WEBVTT

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Yeah, man, I'm excited.
That is a hell of a collection back

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already there's a lot. Yeah,
it's it's exciting, but it's overwhelming.

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I'm sure I did it make it
probably makes like watching movies feel like,

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you know, church like, just
like I'm gonna it's it's it's it's sacred.

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I'm gonna take it out of its
case. I'm gonna pop it in

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get to enjoy it. The hard
part is the forty eight minutes spent before

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the movie trying to figure out which
one to watch. Yeah, that's right.

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Yeah, that's that's what happens when
I have forty eight thousand of them.

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It's just like which one tonight,
you know. Hello there, and

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welcome back to the Disconnected. I
am here with Josh Rubin, who is

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the star of the recent A Wounded
Fawn that just dropped on shutter but has

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all kinds of other stuff unders built. We're gonna talk about as many of

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them as we possibly can. Josh, thanks for coming on today. Thanks

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for having me man. So first
of all, how's this whole voluntary podcast

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tour that you're on. You should
be coming to the end of it soon,

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right, I have a full week
of like four to five a day

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coming up. But the first leg
was amazing. I mean, everybody's asked

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such insightful specific questions and there hasn't
been that much overlap, which is kind

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of crazy. So I'm eager to
see what's in store for this coming week.

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It's also kind of been an amazing
character study just of the different swath

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of interviews and types of questions,
but types of people, and so I'm

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definitely clocking just like, wow,
the personalities across the spectrum of this industries

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so to speak, is really really
fascinating. Just as like a comedian observationist,

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I'm just kind of like, wow, Yeah, they're a really great

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way to meet people, you know
what i mean, just kind of wow.

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While I'm sitting at home my pajamas
writing shit, it's like, oh,

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it feels like I'm out meeting people, but I'm really just here.

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And what a what a swath of
personalities that meant. It's been pretty cool.

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And it's the cool thing about stuff
like this is it makes the world

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feel that much smaller because some of
these people would never have the opportunity to

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to make, you know, acquaintances
like this, and it's nice to be

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able to share your viewpoint across this
spectrum because there's a lot of yeah yeah,

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and you know, I feel like
it's the the lines are blurred.

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It seems to become negligible at some
point where it's like you talk to the

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La Times, there's not everybody reads
or you you talk to an obscure publication

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not everyone might listen to. But
there's a there's a there's a coalescence of

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ven diagram kind of element to it
where it's like it's at some point people

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are gonna end up, you know, here in one over the other,

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or you know, could could end
up listening to that obscure show more than

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say they would have heard or read
about it on you know, a news

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paper that don't subscribe to or otherwise. Yeah, exactly. So it's it's

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it's cool. So to get into
the technical stuff. You've directed a few

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things of your own, one of
which that I truly loved. Here is

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a copy of that. How how
is it giving up the director's chair and

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going into something with somebody like Travis
Stevens for this, it was great because

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as a filmmaker going back to acting, I mean I started as an actor.

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I get to then archive how a
filmmaker like Travis, or really any

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director talks to their crew, or
talks to their actors or orchestrates and conducts.

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I think that's why directors love talking
to other directors, is because what

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we do is so is so absolutely
insane and very very difficult, and it

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requires such a privileged set of skills
amassed over the years, if you're lucky

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enough to be able to amass those
skills over the years without anybody kind of

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recognizing it. So for me,
it was great, and you know,

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it's and it's like it's like I
sort of get to take a seat back

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and exercise a different part of my
toolbox. But but I also get to

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learn from others and adopt what sort
of I'd like to bring on to the

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next project as a filmmaker exactly.
And this this role seemed to indicate that

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there was probably a lot of trust
between you and Travis the way that you

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executed everything in this it's sort of
an odd character study, obviously, but

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beyond all of that, there's a
lot that there's a nuance in your performance.

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And without Travis, I'm sure directing
very specific things, it wouldn't exist

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the way that it does on screen, even though that you have obviously in

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a lot of what you do,
your own specific nuances. So the blending

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of those two. Did you feel
any sort of you know, built trust

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on this set. That's an awesome
question. Like I was saying before this,

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not much overlap, but the questions
on like Indie press stour, there

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was an inherent trust there. I
mean, he's a seasoned filmmaker and producer,

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so I knew that I'd kind of
be taken care of. I'm pretty

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good atself directing, and I really
really appreciate and the trust was especially learned

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when I saw the steps, the
careful steps Travis was taking in advance of

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us, you know, getting a
set and the cameras rolling questions that he

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was at. He would ask us
about our characters and trying to sort of,

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you know, sew in the tone
or exhibit the tone, articulate the

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tone, so that when we did
get there, we'd done not just whatever

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learn their lines and various you know, bits of character work, but knowing

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how we were going to fit into
the story. So yeah, that that

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definitely existed and was super valuable in
such an excellent part of the process.

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You know, what you really wanted
a filmmaker was Travis did, is to

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make sure that he catches you so
that you you're acting within the confines of

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the tableau that he's kind of painting
right, and that you know when you

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see the thing at Tribeca for the
first time that I did, you go,

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oh, that's why he had me
do that, or why that was

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filmed a certain way. The nightmare
scenario for me, regardless of how good

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you are, how great a performance
you kind of deliver, is then that

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the technical piece of it won't get
supplemented, it won't be as supported.

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But in this case it absolutely was, which was such a joy to see

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how it all came together. Speaking
of that, what did you feel the

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first time you watched it? Other
than, you know, obviously the pride

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of your performance, but do you
feel like the story was effective for you

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watching it for the first time?
The story was immensely effective. The film

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stock was, so that was the
most exciting part to me, beyond how

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the visuals and how Valls score.
He's our brilliant composer. How that kind

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of translated the very first time.
To be totally honest, I turned to

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my wife and I was like,
I'm dog shit right, this is terrible,

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like the performance, like I wouldn't
cast me right, And she was

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like, you're crazy. That's just
how I am when I see myself for

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the first time, especially or performances. I just I see all the kind

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of imperfections. Take with that what
you will, but I mean, yeah,

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I was overwhelmingly especially with each version
of the film that I saw,

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because Tribeca was one sort of sound
design and color pass and fantastic fest,

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especially that theater at the Alamo.
It's just yeah, that sound system is

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crazy. It looked even better.
It sounded incredible. That's the one where

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it sort of like clicked in,
like, oh shit, no, this

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is this is a holy visionary,
very different kind of film. I think

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he's going to have a nice life. I watching this, I was very,

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very impressed with the fact that it
was shot on film. It was

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shot in film in a way that
was done to look like the seventies and

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have that thematic feel. And watching
with my wife, she looked at me

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and said, why does this look
so different than some of the other newer

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movies that we watched, And I
had to explain the technical side of her

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that alone, that educational side.
Are you getting the this feeling that maybe

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some other people might view this and
say, hey, maybe I'm a little

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inspired and I'll shoot my next feature
on film. I think I'm seeing quite

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a bit of that movement. Like
I know Travis was inspired by Joe Begos's

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Bliss in particular, and now you're
seeing I didn't even realize that Christmas,

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Bloody Christmas, his next film or
his most recent film, is also on

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sixteen, and this about essentially Terminator
Santa Claus. So I'm super excited to

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see that, just because you know, there's something about that aesthetic that's so

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kind of transportive and nostalgic for all
of us film lovers. But I'm curious

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how for the say not sinophiles or
people who wouldn't quite calculate that, how

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they feel about the aesthetic, if
they just are enjoying the ride or whatnot.

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But I'd like to think that,
yeah, that film will continue to

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have a life. And Travis specifically
set out to do it and executed it

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because it was Joe I believe,
who broke the men that it was some

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impossible thing to do a movie on
film. It's not impossible, and it's

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not it's not cost prohibitive. You
just have to you just have to calculate

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your number of film canisters, film
cartridges to shoot, you know, budget

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accordingly. And that's what we did. What about yourself, do you see

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yourself shooting on film anytime soon?
I'm definitely, I'm definitely more curious about

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it, for sure. I like
what it does to us actors into the

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production crew. It kind of charges
everyone to do it right the first take,

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you know, because every foot of
film is X amount of dollars whatever

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in a in a different even different
kind of sense that you know, time

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is money when you're shooting digitally.
But yeah, I don't know for sure.

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I think I would if if the
film required it, if it felt

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like that would assist the film in
some way. In an instance like this,

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it made total sense because it's a
it's a jalloh kind of homage,

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it's a Sam Raimio homage in a
way. But I'm definitely my interest is

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piqued for sure, speaking of Yallo, any certain Yallow films that while shooting

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this, you were hearkening back to
for yourself personally, that you seem to

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appreciate from viewing in past years.
I am such a newcomer to that whole

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subset of horror films, to the
Italian filmography, to our gento and was

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it Diadado and Folci and all them. I think I remember the one that

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stuck with me as a kid,
and I'm sure I've seen more was Phenomena

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originally Creepers with Jennifer Connelly. I
think that one is Phenomenon, just the

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fact that it gets away with so
much and there's such a there's such a

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scope to it really really really stuck
with me. There were images that you

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know, will stay with you forever, as with most of those films,

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but there was one specifically I was
thinking of it. I maybe because it's

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just not within my I'm more of
like a you know, Batman Returns and

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Weekend at Bernie's Kid that i am
Italian horror cinemaphile. But now I'm more

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I think, dug in and excited
about going back and looking, watching and

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appreciating them in the way that you
know, I don't know, Travis might

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go into the Severn film's vault and
yeah, it's all stoked on. Yeah,

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Travis's episode on that was pretty great. And speaking of Travis, he

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also directed Jacob's Wife, which also
had your co star Sarah Lynde in it,

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and how how how was it working
with her, because without the two

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leads having this great chemistry, this
really would not have worked the way that

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it did. Someone said the other
day they were like, I really loved

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how much How what that they didn't
have chemistry talking about the characters, which

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is a testament to how how great
our chemistry was. I mean, she's

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phenomenal, like the only thing you
the best thing you can kind of dream

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of, which is what I was
so excited about My first film, like,

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Uh, Scare Me was essentially a
black box theater play, and I

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was so stoked after years of doing
comedy to get back to my acting roots

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and really act opposite another performer who
is really listening and kind of that thing

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of you know, it's like,
oh god, actors just going on about

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like listening, what's that all about? And you try and kind of chase

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that a little bit, even in
the comedy work that I'd done in the

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past, like, oh, I
wonder if I can kind of find that.

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And Sarah is the epitome of that, and We're both sort of have

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similar sensibilities that in that we just
want to dive right in and take risks

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and try stuff and keep it interesting
for one another and for each other bury

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it up and not just you know, repeat it like you know, a

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broken record or dialogue or what have
you. It was phenomenal to play an

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intimidator and to play like the bully
sort of dangerous side of Bruce and watch

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her as Meredith react to that with
every like fiber of her being, like,

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that's how much of an incredible visceral
listener she is. And then beyond

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the flip of that, and to
see her essentially playing a god was was

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just so epic. I mean,
she's a dream She's a dream partner,

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dream person to work with. You
know, I've been repeating this, but

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the I just appreciated the fact that, you know, she, you know

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what, isn't the type of actor
to have to like retreat to a corner

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and listen to sad music or anything. I really haven't worked with any actor

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like that, but I don't do
many dramas. She just wanted to jump

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in and that's that's how I like
to do it too. One of the

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things I really wanted to hit on
today. You kind of just alluded to

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it not working on a lot of
dramas. It seems like, especially with

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indie filmmakers, people are finally starting
to come around the fact that horror and

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comedy are really only separated by like
a very thin shower curtain. A lot

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of the things that you have to
pull out of yourself come from that same

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vein. So with your comedy background, how how do you feel like that

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benefited you on a film like this. Oh, just because we're boundary pushers

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and risk takers, and you know, comedians are typically great observationalists, so

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we we we're ones to find some
personality personality and and skewer them through say

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mockery or mimic or or or or
other or other means. And that was

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what was so cool about playing Bruce
is it's like, you know, the

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type of narcissistic bastard I was.
I'm so excited to break over the cools,

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especially after like the past, you
know, several years of presidency and

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types of personalities and such. You
know, we're also excited to secure I

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think that's what it is about these
comedians in our in our field who have

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advanced in horror, Zach Craiger and
Jordan Peele, even even John Craisin.

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There's just an observation of humanity that
that I think we live to do in

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a different way, in the way
that we not only want to document it,

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but we've we were we're we've played
it, we've we've actually embodied those

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types of characters and secured them,
held the mirror up to them, that

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kind of thing, and uh,
yeah, it's it's a it's a fascinating

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subject. I love, I love
kind of I love kind of digging into

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what it is about the parallels and
there's so much more to be said,

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but you know, to to that
and I think, uh, I think

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that's why US comics might be effective. You know filmmakers to that degree.

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Comedy is so important and with especially
with your background, somebody that's broken their

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their back to produce some of these
shorts and you know your work would drop

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out where they started with, you
know, such a little bit. And

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uh, they've really gotten popular,
especially with the sam doing all the TikTok

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videos and all that crazy it's old
how many people are finding drop out nowadays.

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But with those you were originally forced
to have this tiny budget, which

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it seems like it really leads to
this massive amount of creativity. Can you

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share anything where on your sets?
You feel like because you were so stuck

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with how little you could actually spend, it brought out an incredibly fascinating project

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because I feel like where was Within
is kind of like the definition of that

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to me. Yeah, and that's
that was thank you. Everything I've done

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has been that type of project,
and it's it takes a very specific type

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of technician to figure out how to
make that schedule work. I think my

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work not only in sketch like internet
sketch comedy, where the first time you

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see the location, your location scout
day is also your prep day and your

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shoot day and you've got four hours
and if you have a celebrity, you

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got them for ten minutes or whatever. To so you you learn so quickly

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how to just just saw all solve
shit, just shoot it. You know,

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Where Wolves was an instant was like
the perfect culmination of all the shit

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that I'd learned, all the falling
down and fucking up through years of doing

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college humor videos and shorts and just
kind of finding myself took me so long

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to even figure out technically what sort
of you know, emotional effect lenses had.

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I kind of knew in my heart
what certain visuals were, but I

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couldn't quite find find and articulate it
technically. That was such an example perfect,

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you know, storm of my my
skill set amassed over years of doing

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commercials and sketch for how to get
the thing in the can, and we

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somehow came in undertime and under budget
on that after you know, having days

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slashed and you know, actor availability
issues and all kinds of stuff, weather

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issues. Same thing with Scare Me. I mean, we shot that and

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I just learned I thought it was
fourteen days, and my DP the other

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day was like, no, that
was that was twelve days. We lost

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a lot of time because of because
of blizzards, and I only had AYA

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for nine days of those twelve days. So what that does is it forces

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you into a very kind of survival
mode creative mode situation where you go,

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okay, if we can only if
I had to choose, if I had

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to sacrifice some kids and pick my
favorites, it's more like picking your necessaries

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to get the thing in the can. Here's the few I'd picked to get

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it done. Like, as an
example on were Wolves, that whole hallway

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scene after spoiler alert, Pete gets
his hand bitten off, and there are

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gunshots, and there's complex choreography,
and the hallway truly was the you know,

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that's a real hallway. That wasn't
a set. There weren't flyaway walls

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or anything. I just, you
know, we had four hours to do

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it, maybe even less. So
I just said, we're gonna shoot everything

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this way. All the back and
forth, I'm side coaching all the actors.

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Stand back for the gun shit,
let's knock it out. Cool now,

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we're gonna do everything this way.
And then going entirely on Michael's coverage,

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we're gonna get all the squibs,
Sam, get in here, squat

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down, turn back, just do
all your lines like this, and then

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we're gonna turn the camera this way
and get Rebecca in the hallway. And

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that was it, and it was
three takes each, you know. And

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what I've learned from moving at that
pace is not everybody's ready to move at

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that pace, especially if they come
from the TV world or you got endless

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resources. So what I've learned,
especially on that gig and everything I'm gonna

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do from here on out, regardless
of the budget. Is if I'm going

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too fast, like let's have a
safe word, or like at the beginning

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of the day, you know,
hey, you know you kind of you

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kind of give them the load down. The sun's gonna go down as fast

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as you know the Lord intended,
so like, let's let's just check in

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with each other, like today's gonna
go quickly. Here's what I need to

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get for the story. But if
it's if it's too fast for you,

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if there's anything you want to try, you got to say, like grab

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me, because when I work,
I'm like a scrambled egg, you know,

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I'm just like con just popping off. And it seems like improv is

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kind of the perfect fuel for that
because with that background, you have to

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be able to answer the drop of
a hat, and a lot of these

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people they don't have that type of
background, so maybe they don't. Yeah,

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yeah, you need actors who are
just kind of ready. That's why

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that whole cast in particular, coming
most of which from the improv world,

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from you know who like had fifteen
roommates and did live theater and did all

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that thing, just like ready for
anything. Why I a cash and Chris

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Red are ready for anything. That's
how I was able to get those in

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the can you know folks with a
theater background and improv background that they'll save

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your ass for sure, agreed.
As you noticed when you first came on,

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this is a channel about physical media. As this is behind me,

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How does this feel that there are
people across this world holding something you created,

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They can touch it, it lives
on their shelf, and you are

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able to purchase something in a store
that you made. How does that feel

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as a filmmaker. It's it's insane
day, and I actually not, but

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I want to say two weeks ago, I went to a place called Video

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Tech here in California. It's called
it's in South Pasadena. It's it's a

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hard media story. They've got vinyls, they've got cassette tapes, they've got

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deep every Blu Ray, DVD,
you know, TV show and film you

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can possibly imagine. And they had
not only were wolves but also scare me

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in within two shelves of each other. And as a child of you know,

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the eighties and the VHS era and
walking into the you know the kind

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of vault like chapel of our video
stores, and I can remember all four

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of them throughout my childhood and to
adulthood. You know what they were,

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how they smelled, and the effect
they had on me. It feels amazing.

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It's incredible. And I don't know
what it is about today that hard

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media is. I mean, you
you would know more than I would hear.

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Hard media is coming back in such
a big way, not just vinyls,

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but also cassette tapes and Blu rays
and Ultra four k, et cetera,

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et cetera. I don't know what
it is or why it is.

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Maybe maybe it's kind of an anesthetical
or a snap back response to how we're

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gone. We've gone so opposite that
way. We're looking for that tactile experience

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again. I'd like to think even
like kids these days are discovering the magic

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of hard media in a weird way. Like I feel like even even younger

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kids in the TikTok generation are going
like, ooh, a cassette tepe.

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You know true, I'm curious.
I'm curious from your perspective what your take

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is on that. Just being a
collector buddy, do you do you have

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a sense of like what that is
and why that is. There's a couple

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of things some of the companies I've
talked to. One is that during the

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pandemic, a lot of people had
what we're kind of referring to a streaming

315
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fatigue, and whether it's stuff disappearing
from these libraries or just I've looked at

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these three hundred and twelve thousand times
and it's not the same. And they're

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hearkening back to man. When I
was a kid, I had this,

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you know, a VHS of Aladdin
that I played forty nine times. When

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I stream this, I'm never gonna
watch it again, But when I hold

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it, it's that much more important. So possibly that side of things,

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but then on the other side of
it, it is people genuinely that are

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I hate this experience because there's so
many things that are not respectful to the

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viewers or the filmmakers. Like if
I were to stream Werewolves within the moment

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the credits are started, basically it's
let me recommend four other titles and it's

325
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blaring in your face. You don't
get to sit with that feeling of what

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just ended. It's a yes,
it's a verse kill. It actually is.

327
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I mean they're like I was watching
even it wasn't glass onion because I

328
00:23:33.200 --> 00:23:36.440
had a DGA screen, or there
was there was some I think they've been

329
00:23:36.720 --> 00:23:38.240
episode. Oh it might even be
White Lotus, Like, you know,

330
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this hot new show on HBO is
like so exciting, you want to sit

331
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with that music, and then suddenly
HBO credits this that and the other thing

332
00:23:45.480 --> 00:23:48.079
and or Damer. We were watching
you know, Dahmer on Netflix. Yeah,

333
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and as you know, troubling as
the show is really my wife and

334
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I really loved it, and you
want to sit in the heft of that

335
00:23:55.839 --> 00:23:59.359
last moment that's well said, and
then you can't reach for the remote fast

336
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enough and figure out how to get
the credit suggested the other way, and

337
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it's just it's obnoxious. So you're
you're totally that's that's that's totally bang on.

338
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And I'm also finding I don't know
if this is this is adjacent.

339
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I think it is comic books.
I'm I'm rediscovering my love of comic books

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and graphic novels. It might have
been a pandemic thing as well, and

341
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so I'm I'm releasing a graphic novel
next year that's kind of an homage to

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my love of tales in the crypt
it feels like it could be a tale

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00:24:26.240 --> 00:24:30.880
out of Tales or a tale out
of Stephen King's Dairy. And I think

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it's simply because you know, I
love having the thing in my hand,

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maybe as a result of you know, or that that that snap reaction too.

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You know, Let's get the phone
out of the hand and get back

347
00:24:41.480 --> 00:24:45.960
to what it felt like watching reading
this stuff as a kid. Are there

348
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any certain films that you really relied
on back in the in the old hard,

349
00:24:51.000 --> 00:24:52.480
meaty days at the video store that
you remember just going back to,

350
00:24:55.039 --> 00:24:57.440
I mean dark Man, dark Man, I think one, two, and

351
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three. Honestly, all three of
them. I rented all three of them.

352
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Dark Man one I'd rent and rent
and rent. I don't know why

353
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we didn't own it. I never
owned it at any point. I can't

354
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tell you why, because I'd rent
it again and again. I think it

355
00:25:11.799 --> 00:25:15.759
was just a period, probably an
elementary into junior high, where I'd rent

356
00:25:15.759 --> 00:25:18.960
it so often and then just kind
of forgot about it, I mean truly

357
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blackout forgot about it until a few
years ago when I went, like I

358
00:25:22.759 --> 00:25:27.880
used to watch this horror superhero movie
hundreds of times a year and put it

359
00:25:27.920 --> 00:25:32.880
away completely, rebought it on Netflix
or bought it for the first time or

360
00:25:32.920 --> 00:25:37.400
sorry on iTunes, and and just
discovered or rediscovered how rewatchable it is.

361
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The colors, the action, the
raimiesque kind of you know glory that was

362
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that was super reliable to me.
And then anything that looked like a great

363
00:25:47.200 --> 00:25:51.000
horror movie. But you know what's
funny is that back then, in the

364
00:25:51.079 --> 00:25:55.039
late nineties in early two thousands,
even as a high schooler, you'd kind

365
00:25:55.039 --> 00:25:59.200
of want to rent these like independent
dramas like I remember going and wanting to

366
00:25:59.200 --> 00:26:06.559
rent like Nick Nolty's like uh Affliction
and like The Ice Storm and uh the

367
00:26:06.839 --> 00:26:11.400
The Death of a Salesman with with
Dustin Hoffman. I don't know what it

368
00:26:11.440 --> 00:26:12.160
was. Maybe it's because I was
like a bit of a theater kid and

369
00:26:12.200 --> 00:26:17.680
whatever, but I think it was
just the thing of each movie, almost

370
00:26:17.720 --> 00:26:19.920
any movie, as long as you
brought a few tapes home, just to

371
00:26:19.960 --> 00:26:22.720
have this kind of holy effect where
we don't go to go, well,

372
00:26:22.720 --> 00:26:26.319
what are they and I will right, well, that's the event for tonight.

373
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They wouldn't all be great, but
it's like, what is this thing

374
00:26:29.880 --> 00:26:32.559
going to behold, you know,
with the Sweet Hereafter and I heard of

375
00:26:32.559 --> 00:26:33.400
it all right, fuck it put
it in. It's like, oh that's

376
00:26:33.599 --> 00:26:37.200
intense, but yeah, whatever,
until you start to get hip to the

377
00:26:37.240 --> 00:26:40.359
fact that as a kid, you're
like, oh, that looks like there's

378
00:26:40.359 --> 00:26:42.079
old people in it. Well there's
not in a blood on the back,

379
00:26:42.200 --> 00:26:45.559
or you know, no one has
a no one has a fuck up face

380
00:26:45.640 --> 00:26:48.680
or is it there's an insert of
machete or whatever. You know, Yeah,

381
00:26:48.720 --> 00:26:52.720
that's that's I think one of the
things that is making this different for

382
00:26:52.720 --> 00:26:56.240
a lot of people is those we
treated them as events, but nowadays,

383
00:26:56.240 --> 00:26:59.720
if you're just streaming something on Netflix, a lot of us just background noise.

384
00:26:59.839 --> 00:27:03.960
So getting this physical media, it's
something where it's intentional. You're making

385
00:27:04.000 --> 00:27:08.279
that move to actually have a relationship
for the next ninety minutes with something that

386
00:27:08.319 --> 00:27:11.759
is important to you. Yeah.
Yeah, that's well, that's well said.

387
00:27:11.880 --> 00:27:17.920
That's well said. I I wonder
if this era now now is theater

388
00:27:18.559 --> 00:27:22.839
the issue of you know, driving
to the theater is sort of becoming fragile,

389
00:27:22.440 --> 00:27:26.680
and the state of the theater industry
is becoming frat I wonder if there's

390
00:27:26.680 --> 00:27:30.200
going to be kind of a resurgence
of hard media to the degree that will

391
00:27:30.319 --> 00:27:34.440
kind of aid you know, pre
existing films or the future of film,

392
00:27:34.680 --> 00:27:38.160
that that will become only a way
to sort of maybe supplement some of these

393
00:27:38.200 --> 00:27:42.319
losses, and that maybe people will
drive it back, you know, drive

394
00:27:42.400 --> 00:27:45.920
back to the theaters or continue going
back. You know, next year some

395
00:27:45.960 --> 00:27:49.880
of the theater chains will fail,
but that the you know, the standbys.

396
00:27:49.920 --> 00:27:53.880
I mean, my my local Almo
here in Los Angeles is there's a

397
00:27:53.920 --> 00:27:59.839
lot of people there every weekend because
it's a destination. Is you know,

398
00:28:00.079 --> 00:28:03.839
price is fine, it's still like
a little cost prohibitive. But you see

399
00:28:03.880 --> 00:28:07.319
them. You know, when they
did three dollars movie Day nationally a few

400
00:28:07.359 --> 00:28:11.039
months ago, you couldn't see anything. You couldn't get in the door to

401
00:28:11.039 --> 00:28:14.799
see any movie. It didn't matter
what it was, documentary, anime from

402
00:28:14.839 --> 00:28:18.319
the past, brand new flike Black
Adam, whatever the hell. You know.

403
00:28:18.880 --> 00:28:21.519
So, I don't know if you
ever go, but the Nubev in

404
00:28:21.599 --> 00:28:26.160
Hollywood. I was just there in
June, and the amount of screenings of

405
00:28:26.160 --> 00:28:29.839
stuff that sell out within like two
hours of tickets going live. Yeah,

406
00:28:29.920 --> 00:28:33.599
until because they have this this reverence
for it and it's it's on the cheap

407
00:28:33.640 --> 00:28:37.279
side. It's not that bad at
the New BEV. Yeah, everybody,

408
00:28:37.319 --> 00:28:41.160
I gotta go. I have to
go. I criminally have not been.

409
00:28:41.200 --> 00:28:45.400
There's so many times my finger is
hovered over the the ticket button for things

410
00:28:45.440 --> 00:28:49.000
like, I mean everything from Batman
Returns to Suspiria and everything else. But

411
00:28:49.079 --> 00:28:52.559
I but I will. I think
it's because it's like the parking where do

412
00:28:52.559 --> 00:28:53.480
you go? But there is a
spot they talk about on the website.

413
00:28:53.480 --> 00:28:56.480
They're like, just go up the
street. Uh yeah, No, that's

414
00:28:56.519 --> 00:28:59.839
the kind of thing that excites me. You know. I think there's a

415
00:29:00.119 --> 00:29:03.279
is called brain Dead Studios. I
want to say here in La with it.

416
00:29:03.279 --> 00:29:07.119
It's like an obscure movie theater.
The boutique movie theaters will sell out.

417
00:29:07.960 --> 00:29:12.039
There was a Friday the thirteenth on
thirty five mil Part three on thirty

418
00:29:12.079 --> 00:29:17.200
five mil. U full on three
D gave you the Glasses and everything else

419
00:29:17.279 --> 00:29:21.799
looked incredible. Brian Fuller was there
and some of the original casts, and

420
00:29:21.839 --> 00:29:25.240
it was like it was an event
completely sold out. Like that stuff's really

421
00:29:25.319 --> 00:29:27.960
exciting, And I'd like to think
that it's not just places like here in

422
00:29:29.119 --> 00:29:33.359
La that if that those types of
events happened elsewhere in our in our in

423
00:29:33.400 --> 00:29:34.960
our country that people would go,
and I think they will. There's it's

424
00:29:34.960 --> 00:29:38.359
great to follow the mom pop video
stores. There's one even like to shout

425
00:29:38.359 --> 00:29:44.880
out to Tinker Street Theater in Woodstock, New York that that fulk the management

426
00:29:45.000 --> 00:29:48.480
that's taken over Tinker Street Theater in
our tiny town, our tiny theater.

427
00:29:48.920 --> 00:29:53.680
The curation is out of control and
I think they're they're selling out, you

428
00:29:53.720 --> 00:29:57.079
know, pretty frequently. It's really
incredible with that, Like they're showing Critters

429
00:29:57.119 --> 00:30:02.680
and you know, Vampuro's Lesbos and
all, like, you know, then

430
00:30:02.720 --> 00:30:07.359
they'll show Elf and Batman and you
know, it's just it's pretty pretty rad.

431
00:30:07.839 --> 00:30:10.440
A friend of mine who is also
comedian, he met you a couple

432
00:30:10.519 --> 00:30:14.799
months ago at Beyonfest. I believe
he goes to the new BEV like freaking

433
00:30:14.960 --> 00:30:18.960
church every single month they do.
It's usually four or five films where it's

434
00:30:19.200 --> 00:30:23.279
an unknown horror marathon where you sign
up and then they just play it for

435
00:30:23.319 --> 00:30:27.119
the next like nine hours. And
it sounds incredible. So yeah, wow,

436
00:30:27.400 --> 00:30:30.960
he's loved everyone he's gone to.
I would recommend that that sounds incredible.

437
00:30:32.000 --> 00:30:33.200
Yeah, I'm going to look that
up. If there's a membership program

438
00:30:33.319 --> 00:30:36.839
or something, maybe that's what I
should I should sign up for. God

439
00:30:36.880 --> 00:30:41.079
bless Quentin for doubling down on it. Josh, I want to be respectful

440
00:30:41.079 --> 00:30:44.200
of your time. Thank you for
coming on here today. This has been

441
00:30:44.359 --> 00:30:48.839
amazing. I'm so glad that you
were able to break through with the Wounded

442
00:30:48.880 --> 00:30:51.960
Fawn and wear Woll's within and scare
me and everything else. I can't wait

443
00:30:52.000 --> 00:30:53.880
to see what's next. Thank you, Ryan, me too. I hope

444
00:30:53.880 --> 00:30:59.480
I do. My fans well,
we'll see doing great and I can't wait

445
00:30:59.480 --> 00:31:02.799
for the next cup of the Game
Changer with you. Thank you very much,

446
00:31:02.839 --> 00:31:04.680
sir, appreciate it. Have good
afternoon, all right, YouTube,

447
00:31:04.720 --> 00:31:33.759
thanks for having me tell me no