It's interesting to look at something like the Arrow 831 00:59:52.039 --> 00:59:55.599 Player. I did a video essay for the stylists for Arrow for their physical 832 00:59:55.760 --> 01:00:00.199 release of The Stylist, which is an amazing film. But Arrow actually put 833 01:00:00.239 --> 01:00:06.159 the video essay, the visual essay onto their streaming service as well as a 834 01:00:06.239 --> 01:00:08.199 kind of package with the film, and I got a lot of feedback about 835 01:00:08.199 --> 01:00:13.199 that, and I thought that was really interesting that the visual essay kind of 836 01:00:13.239 --> 01:00:17.760 got a second life outside of the actual physical relief. Interesting. And I 837 01:00:17.880 --> 01:00:23.480 know that Umbrella in Australia have just launched a streaming service COOKEDROLLI wow, And 838 01:00:23.840 --> 01:00:27.599 I think that they're interested in doing a similar kind of thing of having these 839 01:00:27.719 --> 01:00:32.159 kind of supplementary materials available on the streaming service, and I think that's really 840 01:00:32.199 --> 01:00:37.159 exciting. I think that's a really interesting way to kind of revive some of 841 01:00:37.239 --> 01:00:40.239 these extras that might have got lost the first time around. I love to 842 01:00:40.280 --> 01:00:44.519 see more of that. I feel like in the States at least there's a 843 01:00:44.599 --> 01:00:47.840 handful. Like I think it's the Glass Onion. The Knives Out sequel got 844 01:00:47.920 --> 01:00:52.320 a commentary because Rian Johnson, the director is Brian Johnson. He's huge, 845 01:00:52.360 --> 01:00:55.400 he's powerful or whatever, so it's the only reason to got a commentary. 846 01:00:55.480 --> 01:01:00.719 But imagine how much more people could appreciate these things if you go on Netflix 847 01:01:00.880 --> 01:01:05.239 and surf the features with these and not only increase the value of what people 848 01:01:05.239 --> 01:01:08.920 are feeling, you know, gouged by nowadays because prices have doubled and tripled, 849 01:01:10.639 --> 01:01:15.519 absolutely so much better. Yeah, yeah, no, I like it. 850 01:01:15.559 --> 01:01:17.599 I think that's a nice that's a nice set of avenue that some of 851 01:01:17.639 --> 01:01:22.280 this material is taking. It's almost sort of reversed the idea of physical media 852 01:01:22.400 --> 01:01:25.360 being you know, yeah, the archive. You know, it's like, 853 01:01:25.400 --> 01:01:29.880 actually you can put that back on streaming and kind of revive, you know, 854 01:01:30.039 --> 01:01:34.800 breathe life into especially with the you know, the kind of things that 855 01:01:35.039 --> 01:01:37.440 we're interested in. You it's all mostly it's REP cinema, So mostly you're 856 01:01:37.480 --> 01:01:40.599 dealing with films that people it's not all rap, but mostly you're dealing with 857 01:01:40.639 --> 01:01:45.679 films that people have already seen and they already have a relationship to. So 858 01:01:45.760 --> 01:01:49.559 you're sort of breathing life back into that and it's lovely well, and the 859 01:01:49.599 --> 01:01:52.440 big thing with REP cinema that a lot of us, you know, not 860 01:01:52.519 --> 01:01:55.119 only are people associated with it, they have their own memories of it. 861 01:01:55.199 --> 01:01:58.880 But one of the things that I really want to remind people of is those 862 01:01:58.920 --> 01:02:02.599 films have a reputation. So when something plays, people are going in there 863 01:02:02.639 --> 01:02:07.000 with some sort of bias already they have something, especially if they've never seen 864 01:02:07.039 --> 01:02:10.159 it before. They you know, if they're going to a Rocky horror picture 865 01:02:10.159 --> 01:02:14.360 show of screening, they've heard about this for decades and now they're finally going 866 01:02:14.400 --> 01:02:15.719 to see it, and it's going to be really hard to live up to 867 01:02:15.760 --> 01:02:21.079 that moment, so changes the way you view that film. It does, 868 01:02:21.199 --> 01:02:22.679 and it's it's one of the you know, on a really kind of base 869 01:02:22.800 --> 01:02:27.559 level, I think it's one of the great luxuries of doing film criticism. 870 01:02:27.639 --> 01:02:31.800 Work with me with physical media and with home entertainment, is that you have 871 01:02:31.920 --> 01:02:37.679 the gift like unlike really certainly the kind of as you know, the meat 872 01:02:37.719 --> 01:02:40.960 grinder of new releases or you know, for me personally, with online writing 873 01:02:42.000 --> 01:02:45.719 in general, you have the gift with this stuff and that you're dealing with 874 01:02:45.880 --> 01:02:49.800 an audience that already is engaged. Yeah, you don't need to sell them 875 01:02:49.840 --> 01:02:52.480 on the film. You know, for somebody to cough up thirty or forty 876 01:02:52.519 --> 01:02:57.159 pounds for a Blu ray, Yeah, they've already got a connection to that. 877 01:02:57.480 --> 01:03:00.480 And it might be that it's it's a new film that they've heard about. 878 01:03:00.559 --> 01:03:05.280 But when you make that kind of like literal investment, Yeah, it's 879 01:03:05.400 --> 01:03:09.360 buying a disc and bringing it home with you. You know, you're paying 880 01:03:09.400 --> 01:03:13.719 attention in a way that's very very different to the way that people engage with 881 01:03:13.800 --> 01:03:16.000 online criticism for me anyway, like that might have been the case for other 882 01:03:16.039 --> 01:03:19.719 people, and you know, maybe that changes if you're writing for like The 883 01:03:19.760 --> 01:03:23.119 New Yorker, But you know, yeah, I find that there's you're really 884 01:03:23.199 --> 01:03:29.719 dealing with a committed audience and that's a gift. Yeah, that buy in 885 01:03:29.960 --> 01:03:32.280 Like you phrase you had used earlier, you can't really buy that sort of 886 01:03:32.320 --> 01:03:36.039 buy in. If people are already there, they're invested, and they're on 887 01:03:36.119 --> 01:03:40.159 your site already exactly exactly. This is probably a pretty obvious question, but 888 01:03:40.880 --> 01:03:45.280 really would love to dive into. You know, you have this diverse range 889 01:03:45.320 --> 01:03:49.519 of writing and titles that you've contributed to. What are some dream titles that 890 01:03:49.519 --> 01:03:53.239 would surprise us? Because obviously I never expect a kindergarten cop to get not 891 01:03:53.400 --> 01:03:57.320 only two new commentaries, but have you be one of them that's going to 892 01:03:57.400 --> 01:04:00.360 draw me in? So what are some that might just blow some people away 893 01:04:00.400 --> 01:04:02.480 that you'd be like, if this is offered to me, this is a 894 01:04:02.599 --> 01:04:12.000 dream title of mine. Oh wow, that's a good question. Probably a 895 01:04:12.039 --> 01:04:18.440 lot of older stuff, I think, sort of older like black and white 896 01:04:18.599 --> 01:04:23.920 stuff. So I mean Harvey off the top of my head, you know, 897 01:04:25.400 --> 01:04:29.239 the James Stewart film like that would be like, you know, I 898 01:04:29.320 --> 01:04:33.360 didn't even know if that's been released. Modern Girls, this amazing eighties film 899 01:04:33.400 --> 01:04:36.679 that I'm obsessed with, which I believe has had a Blu Ray release I 900 01:04:36.719 --> 01:04:42.159 think from Keno Laba. That being said, I have to say I'm not 901 01:04:42.519 --> 01:04:47.280 particularly territorial, and this is quite controversial because I think different contributors have different 902 01:04:47.320 --> 01:04:53.880 relationships to this. Sometimes there's like films that I love that I actually don't 903 01:04:54.119 --> 01:04:56.920 want to be on, like i'd much rather. A really good example of 904 01:04:57.000 --> 01:05:02.719 this is Kat Ellinger did an incredible commentary for Basseoir and I, you know, 905 01:05:03.159 --> 01:05:08.159 the famous French it's called a rape prevenge film. But it's kind of 906 01:05:08.239 --> 01:05:13.079 not that. I was so thrilled that Cat got that, like, you 907 01:05:13.119 --> 01:05:16.159 know, like i'd much because I want to hear what she's doing. I 908 01:05:16.239 --> 01:05:19.599 want to hear her thoughts on it, So I don't. I don't feel 909 01:05:19.639 --> 01:05:24.719 particularly territorial. I don't think I've ever had a release come out where I've 910 01:05:24.719 --> 01:05:29.039 been like I should have been on that, because even if it's stuff that 911 01:05:29.039 --> 01:05:33.440 I have particular expertise in, it's not, you know, I'd rather hear 912 01:05:33.480 --> 01:05:35.639 somebody else. If it's if it's a good critic, i'd rather, you 913 01:05:35.760 --> 01:05:39.639 know, I mean, who doesn't want to hear Cat Elinga talk about anything. 914 01:05:40.159 --> 01:05:43.840 She's amazing, right, So yeah, I'm pretty I'm pretty kind of 915 01:05:43.880 --> 01:05:45.960 open minded with that stuff. I have to say, like, I don't. 916 01:05:47.679 --> 01:05:49.920 I mean, in one of my books is on masks in Horror, 917 01:05:50.119 --> 01:05:55.440 and I don't think I've ever done a commentary on a film that has sort 918 01:05:55.480 --> 01:06:00.360 of heavily featured masks. But I'm not, you know, and I think 919 01:06:00.400 --> 01:06:03.400 that's you know, that's obviously something that I could speak to very easily because 920 01:06:03.440 --> 01:06:06.440 you know how many horror films have masks in them. But that being said, 921 01:06:06.559 --> 01:06:10.800 like I'm not, I don't feel particularly territorial or that that's my terrain, 922 01:06:11.000 --> 01:06:15.480 and certainly that's not the case with with with with rape revenge, or 923 01:06:15.519 --> 01:06:17.119 with found footage horror, or with masks, Like I don't feel that kind 924 01:06:17.199 --> 01:06:24.079 of possessiveness. I feel a little bit more. Maybe when I was younger, 925 01:06:24.159 --> 01:06:30.400 I might have, but I feel a little bit more relaxed, right 926 01:06:30.559 --> 01:06:31.760 right. I'll kind of hear what other people are bringing to the table, 927 01:06:31.840 --> 01:06:35.039 and especially if I've written a book about something, like the book is kind 928 01:06:35.119 --> 01:06:40.559 of like I kind of work my way through the material, like I kind 929 01:06:40.599 --> 01:06:44.559 of resolved my relationship to that particular subject, So it's not like I'm kind 930 01:06:44.599 --> 01:06:48.360 of itching to kind of be heard on a particular topic. Like I feel 931 01:06:48.440 --> 01:06:51.559 like, you know, there's enough from me out there in the ether on 932 01:06:51.679 --> 01:06:55.719 rape revenge films, And it's not saying that I don't want to do more 933 01:06:55.800 --> 01:07:00.199 rape revenge films. You know, one of the I did Thriller or a 934 01:07:00.239 --> 01:07:03.320 Cruel Picture for Vinegar Syndrome, which was an amazing experience. So I love 935 01:07:03.440 --> 01:07:08.599 doing commentaries on these things that I've written about. I love it, you 936 01:07:08.639 --> 01:07:10.840 know, witches like I haven't in the Witch Book, isn't that yet? 937 01:07:10.840 --> 01:07:14.480 But I don't think I've done much on witches yet, so I would love 938 01:07:14.559 --> 01:07:16.360 to. You know, it's always really lovely to revisit these things found footage 939 01:07:16.360 --> 01:07:19.920 horror, especially, which I'm obsessed with. But yeah, at the same 940 01:07:20.000 --> 01:07:24.000 time, I'm always very excited to hear other people, as long as it's 941 01:07:24.039 --> 01:07:26.639 you know, somebody that like, like cat all into, like somebody who 942 01:07:26.679 --> 01:07:30.079 I want to hear, right, I don't want to be bitchy, but 943 01:07:30.159 --> 01:07:31.599 you know, if it's somebody that I'm not so into, maybe maybe I 944 01:07:31.639 --> 01:07:33.800 won't be rushing to listen to it. But I still don't feel that, 945 01:07:33.960 --> 01:07:38.000 you know, it's my terrain. You know, Well that's that's the next 946 01:07:38.079 --> 01:07:45.039 question. Who's on that list? I'm just kidding. Alphabetical started a pull 947 01:07:45.079 --> 01:07:47.559 it out. I've had it ready. I've been waiting for somebody to ask 948 01:07:48.239 --> 01:07:53.239 Alexander, this has been incredible. Thank you so much for specding the time 949 01:07:53.320 --> 01:07:57.280 today. My pleasure. It's been a delight. I would love to have 950 01:07:57.360 --> 01:08:00.360 you back someday and if you ever get a chance, I would love to. 951 01:08:00.960 --> 01:08:03.400 First off, I need to buy that book the moment it comes out. 952 01:08:03.559 --> 01:08:06.960 I can't wait to read that, hopefully hopefully next year. As I 953 01:08:06.960 --> 01:08:13.400 said, my publisher being very patient, so I will see hopefully twenty twenty 954 01:08:13.440 --> 01:08:16.159 four. It's good to hear, all right. I will link everything for 955 01:08:16.239 --> 01:08:20.560 Alexander Blow and if you have any questions, she's fairly approachable. So thank 956 01:08:20.640 --> 01:08:25.079 you all and we'll see you next time. Thank you for listening to the 957 01:08:25.159 --> 01:08:28.720 Disconnected podcast. There's one big thing that you could do to help the show, 958 01:08:28.840 --> 01:08:30.760 and that is to leave a rating and review on the podcast service of 959 01:08:30.800 --> 01:09:05.039 your choice. Thank you tell me no Hello. This is Chris Haskell from 960 01:09:05.079 --> 01:09:09.920 They Live by Film. For those that don't know us, Adam Zach and 961 01:09:10.000 --> 01:09:14.159 I we built a podcast over the last two years that's a combination of film 962 01:09:14.199 --> 01:09:17.800 discussion from three very different perspectives, as well as industry interviews with the leaders 963 01:09:17.840 --> 01:09:23.159 in Boutique, Blu Ray and four K community. We started with dev Crocodile, 964 01:09:23.319 --> 01:09:26.600 but over time we've been lucky enough to speak with Aero Video, Severn, 965 01:09:27.119 --> 01:09:30.359 Mondo, Macabre, Vinegar Syndrome, Radiant Syndicator, most of the OCN 966 01:09:30.439 --> 01:09:34.840 partner labels. It's been a blast. You can find us wherever you podcast 967 01:09:35.399 --> 01:09:41.079 and also actually recently as part of someone's favorite production podcast network. We hope 968 01:09:41.079 --> 01:09:41.800 to see you online