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Speaker 1: We're all owned by the Syndicate Body and Soul or

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should I just say Bunny.

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Speaker 2: Hello?

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Speaker 3: Filthy movie lovers, something weirdos and anti criterion brose to

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the thirty seventh episode of The Sin Syndicate, where the

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nights are special in the turned on world and every

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weekend pop party includes a remote control racing track. My

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name is Gentry Austen, writer and researcher, and I'm here

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with my co host, adult film historian Casey Scott, And

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in this week's episode, we are celebrating the Stoner's holiday

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with a look at a film we have mentioned several

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times before, but we have never covered in depth, the

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nineteen sixty eight Manhattan shot Sexploiter from director Joseph Mangan

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Smoke and fled.

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Speaker 1: Light stands still during the day when we earn our

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bread in the square world, but the nights the knights

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are special in the turned on worlds of smoke and flash.

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Speaker 3: But before we light up a few news and updates, Casey,

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you're gonna correct yourself.

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Speaker 2: Damn well. First of all, I always feel like I

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have to say, first of all, I have to preface

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things all the time.

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Speaker 3: That's fine.

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Speaker 2: Something that I've told a few people that maybe don't

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know is that when I record all Right episodes, I

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am very highly caffeinated, like I've had a pot of

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coffee and then I typically will have like a diet

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soda with more caffeine. So when I'm talking, sometimes I'll

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stumble over words. Sometimes I'll think of things that are incorrect.

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And one of the things I thought was incorrect was

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Eddie and Fante being in Sweet Sugar when he is

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not in Sweet Sugar. The film was even shot in Philippines,

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was shot in Costa Rica, so that was a weird

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error to make. I don't even think he's in any

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Women in Prison films. I'm confusing him with somebody else

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that was in like Women in Cages maybe or one

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of the New World films. But no, he is not

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in that. And I definitely wanted to mention that because

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Eddie and Fante, looking at his resume, didn't make didn't

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really make exploitation movies. He was a little classier than that.

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He was not Vic Diaz, let's put it that way.

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Vic Diaz did a lot more work in trashy stuff.

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Speaker 3: So yeah, and to be clear, you're correcting yourself from

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our last episode where we talked about the two Reviver

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releases that he was in yep.

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Speaker 2: Correct, yes, and also per Reviver. So that went over well,

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thats going in depth over with the Reviver stuff I had.

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I actually I had a good conversation with Oscar where

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you know that I like to send voice memos. So

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I sent Oscar like a I don't know, three three

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minute voicemail. He sent me back a five minute voice memo.

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So I was like, okay, breaking the record, breaking my record. Yeah,

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it was great. So yeah, I need to I need

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to get up there and visit. He wants me to

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come up and visit, which obviously I need to see

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him and Diino. But he did mention something we have

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our text chain. He did mention that we could mention.

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So the CRISP, the Chris Pajoli Reviver will not be

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nonumber three. It will be number four. And I could

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have sworn that Chris said it was number three, but

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it might have been bumped, might have been rearranged. Yeah,

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I don't know, so there might have been some rights

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issues that delayed or something. But yeah, whatever it is,

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whatever number three and number four, five, six, seven, eight,

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I'm on board. So I don't want to know what

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they are, just given to me, please.

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Speaker 3: Yeah, Oscar was on The Celeste's show and I had

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mentioned that he saw the He had mentioned that there

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were some rights issues with number with I believe the

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Chris Reviver. So I think that it did get bumped

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just to kind of figure that stuff out right, right, right, right?

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Speaker 2: And actually and this is when Yeah, I mean I

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still love knowing. No, I love not knowing what they are,

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you know, And I think, actually that's something I need

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to ask. And maybe they discussed it is with the

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I think we talked about we were wanting to go

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out the frequency of when these would come out, and

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I think it's once a quarter. I believe that would

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make sense. So it's one every four months, and I

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think that sounds like that's probably the plan. If it's

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more frequent, I would I would eat it up, you know,

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just if it was once a month, I'd be happy.

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Speaker 3: I mean, it doesn't let's not do that to Oscar.

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Speaker 2: No, Oscar has enough to worry about four months. It

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is a lot, especially considering when you when you watch

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videos of what he had to do. Yeah, when you

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have to do all of that work with stuff that

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is not necessarily ideal elements good grief. So yeah, every

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when it's the labor of love, heavy on the labor, Yes,

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heavy on both the labor and the love. There is

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actual labor involved. Yeah, it's it's yeah. So yeah. Oscar

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is great. And his last name is pronounced Bescher, as

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in Bechamel and like Becker with a soft sage, so Bescher.

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It's just good to and actually it's funny. I checked

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a previous episode he did with Celeste and they discussed

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that his name, his last name is pronounced. It is

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pronounced one way by other people, but he pronounced it

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is it a different way? So the way he pronounces

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it is Besher. So yeah, but I think we'll just

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stick to first names. Yeah, but Joli is different. And

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I feel bad because I know Chris forher years and

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I've been I've been mispronouncing his name, but I also

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don't call him by his last name right, So, And

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he is doing a signing with Grady and Mike Gingold,

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I believe in a couple of weeks, and I will

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go to that because I love both of them.

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Speaker 3: It's a screening as well, isn't it? Or is that

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a different no?

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Speaker 2: I think it's a No, it's a Forbidden Planet, so

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it's going to be the three of them together. They

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have three different books to be promoting. I see, I

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see Mike enough. He hosts a horror sc he holds

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the Horror Trivia at at Rock Bar once a month

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with Ted Ted Geogan, who directed we are still here.

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So yeah, I see, I see Mike enough. I'm I'm

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more excited to see Grady and Chris because I don't

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see them hardly at all.

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Speaker 3: So yeah, I'm excited for the new version of These

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Fists Break Bricks. I've been I've been putting off buying

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that ever since I heard that they were doing a

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new version. So it's finally coming out.

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Speaker 2: And yeah, finally picked that up. Well, my first edition

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they signed it at Forbidden Planet, so I can't get

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rid of my first edition.

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Speaker 3: You have to get another signed version at Forbidden Planet.

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Now you got to get the you gotta read do

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it all over again.

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Speaker 2: That's correct, and I'll hold on to both. Yeah, I

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mean they they inscribed it with personal stuff for me,

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so yeah, I can't get rid of it. But yeah,

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I'm excited to see those guys. And uh, yeah, that's good.

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That's gonna be fun.

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Speaker 3: Or would you or would you bring your first edition

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copy and have them sign it again? I don't know

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which one.

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Speaker 2: I would not do. No, I would actually Grady's really funny.

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Grady's signatures tend to have a little sense of humor

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with them, so I don't know, he could be like, two, Casey,

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here we go again, Grady nitors or something. You know,

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we'll see what he does. I feel like they both

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had like standard things that they entered, but they personalized

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there's for me a little bit.

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Speaker 3: Yeah.

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Speaker 2: Yeah, it was fun.

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Speaker 3: But I was talking about this other other thing that

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you have listed here that do you want to talk about?

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Speaker 2: Yes, I think so. I think just you know, I

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think to give an idea of kind of the challenges

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that we run into in research.

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Speaker 3: Well, there's someone that you want to contact.

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Speaker 2: And yes, there's someone that I want to contact. Roadblocks, yeah, yes,

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And the roadblocks are not necessarily the person that you're

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trying to interview. The roadblock is another or other researchers

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that are a little too territorial over these things. And

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so this morning we I had a conversation with you

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and Alex I had a conversation with Sean Langrick trying

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to figure out where we go with contacting a certain

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person because we have to work around this territorial who

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makes things very difficult for anyone else to document this

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history or you know, learn other people's stories and experiences

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because it's all about the control. Yeah, I thought we

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wouldn't have to deal with it. I was, you know,

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heading the clouds, like, oh this is great, this is

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so exciting we got this research going. I was, Oh,

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here we go, so we will see what we can do.

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You know. The good thing about it is the thing

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about it is I'm in a better position now than

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I would have been. God, even three years ago, I

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would have totally spiraled and probably been in bed all

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day and had a full mental breakdown. So now I

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know that there is a larger community that is involved

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with trying to get this story. There's a lot more

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support and making sure that these stories are told. And

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so yeah, I feel in a better mental health space

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to a aproach this from a different way, and that's

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what we're gonna do.

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Speaker 3: You know a little bit more context too, is this

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is related to secret places, secret things. So as you

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have listened to us week after week, as I said

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on Instagram, we will never stop talking about secret places,

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secret things.

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Speaker 2: No, and it needs a reviver, Oscar. We're going to

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emphasize it needs a reviver. Let's get a print, let's

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get going, Let's get the.

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Speaker 3: Reviv going, and we want the full story. And this

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would give us even you know, this would push us

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even more. If we got confirmation that yeah, let's let's

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do something, let's do a reviver, then then we would

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absolutely go full bore on contacting some of these people.

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And let's be clear, Uh, gatekeeping movies, that's bad enough,

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gatekeeping human beings, that's just weird. Okay, don't be weird

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people like this. Let's let's work together on these things

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and get these stories out. Yeah, I mean, you're close

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with Roberta.

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Speaker 2: I've never said I've never told her to never speak

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to someone. I've always said, if you want to talk

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to Roberta, call, you can contact her in the same

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ways that I do. You know, it's not that hard

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to get a hold of her. I think people are

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just scared of her. But yeah, I mean, Misty, Reagan,

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Lee Carrol. There have been people that I've interviewed that

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no one else has has interviewed since I've interviewed them,

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and I'm like, go nuts, please, because my version, my interview,

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my questions aren't going to be someone else's questions. I

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could have overlooked something. I want multiple perspectives of someone's story.

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I'm not I'm not the perfect interviewer. No one is.

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There is no perfect interviewer. I will overlook something potentially,

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you know. That's why I think the more people that

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are involved in this, the better, you know. And I've

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always felt that way, and I've never I don't experienced

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this with anybody else. Like Michael Bowen's a great example.

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We had him on the show Mychael Bowen does not

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gate peep anything. Michael Bowen, if he knows that you're

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legit and serious about it and you're not trying to

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like shame people or bother people to harass people, he

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will help you. And other researchers are the same way.

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This is a this is a singular, unique situation that

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I am not alone in experiencing. So I'm just I'm

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glad that we're all kind of on the same page

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and we're just trying to figure out the best way

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to capture the story.

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Speaker 3: You know, yeah, and this can not just.

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Speaker 2: For the film, but to honor the person that we're

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trying to interview, because this is a story that hasn't

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been told by anybody else, including the person blocking the interview.

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It wasn't covered. So I'm just kind of you know, yeah,

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it's it's different. It'd be different if this was was

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a person who doesn't want to talk, but the fact

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that they have makes it more frustrating because it's just like, well, okay,

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you know, so I don't know, we'll see where it goes,

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but I did want to. I think I think it's

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helpful to be as transparent as possible with some of

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the issues with this. It's not and we've said this

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on previous episodes, this is not This research is not

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necessarily for the Week of Heart. And I say that

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as someone who is relatively weak of heart, who will

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have breakdowns and cry because I hit a dead end

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or yeah, like, it's not for the Week of Heart,

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but it's worth it because if you can get if

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you can learn more and document more, then it's a

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little piece of that puzzle. So the work is worth

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it if you can get those little bits that you

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can find. So yeah, I mean, the drive is there.

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I just need to.

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Speaker 3: Let's around, let's complete this puzzle together, everybody, let's all

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put our pieces down.

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Speaker 2: Yeah, which reminds me you have someone you need to

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call to I know, I know, also related to this film.

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Speaker 3: Yes, that's what I'm saying, Like Oscar, give us, goss Er,

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give us like the thumbs up, like Okay, we're gonna

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do it, and then that I'll like be a kick

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in my pants to call this other person.

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Speaker 4: Yeah.

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Speaker 2: See, But Alex agrees. I think, like, for example, we

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all waited too long to contact Sheep of Brick because

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we were like waiting for the right project to do it.

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And sometimes the right project is just that you want

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to document it for for posterity, and then whatever comes

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along the way that it can be useful for that's great.

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So I need to get more into that mindset because

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I have I have that that that Google doc I

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have to share with you guys, the people that we

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should be contacting as a group, just you know, trying

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to do this reconnaissance. But all right, we both got

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people to call.

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Speaker 3: Yeah. Well, in lighter news, we.

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Speaker 2: Have that's all lighter from here full because we just

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had that Yeah, I mean, this was literally my entire

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morning was trying to trying to bounce off of people. Yes,

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it was. It was the first four hours of my day. Yeah,

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so it was. It was a lot of trying to

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figure out what the next steps are and trying to

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get thoughts on it. So yeah, all onwards and upwards

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from here.

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Speaker 5: Yeah.

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Speaker 3: So I am going to include a special segment with

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our special correspondent, Jeffrey Patron. He has graciously agreed to

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be our eyes and ears over in wind Gap, Pennsylvania,

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who are putting on a Grindhouse triple feature. This is

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volume two at their Gap Theater that's happening on Saturday,

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April eleventh. We were not able to make it out there,

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so thankfully Jeffrey was. And if you haven't been keeping

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up with our constant rattling on about this, they are

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apparently screening one of our lost and in limbo films,

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one of mine on my top ten list, so obviously

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we are very curious what it is. So we will

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include that clip right here from Jeffrey, who is going

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to give us a run down and recap of this

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whole this whole screening. So here it is Jeffrey with

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the report.

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Speaker 6: Okay, this is my quick recap of what was shown

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at the Gap Brindhouse Volume two. What I love about

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these showings not just as the fact that they play

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a lost movie, not just the fact that they play

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a mystery lineup of films that they keep secret until

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they show them. But what I love most of all

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is the efflectic mix of trailers shown beforehand. So let's

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dive right in with what the first reel of trailers

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was before the first movie for the Gap Brindhouse Volume two.

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Start out the night there was a trailer for a

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film called at Last at Last, which I believe was

302
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an English dub of an Italian film from nineteen seventy

303
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five as Valentina the Virgin Wife, and also You've Got

304
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to Have Part. Not sure where exactly the at Last

305
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at Last title comes in, but following that there was

306
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a trailer for Emmanuel The Joys of a Woman, also

307
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from nineteen seventy five, I believe, and following that there

308
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was a trailer for Fritz the Cat, the Ralph fact

309
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she animated classic from nineteen to seventy two. Following that

310
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there was movie number one, a Ron Garcia directed film

311
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called Inside Amy starring James R. Swiney and Jane Mitchell,

312
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as well as featuring a fairly not necessarily prominent but

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a supporting rule from actor stuntman and occasional director Gary

314
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kna Also featured in that film was a marquee of

315
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some sort, some kind of location showing the film the

316
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Byron maybe Lost film Love by Neighbor and his Wife,

317
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And that was just I loved seeing that, especially in

318
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that film, not that there was any footage of the film,

319
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but just even seeing the title Offanda Lee was incredible

320
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on a market. Following that, there was another lineup of trailers,

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and those trailers were for the film's Nashville Girl I

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believe in nineteen sixty seven, following that Fanny Hill from

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nineteen sixty four and I think Nashville I might have

324
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switched a Nashville Girl I think is seventy six, Fanny

325
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Hill nineteen sixty four and Putney squoted nineteen sixty nine,

326
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and that was a very fascinating mix. If not just

327
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to see the Russbayer trailer for the original Fanny Hill,

328
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that was a real joy. Following that, there was the

329
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Joseph Frito directed Shanty Tramp, which was shot in Florida

330
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and increase it. There's an added element where this definitely

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feels more like a quote unquote cheapy than the first one.

332
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There was definitely a real scrappiness to the production, but

333
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in that scrappiness there's also a madness and inventiveness that

334
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made that film incredibly watchful. Shanty Tramp I'm talking about

335
00:19:44,319 --> 00:19:48,839
and fascinating tagline for the film She loved Rebels on Wheels,

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although I'll have to say it doesn't hold as much

337
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candle to the tagline for Inside Amy. She played the

338
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swingers game. But back to Shanty Tamp, this was I

339
00:20:03,720 --> 00:20:09,920
believe the only lead performance for actress Eleanore Dale. Also

340
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in the film are Ray Arana and Bill Rogers. Bill

341
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Rogers gives a particularly memorable performance as a sort of

342
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southern traveling preacher, but also with a definite Elmer gantry,

343
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kind of that he feels like a real con artist,

344
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and I'm more than a con artist. He feels he

345
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feels like a horned up con artist, and he doesn't

346
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really do anything except be there and leave. But sometimes

347
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the greatest characters in film can just be there and leave.

348
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Following that, there was an even better lineup of tailers.

349
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I know, it just gets better and better and better.

350
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How could it? Well? You show the trailer to The

351
00:21:03,640 --> 00:21:10,519
Lost Sandy Johnson adaptation of Justine also known as Justine

352
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The Erotic Excitement of Eve from nineteen sixty seven, and

353
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following that there was a trailer for in Hot Flood

354
00:21:22,319 --> 00:21:26,480
of nineteen sixty eight, and following that there was a

355
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trailer for a film called Hot Thrills and Warm Chills

356
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from nineteen sixty seven, and that just those trailers together

357
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had a great just a great energy of just unbridled.

358
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This is the grit, This is the griminess. This, this

359
00:21:49,279 --> 00:21:52,319
is this is the kind of stuff that you'd be seeing.

360
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Fritz the Cat is nice, you know, Hutney Squope is nice,

361
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But these films are their dirty pictures. Son following that

362
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there's movie three, the Lost Some of the Night. The

363
00:22:07,799 --> 00:22:11,759
third film of the Night was a nineteen sixty seven

364
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film called Playpen Girls. Yes, that's right, Playpen Girls. We've

365
00:22:18,160 --> 00:22:21,680
all been leading up to this moment where I try

366
00:22:21,720 --> 00:22:25,960
and talk about Playpen Girls so much so that I'm

367
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not really talking about any of the other movies because

368
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I'm still trying to talk about Playpen Girls. Sometimes a

369
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movie works into your mind and it just stays there,

370
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and that's Playpen Girls. Sometimes you just get a fantastic

371
00:22:44,119 --> 00:22:48,160
trailer and a movie that doesn't make any sense, and

372
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that's playpen Girl. Sometimes you get the greatest thing in

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the world, and that's Playpen Girls. What is Playpen Girls?

374
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I hear you screaming, I feel it in my phones.

375
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I want to tell you, I don't know.

376
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Speaker 7: I I truly am struggling to come up with an

377
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answer for what what this movie is except the greatest

378
00:23:14,599 --> 00:23:16,839
thing in the world, and it is.

379
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Speaker 6: It's the greatest thing in the world, and you need

380
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to see it.

381
00:23:21,559 --> 00:23:27,079
Speaker 8: So you are Michael. The productions, the Gap Theater.

382
00:23:27,400 --> 00:23:31,200
Speaker 9: Gap grind House, and what drew me to these screenings

383
00:23:31,400 --> 00:23:34,200
is not just the mystery element, but.

384
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Speaker 8: The big thing is the lost film moment.

385
00:23:38,160 --> 00:23:43,079
Speaker 9: And with the first screening you played Hot Hands of Love, Yes,

386
00:23:43,160 --> 00:23:46,039
and that had some I didn't I wasn't there for

387
00:23:46,119 --> 00:23:49,880
that screening, but that had some audio issues, if well

388
00:23:49,920 --> 00:23:54,039
not audio issues, but it's that was a unkind of

389
00:23:54,079 --> 00:23:57,920
finished film in a sense seemed to be from or

390
00:23:58,039 --> 00:24:00,279
was it just bad audio? What was the What was

391
00:24:00,319 --> 00:24:03,279
the case is? How would you describe it? It was

392
00:24:03,279 --> 00:24:08,759
a Spanish film production that was then post dubbed into English,

393
00:24:10,359 --> 00:24:12,920
kind of in the vein of a lot of the

394
00:24:12,920 --> 00:24:16,720
Spanish produced films in the New York area. They would

395
00:24:16,720 --> 00:24:20,039
be shooting in Spanish, all the actors were speaking Spanish,

396
00:24:20,079 --> 00:24:23,319
and then they would be post dubbed into English for

397
00:24:23,440 --> 00:24:26,960
wider market appeal, especially in the sexploitation market. And that

398
00:24:27,039 --> 00:24:29,160
was the case with that one. Would you say a

399
00:24:29,240 --> 00:24:34,240
similar circumstance would make a similar film? Have you ever

400
00:24:34,240 --> 00:24:36,240
heard of a film called The Deadly Organ.

401
00:24:36,519 --> 00:24:39,440
Speaker 8: Similar situation where it was a Spanish import and then

402
00:24:39,519 --> 00:24:40,920
post dubbed into English.

403
00:24:40,960 --> 00:24:42,759
Speaker 9: But I thought that was a great thing. I watched

404
00:24:42,799 --> 00:24:46,839
that recently and I thought that was fantastic. But I'm

405
00:24:46,839 --> 00:24:50,279
sure I'm sad that I wasn't able to be And

406
00:24:50,359 --> 00:24:54,160
that's sort of another if you're not here, is there

407
00:24:54,200 --> 00:24:56,839
ever going to be another chance where the gap might

408
00:24:57,240 --> 00:25:02,960
theoretically show not not a lost film, but like Girls

409
00:25:03,119 --> 00:25:07,200
on a forty Seconds Stooter, the Andy Mulligan film, or

410
00:25:07,319 --> 00:25:10,960
The High Yellow where things like that they.

411
00:25:11,119 --> 00:25:15,039
Speaker 8: Can always come back, if you know, if people want them,

412
00:25:15,119 --> 00:25:17,480
or people want them, they can always be brought back later.

413
00:25:17,599 --> 00:25:22,640
But I don't like to play things.

414
00:25:21,359 --> 00:25:23,920
Speaker 9: You gotta be here in sort of the attitude, and

415
00:25:24,119 --> 00:25:25,640
I love that because it.

416
00:25:25,680 --> 00:25:28,279
Speaker 8: Can always come back, but it's better to be here

417
00:25:28,319 --> 00:25:30,440
when it's played. It's a great theater and you can

418
00:25:30,559 --> 00:25:32,559
never know when it's gonna come back or if it

419
00:25:32,599 --> 00:25:34,640
even can come back sometimes.

420
00:25:34,960 --> 00:25:37,599
Speaker 9: And where where is this beautiful theater located?

421
00:25:37,720 --> 00:25:42,680
Speaker 8: For just the reater, It's wind Gap, Pennsylvania, about an

422
00:25:42,720 --> 00:25:44,519
hour and a half from New York City, about an

423
00:25:44,559 --> 00:25:45,720
hour and a half from Philly.

424
00:25:46,359 --> 00:25:49,119
Speaker 9: And I Gentry, this is going to be for this

425
00:25:49,240 --> 00:25:54,119
since indicate podcast Gentry and the Casey they not slandered,

426
00:25:54,160 --> 00:25:56,880
but they they've called this place the boon out in

427
00:25:57,000 --> 00:25:59,079
the Boone Docks, and I don't think that's fair.

428
00:26:00,559 --> 00:26:03,640
Speaker 8: I'd call it that we're definitely kind of more out

429
00:26:03,640 --> 00:26:06,279
in the boonies compared to like a lot of the

430
00:26:06,319 --> 00:26:09,880
big city theaters that are doing this kind of programming,

431
00:26:10,440 --> 00:26:11,559
more off the beaten path.

432
00:26:11,680 --> 00:26:12,240
Speaker 5: But I.

433
00:26:14,160 --> 00:26:18,240
Speaker 9: Fully agree on that front. Where are these films coming from?

434
00:26:18,279 --> 00:26:23,880
Are these exhoomed film prints from Harry Guero that some

435
00:26:23,960 --> 00:26:24,400
of them.

436
00:26:24,240 --> 00:26:29,480
Speaker 8: Come from Harry's collection, and the lost film Tonight and

437
00:26:29,519 --> 00:26:31,119
the one of the Last Show, those are both from

438
00:26:31,119 --> 00:26:32,079
my collection.

439
00:26:31,920 --> 00:26:34,640
Speaker 9: Okay, and I just really want I was I was

440
00:26:34,680 --> 00:26:37,240
assuming it wasn't all from that, and I'd really love

441
00:26:37,279 --> 00:26:40,799
to hear more about you, and like, how how do

442
00:26:40,880 --> 00:26:44,240
you find these films? What's the go off in any

443
00:26:44,279 --> 00:26:46,480
direction that you'd feel.

444
00:26:46,400 --> 00:26:51,480
Speaker 8: I'm a big fan of grindhouse exploitation, adult feature films.

445
00:26:52,599 --> 00:26:55,680
Occasionally they come up onto the market or get offered

446
00:26:55,720 --> 00:26:58,000
to me for sale, and okay, I grab them when

447
00:26:58,039 --> 00:27:02,160
I can, because, especially with operating this place, the chance

448
00:27:02,200 --> 00:27:05,160
to get to screen them for an audience is what

449
00:27:05,200 --> 00:27:06,000
they're meant to be for.

450
00:27:06,640 --> 00:27:09,359
Speaker 9: As a bit of a stoner, I've always loved a

451
00:27:09,440 --> 00:27:14,480
particular kind of exploitations, like I love the marijuana film,

452
00:27:14,839 --> 00:27:18,960
like the the don't do drugs. These are bad. I

453
00:27:18,960 --> 00:27:22,079
always thought those were. Do you think there's ever gonna

454
00:27:22,119 --> 00:27:26,200
be one of those? Or would that fit into the

455
00:27:26,359 --> 00:27:29,279
like I don't even know what the like almost education,

456
00:27:29,359 --> 00:27:33,640
pseudo educational, even drug stores or even mondo.

457
00:27:34,559 --> 00:27:37,359
Speaker 8: I'll play whatever people are willing to come out for it. Whatever,

458
00:27:38,400 --> 00:27:40,319
if people are willing, if I can get the founts

459
00:27:40,519 --> 00:27:43,480
to make a theme and people come out, how much

460
00:27:43,519 --> 00:27:46,319
money do I have to pay for a smoke of evil?

461
00:27:48,200 --> 00:27:50,119
That's a question for Harry. And if we can find

462
00:27:50,119 --> 00:27:50,519
a print.

463
00:27:52,240 --> 00:27:56,079
Speaker 9: That's another thing with these you can't find prints like

464
00:27:56,200 --> 00:27:59,480
Andy Milligan, there's like no prince like it. That was

465
00:27:59,640 --> 00:28:02,960
pretty changed my life in ways that are probably gonna

466
00:28:02,960 --> 00:28:06,680
be negative. But this is a big question of kind

467
00:28:06,680 --> 00:28:09,000
of sort of one that I'm surprised I didn't start with.

468
00:28:09,039 --> 00:28:13,160
But with these screenings, what's your goal, like, just as

469
00:28:13,200 --> 00:28:16,119
someone who as a film collector, as a film enjoyer.

470
00:28:16,079 --> 00:28:19,119
Speaker 8: Show someone a film they haven't seen before, get them

471
00:28:19,160 --> 00:28:21,920
to come out and see something that they wouldn't normally

472
00:28:22,160 --> 00:28:26,359
see or even have the opportunity to see. What about tonight?

473
00:28:26,640 --> 00:28:29,359
It's so special to you? The big thing is if

474
00:28:29,759 --> 00:28:34,440
you really care about film preservation and the theatrical experience,

475
00:28:34,519 --> 00:28:38,279
especially in this day and age where everything's going digital. Yeah,

476
00:28:38,319 --> 00:28:42,559
it's great getting to watch these movies at home streaming

477
00:28:42,599 --> 00:28:45,960
it or on DVD, but they were meant to be

478
00:28:45,960 --> 00:28:51,880
seen in the theater. Seeing a lost exploitation film with

479
00:28:52,039 --> 00:28:55,160
a crowd of people, to all get to collectively experience

480
00:28:55,279 --> 00:29:00,799
that at once instead of by yourself on the couch. Yeah,

481
00:29:01,039 --> 00:29:05,559
theatrical exhibition is very important and it helps to foster

482
00:29:05,680 --> 00:29:09,440
more film preservation by allowing us to continue doing these

483
00:29:09,519 --> 00:29:12,839
kind of shows, keep finding more movies and getting them

484
00:29:12,839 --> 00:29:15,720
screen stuff that might not be viable for a home

485
00:29:15,799 --> 00:29:18,240
video release, but we can find a print and show

486
00:29:18,319 --> 00:29:20,920
at and give you an opportunity to see it with

487
00:29:21,000 --> 00:29:23,880
the crowd and get the crowd reactions in real time.

488
00:29:24,839 --> 00:29:26,759
Speaker 9: Not to take up too much more of your time,

489
00:29:26,880 --> 00:29:31,160
but this is a second gap grind house. Yes you've

490
00:29:31,200 --> 00:29:33,920
already announced the third one. I want to do more.

491
00:29:34,680 --> 00:29:39,279
I really hope in the future, maybe this in syndicate.

492
00:29:39,400 --> 00:29:41,720
Maybe they could respond to a screening, Maybe they could

493
00:29:41,720 --> 00:29:43,400
even come out for screening.

494
00:29:43,759 --> 00:29:46,240
Speaker 8: Lot of those hosts, both.

495
00:29:46,039 --> 00:29:48,759
Speaker 9: Of them, I know they're a big fan and some

496
00:29:48,920 --> 00:29:49,920
good friends with Casey.

497
00:29:49,960 --> 00:29:54,119
Speaker 8: I've known him for years, very knowledgeable, super knowledgeable, and

498
00:29:54,759 --> 00:29:58,279
we had been a long time at the bar in

499
00:29:58,880 --> 00:30:02,119
flash Pott on forty second the street. That sounds incredibly.

500
00:30:04,880 --> 00:30:09,559
Speaker 9: Andy Mulligan will find a way into effyy. Thank you

501
00:30:09,680 --> 00:30:13,200
so much for thank you. You know it's great about

502
00:30:13,400 --> 00:30:17,039
going to a mystery screening or just any kind of screening.

503
00:30:17,480 --> 00:30:20,279
You got to spend a night on this case. Because

504
00:30:20,279 --> 00:30:23,720
it's a Saturday into a Sunday. Some might even argue

505
00:30:24,039 --> 00:30:27,880
a weekend with a room full of strangers.

506
00:30:36,400 --> 00:30:40,720
Speaker 3: So smoking flesh. This is a personal favorite of both

507
00:30:40,759 --> 00:30:44,319
of us. Right, Casey, you've got a historical five star

508
00:30:44,519 --> 00:30:46,039
rating on letterboxed.

509
00:30:46,640 --> 00:30:49,119
Speaker 2: Is that only for you? It only went down half

510
00:30:49,119 --> 00:30:52,279
a star? Oh for for I believe for the way

511
00:30:52,319 --> 00:30:55,559
that the wrap up. I think the wrap up is lazy,

512
00:30:55,839 --> 00:31:01,839
but everything else before it is just really stellar stuff,

513
00:31:02,119 --> 00:31:05,920
just really stellar stuff. It feels like it feels like

514
00:31:06,039 --> 00:31:10,359
a it feels like a whole reel basically that he

515
00:31:10,359 --> 00:31:12,880
could present to someone saying, look, I can make a movie.

516
00:31:13,559 --> 00:31:13,839
Speaker 3: Yeah.

517
00:31:13,880 --> 00:31:16,160
Speaker 2: But you know, and this is only one of two

518
00:31:16,240 --> 00:31:19,119
movies that he directed. The other one was literally twenty

519
00:31:19,200 --> 00:31:22,480
years later, so you know, he was not a director.

520
00:31:22,559 --> 00:31:25,200
He didn't. I think he was kind of like Ron Garcia.

521
00:31:25,240 --> 00:31:28,000
And then he preferred the cinematography. He didn't like the directing.

522
00:31:29,480 --> 00:31:31,799
Speaker 3: But we'll get into that a little bit. All right, Well,

523
00:31:31,839 --> 00:31:34,440
good to see it. It hasn't dropped too much in

524
00:31:34,480 --> 00:31:35,279
your estimation.

525
00:31:36,000 --> 00:31:38,440
Speaker 2: No, I agree with you. I think the ending kind

526
00:31:38,480 --> 00:31:41,599
of it's lazy. It feels like they had to pat

527
00:31:41,640 --> 00:31:44,240
it so that it was I think the ending, the

528
00:31:44,359 --> 00:31:47,319
ending is that montage is like five minutes and I'm

529
00:31:47,400 --> 00:31:50,079
just like, oh, it couldn't be sixty three minutes. Sixty

530
00:31:50,119 --> 00:31:53,400
eight is more acceptable. So it was just kind of

531
00:31:53,440 --> 00:31:54,880
like this could have been This would have been great

532
00:31:54,880 --> 00:31:57,079
at sixty three. Just cap it off.

533
00:31:57,480 --> 00:32:01,839
Speaker 3: Yeah, yeah, so this is our four to twenty episode. Here,

534
00:32:02,359 --> 00:32:05,759
you have a note here? Do we partake.

535
00:32:07,920 --> 00:32:08,319
Speaker 8: The record?

536
00:32:08,440 --> 00:32:09,839
Speaker 3: Do? I don't know.

537
00:32:09,960 --> 00:32:13,240
Speaker 2: It's not it's it's legal legs or less. Yeah, is

538
00:32:13,279 --> 00:32:14,480
it legal in Minnesota?

539
00:32:15,240 --> 00:32:18,720
Speaker 3: Uh, it's so messy. It is more or less. Yeah,

540
00:32:18,799 --> 00:32:22,480
but yeah, like certain shops will can only carry certain things.

541
00:32:22,519 --> 00:32:25,960
They're still working out the legality of like percentages of

542
00:32:26,079 --> 00:32:30,720
THHC and all that goofy stuff. But yeah, I enjoy Uh.

543
00:32:30,759 --> 00:32:33,480
I enjoy a little vape and a little gummy every

544
00:32:33,519 --> 00:32:34,000
now and then.

545
00:32:34,079 --> 00:32:38,799
Speaker 2: Yeah, I do. Not my I am one of those

546
00:32:38,839 --> 00:32:41,279
people because I think it's because I'm so fucked in

547
00:32:41,319 --> 00:32:45,720
the head. I get maid, Yeah, I get paranoid. I

548
00:32:45,759 --> 00:32:47,920
was watching an episode of Penn fifteen. There was an

549
00:32:47,920 --> 00:32:50,839
episode where focused on like the mom on this show,

550
00:32:50,920 --> 00:32:53,240
and there was I was watching with my sister, and

551
00:32:53,279 --> 00:32:56,880
my sister is like a professional gummy lead person. She's

552
00:32:56,880 --> 00:33:00,079
in California, so she's that's what she does. And I

553
00:33:00,119 --> 00:33:02,240
thought for some reason the show she was going to

554
00:33:02,279 --> 00:33:04,160
be like a secret agent or a spy, and so

555
00:33:04,240 --> 00:33:05,920
someone was trying to kill her. That was not the

556
00:33:05,960 --> 00:33:08,039
plot of the episode at all. It's just in my mind.

557
00:33:08,079 --> 00:33:09,960
I was like, Oh God, this is gonna get really dark.

558
00:33:10,000 --> 00:33:13,400
What's gonna happen? So, yeah, I can't. I'm a drinker.

559
00:33:13,799 --> 00:33:17,599
I drink, which is worse for me than just doing

560
00:33:17,680 --> 00:33:21,839
a gummy or you know, having a little imbibement. But

561
00:33:22,359 --> 00:33:24,599
in this movie did not make me want to change

562
00:33:24,599 --> 00:33:28,039
my opinion on that in terms of whether I should

563
00:33:28,400 --> 00:33:29,160
indulge more.

564
00:33:29,720 --> 00:33:32,200
Speaker 3: Yeah, I'm trying to think is it's not necessarily a

565
00:33:32,240 --> 00:33:35,000
super It's not a negative portrayal of weed. It's more

566
00:33:35,000 --> 00:33:35,519
of a negative.

567
00:33:35,559 --> 00:33:38,079
Speaker 2: No, it just didn't look like it did not look

568
00:33:38,119 --> 00:33:39,920
like my the kind of thing that I would enjoy

569
00:33:39,960 --> 00:33:42,279
doing at like a party with people I would rather drink.

570
00:33:43,039 --> 00:33:47,799
Speaker 3: And yeah, I don't like smoking around other people, that's

571
00:33:48,319 --> 00:33:51,799
for sure. It does freak me out a little bit.

572
00:33:52,000 --> 00:33:54,079
Speaker 2: If I could get around a table and eat a

573
00:33:54,119 --> 00:33:57,319
shit ton of a butterbrickle ice cream, I absolutely would.

574
00:33:57,880 --> 00:33:59,640
Which now, and that was a funny thing. I was like,

575
00:34:00,240 --> 00:34:02,960
that sounds so familiar. It's not sold as butterbrickle that

576
00:34:03,039 --> 00:34:05,079
much anymore. It's more like a if you have like

577
00:34:05,119 --> 00:34:08,280
a heath Bar ice cream, It's kind of like that.

578
00:34:08,920 --> 00:34:10,719
Which who doesn't love that?

579
00:34:11,119 --> 00:34:12,079
Speaker 3: So yeah, yeah I.

580
00:34:12,079 --> 00:34:13,840
Speaker 2: Would, and I love it. I love when it cuts

581
00:34:13,840 --> 00:34:15,800
back to them and it looks like they ate half

582
00:34:15,880 --> 00:34:20,199
of the fucking container. I'm like, they are high as fuck. Yes,

583
00:34:20,320 --> 00:34:23,000
they absolutely had to eat half of the container of

584
00:34:23,039 --> 00:34:23,559
ice cream.

585
00:34:23,840 --> 00:34:27,280
Speaker 3: Yeah, that's the munchies scene that they have to add.

586
00:34:27,360 --> 00:34:29,000
Speaker 2: Yeah, yes, which was great.

587
00:34:29,280 --> 00:34:30,960
Speaker 3: Yeah, but I guess we should. We can read the

588
00:34:31,000 --> 00:34:34,920
synopsis here from Smoking Flesh. This is off the back

589
00:34:35,000 --> 00:34:39,159
of the VHS box that was released from Something Weird

590
00:34:39,239 --> 00:34:42,280
in ninety six. It's also in their catalog from the

591
00:34:42,320 --> 00:34:45,159
same year, catalog number one, so this was a pretty

592
00:34:45,159 --> 00:34:50,679
early release from Something Weird video. The synopsis is Turk,

593
00:34:51,000 --> 00:34:54,079
a cool swinger, throws a pot and sex party to

594
00:34:54,280 --> 00:34:58,480
end all others at his groovy love pad. Anything goes

595
00:34:59,280 --> 00:35:03,320
local hoodline crash this happening scene, and as the party

596
00:35:03,360 --> 00:35:06,679
goes into full swing, Turk slips one of the bad

597
00:35:06,719 --> 00:35:10,199
guys a cube of LSD and he flips out on

598
00:35:10,320 --> 00:35:14,559
a way bad ascid trip, completely out of control. He's

599
00:35:14,719 --> 00:35:17,440
carried out of the love in not to be missed

600
00:35:17,480 --> 00:35:21,639
by the drugged out, sex crazed hipsters who continue their

601
00:35:21,679 --> 00:35:28,519
erotic explorations. Yes, that's a good synopsis, but I think

602
00:35:28,519 --> 00:35:31,400
it misses one key part, which is like the first

603
00:35:31,559 --> 00:35:34,920
twenty minutes they're waiting for the drugs. That's like a

604
00:35:35,000 --> 00:35:37,480
key part of the film.

605
00:35:36,840 --> 00:35:39,400
Speaker 2: Right, But yeah, that's not going to excite someone to exceed.

606
00:35:40,880 --> 00:35:43,440
Speaker 3: Yeah, watch this movie hanging around the bunch of people

607
00:35:43,559 --> 00:35:45,760
hang out and wait for the guy on the motorcycle

608
00:35:45,800 --> 00:35:48,000
to show up. But I actually love that part of them.

609
00:35:48,119 --> 00:35:49,960
Speaker 2: Yeah. I think you described it as like it's a

610
00:35:50,000 --> 00:35:53,639
sexplantation hangout movie, which it is. I mean there's no plot.

611
00:35:53,840 --> 00:35:56,400
I kind of it reminded me of Can't Hardly Wait,

612
00:35:56,800 --> 00:35:59,880
where it's just basically a party where there's no story.

613
00:36:00,039 --> 00:36:03,400
It's just a bunch of characters interacting, which is fine,

614
00:36:03,719 --> 00:36:07,960
you know, I don't I think when you have something

615
00:36:08,000 --> 00:36:10,480
that looks the stylish, it's kind of like submission, very

616
00:36:10,559 --> 00:36:13,199
very different in terms of the experience of it, but

617
00:36:13,559 --> 00:36:16,039
it's something that's fun to just sit with and like

618
00:36:16,119 --> 00:36:19,239
soak in. It's just so it's really just beautifully done.

619
00:36:19,960 --> 00:36:21,960
Speaker 3: Yeah, and the rest of the release history here. So

620
00:36:22,039 --> 00:36:26,000
I mentioned VHS ninety six from Something Weird and then

621
00:36:26,079 --> 00:36:30,000
it was released as an Image double feature two thousand

622
00:36:30,039 --> 00:36:33,199
and four, and then it has not been seen again.

623
00:36:34,079 --> 00:36:36,000
Speaker 2: It's been a long two years.

624
00:36:36,360 --> 00:36:41,119
Speaker 3: Jesus, long time. So you know, ag for released that

625
00:36:41,239 --> 00:36:44,440
drug a Rama s VHS collection. I think that was

626
00:36:44,480 --> 00:36:45,960
a little last year.

627
00:36:46,400 --> 00:36:49,679
Speaker 2: But I'm but the bummer is that those three were

628
00:36:49,760 --> 00:36:54,039
released on Image DVDs. So the sbhs had that Something

629
00:36:54,079 --> 00:36:55,320
Weird bug on them, don't they.

630
00:36:55,719 --> 00:36:58,559
Speaker 3: Yeah, but we don't have to go down this road again.

631
00:36:59,280 --> 00:37:01,400
Speaker 2: No, it's not great. I'll just hold a lot of

632
00:37:01,400 --> 00:37:04,239
my DVDs, but I will get that Blu Ray at

633
00:37:04,239 --> 00:37:06,639
some point because there is something on there that I wanted.

634
00:37:06,760 --> 00:37:08,719
I need to get rid of my DVD R and

635
00:37:08,840 --> 00:37:09,920
why not do that?

636
00:37:10,519 --> 00:37:13,760
Speaker 3: Yes, So the issue with yeah, that drug Rama was

637
00:37:13,920 --> 00:37:18,280
put out svhs because there was you know, rights issues

638
00:37:18,440 --> 00:37:23,000
or element issues with getting those restored. But that is

639
00:37:23,039 --> 00:37:27,599
not the case with Smoking Flesh. Good news. Smoking Flesh

640
00:37:27,639 --> 00:37:33,599
does have the original thirty five milimeter elements with Stephen Morowitz.

641
00:37:34,519 --> 00:37:37,239
They are there. These were picked up as part of

642
00:37:37,239 --> 00:37:42,639
the second movie lab Raid, So it's in it's Stephen's hands.

643
00:37:42,760 --> 00:37:46,920
I think this is definitely due for a restoration, so

644
00:37:47,039 --> 00:37:49,760
we'll have to shoot him a message. I don't know

645
00:37:50,000 --> 00:37:51,719
what what what would you package this with?

646
00:37:51,800 --> 00:37:54,159
Speaker 2: Though I was thinking about this, I kind of you

647
00:37:54,199 --> 00:37:56,400
know what I kind of like to do. There were

648
00:37:57,400 --> 00:38:00,000
there were there were two CD sets that came out

649
00:38:00,119 --> 00:38:02,119
a couple of years ago from this music journalist named

650
00:38:02,159 --> 00:38:05,000
John Savage, and he did a series John Savage Is

651
00:38:05,039 --> 00:38:08,360
nineteen sixty six, John Savages nineteen sixty seven, in sixty

652
00:38:08,360 --> 00:38:10,559
eight sixty nine. I think she did sixty five too,

653
00:38:11,000 --> 00:38:13,400
And I kind of feel like it would be kind

654
00:38:13,400 --> 00:38:16,559
of nice to do a collection of three very different

655
00:38:16,559 --> 00:38:20,079
films from like a given year, So like nineteen sixty eight,

656
00:38:20,280 --> 00:38:22,199
we can do Smoke and Flesh from New York, we

657
00:38:22,239 --> 00:38:24,679
can do a California film, we can do a Florida film,

658
00:38:24,760 --> 00:38:28,440
we can do you know, from anywhere else and give

659
00:38:28,639 --> 00:38:31,880
it gives some kind of context of what was going

660
00:38:31,920 --> 00:38:34,880
on in all these different places in one year and why,

661
00:38:35,039 --> 00:38:37,800
And then that actually gives a good idea of why

662
00:38:37,840 --> 00:38:41,039
the genre is so diverse and interesting, because you could

663
00:38:41,079 --> 00:38:43,920
put three or four completely different films together be like

664
00:38:44,000 --> 00:38:46,679
this was all playing in one year, so you could

665
00:38:46,679 --> 00:38:51,320
get all these different takes on sexploitation. That's kind of

666
00:38:51,320 --> 00:38:54,159
the way I would do it, because I there really

667
00:38:54,199 --> 00:38:56,239
aren't a lot of and I noted this in the

668
00:38:56,280 --> 00:38:59,519
notes in terms of like drugs missing drugs and sexploitation

669
00:38:59,800 --> 00:39:02,480
not really a thing in New York didn't really happen

670
00:39:02,519 --> 00:39:03,119
that frequently.

671
00:39:04,360 --> 00:39:07,039
Speaker 3: Plus I feel like that angle has been played out,

672
00:39:07,199 --> 00:39:10,079
like you know, the drug rama just came out like

673
00:39:10,159 --> 00:39:11,280
the drug.

674
00:39:11,760 --> 00:39:13,840
Speaker 2: Like double California for features.

675
00:39:14,039 --> 00:39:14,719
Speaker 3: Yeah, I don't know.

676
00:39:15,639 --> 00:39:18,119
Speaker 2: I like the idea of trying to do something a

677
00:39:18,119 --> 00:39:21,239
little more. I don't know. I kind of liked that idea,

678
00:39:21,280 --> 00:39:23,360
and that wasn't that I also started. I actually started

679
00:39:23,400 --> 00:39:25,760
thinking about that because of The Reviver, where the theme

680
00:39:25,880 --> 00:39:28,199
of arriv two was the Philippines. The film with Robber

681
00:39:28,239 --> 00:39:30,320
One was the Carolinas. And it's like, well, this theme

682
00:39:30,360 --> 00:39:33,519
would just be like nineteen sixty eight. Let's go back

683
00:39:33,519 --> 00:39:35,119
in time to nineteen sixty eight and see what the

684
00:39:35,159 --> 00:39:37,480
hell's going on. We actually have two years to pitch

685
00:39:37,480 --> 00:39:41,079
that for a sixtieth anniversary kind of release. Oh yeah,

686
00:39:41,119 --> 00:39:43,960
so maybe time to put a little bug in somebody's

687
00:39:44,000 --> 00:39:44,840
ears to maybe.

688
00:39:44,559 --> 00:39:47,159
Speaker 3: Do that Yeah, I like that idea.

689
00:39:47,320 --> 00:39:50,000
Speaker 2: Yeah. I think a collection of maybe a two discs set,

690
00:39:50,039 --> 00:39:54,400
two films each on two films on each disc. I

691
00:39:54,440 --> 00:39:56,519
think it would cover a lot of interesting territory and

692
00:39:56,559 --> 00:39:58,480
also be able to check a lot of titles off

693
00:39:58,519 --> 00:40:01,639
of a list that maybe don't belong with other films.

694
00:40:01,719 --> 00:40:03,840
They wouldn't be good singles, they wouldn't they don't really

695
00:40:03,880 --> 00:40:08,159
match with doubles. And that's just kind of where I'm

696
00:40:08,159 --> 00:40:09,679
at right now. I'd love it, Yeah, But.

697
00:40:09,599 --> 00:40:14,320
Speaker 3: I'd like that idea if you're into sexploitation, as Lisa

698
00:40:14,440 --> 00:40:18,199
also agrees with us here, Like sixty eight sixty nine,

699
00:40:18,480 --> 00:40:20,480
some of the best years, some of the best stuff

700
00:40:20,519 --> 00:40:23,639
came out, So I think it would be pretty It

701
00:40:23,639 --> 00:40:27,119
wouldn't be difficult to find some good films from that

702
00:40:27,199 --> 00:40:29,119
year to complete this set.

703
00:40:29,239 --> 00:40:29,599
Speaker 4: Yeah.

704
00:40:29,800 --> 00:40:31,760
Speaker 2: Well, even like Help on a Female is sixty eight,

705
00:40:31,760 --> 00:40:34,199
and that's in California, and that's such a different film,

706
00:40:34,199 --> 00:40:36,760
but even watching that with this is just kind of

707
00:40:36,800 --> 00:40:40,400
like so wildly different. And Girls Come To is ninety

708
00:40:40,480 --> 00:40:43,320
sixty eight, that's in New York. That's a Florida newdest

709
00:40:43,360 --> 00:40:46,920
camp movie. Like for no reason, Suburban Roulette is like

710
00:40:46,960 --> 00:40:50,079
sixty seven sixty eight. That's you know, so there are

711
00:40:50,079 --> 00:40:52,880
so many different paths you can take with different films.

712
00:40:53,119 --> 00:40:55,000
I think it's just I think it's an opportunity to

713
00:40:55,000 --> 00:40:57,800
be creative with trying to get these films out and

714
00:40:57,840 --> 00:41:01,119
try to market them to different people. Yeah, I don't know.

715
00:41:01,199 --> 00:41:03,559
That's yeah, that would work for this film.

716
00:41:03,599 --> 00:41:05,320
Speaker 3: I think I really like it.

717
00:41:05,400 --> 00:41:05,599
Speaker 4: Yep.

718
00:41:05,679 --> 00:41:11,280
Speaker 3: All right, so we've got speaking of like acid Yeah,

719
00:41:11,559 --> 00:41:13,239
what year was Acid Eaters?

720
00:41:14,159 --> 00:41:16,280
Speaker 2: Acid Eaters was sixty eight, So is this year.

721
00:41:16,119 --> 00:41:19,079
Speaker 3: Sixty eight as well? Okay, yeah, yeah, that's it's funny

722
00:41:19,119 --> 00:41:21,599
because yeah, as you mentioned in the show notes as well,

723
00:41:22,800 --> 00:41:27,719
they are these films have the same theme where it's

724
00:41:27,800 --> 00:41:32,840
kind of like regular people partaking in drugs, like on

725
00:41:32,880 --> 00:41:33,519
the weekend.

726
00:41:34,119 --> 00:41:37,199
Speaker 2: Yeah, and it opens very similarly. It's that that's that

727
00:41:37,280 --> 00:41:41,480
clock ticking, it's the montage of people working. It's a motorcycle.

728
00:41:41,760 --> 00:41:45,320
Got someone on a motorcycle. It's like, it's right there,

729
00:41:45,519 --> 00:41:47,960
it's so, it's so and so it's interesting. I I

730
00:41:48,000 --> 00:41:49,800
that was something I didn't get to do because I

731
00:41:49,800 --> 00:41:51,760
got distracted by other stuff. I wanted to see the

732
00:41:51,800 --> 00:41:54,679
earliest that Acid Eaters was released, to see if did

733
00:41:54,679 --> 00:41:59,079
this hit New York before this was produced, was Yeah,

734
00:41:59,239 --> 00:42:01,400
I feel like it might have been, or maybe the

735
00:42:01,440 --> 00:42:04,760
other way around, you know, I don't know. For the record,

736
00:42:04,800 --> 00:42:10,159
I cannot stand Acid Eaters. Yeah, gorgeous to look at, terrible,

737
00:42:10,719 --> 00:42:16,800
just not not not funny, stupid, it's just not good. Yeah.

738
00:42:16,960 --> 00:42:18,960
Speaker 3: Yeah, I think I'd agree with you in terms of, yeah,

739
00:42:19,000 --> 00:42:22,400
the humor is not good, but I do want to

740
00:42:22,440 --> 00:42:23,920
see that restored.

741
00:42:24,039 --> 00:42:27,639
Speaker 2: And I do too, just just just because.

742
00:42:27,480 --> 00:42:30,079
Speaker 3: I believe AGFA is working on something. They've been kind

743
00:42:30,079 --> 00:42:33,599
of hinting at something. We don't have any incident information here, Okay,

744
00:42:33,639 --> 00:42:37,159
I'm I'm not spoiling anything, but they have they have

745
00:42:37,280 --> 00:42:40,920
posted clips from the Negatives, So yeah, I think that

746
00:42:40,920 --> 00:42:42,000
they've got that.

747
00:42:42,000 --> 00:42:44,880
Speaker 2: Seems like that matches them more than it would distripis

748
00:42:44,960 --> 00:42:47,719
to be completely honest, because I think that, especially they

749
00:42:47,719 --> 00:42:49,719
did the drug rama party, I think it makes sense

750
00:42:49,760 --> 00:42:53,599
to have that angle uh first exitation for them, So

751
00:42:53,599 --> 00:42:56,000
that would be a good match and that Yeah, I

752
00:42:56,039 --> 00:42:59,239
mean the cinematography of that is this bold, beautiful, gorgeous

753
00:42:59,280 --> 00:43:01,880
color and it's I think Dave Friedman shot it, which

754
00:43:01,920 --> 00:43:05,719
is also crazy. I believe he shot it really, which

755
00:43:05,800 --> 00:43:08,280
is yeah. I believe, so I think I I think

756
00:43:08,320 --> 00:43:09,239
he shot it.

757
00:43:09,199 --> 00:43:12,400
Speaker 3: Like holding the camera or like directing a photographer.

758
00:43:12,719 --> 00:43:18,039
Speaker 2: Well, cinematographer doesn't always hold the camera. That's a camera operator. Yeah,

759
00:43:18,079 --> 00:43:20,519
so yeah, I believe cinematographer. I don't remember who the

760
00:43:20,559 --> 00:43:24,559
camera operator was, but yes, Byron Mabe, who only made

761
00:43:24,800 --> 00:43:28,400
Let's be Let's Be Real, like two good movies. Maybe

762
00:43:28,880 --> 00:43:32,119
not a good filmmaker. And uh, but yeah, that would

763
00:43:32,119 --> 00:43:34,719
be great to see restored. But the compare. Yeah, it's

764
00:43:34,760 --> 00:43:38,519
so weird that the parallels between these two. But yeah,

765
00:43:38,519 --> 00:43:40,559
one is in color, ones in gorgeous black and white

766
00:43:40,639 --> 00:43:42,960
like they It's a very interesting contrast between the two.

767
00:43:43,760 --> 00:43:46,840
Speaker 3: If I remember, Acid Eaters gets a little darker at

768
00:43:46,880 --> 00:43:49,360
the end with regard to like what happens when you're

769
00:43:49,400 --> 00:43:51,639
on drugs, This one doesn't add.

770
00:43:52,000 --> 00:43:54,840
Speaker 2: Yeah, no, this one doesn't. I mean a little bit,

771
00:43:54,840 --> 00:43:56,960
because it's kind of like, well, if someone you could

772
00:43:57,000 --> 00:43:59,920
have a bad trip, I think, because you're a bad person.

773
00:44:01,920 --> 00:44:05,159
If there's some nasty, stadistic biker that takes acid, then

774
00:44:05,199 --> 00:44:09,039
it's gonna like mess you up. But it's not something

775
00:44:09,079 --> 00:44:12,920
like The Hard Road or Mantison Lace where she loses

776
00:44:12,960 --> 00:44:16,880
her mind and butchers people. It's a very different take

777
00:44:16,920 --> 00:44:17,480
on drugs.

778
00:44:17,760 --> 00:44:21,119
Speaker 3: Yeah, so you mentioned New York. Yeah, they didn't really

779
00:44:21,639 --> 00:44:25,639
do too many drug films around this time. She goes

780
00:44:25,679 --> 00:44:27,480
to pot. I have not seen that yet.

781
00:44:27,639 --> 00:44:28,719
Speaker 2: It's lost.

782
00:44:29,000 --> 00:44:30,639
Speaker 3: Oh okay, well then that and.

783
00:44:30,719 --> 00:44:33,599
Speaker 2: Turn onto Love, which is John Albertson, which is interesting

784
00:44:33,679 --> 00:44:38,719
because John Albertson worked with the production supervisor of this

785
00:44:38,920 --> 00:44:43,360
on on cry Uncle, who executive produced cry Uncle, So

786
00:44:44,559 --> 00:44:46,519
that weird connection. But yeah, those are the only two

787
00:44:46,559 --> 00:44:49,679
things I can think of that were really like marketing

788
00:44:49,719 --> 00:44:54,280
the films as drugs and sex together. It really was

789
00:44:54,320 --> 00:44:57,880
not a New York thing. There were exploitation films about

790
00:44:57,880 --> 00:45:00,519
the dangers of drugs, but yeah, they didn't combined the

791
00:45:00,559 --> 00:45:03,480
two like like California did. But California is also where

792
00:45:03,480 --> 00:45:05,280
like you know, there was it was San Francisco, it

793
00:45:05,360 --> 00:45:08,239
was La It was. It was very different seeing the

794
00:45:08,320 --> 00:45:08,800
New York.

795
00:45:09,079 --> 00:45:12,920
Speaker 3: Yeah, I feel like New York you'll get more like Heroin,

796
00:45:13,719 --> 00:45:15,920
You'll get more Heroin shooting up and it's like.

797
00:45:15,920 --> 00:45:18,239
Speaker 2: Or like in Hot Blood where she takes like whatever

798
00:45:18,480 --> 00:45:21,400
smack or PCP or whatever. Yeah, it is very that

799
00:45:21,639 --> 00:45:24,039
I think of New York, I think of Heroin. I

800
00:45:24,079 --> 00:45:26,599
do think. I don't think of I don't think upon

801
00:45:26,639 --> 00:45:29,360
her lsd. I think of Heroin. It's it's it's a

802
00:45:29,440 --> 00:45:32,559
hard it's a hard place to lift, folks. I'm telling you, yeah,

803
00:45:32,719 --> 00:45:34,199
you want you want it down or you don't want

804
00:45:34,239 --> 00:45:34,920
an upper.

805
00:45:44,239 --> 00:45:44,360
Speaker 4: Hi.

806
00:45:44,480 --> 00:45:46,320
Speaker 8: Se baby, everybody's here.

807
00:45:46,360 --> 00:45:47,320
Speaker 4: It were all ready for the man.

808
00:45:48,519 --> 00:45:50,119
Speaker 10: He had a slight detour, but he's on the right

809
00:45:50,159 --> 00:45:52,960
path now, Okay, I'll see you soon.

810
00:45:53,800 --> 00:45:54,559
Speaker 8: Don't hang me up.

811
00:45:56,119 --> 00:45:59,039
Speaker 3: So the production here, this is the one and only

812
00:45:59,280 --> 00:46:02,119
imp production action correct Imperial Pictures.

813
00:46:02,519 --> 00:46:06,519
Speaker 2: Yes, I found another Imperial Pictures that was there's another

814
00:46:06,559 --> 00:46:09,480
independent company that made films that you like, artists distributed,

815
00:46:09,519 --> 00:46:09,840
not the.

816
00:46:09,800 --> 00:46:15,679
Speaker 3: Same No, yeah, no, And this is pretty much all Manhattan, correct,

817
00:46:16,079 --> 00:46:16,719
I mean you're.

818
00:46:16,519 --> 00:46:20,039
Speaker 2: A Manhattan yep. Yeah, yeah. Except they must have gone

819
00:46:20,199 --> 00:46:23,480
somewhere because there's that sequence that's in the Lincoln Tunnel.

820
00:46:23,800 --> 00:46:26,679
So they obviously went into the tunnel to either they

821
00:46:26,719 --> 00:46:29,360
started in Jersey and went into the Lincoln Tunnel or

822
00:46:29,440 --> 00:46:32,880
they yeah something. That's the only other thing I can

823
00:46:32,880 --> 00:46:35,400
think of. Most of the outdoor locations you see are

824
00:46:35,599 --> 00:46:38,679
Greenwich Village because you can see the Grove Street. I

825
00:46:38,679 --> 00:46:40,960
think it's a Grove Street path Station actually, so that

826
00:46:41,079 --> 00:46:42,960
is people coming in from Jersey to go to work,

827
00:46:43,199 --> 00:46:45,159
and there's a few other locations that I'm like, Oh,

828
00:46:45,280 --> 00:46:48,239
I walk by that when I go to Christopher Street.

829
00:46:48,840 --> 00:46:52,559
Speaker 3: Yeah, So who do you think was involved with production

830
00:46:53,079 --> 00:46:54,440
besides Joseph Manngen.

831
00:46:55,280 --> 00:46:57,480
Speaker 2: I think that's it. I don't have any other theories.

832
00:46:57,559 --> 00:46:59,840
I mean the thing that the thing. The thing to

833
00:47:00,119 --> 00:47:02,360
note with all of these people on the crew, they

834
00:47:02,360 --> 00:47:07,000
all started with Barry Mayhon, so they were making really cheap,

835
00:47:07,159 --> 00:47:09,920
terrible pieces of shit for Barry, and then this was

836
00:47:10,000 --> 00:47:11,760
kind of like them breaking out and being like, you

837
00:47:11,760 --> 00:47:14,679
know what, we can do better. So they did better.

838
00:47:15,360 --> 00:47:17,800
This was not distributed by Barry, which I think is

839
00:47:17,880 --> 00:47:22,599
crazy because that kind of is like taking the opportunities

840
00:47:22,599 --> 00:47:24,719
that Barry gave you to work on films for the

841
00:47:24,719 --> 00:47:26,800
first time and then be like, well, no, we'll handle this.

842
00:47:26,920 --> 00:47:28,559
We don't. We don't want to. We don't want you

843
00:47:28,559 --> 00:47:31,400
to make any money off of this, Barry. So it's

844
00:47:31,519 --> 00:47:32,159
very interesting.

845
00:47:32,360 --> 00:47:32,559
Speaker 8: Yeah.

846
00:47:32,679 --> 00:47:37,599
Speaker 3: Joseph Manjen and the editor of Phil Fitzpatrick both worked

847
00:47:37,639 --> 00:47:41,360
on Hot Skin, Cold Cash before this for Barry.

848
00:47:41,599 --> 00:47:45,519
Speaker 2: Ian Merrick worked with him. Dog Angel did the sound

849
00:47:45,679 --> 00:47:49,880
on Unforbidden Flesh was Barry Mayon produced. Harry Petrissek works

850
00:47:49,920 --> 00:47:52,800
with him, I believe the script girl on the lighting

851
00:47:52,840 --> 00:47:55,440
assistant worked on Run, Swinger, Run and Go Time with

852
00:47:55,480 --> 00:47:58,039
a Bad Girl. So like all of these films, they

853
00:47:58,039 --> 00:48:01,119
all they all did all of this base like apprentice

854
00:48:01,159 --> 00:48:05,599
work on these little quickies with Barry, and then completely

855
00:48:05,639 --> 00:48:10,800
obliterated him with this film. Verry, Barry could never. Barry

856
00:48:10,840 --> 00:48:14,159
could never, you know, but this is you know, this

857
00:48:14,239 --> 00:48:16,360
is just too stylish. I mean, Barry could make something

858
00:48:16,519 --> 00:48:20,360
as plotless as this, but you would feel that length

859
00:48:20,480 --> 00:48:22,960
that would be a long sixty sixty eight minutes.

860
00:48:23,960 --> 00:48:27,599
Speaker 3: Yeah, yeah, Like the camera in this is never really

861
00:48:27,639 --> 00:48:29,400
stationary for too long.

862
00:48:29,599 --> 00:48:29,800
Speaker 5: You know.

863
00:48:29,920 --> 00:48:32,960
Speaker 3: I was just rewatching some parts of Potskin Cold Cash,

864
00:48:33,000 --> 00:48:36,559
and it's a very I mean I like that film

865
00:48:36,599 --> 00:48:39,639
to a certain extent, but it's a very too cameras,

866
00:48:39,840 --> 00:48:43,960
pretty static, basic shots. Yeah, but this, Yeah, there's some

867
00:48:44,000 --> 00:48:46,679
stylish stuff in here, not to mention. Yeah, all that

868
00:48:46,760 --> 00:48:49,119
street footage, it's it would have taken some time to

869
00:48:49,159 --> 00:48:50,840
set up those street shots, don't you think.

870
00:48:51,159 --> 00:48:55,239
Speaker 2: Yes, well, a lot of the shots, that whole sequence

871
00:48:55,239 --> 00:49:00,159
that's under the bed, it's crazy. Yeah, that's crazy. The

872
00:49:00,159 --> 00:49:04,239
the the sequence with like the swinging light in the

873
00:49:04,400 --> 00:49:08,920
in the attic, the overhead. Yeah, like the camera he

874
00:49:09,000 --> 00:49:12,159
is so he's so playful with the camera because he

875
00:49:12,239 --> 00:49:14,719
wants to see what he can do. He's like, I

876
00:49:14,840 --> 00:49:17,400
just that's what makes it so interesting. It's obviously he

877
00:49:17,519 --> 00:49:20,119
it's obvious that he is having like a creative ball

878
00:49:20,199 --> 00:49:22,599
with this because he just he wants to do something

879
00:49:22,639 --> 00:49:24,920
different than what Barry has been asking him to do,

880
00:49:25,360 --> 00:49:28,559
which is, here's this, here's the setup. Move the pan

881
00:49:28,639 --> 00:49:30,480
the camera if you need to. Yeah, it's like it's

882
00:49:30,480 --> 00:49:34,239
simple and cheap. And this does not look simple or cheap.

883
00:49:34,440 --> 00:49:37,119
It looks like they really took the time with it.

884
00:49:37,119 --> 00:49:39,599
It might have been shot in a weekend, but they

885
00:49:39,679 --> 00:49:41,559
wanted to make it look like it was bigger than that.

886
00:49:41,960 --> 00:49:43,679
And I think that I think they succeeded.

887
00:49:44,400 --> 00:49:46,800
Speaker 3: Yeah, so that is interesting that they went out and

888
00:49:46,960 --> 00:49:50,800
just formed their own little production company and this is

889
00:49:50,840 --> 00:49:53,119
the one and only. And I don't know, Yeah, we

890
00:49:53,480 --> 00:49:55,559
don't know what happened. In terms, I didn't it doesn't

891
00:49:55,559 --> 00:49:58,400
seem like it got much play. Did you dig around

892
00:49:58,559 --> 00:49:58,880
a bit?

893
00:49:59,159 --> 00:50:02,519
Speaker 2: Strangely? I found this was on IMDb, of all places,

894
00:50:02,519 --> 00:50:04,760
and I was like, where did this come from? It

895
00:50:04,880 --> 00:50:10,039
was released with, it did get play, as we found,

896
00:50:10,159 --> 00:50:13,480
But the big thing that I found was it was released,

897
00:50:13,559 --> 00:50:16,760
it was reissued with. It was paired with a reissue

898
00:50:16,760 --> 00:50:20,079
of Heavenly Bodies by eve Meyer, And I don't know

899
00:50:20,119 --> 00:50:23,400
if that means that eve Meyer distributed this in California.

900
00:50:23,760 --> 00:50:27,480
I don't know if they were the California distributor. That's

901
00:50:27,559 --> 00:50:29,119
kind of the frustrating thing. This is one of those

902
00:50:29,159 --> 00:50:32,440
films there is no footprints, so we don't know. Joseph,

903
00:50:32,559 --> 00:50:36,039
as we'll go into, didn't do interviews, didn't talk about

904
00:50:36,039 --> 00:50:39,639
these films. There's no documentation in periodicals of the time.

905
00:50:40,199 --> 00:50:44,039
He died very early before anyone could speak to him,

906
00:50:44,440 --> 00:50:47,719
though honestly he was around when this came out on VHS.

907
00:50:47,800 --> 00:50:49,800
I'm a little bummed that nobody reached out to him

908
00:50:49,800 --> 00:50:52,239
after seeing the VHS, but that's just that's kind of

909
00:50:52,280 --> 00:50:53,639
the way it is for a lot of these films.

910
00:50:53,679 --> 00:50:55,719
I think people were afraid to reach out to people

911
00:50:55,800 --> 00:51:00,119
or didn't know how to. But there are so many

912
00:51:00,159 --> 00:51:01,960
things involved with this that we're just never gonna know.

913
00:51:02,079 --> 00:51:05,800
We don't know who Imperial Pictures is, We never probably

914
00:51:05,840 --> 00:51:08,599
never will. We don't know about the distribution. We don't

915
00:51:08,599 --> 00:51:11,719
know who we handle distribution. We probably never will. We

916
00:51:11,719 --> 00:51:14,199
don't know how well it's a theatrically, probably never will.

917
00:51:15,159 --> 00:51:17,159
I think the important thing to focus on with this

918
00:51:17,360 --> 00:51:21,679
is what it meant in terms of man Gene's career,

919
00:51:22,400 --> 00:51:26,639
because from here it was just like NonStop. I think it.

920
00:51:26,840 --> 00:51:28,920
I think it made people in the industry pay attention

921
00:51:29,440 --> 00:51:32,480
because I think, honestly, if you're basically in New York

922
00:51:32,599 --> 00:51:35,960
making sexpectation and you're working for Barry Mayhon exclusively, I

923
00:51:35,960 --> 00:51:38,559
don't think people are gonna take you seriously about your

924
00:51:38,599 --> 00:51:41,440
technical skill, which is like there is no technical skill

925
00:51:41,480 --> 00:51:43,519
involved with a Barry Mayhon film. So I think this

926
00:51:43,559 --> 00:51:45,239
is kind of like, listen, I can make your movie

927
00:51:45,239 --> 00:51:47,639
look good. I can light I can light your women well.

928
00:51:48,079 --> 00:51:51,119
I can I can edit it really really crisply so

929
00:51:51,199 --> 00:51:53,639
that it flows really well. I think it was. It

930
00:51:53,679 --> 00:51:55,719
feels like much more of a calling card for him

931
00:51:55,760 --> 00:51:59,760
to be like I'm here, hire me, like this is what.

932
00:51:59,760 --> 00:52:00,199
Speaker 9: I can do.

933
00:52:01,000 --> 00:52:03,599
Speaker 3: Yeah, like you said, yeah, there's not much out there

934
00:52:03,639 --> 00:52:07,480
on Joseph Manjen So you know, I was dating around

935
00:52:07,719 --> 00:52:11,679
and I found Steven Scarlatta you know, he's a film producer.

936
00:52:11,760 --> 00:52:17,199
He did that Shark'sploitation documentary. He's directed films. He did

937
00:52:17,239 --> 00:52:22,400
a podcast all about Neon Maniacs of all things, Yeah,

938
00:52:22,440 --> 00:52:26,320
which Joseph Manjen shot, So you know, he did a

939
00:52:26,639 --> 00:52:28,840
I don't know how many episodes. It was nine. It's

940
00:52:28,880 --> 00:52:33,280
a you know, a series podcast. And I'm like, there's

941
00:52:33,320 --> 00:52:36,199
got to be something on Joseph manjing in here and

942
00:52:36,360 --> 00:52:40,519
I listened, and the editor on Neon Maniacs, Timothy Snell,

943
00:52:40,599 --> 00:52:42,840
he was the only guy who really had anything to

944
00:52:42,880 --> 00:52:45,679
say about him. And I'm just going to kind of

945
00:52:45,719 --> 00:52:51,079
paraphrase here. This is all from Steven Scarletta's podcast. He said,

946
00:52:51,159 --> 00:52:54,880
Joe was a Brooklyn Nite, a longtime New Yorker, a

947
00:52:55,039 --> 00:52:58,719
very like neighborhood kind of guy. He was thin framed,

948
00:52:58,880 --> 00:53:02,719
a vegetarian way back in the day before it was cool.

949
00:53:03,519 --> 00:53:07,000
He had very long hair. He kept he kept mentioning that,

950
00:53:07,079 --> 00:53:09,400
like he had very long hair, but he looked older

951
00:53:09,400 --> 00:53:12,039
than he was. And the running gag, like on the

952
00:53:12,159 --> 00:53:15,559
set of Neon Maniacs was like how old is Joe?

953
00:53:16,880 --> 00:53:20,159
Because nobody could figure it out. He used to drive

954
00:53:20,400 --> 00:53:24,239
tow trucks, which I have found evidence of. He also

955
00:53:24,320 --> 00:53:27,360
said he was a welder and an artist. He like

956
00:53:27,400 --> 00:53:32,280
made sculptures. Joe was part of the urban Brooklyn scene

957
00:53:32,320 --> 00:53:36,239
back in the seventies, like Red Hook area, And that's

958
00:53:36,280 --> 00:53:38,719
pretty much it. That's kind of the picture we got

959
00:53:38,719 --> 00:53:43,960
of Joseph Mangin. And again I looked in our buddy

960
00:53:44,000 --> 00:53:47,400
Stephen Thrower's book Nightmare USA, because he's got that big

961
00:53:47,519 --> 00:53:52,239
chapter on David Durston, and there's no mention of Joseph Mangin.

962
00:53:52,440 --> 00:53:55,119
So just like, gosh, gimme something here, guys.

963
00:53:55,840 --> 00:53:58,599
Speaker 2: No, you found some good stuff though for some other

964
00:53:58,639 --> 00:54:01,719
people on some later x yation films he made. Because

965
00:54:02,239 --> 00:54:04,519
let me tell you, I've been looking too, because you know,

966
00:54:04,599 --> 00:54:06,480
he shot a lot of stuff that I really like

967
00:54:07,039 --> 00:54:10,320
and not easy, I think, because he was someone who

968
00:54:10,400 --> 00:54:12,679
wanted his work to speak for himself. It sounds like

969
00:54:12,920 --> 00:54:15,159
it sounds like he didn't want attention. He was not

970
00:54:15,199 --> 00:54:18,559
a self promoter. He was a journeyman photographer. He didn't

971
00:54:18,559 --> 00:54:19,239
want the attention.

972
00:54:19,920 --> 00:54:22,000
Speaker 3: You know. He did again he did I Drink your

973
00:54:22,000 --> 00:54:24,320
Blood after a blue sex tet. So obviously him and

974
00:54:24,400 --> 00:54:26,920
durst And got along well enough there.

975
00:54:27,320 --> 00:54:30,079
Speaker 2: Right, And I don't remember if he's mentioned on that release,

976
00:54:30,599 --> 00:54:33,639
because I have that release and there's there's a commentary

977
00:54:33,679 --> 00:54:35,559
and I Drink Your Blood and a commentary on Blue

978
00:54:35,559 --> 00:54:38,679
Sex Tet. But I don't think Jack Damon says anything

979
00:54:38,719 --> 00:54:40,639
on the Blue Sex Tet commentary because I listened to

980
00:54:40,679 --> 00:54:43,280
it and it's actually not a great commentary. He doesn't

981
00:54:43,280 --> 00:54:46,000
even mention that he did Rent a Girl. He does

982
00:54:46,000 --> 00:54:47,760
not talk about the rest of his career other than

983
00:54:48,199 --> 00:54:48,800
that film.

984
00:54:49,079 --> 00:54:51,719
Speaker 3: Yeah, the picture I get is, yeah, he was just

985
00:54:52,480 --> 00:54:56,719
a pro behind the scenes again. Yeah, another quote from

986
00:54:56,760 --> 00:54:59,840
Timothy Snell from that Neon Maniac podcast. He was just

987
00:55:00,039 --> 00:55:04,400
talking about how Joseph was. He loved lighting, like that

988
00:55:04,639 --> 00:55:08,679
was what he really liked to do. So you know,

989
00:55:08,719 --> 00:55:12,480
maybe you know, obviously you only did these two director,

990
00:55:13,079 --> 00:55:16,239
he directed twice in his whole career. You know, lighting

991
00:55:16,320 --> 00:55:19,960
and camera work was his passion and he could be

992
00:55:20,320 --> 00:55:23,760
The quote was he was a very fastidious lighter, which

993
00:55:24,119 --> 00:55:25,880
I mean, look at this black and white, like you

994
00:55:25,920 --> 00:55:28,760
said that that hanging chandle or that hanging light scene

995
00:55:28,800 --> 00:55:32,320
in the attic of smoking flesh. Maybe that's a great scene.

996
00:55:32,400 --> 00:55:35,199
Speaker 2: Yeah, amazing, But then there's also it makes me think

997
00:55:35,199 --> 00:55:38,239
of that scene in Squirm, where the that entire sequence

998
00:55:38,239 --> 00:55:42,079
where that whole house has no lights, it's like one

999
00:55:42,239 --> 00:55:45,079
little it's like, you know, a candle or like a

1000
00:55:45,119 --> 00:55:47,360
flashlight or something, and that whole that whole thing is

1001
00:55:47,400 --> 00:55:51,920
just impeccably lit and photographed for that particular film.

1002
00:55:52,559 --> 00:55:55,039
Speaker 3: Yeah, and there was also, yeah that mentioned on you

1003
00:55:55,119 --> 00:55:59,719
mentioned Squirm. Yeah, apparently Lieberman the director was not doing

1004
00:56:00,119 --> 00:56:03,639
right when shooting that or when you know that together.

1005
00:56:03,960 --> 00:56:07,719
Speaker 2: Yeah, maybe there's a reason why he's only directed what

1006
00:56:07,960 --> 00:56:10,199
five movies. Yeah, he's he's kind.

1007
00:56:10,039 --> 00:56:13,599
Speaker 3: Of difficult and apparently Yeah, Joseph Manjen kind of saved

1008
00:56:13,639 --> 00:56:16,679
his ass and kind of guided that production a bit

1009
00:56:16,719 --> 00:56:20,880
in terms of, hey, let's not shoot this sequential order

1010
00:56:21,320 --> 00:56:24,239
because that's insane. Nope, that's there's a reason why nobody

1011
00:56:24,280 --> 00:56:25,760
does legitimately insane.

1012
00:56:25,920 --> 00:56:29,840
Speaker 2: Exactly what are you, Andy Warhol, Yeah, we're not doing that.

1013
00:56:30,000 --> 00:56:33,199
Speaker 3: So you kind of, yeah, helped get that thing back

1014
00:56:33,280 --> 00:56:37,199
on schedule by just shooting, shooting, shooting as much footage

1015
00:56:37,199 --> 00:56:39,039
as you can and figured it out later.

1016
00:56:39,920 --> 00:56:40,400
Speaker 2: Yeah.

1017
00:56:40,480 --> 00:56:44,719
Speaker 3: Yeah, just a pro Yeah. Squirms amazing. I love Squirm.

1018
00:56:45,039 --> 00:56:47,840
Speaker 2: I love Squirm two. I think it's really it's it's

1019
00:56:47,960 --> 00:56:50,960
I'm not yeah, that was when I first saw not

1020
00:56:51,039 --> 00:56:53,639
an MSc three K. Actually I think I saw it,

1021
00:56:54,039 --> 00:56:56,280
someone suggested it. I think I saw on an old

1022
00:56:56,360 --> 00:56:57,239
mg MBHs.

1023
00:56:58,199 --> 00:57:02,519
Speaker 3: So this is actually really good like this, yeah, and

1024
00:57:02,639 --> 00:57:05,360
I mean we'd be remiss. Also to mention he shot

1025
00:57:05,599 --> 00:57:07,719
a bunch of porn, very good porn.

1026
00:57:07,599 --> 00:57:10,800
Speaker 2: I feel like, very good typically typically a good track

1027
00:57:10,840 --> 00:57:13,920
record in porn. I think he was selective of as projects.

1028
00:57:14,000 --> 00:57:16,840
And also I think the big ones that he did

1029
00:57:16,840 --> 00:57:19,360
were connections back to his softcore days. So essentially there

1030
00:57:19,360 --> 00:57:22,239
were people who worked with in softcore that then did hardcore,

1031
00:57:22,320 --> 00:57:25,320
like Jerry Denby. He did Erica one, a pleasure plantation

1032
00:57:25,440 --> 00:57:28,679
for Jerry Denby, and then he did Whatever Happened to

1033
00:57:28,719 --> 00:57:31,639
Miss September for Denby, and that one's really well shot.

1034
00:57:31,920 --> 00:57:34,719
He does really good, good photography of Tina Russell in

1035
00:57:34,800 --> 00:57:38,760
that she looks. Some of her best footage is in

1036
00:57:38,760 --> 00:57:41,800
that film. And then Kamal Harulu who we worked with

1037
00:57:41,800 --> 00:57:44,719
with the Barry Mahon group, uh, and then he shot

1038
00:57:44,719 --> 00:57:48,599
Feelings and I think Blue Ecstasy. So the two of

1039
00:57:48,599 --> 00:57:52,480
the two Leslie Bovet Star vehicles for for Kamal Harulu,

1040
00:57:53,280 --> 00:57:56,079
and those are really well done. Blue Ecstasy is blue.

1041
00:57:56,079 --> 00:57:58,639
Ectasy is another one. Vandger Sindram has that and they're

1042
00:57:58,719 --> 00:58:00,480
they're not sure they want to really, he said, I

1043
00:58:00,519 --> 00:58:02,599
beg Joe to put out those last two Kamal Har

1044
00:58:02,639 --> 00:58:03,280
Rulu movies.

1045
00:58:04,039 --> 00:58:08,159
Speaker 3: Yeah, I've seen. I saw Lustful Feelings that I haven't seen.

1046
00:58:08,679 --> 00:58:11,760
Speaker 2: Yeah, glue Actasy's good. It's Leslie bove In like a

1047
00:58:11,840 --> 00:58:16,000
dual role. She plays sisters and by that by that

1048
00:58:16,039 --> 00:58:18,440
time that was a few years after she had definitely

1049
00:58:18,480 --> 00:58:21,079
developed as an actress. So she's much better in that

1050
00:58:21,320 --> 00:58:24,159
than she is in Lustful Feelings. I think she you know,

1051
00:58:24,239 --> 00:58:27,199
she took more time, but yeah, lustful Feelings is great.

1052
00:58:27,360 --> 00:58:29,119
They need to release that. And when she was bad.

1053
00:58:29,119 --> 00:58:31,239
Those are the last two Hurulu movies that they have

1054
00:58:31,360 --> 00:58:34,079
the negatives too, So put them out as a pikorama.

1055
00:58:34,480 --> 00:58:37,079
Just dump them. I don't need extras. Just put them

1056
00:58:37,079 --> 00:58:38,079
out restored. Please.

1057
00:58:38,960 --> 00:58:41,360
Speaker 3: The other kind of odd balls, too, are a couple

1058
00:58:41,559 --> 00:58:47,719
like costume pictures, Naughty Victorians and Captain lust. He's yeah,

1059
00:58:47,800 --> 00:58:52,119
if you watch these, his pseudonym is Joe Mann, so

1060
00:58:52,199 --> 00:58:55,079
look for that. But uh, naughty Victorians.

1061
00:58:55,159 --> 00:58:55,320
Speaker 4: Yeah.

1062
00:58:55,360 --> 00:58:59,679
Speaker 3: Another like, according according to the cast, like ten thousand

1063
00:58:59,719 --> 00:59:02,679
dollars film like this was a very very low budget film.

1064
00:59:02,800 --> 00:59:06,360
It doesn't look it. It looks pretty sumptuous, and I.

1065
00:59:06,280 --> 00:59:08,679
Speaker 2: Think he's someone who with a visual eye. He really

1066
00:59:08,719 --> 00:59:12,880
tries to make it look like a period pieces. It's not.

1067
00:59:13,079 --> 00:59:15,599
It looks of the time, like he takes really good

1068
00:59:15,599 --> 00:59:18,039
care with the lighting and the framing and everything. Yeah,

1069
00:59:18,079 --> 00:59:21,679
he's just it's very interesting his background that and that's

1070
00:59:21,679 --> 00:59:23,599
why it's frustrating we don't know more about him. I'm like,

1071
00:59:24,119 --> 00:59:26,159
where did he learn this stuff? If he was from

1072
00:59:26,159 --> 00:59:28,000
like a working class background and was involved with truck

1073
00:59:28,039 --> 00:59:30,360
driving and things like that, where did he develop his

1074
00:59:30,440 --> 00:59:33,880
visual eye? Was he into photography? Like where where did

1075
00:59:33,920 --> 00:59:35,880
he find this? Did he go to film school? Did

1076
00:59:35,880 --> 00:59:37,239
he work on industrial films?

1077
00:59:37,280 --> 00:59:37,360
Speaker 10: Like?

1078
00:59:37,880 --> 00:59:39,880
Speaker 2: That's a frustrating thing about him is that he left

1079
00:59:39,920 --> 00:59:43,119
such a great collection of films that he worked on,

1080
00:59:43,480 --> 00:59:45,639
and we just don't know that much. Because I also

1081
00:59:45,639 --> 00:59:47,840
feel like the people he worked with, for whatever reason,

1082
00:59:48,360 --> 00:59:51,280
didn't think to ask questions of him and learn more

1083
00:59:51,320 --> 00:59:53,800
about him. So I'm glad that the guy in Theomaniacs

1084
00:59:53,840 --> 00:59:56,199
actually was able to share stuff about him because nobody

1085
00:59:56,199 --> 00:59:57,760
else has same. Yeah.

1086
00:59:57,840 --> 01:00:02,880
Speaker 3: Yeah, there's that weird thing on IMDb under Joseph's biography,

1087
01:00:02,920 --> 01:00:07,599
where it says he was a stunt parachute specialist turned photographer.

1088
01:00:07,960 --> 01:00:12,320
He began his career shooting surfing and adventure documentaries. But

1089
01:00:12,400 --> 01:00:14,960
I don't I couldn't find any evidence of where this

1090
01:00:15,039 --> 01:00:16,119
information is coming from.

1091
01:00:16,400 --> 01:00:19,440
Speaker 2: No, and that bio is by someone named Charles Manngen.

1092
01:00:19,760 --> 01:00:21,599
He didn't have a son, so I don't know who

1093
01:00:21,679 --> 01:00:24,960
Charles me and a brother that's no longer with us.

1094
01:00:25,079 --> 01:00:28,719
I found his widow and he had a daughter. He

1095
01:00:28,760 --> 01:00:34,599
did not have a son, So yeah, but honestly, the parachuting, clearly,

1096
01:00:34,679 --> 01:00:39,519
that's the Barry connection clearly. Yeah, and Ian Merrick too,

1097
01:00:39,559 --> 01:00:42,400
because Ian Merrick is we'll go over met Barry at

1098
01:00:42,400 --> 01:00:44,599
the World Skydiving Championships and what do you do when

1099
01:00:44,639 --> 01:00:48,480
you skydive? You have parachutes. Yeah, so he might have

1100
01:00:48,559 --> 01:00:50,920
even been on like the US team at those championships

1101
01:00:50,920 --> 01:00:51,480
for all we know.

1102
01:00:52,039 --> 01:00:53,960
Speaker 3: Yeah, very interesting.

1103
01:00:54,360 --> 01:00:56,280
Speaker 2: You know, I hate suppositions, but this is gonna be

1104
01:00:56,280 --> 01:00:59,400
an episode of a lot of suppositions, because you know, yeah,

1105
01:00:59,440 --> 01:01:04,719
well we're on the case. Unfortunately, everything that is available

1106
01:01:04,719 --> 01:01:09,320
to researchers just does not paint the clearest picture of

1107
01:01:09,320 --> 01:01:09,719
this guy.

1108
01:01:10,320 --> 01:01:13,960
Speaker 3: Yeah, this is for Alex DeSanto here. I forgot to mention.

1109
01:01:14,079 --> 01:01:16,679
You know when when Timothy Snell, the editor of Neon Manix,

1110
01:01:16,800 --> 01:01:20,119
was talking about Joe loving to light, Yeah, I forgot

1111
01:01:20,119 --> 01:01:22,880
this quote. He was like, Joe's favorite way to light

1112
01:01:23,039 --> 01:01:26,960
was pa rs with tinfoil. He would mold the tinfoil

1113
01:01:27,039 --> 01:01:31,239
to get the right bead, very painterly. He wasn't one

1114
01:01:31,280 --> 01:01:33,400
to just put up a bank of lights and blast

1115
01:01:33,440 --> 01:01:38,000
the set. So that's for Alex. I know how much

1116
01:01:38,039 --> 01:01:41,800
he loves the intricacies of lighting, especially black and white lighting.

1117
01:01:42,000 --> 01:01:42,360
Speaker 4: Yeah.

1118
01:01:42,559 --> 01:01:44,400
Speaker 2: Actually Chris probably would eat that up too.

1119
01:01:44,679 --> 01:01:44,880
Speaker 4: Yeah.

1120
01:01:44,960 --> 01:01:47,000
Speaker 2: Different kind of different kind of lighting, but you know,

1121
01:01:47,079 --> 01:01:52,679
film lightings, yeah, next door to photography lighting. Yeah.

1122
01:01:52,760 --> 01:01:55,159
Speaker 3: Is there anything else we should say about Joe before

1123
01:01:55,239 --> 01:01:55,920
we move on.

1124
01:01:56,599 --> 01:01:58,880
Speaker 2: Well, he was by coastal He would go back and

1125
01:01:58,920 --> 01:02:00,639
forth between New York and cow for you. He shot

1126
01:02:00,719 --> 01:02:04,519
Cinderella for Michael Pataki. Yeah, I forgot to gorgeous, gorgeous

1127
01:02:04,599 --> 01:02:09,039
widescreen photography, and that that is so Compare that to

1128
01:02:09,079 --> 01:02:11,679
Alice in Wonderland and it's like night and day. Like

1129
01:02:11,840 --> 01:02:15,079
no offense to Joe Barto who shot Alice in Wonderland

1130
01:02:16,079 --> 01:02:20,239
Night and Day. Cinderella looks like a major Hollywood production.

1131
01:02:20,760 --> 01:02:23,440
Speaker 3: Wow, you know yeah, I guess we haven't even mentioned

1132
01:02:23,519 --> 01:02:25,760
some of his biggest films which he did in the eighties,

1133
01:02:25,800 --> 01:02:29,920
which is he did Alligator. Everybody's seen the Alligator for

1134
01:02:30,000 --> 01:02:32,280
The Chases yep. And he did The Sword and the

1135
01:02:32,320 --> 01:02:34,000
Sorcer for Albert Pion.

1136
01:02:34,559 --> 01:02:34,760
Speaker 2: Yeah.

1137
01:02:34,840 --> 01:02:36,079
Speaker 3: Have you seen Alone in the Dark.

1138
01:02:36,360 --> 01:02:38,480
Speaker 2: I like Alone in the Dark. And actually I was

1139
01:02:38,519 --> 01:02:40,360
just adding to the notes. Alone in the Dark is

1140
01:02:40,360 --> 01:02:42,880
where he met his wife. Oh, because his wife was

1141
01:02:43,519 --> 01:02:47,920
So his wife is Adrian Hamalian or Himelian. I need

1142
01:02:47,920 --> 01:02:52,320
to reach out to her. Obviously, she was shockingly the

1143
01:02:52,360 --> 01:02:56,199
assistant director on Alice, Sweet Alice, so she was you know,

1144
01:02:56,280 --> 01:02:58,920
East Coast based, but then she became a very prolific

1145
01:02:58,920 --> 01:03:02,119
script supervisor. So she was the script supervisor on Alone

1146
01:03:02,159 --> 01:03:04,440
in the Dark, and so I believe that's where they

1147
01:03:04,480 --> 01:03:06,880
met because she also then was the script supervisor on

1148
01:03:07,400 --> 01:03:11,480
Neon Maniacs. She was just a serious supervisor on like, oh,

1149
01:03:11,559 --> 01:03:14,360
starts a crazy movies, Don't Masters of the Universe, Bill

1150
01:03:14,440 --> 01:03:16,199
tis Ex on Adventure, Don't Tell Him? On The Baby

1151
01:03:16,199 --> 01:03:19,440
Theater's Dead nine and a half weeks Critters. She also

1152
01:03:20,119 --> 01:03:22,320
worked on Community in the Office, two of my favorite

1153
01:03:22,320 --> 01:03:25,079
TV shows, So like she's she's retired now. She was

1154
01:03:25,159 --> 01:03:29,719
incredibly prolific script supervisor and when he passed in I believe,

1155
01:03:29,760 --> 01:03:33,039
what was the two thousand and six, I think two

1156
01:03:33,039 --> 01:03:36,920
thousand and six. Yeah, yeah, she was several years younger

1157
01:03:36,920 --> 01:03:40,159
than him, So she is still around, and I feel

1158
01:03:40,159 --> 01:03:42,039
like if we're going to get a larger picture of

1159
01:03:42,039 --> 01:03:44,920
who he was, I feel like Adriam would be able

1160
01:03:44,960 --> 01:03:49,199
to assist with that. So I'm I am reaching out

1161
01:03:49,199 --> 01:03:50,840
to her to see if she would like to do

1162
01:03:51,159 --> 01:03:54,679
a conversation about him. Though this is the twentieth anniversary

1163
01:03:54,679 --> 01:03:59,239
of his passing, so I feel like that that might

1164
01:03:59,280 --> 01:04:02,719
be difficult, But I think actually now would be maybe

1165
01:04:02,760 --> 01:04:06,079
the best time to discuss him, twenty years after he passed,

1166
01:04:06,119 --> 01:04:08,079
because not enough people are talking about him.

1167
01:04:08,239 --> 01:04:12,239
Speaker 3: No, yeah, a little celebration. Maybe she wants to get more, Yeah,

1168
01:04:12,320 --> 01:04:13,480
get his story out there.

1169
01:04:14,320 --> 01:04:17,480
Speaker 2: Yeah, so well, she she has to say. But he

1170
01:04:17,519 --> 01:04:19,760
also came back to New York and did Mother's Day

1171
01:04:20,039 --> 01:04:23,320
for Charlie Kaufman. Yeah, with his wild and then he

1172
01:04:23,360 --> 01:04:27,840
did Yeah, his his resume is nuts, but yeah, good,

1173
01:04:27,880 --> 01:04:30,239
interesting guy. He I think he shot almost the entire

1174
01:04:30,320 --> 01:04:31,840
series of Swamp Thing in the nineties.

1175
01:04:32,239 --> 01:04:36,599
Speaker 3: Yep, I noticed that too. Yeah, after Neon Maniacs, he

1176
01:04:36,679 --> 01:04:39,840
mostly did TV it's it looks like And maybe those

1177
01:04:39,840 --> 01:04:43,400
were connections either that he made, maybe Adrian helped make

1178
01:04:43,440 --> 01:04:45,519
some of those connections, or he had a.

1179
01:04:45,440 --> 01:04:48,719
Speaker 2: Good calling card. I think yeah, he had a good resume.

1180
01:04:49,079 --> 01:04:52,320
I'm sure that that helped. He reminds me of Ron Garcia. Yeah,

1181
01:04:52,320 --> 01:04:54,880
and that ron Garcia showed up, did the work, that

1182
01:04:55,000 --> 01:04:57,159
was it. When he does when he does interviews, like,

1183
01:04:57,800 --> 01:05:02,519
he's very u humble and he likes to downplay the

1184
01:05:02,559 --> 01:05:04,840
work that he did. And also he doesn't really you know,

1185
01:05:04,920 --> 01:05:10,039
he didn't really like being a director. So yeah, yeah,

1186
01:05:10,079 --> 01:05:11,880
definitely I can see that comparison.

1187
01:05:12,880 --> 01:05:17,280
Speaker 3: We mentioned. Phil Fitzpatrick was a very Mayhon guy. He

1188
01:05:17,400 --> 01:05:20,159
edited Hot Skin, war More, Beds, Some Like a Violent

1189
01:05:20,480 --> 01:05:24,280
Assistant director and Run Swinger Run. He was also the

1190
01:05:24,400 --> 01:05:27,719
editor on this. Anything else to say about.

1191
01:05:27,559 --> 01:05:30,440
Speaker 2: Phil not a clue that name is way too common?

1192
01:05:30,599 --> 01:05:34,920
Speaker 5: Yeah, no, no, but again, yeah, just another Erry Mayhan

1193
01:05:35,039 --> 01:05:39,000
guy that tagged along when they were breaking out from

1194
01:05:39,039 --> 01:05:40,639
the shadow of Big Berry.

1195
01:05:42,039 --> 01:05:45,960
Speaker 3: Ian Merrick production supervisor, English because.

1196
01:05:46,360 --> 01:05:48,639
Speaker 2: Yeah, this is an important one in America. I mean,

1197
01:05:48,639 --> 01:05:53,039
he's also the big success story out of this film. Yeah.

1198
01:05:53,159 --> 01:05:55,880
So he was a British guy emigrated to the US

1199
01:05:55,960 --> 01:05:58,880
in the sixties. He was a photo journalist. He had

1200
01:05:58,880 --> 01:06:03,159
trained at Foxville, Potos and Baron Studios in London. He

1201
01:06:03,239 --> 01:06:06,639
met Barry Mayhon at the World Skydipping Championships where Ian

1202
01:06:06,719 --> 01:06:11,639
was captain of the British team and Barry because Barry

1203
01:06:11,760 --> 01:06:14,239
liked to do this. That's the thing about Barry. I

1204
01:06:14,239 --> 01:06:17,679
don't think he cared about anyone's technical qualifications. He's like,

1205
01:06:17,679 --> 01:06:19,280
you're a friend of mine, I'll give you work, and

1206
01:06:19,320 --> 01:06:24,960
I'm just like, great Barry. Okay. So he made Merrik

1207
01:06:25,000 --> 01:06:27,519
the vice president in charge of productions of Barry Mayhon

1208
01:06:27,599 --> 01:06:31,400
Productions and he oversaw eight films. I don't know what

1209
01:06:31,480 --> 01:06:33,599
all those eight are. I imagine there's some that he's

1210
01:06:33,639 --> 01:06:36,639
not credited on, because, as you know, Barry films don't

1211
01:06:36,639 --> 01:06:40,079
always have credits. He produced a fighter pilot drama called

1212
01:06:40,079 --> 01:06:42,360
The Angry Sky for Barry that was made in nineteen

1213
01:06:42,360 --> 01:06:46,559
sixty six. It apparently was never formally released, but a

1214
01:06:46,599 --> 01:06:49,920
premiere happened at Augie Hoffmann Surf Club in Ortley Beach,

1215
01:06:49,960 --> 01:06:53,000
New Jersey in nineteen sixty six. And I don't know

1216
01:06:53,079 --> 01:06:56,559
where that film went, but apparently obviously something dear to

1217
01:06:56,559 --> 01:06:58,960
Barry's heart if it's about a fighter pilot, because that's

1218
01:06:59,159 --> 01:07:03,199
Barry's story. He was production supervisor on Sound Like a Violence,

1219
01:07:03,519 --> 01:07:06,760
which was Barry, which was Kamal Harulu, and also Pleasure Plantation,

1220
01:07:07,400 --> 01:07:13,400
and who worked on both of those, Joseph Mangin. Uh So, yeah,

1221
01:07:13,440 --> 01:07:15,880
he's stuck with He stuck with Joe on a bunch

1222
01:07:15,960 --> 01:07:20,559
of these things. He produced for John Avilson. But the

1223
01:07:20,599 --> 01:07:23,440
big thing was, I mean, he was so close to Mangen.

1224
01:07:23,800 --> 01:07:25,639
He did this movie called The Black Panther. He went

1225
01:07:25,679 --> 01:07:27,360
back to the UK and did it and was based

1226
01:07:27,400 --> 01:07:30,960
on true story and Mangine shot it. That's when you

1227
01:07:31,039 --> 01:07:32,840
know that it's somebody that you want to work with,

1228
01:07:32,960 --> 01:07:35,440
you dragged them over to the UK to shoot, you know.

1229
01:07:36,079 --> 01:07:38,679
I think it's the only movie that he made in

1230
01:07:38,760 --> 01:07:40,400
the UK. I think he just came back to the

1231
01:07:40,480 --> 01:07:45,639
US and just continued doing stuff. Relocated to California where

1232
01:07:45,719 --> 01:07:48,559
he worked on Apocalypse Now for Francis Poucoppola, and he

1233
01:07:48,599 --> 01:07:51,079
developed the script of what would become flash Dance, and

1234
01:07:51,119 --> 01:07:54,480
then apparently he devised the original concept for et which

1235
01:07:54,519 --> 01:07:57,000
I don't know. I love to know more about that.

1236
01:07:57,920 --> 01:08:01,039
He became the head of production development Hendale, which was

1237
01:08:01,079 --> 01:08:05,199
a big studio at the time. They did Platoon and

1238
01:08:05,239 --> 01:08:07,719
also The Last Emperor, the Berdulucci movie, and I think

1239
01:08:07,760 --> 01:08:10,119
all there, most of their stuff was purchased by MGM.

1240
01:08:10,199 --> 01:08:14,199
I believe when they went out of business. He's still around.

1241
01:08:14,880 --> 01:08:19,319
I need to contact him because he is the only

1242
01:08:19,359 --> 01:08:22,920
person on this production crew that I think is around.

1243
01:08:23,680 --> 01:08:26,319
He's eighty four to only. He was interviewed for the

1244
01:08:26,359 --> 01:08:30,119
Italian release of The Black Panther on DVD, but I

1245
01:08:30,239 --> 01:08:32,039
can't get a I can't find a copy of that.

1246
01:08:32,640 --> 01:08:34,760
And for whatever reason, he was not included on the

1247
01:08:34,760 --> 01:08:37,000
BFI flip side Blu ray of that movie, and I

1248
01:08:37,039 --> 01:08:41,000
don't know why that is. Yeah, I don't know why

1249
01:08:41,000 --> 01:08:41,319
that is.

1250
01:08:41,720 --> 01:08:44,920
Speaker 3: It's like a sit down interview, not a commentary, right, No,

1251
01:08:45,000 --> 01:08:49,079
it's an interview, all right. Well, Doug Angel sound another

1252
01:08:49,279 --> 01:08:49,800
Erry guy?

1253
01:08:50,720 --> 01:08:54,600
Speaker 2: Yes, yeah, same, same same story, nothing more, nothing more

1254
01:08:54,600 --> 01:08:57,920
on him. And he also did sound on some Kamalfa

1255
01:08:58,000 --> 01:09:00,760
Rulu movie. So once again, these people hanging tight and

1256
01:09:00,800 --> 01:09:02,319
helping each other when they moved to hardcore.

1257
01:09:02,720 --> 01:09:06,399
Speaker 3: Yeah, Harry Petrick, check second cameraman.

1258
01:09:07,319 --> 01:09:11,239
Speaker 2: Yeah, this is he's. This was an interesting journey because

1259
01:09:11,239 --> 01:09:13,920
I was kind of like, well, this guy he was

1260
01:09:13,920 --> 01:09:16,119
so he worked so much for other people. This was

1261
01:09:16,199 --> 01:09:19,560
kind of his only Barry connection. He didn't work for

1262
01:09:19,640 --> 01:09:24,720
Barry or anybody else, at least credited that I can find.

1263
01:09:26,039 --> 01:09:28,239
He was mostly connected to Sandy Johnson. He shot all

1264
01:09:28,239 --> 01:09:31,000
the good Sandy Johnson stuff, including teenage Gang Debs. And

1265
01:09:31,000 --> 01:09:34,000
he was also assistant camera on Girl from Sion and

1266
01:09:34,039 --> 01:09:37,239
then that was a CIP movie, and so he worked

1267
01:09:37,600 --> 01:09:41,000
after CIP split up, he worked for Johnson and Denby.

1268
01:09:41,039 --> 01:09:43,560
He shot Pleasure plant he was He worked on Pleasure

1269
01:09:43,600 --> 01:09:46,640
Plantation as well. So he stuck with his with his

1270
01:09:46,640 --> 01:09:49,960
buddies as usual. So this guy, he was a Czech,

1271
01:09:50,960 --> 01:09:54,119
a Czech immigrant. His mother was this woman named Monica

1272
01:09:54,640 --> 01:09:57,800
Patri Czech. She was a professional opera singer. She emigrated

1273
01:09:57,840 --> 01:10:01,000
to America to sing at the Metropolitan Opera and unfortunately

1274
01:10:01,319 --> 01:10:04,000
her second husband that she had, this guy named Gustav,

1275
01:10:04,079 --> 01:10:06,600
died in nineteen fifty five, so she had to retire

1276
01:10:06,600 --> 01:10:09,439
from performing and take over his textile business and Passaic,

1277
01:10:09,479 --> 01:10:13,560
New Jersey. So Harry, which he's credited as Harry h

1278
01:10:13,600 --> 01:10:17,159
a r r Y, his actual name is is Harry

1279
01:10:17,680 --> 01:10:21,960
Harry h A r I, which is the check spelling now.

1280
01:10:22,640 --> 01:10:27,720
She claimed in a newspaper interview that Harry was allegedly

1281
01:10:28,279 --> 01:10:31,199
her son from her first marriage to a European diplomat,

1282
01:10:31,560 --> 01:10:35,279
but then Gustav, her second husband, adopted him. But Harry's

1283
01:10:35,279 --> 01:10:38,479
second name, his middle name is Gustav. So it makes

1284
01:10:38,520 --> 01:10:40,840
me wonder if that's just a fanciful story that she

1285
01:10:41,079 --> 01:10:44,880
liked to tell, or if Gustav was actually his father.

1286
01:10:45,520 --> 01:10:48,920
And you know, he grew up in Florida because his

1287
01:10:49,880 --> 01:10:55,840
Monica's third husband, this guy Harold Schlanger, relocated there with

1288
01:10:55,840 --> 01:10:59,680
with Monica and Harry. He I think he graduated from

1289
01:10:59,720 --> 01:11:01,359
High Scho in Florida. He served in the Army in

1290
01:11:01,399 --> 01:11:04,079
the fifties. He was Company D in the eighth Infantry

1291
01:11:04,119 --> 01:11:07,640
Division and spent time in there in Europe. And then

1292
01:11:08,319 --> 01:11:12,159
somehow that's the thing, there's a blank space between all

1293
01:11:12,199 --> 01:11:16,199
of this stuff about his family connections in his life,

1294
01:11:16,359 --> 01:11:19,199
you know, in Jersey, in Florida, and then there's the

1295
01:11:19,199 --> 01:11:21,600
stuff in New York where he becomes a cinematographer and

1296
01:11:21,600 --> 01:11:25,920
assistant cameraman for Johnson and Denby and then Sam Katah.

1297
01:11:26,039 --> 01:11:28,880
He did one Sam Kataw movie and then he directed

1298
01:11:28,880 --> 01:11:31,239
a movie which I think was called Shootout at Beaver Falls,

1299
01:11:31,239 --> 01:11:33,960
which was lost, and then he went back to Jersey.

1300
01:11:34,479 --> 01:11:37,239
In like the early seventies, he stopped making movies. I

1301
01:11:37,239 --> 01:11:39,239
found a newspaper article where it described him as a

1302
01:11:39,239 --> 01:11:42,399
commercial artist and his mother was a very successful social

1303
01:11:42,439 --> 01:11:44,880
lighte in Asbury Park, New Jersey. He lived in a

1304
01:11:45,399 --> 01:11:50,600
cottage on her estate in Asbury Park, and I found

1305
01:11:50,600 --> 01:11:53,399
a picture of him Circra nineteen seventy three.

1306
01:11:53,479 --> 01:11:55,439
Speaker 3: Who is this girl he's standing?

1307
01:11:56,199 --> 01:12:00,520
Speaker 2: Not a clue, it's just social gathering. Not a clue. Yeah,

1308
01:12:00,520 --> 01:12:03,319
it's just it's some girl from Jersey. He became the

1309
01:12:03,399 --> 01:12:07,840
VP of a company called American hydro Lines in the

1310
01:12:07,920 --> 01:12:11,600
nineteen eighties, and they were supposed to develop a commuter

1311
01:12:11,720 --> 01:12:14,600
service on hydrofoils between Asbury Park and New York City,

1312
01:12:14,640 --> 01:12:17,640
and I think that that went busting, didn't happen, so

1313
01:12:17,680 --> 01:12:20,680
he left the company and joined a company called Sledge

1314
01:12:20,720 --> 01:12:24,800
Disposal International in Manhattan, which the name says it all.

1315
01:12:24,920 --> 01:12:28,760
It was disposing of Sledge. I keep finding I keep

1316
01:12:28,760 --> 01:12:30,920
finding the little articles about him being a noted collector

1317
01:12:30,960 --> 01:12:34,039
of Faberget eggs and antique porcelains that were worth a fortune,

1318
01:12:34,520 --> 01:12:38,279
so he was known for being a very wealthy collector.

1319
01:12:39,720 --> 01:12:41,960
I think he died in twenty twenty three, but I

1320
01:12:42,039 --> 01:12:45,880
cannot find a confirmation of that. I have found his daughter,

1321
01:12:45,920 --> 01:12:48,680
who's now a freelance photographer in New Jersey, and I

1322
01:12:48,680 --> 01:12:50,039
need to reach out to her to kind of get

1323
01:12:50,039 --> 01:12:52,960
a story. But the thing about it is he only

1324
01:12:53,000 --> 01:12:57,600
did films for five years, six years, and then everything

1325
01:12:57,600 --> 01:13:00,600
else was all these other businesses and taking care of

1326
01:13:00,600 --> 01:13:04,399
his mom's estate and all this other stuff. So I

1327
01:13:04,479 --> 01:13:07,399
don't know if she would even know that her father

1328
01:13:07,880 --> 01:13:12,319
was a photographer and an assistant cameraman on these exploitation movies.

1329
01:13:12,319 --> 01:13:14,560
A lot of them are lost anyway, there's very few

1330
01:13:14,600 --> 01:13:17,399
of his movies that are around because the Sandy Johnson.

1331
01:13:17,920 --> 01:13:20,760
Speaker 3: Again, yes, speaking to Sandy like that would be the reason.

1332
01:13:21,119 --> 01:13:23,720
I mean, look, we want to hear your story as well, Harry,

1333
01:13:23,760 --> 01:13:25,880
but we want to hear about Sandy as well, because

1334
01:13:25,920 --> 01:13:29,479
there's not a whole lot of personal anecdotes about.

1335
01:13:29,239 --> 01:13:30,840
Speaker 2: Say, well, we can reach out to I want to

1336
01:13:30,840 --> 01:13:33,760
reach out to Sandy's kids for those Yeah, yeah, I

1337
01:13:33,800 --> 01:13:35,800
want to Sandy's kids will tell us what we need

1338
01:13:35,800 --> 01:13:36,000
to know.

1339
01:13:36,479 --> 01:13:36,760
Speaker 4: I would.

1340
01:13:36,760 --> 01:13:39,159
Speaker 2: I want to hear about Jerry Denby because Jerry Denby

1341
01:13:39,199 --> 01:13:42,119
doesn't have any kids anymore, and so that's what I

1342
01:13:42,119 --> 01:13:43,800
want to know. Jerry Denby is a bigger mystery than

1343
01:13:43,840 --> 01:13:47,520
Sandy Johnson, to be honest. Yeah, but yeah, Harry Petrisek

1344
01:13:47,640 --> 01:13:51,119
is and he typically worked as Harry August now and

1345
01:13:51,159 --> 01:13:53,199
I will just say it not the best, not the

1346
01:13:53,199 --> 01:13:56,039
best photographer. The stuff that exists of him where he's

1347
01:13:56,079 --> 01:14:00,399
credited as chief cinematographer, it's it's boiler play, gets the

1348
01:14:00,479 --> 01:14:05,039
job done. It's nothing too fantastic. Pleasure plantation is not great,

1349
01:14:05,319 --> 01:14:09,279
but it's not very well photographed. He's no Joseph Manjeene

1350
01:14:09,479 --> 01:14:13,079
opening it that way. No, I agree, No, he's not. Yeah.

1351
01:14:13,279 --> 01:14:15,840
The last two crew members that are credited as the

1352
01:14:15,840 --> 01:14:18,399
script girl and the lighting assistant, and they both worked

1353
01:14:18,439 --> 01:14:22,000
on Run Swinger Run as well. Yeah, Jane Sweat the

1354
01:14:22,000 --> 01:14:24,840
script girl and why the lighting assistant and yeah, so

1355
01:14:24,880 --> 01:14:26,439
it really is just a group of people who work

1356
01:14:26,479 --> 01:14:28,760
with Barry that just struck out on their own.

1357
01:14:29,119 --> 01:14:32,640
Speaker 3: That's yeah, he pulled a lot of people from the

1358
01:14:32,720 --> 01:14:33,720
Barry repertoire.

1359
01:14:33,840 --> 01:14:35,640
Speaker 2: Well, I think when you're making a movie quick and

1360
01:14:35,680 --> 01:14:37,680
it's going to be your first one, you want to

1361
01:14:37,720 --> 01:14:39,760
work with people that you know can get the job done.

1362
01:14:39,800 --> 01:14:42,279
So obviously he'd experience that with them on the Barry

1363
01:14:42,279 --> 01:14:45,520
films because Barry, I'm sure that Barry didn't tolerate any

1364
01:14:45,600 --> 01:14:47,680
kind of nonsense on his set, so he knew they

1365
01:14:47,720 --> 01:14:51,359
had to be done quickly and efficiently, you know, So

1366
01:14:51,600 --> 01:14:53,279
that makes sense. You want to work with people that

1367
01:14:53,319 --> 01:14:54,960
you know can get the job done.

1368
01:14:55,640 --> 01:14:56,760
Speaker 10: What do you have in mind?

1369
01:15:01,840 --> 01:15:04,279
Speaker 11: The webber loses the race, has to take off not

1370
01:15:04,359 --> 01:15:07,600
a good clothes Now, we'll keep on playing until either

1371
01:15:07,640 --> 01:15:09,760
one of us is in his or how birth they

1372
01:15:10,159 --> 01:15:15,399
sort of a grand Prix script. Do be kicked and

1373
01:15:15,439 --> 01:15:17,119
looking for an excuse to take your clothes off?

1374
01:15:17,119 --> 01:15:17,560
Speaker 4: Anyhow?

1375
01:15:20,560 --> 01:15:23,800
Speaker 11: I get the jag War anything a little hot as

1376
01:15:23,840 --> 01:15:24,439
eyes on it.

1377
01:15:28,800 --> 01:15:33,560
Speaker 3: Well, let's talk about some actual performers here. Yeah, I'm

1378
01:15:33,560 --> 01:15:35,399
going to skip to the bottom of this list here

1379
01:15:35,439 --> 01:15:37,880
because she's one of the first people we see, is

1380
01:15:38,039 --> 01:15:42,680
Kristen Steen. She is technically the first person is one

1381
01:15:42,680 --> 01:15:45,279
of the first people we see because she's in the bed.

1382
01:15:45,039 --> 01:15:51,239
Speaker 2: With Frank Censer. Yeah, yes, and they're both not credited

1383
01:15:51,239 --> 01:15:54,920
in IMDb. Yes, you know, that's just you know, that's

1384
01:15:55,159 --> 01:15:58,720
I That's why I like being good with faces. I'm

1385
01:15:58,720 --> 01:16:01,319
good with recognizing people. Well, doesn't mean I'm going to

1386
01:16:01,399 --> 01:16:05,720
update the imdby as you know it, right, that's up

1387
01:16:05,760 --> 01:16:05,920
for you.

1388
01:16:06,039 --> 01:16:06,399
Speaker 4: That's up.

1389
01:16:06,560 --> 01:16:09,199
Speaker 2: That's up to other people to do that. If they

1390
01:16:09,239 --> 01:16:11,239
want to, they can. But you know, if you know,

1391
01:16:11,359 --> 01:16:14,439
you know, and that's not me gatekeeping shit, that's just like.

1392
01:16:15,159 --> 01:16:18,079
Speaker 3: I might correct this four because it does bother me.

1393
01:16:18,199 --> 01:16:21,720
I want to see Kristen Steen's you know, filmography in

1394
01:16:21,760 --> 01:16:25,760
a clear and concise way. But yeah, she's credited as

1395
01:16:25,920 --> 01:16:26,920
Anne Brandt in this.

1396
01:16:27,479 --> 01:16:32,159
Speaker 2: I adore her, so yeah, I absolutely recognize her every time.

1397
01:16:32,439 --> 01:16:37,479
Speaker 12: Yeah, you call her a lithe blonde actress. Yeah, this

1398
01:16:37,600 --> 01:16:41,319
might be her first movie. Actually might be your first movie,

1399
01:16:41,439 --> 01:16:44,199
which if it is, if it was shot in sixty seven,

1400
01:16:44,239 --> 01:16:46,039
she was seventeen years old when she made this.

1401
01:16:46,520 --> 01:16:50,880
Speaker 2: Hoping that's not the case, I mean, could be, could be.

1402
01:16:51,399 --> 01:16:53,840
She's born in nineteen fifty, so she would have been

1403
01:16:53,880 --> 01:16:56,600
seventeen in nineteen sixty seven. I like the idea that

1404
01:16:56,640 --> 01:16:58,880
she maybe was eighteen as you did these nude scenes.

1405
01:16:59,000 --> 01:17:02,159
Speaker 3: Yeah, we'll just well, we'll just say she was eighteen.

1406
01:17:02,439 --> 01:17:04,479
Speaker 2: Yeah, because the earliest screening we could find her this

1407
01:17:04,560 --> 01:17:06,840
was May sixty eight, so I would hope that it

1408
01:17:06,840 --> 01:17:09,840
didn't take five months to edit this. Yeah.

1409
01:17:09,880 --> 01:17:14,119
Speaker 3: But yeah, another kmal connection there, because she was Yeah,

1410
01:17:14,199 --> 01:17:17,479
Forbidden Flesh, she was in that, and again Barry, Yeah,

1411
01:17:17,479 --> 01:17:20,880
she was in some of his Red Barren movie. Apparently,

1412
01:17:21,079 --> 01:17:21,960
I don't know, we don't.

1413
01:17:22,000 --> 01:17:23,039
Speaker 2: I don't know if that's true.

1414
01:17:23,520 --> 01:17:24,840
Speaker 3: Yeah, apparently, I don't.

1415
01:17:24,920 --> 01:17:26,840
Speaker 2: I don't know where that's from. Maybe it's maybe someone

1416
01:17:26,880 --> 01:17:29,079
recognized her in the press book. I wouldn't. I wouldn't

1417
01:17:29,119 --> 01:17:31,520
take that as gospel. All right. She's definitely in the Procure,

1418
01:17:31,680 --> 01:17:34,920
She's definitely erotic, Fanning Hills, definitely in the mind Blowers.

1419
01:17:35,279 --> 01:17:37,640
She is she in Flying Out pay Later? Isn't she

1420
01:17:37,720 --> 01:17:38,279
on the poster?

1421
01:17:38,640 --> 01:17:40,399
Speaker 3: Or if she was another one of those cases where

1422
01:17:40,439 --> 01:17:43,359
she wasn't credited but she was in it, I can't remember,

1423
01:17:44,119 --> 01:17:45,560
but Sherry Winters for sure was.

1424
01:17:48,239 --> 01:17:48,399
Speaker 13: Well.

1425
01:17:48,479 --> 01:17:50,640
Speaker 3: Yeah, what else can we say about Christine Stein? I

1426
01:17:50,680 --> 01:17:53,279
don't think we've covered I mean, we covered her a

1427
01:17:53,319 --> 01:17:56,079
little bit and when we talked about submission, you know, she's.

1428
01:17:55,880 --> 01:17:57,800
Speaker 2: In we did, I went into great detail.

1429
01:17:58,000 --> 01:17:59,840
Speaker 3: Yea, So maybe we don't need to spend a whole

1430
01:17:59,840 --> 01:18:01,319
lot of time on Christine Steen.

1431
01:18:02,479 --> 01:18:04,840
Speaker 2: She's still around. I need to reach out to her.

1432
01:18:05,560 --> 01:18:08,000
Speaker 3: She has a few speaking lines in this. She's kind of,

1433
01:18:08,199 --> 01:18:09,199
i mean, other than.

1434
01:18:09,159 --> 01:18:12,840
Speaker 2: Cheery Waters, kind of the female lead, the main girl. Yeah. Yeah,

1435
01:18:12,920 --> 01:18:16,000
she is the female lead, the catalyst, and the last

1436
01:18:16,039 --> 01:18:17,000
act is around her.

1437
01:18:17,279 --> 01:18:17,520
Speaker 6: Yeah.

1438
01:18:17,520 --> 01:18:19,800
Speaker 3: The whole crux of the movie is based around her

1439
01:18:19,960 --> 01:18:20,960
being wrecked.

1440
01:18:22,119 --> 01:18:25,399
Speaker 2: You know, it opens and closes on her technically. Yeah.

1441
01:18:25,520 --> 01:18:29,560
Speaker 3: So yeah, that she she's the girl that these pool

1442
01:18:29,600 --> 01:18:32,680
Hall bikers are apparently looking for.

1443
01:18:33,359 --> 01:18:33,760
Speaker 5: Mm hmm.

1444
01:18:34,159 --> 01:18:35,960
Speaker 3: Like I have to listen really closer to get some

1445
01:18:36,079 --> 01:18:40,000
of the dialogue. I'm trying to remember what they want

1446
01:18:40,039 --> 01:18:41,960
to do with her. You know, they're going to the

1447
01:18:41,960 --> 01:18:44,560
house to find her. Do they want to like rough

1448
01:18:44,600 --> 01:18:45,000
her up?

1449
01:18:45,159 --> 01:18:48,000
Speaker 2: They don't all want to. They're going because their buddy

1450
01:18:48,000 --> 01:18:50,359
wants to. The rest of them are just there, right.

1451
01:18:50,800 --> 01:18:54,600
Speaker 3: The one guy who she apparently like, you know, ghosted.

1452
01:18:55,119 --> 01:18:59,000
Speaker 2: Ride right and she didn't think it was anything right, exactly.

1453
01:18:58,640 --> 01:19:02,800
Speaker 3: Right, He's yeah, he wants to go. I don't give

1454
01:19:02,800 --> 01:19:05,600
her a piece of his mind or something. Anyways, and

1455
01:19:05,680 --> 01:19:06,600
she's at the party.

1456
01:19:06,680 --> 01:19:08,880
Speaker 2: Yeah, well he does more than that. I mean he

1457
01:19:08,920 --> 01:19:11,880
wants to rape her. He wants to go to rape her. Essentially,

1458
01:19:12,079 --> 01:19:15,520
there you go. Yeah, but he does.

1459
01:19:15,640 --> 01:19:17,560
Speaker 3: To be clear, he does it because there's a key

1460
01:19:17,600 --> 01:19:18,119
line that's a.

1461
01:19:18,119 --> 01:19:20,840
Speaker 2: Long time that they're up there. It's a long time

1462
01:19:20,840 --> 01:19:23,479
that they're up there. So I believe that he did

1463
01:19:23,560 --> 01:19:25,159
rape her, but he did not kill her, which I

1464
01:19:25,159 --> 01:19:26,279
think was who was afraid of?

1465
01:19:26,760 --> 01:19:29,319
Speaker 3: Oh okay, yeah, because there's a lie in a dialogue

1466
01:19:29,399 --> 01:19:31,880
like I'm gonna let you go this time or something

1467
01:19:31,920 --> 01:19:32,319
like that.

1468
01:19:33,079 --> 01:19:35,279
Speaker 2: Yeah. Yeah, that's a long time for them to be

1469
01:19:35,359 --> 01:19:38,760
up there for something not to have happened. Yeah, I'm

1470
01:19:38,800 --> 01:19:40,159
just saying, I'm just saying.

1471
01:19:40,960 --> 01:19:43,359
Speaker 3: So this is a rouffie. Technically, I guess we can

1472
01:19:43,399 --> 01:19:44,239
call this a roughie.

1473
01:19:44,319 --> 01:19:51,479
Speaker 2: Huh No, No, that one just one one sequence. Now,

1474
01:19:51,720 --> 01:19:53,960
I think it has to be thematically ruffian.

1475
01:19:53,880 --> 01:19:56,279
Speaker 3: But you don't. This is all in the shadows, to

1476
01:19:56,319 --> 01:19:59,479
be clear. Is yes, And actually this this movie is

1477
01:19:59,479 --> 01:20:04,720
actually pretty light on nudity. I shouldn't say that it is.

1478
01:20:05,000 --> 01:20:07,039
Speaker 2: Yeah, it's not great, it's not that graphic. It's not.

1479
01:20:07,119 --> 01:20:08,920
Speaker 3: Yeah, it's not too good to itous. The sex scenes

1480
01:20:08,920 --> 01:20:10,520
are not much if.

1481
01:20:10,840 --> 01:20:12,640
Speaker 2: It's mostly there's mostly just topless scenes.

1482
01:20:12,680 --> 01:20:16,680
Speaker 3: Yeah, I must just goofing around the topless stuff. So

1483
01:20:16,720 --> 01:20:19,920
we mentioned Cherry Winters. We want to say real name

1484
01:20:20,000 --> 01:20:20,640
of Cherry.

1485
01:20:20,479 --> 01:20:24,479
Speaker 2: Winters dead so you can yes, sorry, yeah, I mean

1486
01:20:24,520 --> 01:20:26,680
she's she's no longer with us. You have the death

1487
01:20:26,800 --> 01:20:28,920
death holds no secrets, so you can go ahead and

1488
01:20:28,960 --> 01:20:29,880
tell you her real name is.

1489
01:20:29,960 --> 01:20:33,640
Speaker 3: Yeah, it's a born April eighth, nineteen thirty five in Pennsylvania,

1490
01:20:33,920 --> 01:20:37,560
Christy Wilson. We've found plenty of evidence, yeah, that she

1491
01:20:37,640 --> 01:20:38,680
was a nightclub singer.

1492
01:20:39,560 --> 01:20:43,359
Speaker 2: I think, I think Bowing and Alex both confirmed that, like, uh,

1493
01:20:44,039 --> 01:20:47,399
what's your face? McNair was a singer, and then we

1494
01:20:47,479 --> 01:20:50,239
found there's pictures showing that she had like a record contract,

1495
01:20:50,239 --> 01:20:52,960
and shit, I'm shocked that nobody gave her an opportunity

1496
01:20:53,000 --> 01:20:56,079
to do that, Yeah, both of them. Honestly, we have

1497
01:20:56,159 --> 01:20:58,159
to the young singing in flesh and lace, so why

1498
01:20:58,199 --> 01:21:01,920
don't we have right singing for these two? It's very unusual,

1499
01:21:02,159 --> 01:21:02,720
very unusual.

1500
01:21:03,039 --> 01:21:06,640
Speaker 3: Yeah, apparently Sherry had a paramount recording contract.

1501
01:21:07,119 --> 01:21:09,199
Speaker 2: But yeah, it was very interesting.

1502
01:21:09,319 --> 01:21:11,319
Speaker 3: You don't know if anything was ever. I mean, there

1503
01:21:11,359 --> 01:21:14,840
were plenty of people bands, artists that had contracts that

1504
01:21:14,920 --> 01:21:16,560
never actually released anything, so.

1505
01:21:17,079 --> 01:21:20,000
Speaker 2: Right doesn't necessarily mean anything. They could have toured them,

1506
01:21:20,239 --> 01:21:22,720
and I think there might have been a situation where

1507
01:21:23,000 --> 01:21:25,439
they signed the contract based on her success and then

1508
01:21:25,479 --> 01:21:28,039
they were she was supposed to continue touring and developing

1509
01:21:28,079 --> 01:21:32,079
that reputation and she just didn't you know she was

1510
01:21:32,119 --> 01:21:35,039
actually if you look at she's born nineteen thirty five.

1511
01:21:35,119 --> 01:21:38,039
She started performing in Jersey and on the East Coast

1512
01:21:38,039 --> 01:21:40,359
in like nineteen fifty nine. She was twenty nine years

1513
01:21:40,399 --> 01:21:44,720
old when she started, not exactly young, and so by

1514
01:21:44,880 --> 01:21:48,880
sixty five, she's like mid thirties when she starts doing

1515
01:21:48,880 --> 01:21:52,359
these films, Like that's the music industry is a cruel

1516
01:21:52,399 --> 01:21:55,680
beast and they would want someone younger, not someone in

1517
01:21:55,720 --> 01:21:59,159
their mid thirties trying to be a songstress or like

1518
01:21:59,199 --> 01:22:02,199
a bombshell. I think it kind of reminds you like

1519
01:22:02,199 --> 01:22:04,079
a Jennifer Well. It's like, there's only so long you

1520
01:22:04,079 --> 01:22:07,720
can keep doing the touring act until you hit your thirties,

1521
01:22:07,800 --> 01:22:09,920
and it's like, what are you doing unless you're tempest

1522
01:22:09,960 --> 01:22:13,760
storm where you have moneymakers, you know, you you have

1523
01:22:14,119 --> 01:22:18,039
you have the ticket sellers. Not everyone had that opportunity.

1524
01:22:18,359 --> 01:22:21,600
Speaker 3: It's also interesting, yeah, that she started doing sexploitation, like

1525
01:22:21,840 --> 01:22:26,000
right around the time of this supposed paramount contract. So yes,

1526
01:22:26,600 --> 01:22:30,359
either they didn't know she was doing it, or that

1527
01:22:30,399 --> 01:22:35,600
didn't work out and she started doing quote unquote sex films.

1528
01:22:36,119 --> 01:22:39,479
Speaker 2: Yeah, I don't know. She passed away, so we'll never know.

1529
01:22:39,840 --> 01:22:43,279
Speaker 3: Yeah, but her part in this is I mean yeah again,

1530
01:22:43,439 --> 01:22:48,039
like it's it's it's topless stuff, but it's not you know,

1531
01:22:48,119 --> 01:22:52,840
it's nothing too riske. All the all the all the

1532
01:22:52,920 --> 01:22:56,119
quote unquote risky stuff she does is out of the frame.

1533
01:22:56,199 --> 01:23:00,399
It's it's this this great Joseph Man Jean shot where

1534
01:23:00,479 --> 01:23:03,319
it's all under the bed, like you said, and it's

1535
01:23:03,319 --> 01:23:06,840
all insinuated by feet, right.

1536
01:23:07,560 --> 01:23:10,119
Speaker 2: Right, But it's not as like there are other filmmakers

1537
01:23:10,119 --> 01:23:12,680
who would make that look really lame. And the way

1538
01:23:12,680 --> 01:23:15,000
that he shoots it and edits it is very effective.

1539
01:23:16,159 --> 01:23:18,520
Especially by that time in sixty eight, you have to

1540
01:23:18,560 --> 01:23:21,520
be a little more. Yeah, you couldn't be phoning it

1541
01:23:21,600 --> 01:23:24,039
in terms of the sex appeal. So I could see

1542
01:23:24,039 --> 01:23:27,800
this still like turning people on in this film.

1543
01:23:27,840 --> 01:23:29,520
Speaker 3: What else do we have to say.

1544
01:23:29,520 --> 01:23:33,399
Speaker 2: That guy that she is with tomic crazy. I'm into

1545
01:23:33,439 --> 01:23:38,319
that guy. I don't know he's call me crazy? Oh

1546
01:23:38,399 --> 01:23:42,439
the yeah, okay, not the guy who thinks the husband

1547
01:23:42,520 --> 01:23:45,600
is hitting on him and gets up. He is, like

1548
01:23:45,720 --> 01:23:47,840
you know what he's like? He is like he I

1549
01:23:47,960 --> 01:23:51,680
feel like Joe casts several people who were just like

1550
01:23:51,800 --> 01:23:55,119
truck driver friends. Yeah, that guy's clearly a Brooklyn truck

1551
01:23:55,199 --> 01:23:57,800
driver who's just like Wander is like, yeah, she will

1552
01:23:57,880 --> 01:24:00,560
do this. He's not an actor, didn't really he do

1553
01:24:00,600 --> 01:24:03,840
you get a little side rear nudity in the edge

1554
01:24:03,840 --> 01:24:07,239
of the frame. Yeah, but yeah, it's it's not much else,

1555
01:24:08,279 --> 01:24:09,640
but yeah, I'm into that guy.

1556
01:24:10,279 --> 01:24:12,479
Speaker 3: You know what's funny is like I was watching it

1557
01:24:12,600 --> 01:24:16,000
and I was like, this is totally a Casey type,

1558
01:24:16,720 --> 01:24:18,279
very much my type, exactly.

1559
01:24:18,520 --> 01:24:21,840
Speaker 2: Alex Mans. Alex Man is a little too in shape

1560
01:24:21,920 --> 01:24:26,319
for me. I need someone who's a little roly poly. Yeah,

1561
01:24:26,600 --> 01:24:28,439
I need a little I need a layer of fat.

1562
01:24:29,680 --> 01:24:34,119
I need someone who can stay warm in the winter. Yeah.

1563
01:24:34,119 --> 01:24:36,039
I love alex Man, but he's yeah, he was always

1564
01:24:36,039 --> 01:24:37,000
a little too built for me.

1565
01:24:37,600 --> 01:24:40,319
Speaker 3: Yeah, what's the funny line? He says, you know when

1566
01:24:40,359 --> 01:24:41,319
he thinks he's getting hit on.

1567
01:24:41,439 --> 01:24:44,159
Speaker 2: He's like, uh, it's like something I maybe open minded,

1568
01:24:44,199 --> 01:24:45,199
but I'm at that open minded.

1569
01:24:45,359 --> 01:24:48,000
Speaker 3: Yeah, he's like, I'm old fashioned enough to like women.

1570
01:24:48,159 --> 01:24:48,800
That's what he says.

1571
01:24:48,880 --> 01:24:52,840
Speaker 2: Yeah, yes, exactly. This is a good line. He's there,

1572
01:24:53,239 --> 01:24:56,000
pot but he is old fashioned enough to only like women. Yes.

1573
01:24:56,880 --> 01:24:57,279
Speaker 10: I liked that.

1574
01:24:57,359 --> 01:24:59,760
Speaker 2: The guy's like, no, you don't understand we're we're doing this.

1575
01:25:00,319 --> 01:25:02,199
I need you to have sex with my wife. I

1576
01:25:02,239 --> 01:25:04,840
think as you put it, he's in the cuckchair taking

1577
01:25:04,920 --> 01:25:08,079
photos total with bright flashbulbs, and there's some really good

1578
01:25:08,199 --> 01:25:10,760
editing with the cut from the flashbobs to some other scenes,

1579
01:25:10,840 --> 01:25:15,279
like it's very inventively done. Yeah, it's not standard at all.

1580
01:25:15,640 --> 01:25:17,199
Speaker 3: But if you look at that, you know that under

1581
01:25:17,279 --> 01:25:19,960
the bed shot with the three of them in that room,

1582
01:25:20,840 --> 01:25:23,119
the chair is not very far from where they are.

1583
01:25:23,399 --> 01:25:27,960
Speaker 2: So he's like, it's a New York City apartment room.

1584
01:25:28,039 --> 01:25:30,079
You're not going to get that much space in between

1585
01:25:30,199 --> 01:25:35,560
the two. I was impressed that this place had an attic. Yeah,

1586
01:25:35,880 --> 01:25:38,720
it's like, where is this apartment? There are places like

1587
01:25:38,800 --> 01:25:40,680
that in the East Village, for sure, but I I

1588
01:25:41,000 --> 01:25:42,279
don't it's like.

1589
01:25:42,319 --> 01:25:47,119
Speaker 3: A ground floor house. It looked the exterior shot almost.

1590
01:25:46,840 --> 01:25:48,840
Speaker 2: Looks like, you know, when there isn't there a walk

1591
01:25:48,920 --> 01:25:50,079
up ore, there's stairs to go up.

1592
01:25:50,439 --> 01:25:52,079
Speaker 3: Well, you have to watch again. No, I don't. I

1593
01:25:52,079 --> 01:25:52,399
don't think.

1594
01:25:52,399 --> 01:25:54,199
Speaker 2: I think there are stairs to go up. And then

1595
01:25:54,439 --> 01:25:57,840
it is an apartment. Yeah, I mean if it's a townhouse,

1596
01:25:57,960 --> 01:26:01,199
is basically an apartment. There's a lot of rooms too,

1597
01:26:02,000 --> 01:26:03,960
Like there's like four or five rooms. So I'm like,

1598
01:26:04,199 --> 01:26:05,199
how's this guy forwarding this?

1599
01:26:05,920 --> 01:26:08,359
Speaker 3: Well, maybe he's got a number of people living there

1600
01:26:08,399 --> 01:26:09,439
and chipping in on rent.

1601
01:26:10,359 --> 01:26:12,079
Speaker 2: Well, actually that's kind of what you do if you

1602
01:26:12,159 --> 01:26:14,560
have parties like this, you should be charging people to

1603
01:26:14,600 --> 01:26:18,000
get in a little bit and then that covers basic costs. Yeah,

1604
01:26:18,640 --> 01:26:19,199
five bucks.

1605
01:26:20,079 --> 01:26:23,680
Speaker 3: Yeah you mentioned Alex Man mm hmmm. He's yeah, the.

1606
01:26:23,840 --> 01:26:28,520
Speaker 2: Personal friend Rip. Yeah, yeah, I missed that guy. He

1607
01:26:28,680 --> 01:26:31,560
was wild, very brusque, very brusque.

1608
01:26:31,760 --> 01:26:34,439
Speaker 3: I think kind of get that feeling from what I've

1609
01:26:34,720 --> 01:26:37,600
seen of his stuff. Yeah, he was.

1610
01:26:37,680 --> 01:26:39,760
Speaker 2: He got very involved with like the boxing world in La.

1611
01:26:39,920 --> 01:26:41,399
He moved out to La in like the mid to

1612
01:26:41,479 --> 01:26:44,960
late seventies. He still did bit parts in acting and things,

1613
01:26:45,000 --> 01:26:47,119
but he also got very involved. He became a bouncer

1614
01:26:47,159 --> 01:26:49,840
at a nightclub and you know, hung out at like

1615
01:26:49,960 --> 01:26:53,119
you know, a boxing boxing ring, a gym with different

1616
01:26:53,159 --> 01:26:56,319
boxers and things. So he was involved with that world. Yeah,

1617
01:26:56,359 --> 01:26:59,039
he was definitely like a classic Brooklyn tough guy.

1618
01:26:59,560 --> 01:27:02,760
Speaker 3: Yeah, what's the tattoo? What is that tattoo on his arm?

1619
01:27:03,399 --> 01:27:05,920
Speaker 2: I don't remember. I don't recall.

1620
01:27:06,359 --> 01:27:07,119
Speaker 10: I don't know if.

1621
01:27:07,560 --> 01:27:10,399
Speaker 3: Alex DeSanto has looked more closely at that.

1622
01:27:10,880 --> 01:27:14,000
Speaker 2: Sure Alex knows every inch of that man's body, probably

1623
01:27:14,119 --> 01:27:17,560
he would know. That's the weird thing, Alex Man, I

1624
01:27:17,600 --> 01:27:19,359
can only be so attracted you because I know the

1625
01:27:19,439 --> 01:27:24,039
guy was you know, I knew him and I became

1626
01:27:24,119 --> 01:27:26,000
relatively close with him when we spoke a lot, and

1627
01:27:26,600 --> 01:27:29,119
so yeah, I can't It's yeah, I'm like that with

1628
01:27:29,199 --> 01:27:31,319
any man I interviewed, Like, I can't be that attracted,

1629
01:27:31,439 --> 01:27:33,479
like Eric Edwards or like any of the people that

1630
01:27:33,560 --> 01:27:36,239
I interview. It's just like well or Jeffrey Eagle. When

1631
01:27:36,239 --> 01:27:39,920
I ed Jeffrey Eagle Rest in Peace, same thing, I

1632
01:27:40,039 --> 01:27:43,319
was like, well, I really can't find you attractive these now.

1633
01:27:43,479 --> 01:27:45,560
I meant you met your wife, like you know, it's

1634
01:27:45,680 --> 01:27:50,279
you know, it's it's different. But Alex Man Actually, something

1635
01:27:50,319 --> 01:27:52,600
else that destroys the illusion about alex Man is he

1636
01:27:52,840 --> 01:27:58,359
he did a few hardcore films and major would problems.

1637
01:27:59,600 --> 01:28:04,079
Was was not Yeah, it was not into doing hardcore.

1638
01:28:04,199 --> 01:28:05,720
It was a situation where I think he did it

1639
01:28:05,800 --> 01:28:08,560
to like pay some bills obviously, And once you see that,

1640
01:28:08,840 --> 01:28:11,600
it's just kind of like, oh, well that's not that's

1641
01:28:11,640 --> 01:28:15,039
not great either. So yeah, that that's not very Uh,

1642
01:28:15,319 --> 01:28:17,199
that's that's that Ruin's the fantasy too.

1643
01:28:17,880 --> 01:28:22,119
Speaker 3: Yeah? What was that weird uh Sarno movie I just

1644
01:28:22,319 --> 01:28:27,319
watched with him in it? Yeah, the young Erotic, which

1645
01:28:27,399 --> 01:28:31,159
is Laura Cannon close to hardcore at times?

1646
01:28:31,279 --> 01:28:32,880
Speaker 2: Yes, And isn't Tally in that too?

1647
01:28:33,399 --> 01:28:33,600
Speaker 4: Yeah?

1648
01:28:34,319 --> 01:28:35,760
Speaker 2: Yes, which they were friends.

1649
01:28:35,840 --> 01:28:36,039
Speaker 4: Yeah.

1650
01:28:36,680 --> 01:28:38,600
Speaker 2: So they all lived in the same building, Alex Man,

1651
01:28:38,760 --> 01:28:42,239
Tally Cochran, Patrick Wright, Linda Boyce, and they all had

1652
01:28:42,279 --> 01:28:46,239
competing casting agencies. But Alex and Pam's Tally told me listen,

1653
01:28:46,319 --> 01:28:50,600
they had a casting agency. There was no competition. They

1654
01:28:50,640 --> 01:28:52,560
were they didn't know what they were doing. They're the

1655
01:28:52,640 --> 01:28:55,279
people that they represented were like strippers that wouldn't show

1656
01:28:55,319 --> 01:28:57,560
up to work, so people wouldn't wouldn't call them to

1657
01:28:57,600 --> 01:29:01,159
get people. They would called Linda and then would departed

1658
01:29:01,199 --> 01:29:03,920
and retired. They would call me because I represented all

1659
01:29:03,960 --> 01:29:07,760
the good people that Linda had. So he was also

1660
01:29:07,880 --> 01:29:11,399
married to a woman named Pamela Man, who not the

1661
01:29:11,439 --> 01:29:14,439
Pamela Man from the Radley Metster movie no relation, but

1662
01:29:14,680 --> 01:29:19,119
Pamela Man got jealous of Linda Boyce because Linda and

1663
01:29:19,119 --> 01:29:22,159
Alex were close. Linda and Alex, you know, were they

1664
01:29:22,279 --> 01:29:24,960
both had the same astrological sign. They were very close,

1665
01:29:25,640 --> 01:29:28,920
and Pamela punched Linda Boyce in the face. They got

1666
01:29:28,960 --> 01:29:31,399
into a physical fight. I think Linda Boyce, though I

1667
01:29:31,439 --> 01:29:35,359
think Linda Boyce won, if I recall correctly. Tally told

1668
01:29:35,399 --> 01:29:42,720
me this, and Alex confirmed Alex don't come for Linda Boyce. Well,

1669
01:29:43,640 --> 01:29:47,640
I'm sure you know he was aware of it, but yeah,

1670
01:29:48,319 --> 01:29:50,399
because I remember Tally told me that, and I talked

1671
01:29:50,439 --> 01:29:53,479
to Alex right after. And you know, when you're doing research,

1672
01:29:53,560 --> 01:29:55,319
it helps to get you You really kind of need

1673
01:29:55,399 --> 01:29:57,840
confirmation for more than one person for a story. So

1674
01:29:57,960 --> 01:30:00,159
I was like, so, Tally told me that pam him

1675
01:30:00,159 --> 01:30:02,760
got into a physical fight with linded boys and he said, oh, absolutely,

1676
01:30:02,920 --> 01:30:08,199
more than once. He's oh my god. So yeah, yeah,

1677
01:30:08,319 --> 01:30:11,399
Alex a very interesting guy. Very interesting guy. I miss him,

1678
01:30:11,560 --> 01:30:13,399
very very very interesting guy.

1679
01:30:14,159 --> 01:30:17,119
Speaker 3: Yeah, this period in his career, he wasn't doing a

1680
01:30:17,199 --> 01:30:18,479
lot of speaking roles.

1681
01:30:19,039 --> 01:30:21,640
Speaker 2: This is a good example, which is interesting because he's

1682
01:30:21,640 --> 01:30:25,039
a good actor. I just I think people cast him

1683
01:30:25,079 --> 01:30:29,119
because he had a visual look to him. I think

1684
01:30:29,199 --> 01:30:31,239
it took like Sarno to give him stuff to do.

1685
01:30:32,079 --> 01:30:34,039
I think Sarno finally gave him opportunities.

1686
01:30:35,079 --> 01:30:39,319
Speaker 3: Yeah, where you finally get to hear his very Brooklyn voice.

1687
01:30:39,720 --> 01:30:44,039
Speaker 2: Yeah, yes, right, and then uh, he's in Malibu High

1688
01:30:45,680 --> 01:30:48,520
And also I drink your blood shot by Man Jean.

1689
01:30:49,039 --> 01:30:53,880
So it's nice, nice connections there. Yeah, I miss him.

1690
01:30:53,960 --> 01:30:56,199
He got he developed tongue cancer and he had to

1691
01:30:56,439 --> 01:30:59,119
he went through a major chemotherapy and couldn't talk for

1692
01:30:59,159 --> 01:31:02,319
a while. I had called him at one point, and

1693
01:31:02,399 --> 01:31:04,359
I got a call back from the woman he was dating,

1694
01:31:04,399 --> 01:31:06,560
who I believe was either a clown or a mime,

1695
01:31:07,239 --> 01:31:09,119
and she said, Alex told me to call you back.

1696
01:31:09,159 --> 01:31:11,199
He's really sorry. He's been going through chemo. He can't talk,

1697
01:31:11,840 --> 01:31:13,560
and we don't know if we're he's gonna talk again.

1698
01:31:13,920 --> 01:31:15,680
And so I was like, oh my god, no, And

1699
01:31:16,239 --> 01:31:18,000
that was the last I heard. We emailed a few

1700
01:31:18,079 --> 01:31:19,880
times after that, but he was yeah, he was not

1701
01:31:20,039 --> 01:31:23,840
doing good. He did not take kimo. Well yeah, yeah, Well.

1702
01:31:24,000 --> 01:31:28,760
Speaker 3: The other big sexploitation performer in this movie is Janet

1703
01:31:28,840 --> 01:31:35,199
bans It. She's aspiring actress who plays your life strip

1704
01:31:35,520 --> 01:31:36,119
Grand Prix.

1705
01:31:37,359 --> 01:31:41,239
Speaker 2: Yes, I love that sequence. Another another example of something

1706
01:31:41,560 --> 01:31:44,680
I feel like. Man Geen was like, let's what kind

1707
01:31:44,720 --> 01:31:46,880
of how can I make this visually interesting? How can

1708
01:31:46,920 --> 01:31:49,039
I show off all these different skills, because the editing

1709
01:31:49,399 --> 01:31:52,279
is what makes that interesting. Otherwise does if it was

1710
01:31:52,319 --> 01:31:54,840
if it was Barry Mahon, the camera would be there

1711
01:31:55,000 --> 01:31:57,359
and you would just have two people watching stuff going

1712
01:31:57,439 --> 01:31:59,479
a thing. Yeah, yeah, No, he edits it like it

1713
01:31:59,640 --> 01:32:02,560
is and pre you know, like it is. So it

1714
01:32:02,680 --> 01:32:06,119
is so well done, and that is so stupid strip

1715
01:32:06,199 --> 01:32:09,880
Grand Prix. It's like so stupid. The concept is stupid,

1716
01:32:09,960 --> 01:32:12,960
but you buy it because of the way that it's

1717
01:32:13,039 --> 01:32:16,960
sold in this film. And she's adorable, she's you know,

1718
01:32:17,239 --> 01:32:21,079
we love Janet Banza. She was on several people's Mount

1719
01:32:21,159 --> 01:32:24,479
Rushmore's of New York's Exploitation for a reason. I think

1720
01:32:24,560 --> 01:32:27,600
she was in the most movies of anybody. I don't

1721
01:32:27,600 --> 01:32:31,319
think she said no to a role. No, no matter

1722
01:32:31,399 --> 01:32:33,560
what it was, she wanted to keep working. And it's

1723
01:32:33,640 --> 01:32:38,600
interesting because I finally dug into like her footprint in

1724
01:32:38,800 --> 01:32:42,520
the press in New York at that time. She showed

1725
01:32:42,600 --> 01:32:47,479
up in columns starting as early as nineteen fifty nine

1726
01:32:48,039 --> 01:32:52,079
like Society, spir No, just like hot, like little blurbs

1727
01:32:52,159 --> 01:32:56,640
like like you know, pop culture, New York culture things,

1728
01:32:56,760 --> 01:32:58,920
kind of like you know, Sheba Brit those columns that

1729
01:32:59,000 --> 01:33:00,760
she Brit her name be dropped.

1730
01:33:00,479 --> 01:33:02,000
Speaker 3: In trying to get that kind of thing, trying to

1731
01:33:02,000 --> 01:33:02,600
get noticed.

1732
01:33:02,680 --> 01:33:05,159
Speaker 2: Yeah, yes, it is that kind of thing where essentially

1733
01:33:05,239 --> 01:33:08,600
you want people to know actress Jane Advansit from Dallas

1734
01:33:08,840 --> 01:33:12,199
or this this this. I found a very interesting article

1735
01:33:12,720 --> 01:33:14,960
where it said that she was a bit player in

1736
01:33:15,039 --> 01:33:17,920
Walts of the Tour Doors off Broadway in nineteen sixty

1737
01:33:18,359 --> 01:33:21,720
and she claimed that she would inherit thirty million dollars

1738
01:33:21,960 --> 01:33:24,640
in from her family's Texas real estate connections when she

1739
01:33:24,760 --> 01:33:29,000
turned thirty. Well, she turned thirty nineteen sixty four, and

1740
01:33:30,000 --> 01:33:32,920
she had to be in movies like this, So I

1741
01:33:33,359 --> 01:33:35,239
don't think that was an accurate I don't think she

1742
01:33:35,359 --> 01:33:38,760
inherited thirty million dollars. And I believe Sean Langreck has done.

1743
01:33:39,079 --> 01:33:41,600
Sean Langrick actually has convinced me that I think that

1744
01:33:41,720 --> 01:33:43,640
she did die. I think we've said in a few

1745
01:33:43,680 --> 01:33:46,760
episodes that her Social Security number is still active, which

1746
01:33:46,800 --> 01:33:51,319
I just verified today it is still active. But he

1747
01:33:51,560 --> 01:33:56,800
provided the most evidence, the most convincing evidence of why

1748
01:33:56,920 --> 01:34:00,000
she's dead and why she's buried where she is in California,

1749
01:34:00,119 --> 01:34:03,439
yet when she had no connection to California. Sean le

1750
01:34:04,039 --> 01:34:07,000
Sean because Shawn is good like that. Sean, Sean digs

1751
01:34:07,039 --> 01:34:07,920
deep and finds his ship.

1752
01:34:08,359 --> 01:34:11,079
Speaker 3: Yep, does he does he think it was a suicide.

1753
01:34:11,520 --> 01:34:13,560
Speaker 2: There's no, there's no other evidence it would have been

1754
01:34:13,560 --> 01:34:14,199
anything otherwise.

1755
01:34:14,760 --> 01:34:16,720
Speaker 3: Okay, yeah, that's a serious.

1756
01:34:16,840 --> 01:34:19,920
Speaker 2: Yeah, No, there's no there's no other evidence it's anything otherwise.

1757
01:34:21,039 --> 01:34:23,520
I don't even think there's a death certificate. That's the thing.

1758
01:34:23,600 --> 01:34:25,359
And you know what I'm gonna have to do, Well,

1759
01:34:25,399 --> 01:34:28,479
it's not homicide. I don't think it would be documented

1760
01:34:28,560 --> 01:34:31,880
in the Hall of Records at New York at at

1761
01:34:31,920 --> 01:34:33,640
New York City Hall of Records, like I went to

1762
01:34:33,680 --> 01:34:36,439
try to find the homicide for land where that's that's

1763
01:34:36,479 --> 01:34:40,640
tough to trace. It wasn't reported in the papers. So yeah,

1764
01:34:40,840 --> 01:34:44,199
I think he's going by the headstone that popped up.

1765
01:34:45,640 --> 01:34:49,079
But I do wonder about the suicide, actually because I

1766
01:34:49,159 --> 01:34:52,039
think it's a convenient story, but we haven't found anybody

1767
01:34:52,680 --> 01:34:55,199
to confirm that that's the case. I think it helps.

1768
01:34:55,680 --> 01:34:57,760
It's a helpful narrative if you're trying to sell the

1769
01:34:57,840 --> 01:34:59,720
idea that the women who made these movies are sad

1770
01:34:59,760 --> 01:35:02,760
and portrait and miserable. I know, yeah, and so I

1771
01:35:02,840 --> 01:35:03,880
don't want it to be true.

1772
01:35:04,520 --> 01:35:06,239
Speaker 3: And I know you've gone back and forth on this

1773
01:35:06,479 --> 01:35:06,880
as well.

1774
01:35:07,000 --> 01:35:10,079
Speaker 2: Yeah, I mean yes, because she's so important, because I

1775
01:35:10,159 --> 01:35:11,840
love her so much, and I don't want it to

1776
01:35:11,920 --> 01:35:15,239
be true. I think that's you know, one of the

1777
01:35:15,359 --> 01:35:19,039
last newspaper articles I found about her was she had

1778
01:35:19,119 --> 01:35:20,920
just got a part in this movie called Dirty Mouth,

1779
01:35:21,039 --> 01:35:24,760
which is on the endangered list on Temple of Shlock.

1780
01:35:25,159 --> 01:35:29,640
It's a unofficial Lenny Bruce biopic which I think was

1781
01:35:29,680 --> 01:35:33,319
suent to oblivion. I have a copy because God loved

1782
01:35:33,359 --> 01:35:35,840
Bill and Walt Olson. They have a copy and sent

1783
01:35:35,920 --> 01:35:37,439
me a copy, so I have a copy of it.

1784
01:35:37,520 --> 01:35:38,920
I need to watch it to see if she's in it.

1785
01:35:39,319 --> 01:35:41,920
But that newspaper article was in May nineteen seventy one,

1786
01:35:42,039 --> 01:35:45,800
May twenty fourth, nineteen seventy one, two months before she

1787
01:35:46,079 --> 01:35:50,800
died July seventy one. So one would see that and think, well,

1788
01:35:50,880 --> 01:35:53,479
she was getting good parts, not just in sex movies.

1789
01:35:53,560 --> 01:35:56,000
But then you don't know what's going on in someone's life.

1790
01:35:57,079 --> 01:35:59,720
So I don't know. I think the narrative that is

1791
01:35:59,760 --> 01:36:04,680
being pedaled is convenient and kind of matches because people

1792
01:36:04,800 --> 01:36:07,960
in their mind think that matches. But I need more

1793
01:36:08,000 --> 01:36:09,520
evidence and I don't think we're going to get it.

1794
01:36:09,880 --> 01:36:13,039
Speaker 3: Yeah, not to linger on this too long, but where

1795
01:36:13,079 --> 01:36:16,520
did the suicide conjecture ever come from?

1796
01:36:17,039 --> 01:36:17,239
Speaker 4: Yeah?

1797
01:36:17,319 --> 01:36:20,199
Speaker 2: I don't know. I feel like maybe I feel like

1798
01:36:20,279 --> 01:36:23,960
maybe somebody said that it happened and it became truth,

1799
01:36:24,199 --> 01:36:26,920
kind of like how people said Sandy Dempsey died when

1800
01:36:26,960 --> 01:36:29,479
she did not, or at least a Delayo died when

1801
01:36:29,520 --> 01:36:32,479
she did not. All it takes is one person to

1802
01:36:32,640 --> 01:36:34,319
say it and then it becomes gospel.

1803
01:36:34,479 --> 01:36:37,960
Speaker 3: It's been spread so far and wide at this point. Yeah,

1804
01:36:38,119 --> 01:36:40,920
and that's why I ask. I'm like, where is this

1805
01:36:41,000 --> 01:36:43,560
coming from? Because I've seen it. I've seen it in

1806
01:36:43,680 --> 01:36:47,439
YouTube comments, I've seen it on Facebook. I'm like, you know, where,

1807
01:36:47,920 --> 01:36:51,000
let's maybe like cool it on this until there's some

1808
01:36:51,159 --> 01:36:51,800
kind of confidence.

1809
01:36:51,840 --> 01:36:53,920
Speaker 2: I don't love it, especially because they wouldn't plaster that

1810
01:36:54,079 --> 01:36:57,960
on her headstone, like suicide, Like they wouldn't say it

1811
01:36:58,039 --> 01:37:00,760
after the date. Yeah, they wouldn't do that. So without that,

1812
01:37:01,000 --> 01:37:03,279
without any kind of report in the paper, without a

1813
01:37:03,359 --> 01:37:08,439
death certificate, without a family member confirming, it's just unverified

1814
01:37:08,520 --> 01:37:11,840
rumor that tracks with people saying she was depressed, except

1815
01:37:12,399 --> 01:37:14,840
I don't know who anybody spoke to who remembered her

1816
01:37:14,880 --> 01:37:16,640
from that time we still alive, who said, oh, yeah,

1817
01:37:16,680 --> 01:37:20,720
she was really depressed. Like even John Emeiro can't confirm

1818
01:37:20,760 --> 01:37:23,760
that in his book. He's like, well, I was told

1819
01:37:23,800 --> 01:37:25,560
that she killed herself, which really surprised me because she

1820
01:37:25,680 --> 01:37:27,760
really she seemed like she was fine. And I'm just like,

1821
01:37:28,520 --> 01:37:31,880
maybe she was. Maybe that's not what happened. Maybe that's

1822
01:37:31,920 --> 01:37:36,960
not what happened. So the question is still remains. Sean,

1823
01:37:37,119 --> 01:37:38,760
I don't think he'll mind me saying this. He is

1824
01:37:38,800 --> 01:37:42,279
in touch with I think her last surviving relative that

1825
01:37:42,319 --> 01:37:45,159
he could find, and he has said he knows less

1826
01:37:45,199 --> 01:37:48,319
than I do, OK, And he's and he's related to her,

1827
01:37:48,479 --> 01:37:52,279
and I'm just like, God, yeah, it's it's frustrating. It's yeah,

1828
01:37:52,439 --> 01:37:54,880
I mean the research that he did confirm that, Like, yeah,

1829
01:37:55,039 --> 01:37:56,920
he was trying to find any family member of hers

1830
01:37:56,960 --> 01:37:59,880
and they all died either before her or like very

1831
01:38:00,079 --> 01:38:00,720
soon after her.

1832
01:38:01,159 --> 01:38:01,359
Speaker 4: Yeah.

1833
01:38:02,800 --> 01:38:05,800
Speaker 2: So yeah, it's just it's one of those situations. I

1834
01:38:06,520 --> 01:38:10,800
hate the speculation. I would like the confirmation in the meanwhile,

1835
01:38:11,399 --> 01:38:13,880
I will just love watching her smile and be happy

1836
01:38:14,279 --> 01:38:18,119
in these films and not and not tell myself that

1837
01:38:18,239 --> 01:38:22,119
she was miserable while she there was misery behind that smile.

1838
01:38:22,920 --> 01:38:34,560
Speaker 10: You know, brickle If when I died to take with

1839
01:38:34,720 --> 01:38:38,359
me one personal treasure, this would be fun, a brickleied

1840
01:38:38,399 --> 01:38:40,279
scream that wouldn't.

1841
01:38:39,920 --> 01:38:42,600
Speaker 2: Be very past to where yo, hollies, don't you think

1842
01:38:42,600 --> 01:38:43,960
it would melt prather quickly.

1843
01:38:45,479 --> 01:38:47,680
Speaker 4: The latterie would get you to know more than your share.

1844
01:38:50,560 --> 01:38:52,800
Speaker 3: Yeah, I might have to. I might have to put

1845
01:38:52,800 --> 01:38:56,640
her on my Mount Rushmore because you did. I don't

1846
01:38:56,640 --> 01:38:59,880
know if she was so she was.

1847
01:39:00,159 --> 01:39:02,720
Speaker 2: I think she was in the most movies from that period.

1848
01:39:03,239 --> 01:39:04,000
She didn't say no to.

1849
01:39:04,039 --> 01:39:07,439
Speaker 3: A job, and a lot of it's still uncredited in

1850
01:39:07,520 --> 01:39:11,199
a lot of places. Yes, Oh I showed you Blue

1851
01:39:11,239 --> 01:39:15,680
sex Step again. Another connection's not credited Durstin and Joe

1852
01:39:15,760 --> 01:39:16,159
man Jean.

1853
01:39:16,800 --> 01:39:19,239
Speaker 2: She was surprised. Yeah, when he said to that, I

1854
01:39:19,359 --> 01:39:22,840
was like, oh my god, Wow, that's crazy. Yeah, it's

1855
01:39:22,960 --> 01:39:27,760
very weird. I found a new an article from nineteen

1856
01:39:27,840 --> 01:39:30,039
sixty where she was at one of those artists and

1857
01:39:30,119 --> 01:39:34,039
models ball and she looks so different twenty two years old.

1858
01:39:34,279 --> 01:39:36,439
She looks very, very different. She kind of looks like

1859
01:39:36,520 --> 01:39:38,039
Georgina Spelvin at that age.

1860
01:39:38,439 --> 01:39:42,800
Speaker 3: Yeah, I see the face there though, Yeah, I mean yeah.

1861
01:39:43,359 --> 01:39:45,640
Speaker 2: And I found another article of sixty three that describes

1862
01:39:45,680 --> 01:39:47,600
her as a former manicurist to get her break on

1863
01:39:47,720 --> 01:39:50,399
Naked City. And then there was another article where it

1864
01:39:50,439 --> 01:39:52,520
said that she appeared in television. She also was a

1865
01:39:52,600 --> 01:39:54,399
bit part in the movie Love with the Proper Stranger

1866
01:39:54,479 --> 01:39:57,520
with Natalie Wood. She was she had a bit party

1867
01:39:57,520 --> 01:39:59,479
in the Broadway show Act One with George Hamilton and

1868
01:39:59,520 --> 01:40:04,199
Jason Rowe Ours Junior. She did all sorts of different

1869
01:40:04,279 --> 01:40:06,359
jobs as models, like she did some kind of modeling

1870
01:40:06,399 --> 01:40:10,159
for Johnson Wax for surfboards. She went to appear to

1871
01:40:10,239 --> 01:40:13,399
cocktail parties in New York and she was interviewed saying

1872
01:40:13,439 --> 01:40:14,760
that she just got a big part in value of

1873
01:40:14,800 --> 01:40:16,199
the dolls, and now I have to go watch that

1874
01:40:16,319 --> 01:40:18,640
again to see if I can find her. She's supposed

1875
01:40:18,640 --> 01:40:21,319
to be in Lilith, the Gene Seaberg movie, and I

1876
01:40:21,520 --> 01:40:23,880
think I spotted her in that. I need to go

1877
01:40:24,000 --> 01:40:26,560
back and see if I can get a screenshot. But

1878
01:40:26,760 --> 01:40:29,720
she kept working, she hit the pavement. I found an

1879
01:40:29,800 --> 01:40:32,399
article where she went to Florida for dinner, theater engagement.

1880
01:40:32,560 --> 01:40:36,000
Like she took jobs. She wanted to work, she wanted

1881
01:40:36,039 --> 01:40:39,560
to be successful. She was in an Albert Viola movie

1882
01:40:39,600 --> 01:40:42,000
called Interplay, which I don't know if that ever came out.

1883
01:40:43,560 --> 01:40:45,960
She did radio appearances, which now I need to research

1884
01:40:46,039 --> 01:40:48,399
those because I want to hear Janet as Janet. I

1885
01:40:48,479 --> 01:40:52,560
want to know if those radio recordings are around. Yeah,

1886
01:40:52,800 --> 01:40:55,359
I just I have so many questions about her and

1887
01:40:55,479 --> 01:40:58,279
watching her in this movie. I think she's fine. She's

1888
01:40:58,399 --> 01:41:01,119
better in stuff like Mini's Love. I love her in

1889
01:41:01,199 --> 01:41:04,079
Miniskirt Love, and there's other stuff that she's better in.

1890
01:41:04,199 --> 01:41:07,159
But I mean, she just there's a reason why she

1891
01:41:07,239 --> 01:41:09,720
kept getting hired and people kept coming back to her,

1892
01:41:09,840 --> 01:41:12,640
and it wasn't just because she would take her clothes off. Yeah,

1893
01:41:13,199 --> 01:41:16,079
I think I get the impression that she was someone

1894
01:41:16,119 --> 01:41:19,560
that people liked having around. She was reliable and she

1895
01:41:20,279 --> 01:41:23,199
was fun to work with. You know, she was paying

1896
01:41:23,199 --> 01:41:25,439
the ass that would not have called her back like

1897
01:41:25,520 --> 01:41:27,199
she could have been. A Laura of Canon. Laura Cannon

1898
01:41:27,279 --> 01:41:32,520
had a bad reputation for being a little too princess. Well, yeah,

1899
01:41:32,520 --> 01:41:34,800
it's a little too full of herself, Janet Bansa. You

1900
01:41:34,920 --> 01:41:37,600
get the impression that she just took the jobs because

1901
01:41:37,600 --> 01:41:40,560
she wanted to keep working and she wanted to develop

1902
01:41:40,640 --> 01:41:43,239
into something. So that's why, in my heart of hearts,

1903
01:41:44,000 --> 01:41:46,039
I don't want to believe that she took her own

1904
01:41:46,079 --> 01:41:48,800
life because I don't. I don't like that narrative. If

1905
01:41:48,840 --> 01:41:51,119
it's true, so be it, But I don't like that narrative.

1906
01:41:52,880 --> 01:41:57,479
Speaker 3: We've got, uh, Natara here, always a fun face, queen.

1907
01:41:58,399 --> 01:42:01,239
Speaker 2: I love her. Yeah, And you know how hard it

1908
01:42:01,359 --> 01:42:04,319
is to just research that name as.

1909
01:42:04,159 --> 01:42:05,760
Speaker 3: A singular Natara.

1910
01:42:06,720 --> 01:42:09,880
Speaker 2: It is not possible. I'm done to know who this

1911
01:42:10,000 --> 01:42:12,800
woman is. Three features in a short and that's all

1912
01:42:12,840 --> 01:42:13,079
we have.

1913
01:42:13,760 --> 01:42:17,560
Speaker 3: Yeah, she's it's yeah in an Electronic Lover. She's got

1914
01:42:17,640 --> 01:42:20,920
a pretty bold scene in that the Yeah.

1915
01:42:21,680 --> 01:42:25,600
Speaker 2: And she's in some like a violent which is Barry

1916
01:42:25,680 --> 01:42:28,119
Kamal and then she's in that little short that Barry

1917
01:42:28,199 --> 01:42:33,399
Mahon short as a model, gorgeous, obviously a model, incredible posture,

1918
01:42:33,760 --> 01:42:36,359
very regal, carries herself like a queen, which she is.

1919
01:42:37,239 --> 01:42:39,640
I love her speaking voice. She has an accent that

1920
01:42:39,720 --> 01:42:44,319
I cannot place. It's like British slash maybe Jamaican something.

1921
01:42:44,880 --> 01:42:48,560
I just she is so alluring and fascinating, And because

1922
01:42:48,600 --> 01:42:52,079
you don't see black women in these films, it's especially

1923
01:42:52,199 --> 01:42:54,520
tantalizing because I want to know what her story was.

1924
01:42:54,960 --> 01:42:57,479
I want to know what her life was like, patting

1925
01:42:57,520 --> 01:43:00,560
the pavement, getting modeling gigs, being in expectation. Where is

1926
01:43:00,600 --> 01:43:02,560
she now? Does she retire? Is she like around the

1927
01:43:02,600 --> 01:43:05,319
corner from me and Queen's raising, you know, with with grandkids?

1928
01:43:06,439 --> 01:43:08,680
Speaker 3: And I love her part in this movie. Yeah, she

1929
01:43:08,760 --> 01:43:11,359
has a lot of quite a bit of speaking and yeah,

1930
01:43:11,479 --> 01:43:15,760
like you said, her voice is very distinct. Very regal

1931
01:43:15,920 --> 01:43:18,520
is the you know, refined is what she said here?

1932
01:43:18,640 --> 01:43:22,560
Speaker 2: Yeah, very refined. Yes, you feel like she went to

1933
01:43:22,640 --> 01:43:26,239
like elocution school, modeling school. With the posture like you

1934
01:43:26,640 --> 01:43:29,159
you get the impression of the Yeah, she's super class,

1935
01:43:29,840 --> 01:43:32,239
super class, And that's why I'm just like, guys, you

1936
01:43:32,359 --> 01:43:37,159
can New York people cast her more unless you just

1937
01:43:37,199 --> 01:43:39,640
decide she didn't want to do it anymore. It's another possibility.

1938
01:43:40,359 --> 01:43:43,640
Speaker 3: She's very natural feeling. Did you get that as well

1939
01:43:43,720 --> 01:43:44,279
in this movie?

1940
01:43:44,479 --> 01:43:47,399
Speaker 2: She yes, Yeah, it doesn't seem like there's there doesn't

1941
01:43:47,399 --> 01:43:50,199
seem like they're lines. It seems like it's improv Honestly,

1942
01:43:50,399 --> 01:43:53,359
it doesn't seem mannered or yeah, when I say refined,

1943
01:43:53,399 --> 01:43:55,079
it doesn't. Yeah, it does not seem like it's it's

1944
01:43:55,239 --> 01:43:59,920
mannered speech at all. It seems very very natural, very natural.

1945
01:44:00,319 --> 01:44:00,840
Speaker 10: And I like that.

1946
01:44:00,960 --> 01:44:05,399
Speaker 3: She's just, you know, she's just another part of the party.

1947
01:44:05,920 --> 01:44:08,399
You know, they don't make up. Nobody's making any like

1948
01:44:08,840 --> 01:44:12,800
racial jokes about her that you'll sometimes get in these things, Right,

1949
01:44:12,840 --> 01:44:13,199
She's just.

1950
01:44:13,439 --> 01:44:16,319
Speaker 2: She's not she's not objected by, she's not othered. She's

1951
01:44:16,479 --> 01:44:18,359
just one of this modley group of people that's in

1952
01:44:18,439 --> 01:44:20,560
the party waiting for the hash to show up. And

1953
01:44:20,680 --> 01:44:23,079
then she shares a tub of ice cream with this dude.

1954
01:44:23,439 --> 01:44:26,840
Speaker 3: Yeah, it's just a it's a very non sexual almost

1955
01:44:26,960 --> 01:44:30,960
like foreplay before you know what I'm saying. It's them

1956
01:44:31,079 --> 01:44:33,920
just sharing this ice cream. Is is just a fun

1957
01:44:34,000 --> 01:44:37,319
little thing, right, They eventually do more after.

1958
01:44:37,319 --> 01:44:39,399
Speaker 2: But with the but it feels like it's but it

1959
01:44:39,439 --> 01:44:43,279
feels like it's something maybe like it feels with movies

1960
01:44:43,319 --> 01:44:44,920
like this, where it's very light on plot and the

1961
01:44:45,079 --> 01:44:49,680
characterization is slight, but just enough that you can like

1962
01:44:49,800 --> 01:44:51,600
kind of I get the impression that like they had

1963
01:44:51,640 --> 01:44:53,319
feelings for each other, but it took the hash and

1964
01:44:53,399 --> 01:44:55,760
the ice cream to kind of like follow through on it,

1965
01:44:56,079 --> 01:44:57,720
like there's a reason they went to the kitchen with

1966
01:44:57,840 --> 01:45:00,279
each other and kind of we're just like, you know,

1967
01:45:01,079 --> 01:45:02,520
oh yeah, I'm hungry, let's see something.

1968
01:45:02,560 --> 01:45:02,760
Speaker 6: Yeah.

1969
01:45:02,760 --> 01:45:03,640
Speaker 2: It's like it's it's.

1970
01:45:03,760 --> 01:45:06,479
Speaker 3: Very real to life. I feel like, you know, we've

1971
01:45:06,560 --> 01:45:10,039
been in those situations at parties before, at a house.

1972
01:45:09,920 --> 01:45:11,920
Speaker 2: Party, you're shooting the ship with somebody and just like,

1973
01:45:12,279 --> 01:45:13,479
let's see where this's goes.

1974
01:45:13,479 --> 01:45:16,600
Speaker 3: And feel oh yeah, it's feeling right. Let's take it

1975
01:45:16,680 --> 01:45:17,439
to the next level.

1976
01:45:17,600 --> 01:45:21,119
Speaker 2: Yeah, yeah, it's great. It's great. I think it's the best.

1977
01:45:21,159 --> 01:45:23,640
She looks. I don't know, Electronic Lovers really shot well too.

1978
01:45:23,880 --> 01:45:26,520
She doesn't photograph badly. She looks good in everything she did.

1979
01:45:27,960 --> 01:45:28,159
Speaker 9: Yeah.

1980
01:45:28,359 --> 01:45:30,359
Speaker 2: I love her so much, so so much.

1981
01:45:30,560 --> 01:45:34,640
Speaker 3: Electronic Lover. That's scene. It's like shot in a it's

1982
01:45:34,680 --> 01:45:36,800
not even like a room. It almost looks like a

1983
01:45:38,000 --> 01:45:40,880
truck trailer. It's a very strange. Yeah, if I remember

1984
01:45:40,920 --> 01:45:41,479
it correctly.

1985
01:45:42,119 --> 01:45:44,359
Speaker 2: Yeah, I need to revisit. Maybe that's another one for

1986
01:45:44,439 --> 01:45:48,520
a future episode. Two. Yeah, I feel like somebody, maybe

1987
01:45:48,560 --> 01:45:51,199
it's Shawn somebody else. I feel like somebody was researching

1988
01:45:51,279 --> 01:45:54,720
that director. Yeah, and we found some good stuff. So

1989
01:45:55,159 --> 01:45:56,840
I'll figure out who that was and see if we

1990
01:45:56,880 --> 01:45:58,840
can maybe have them on and see what they've found out.

1991
01:45:59,039 --> 01:46:02,039
But it's yeah, I love that movie. Very unusual film.

1992
01:46:02,600 --> 01:46:05,079
Speaker 3: Yeah, like I mentioned, h I should have mentioned earlier.

1993
01:46:05,279 --> 01:46:09,560
But this film Smoking Flesh is on cultpics dot com,

1994
01:46:10,079 --> 01:46:13,039
so oh good, it's easy to find.

1995
01:46:13,479 --> 01:46:16,319
Speaker 2: Yes, I guess Dister Picks is fine. Stephen is fine with.

1996
01:46:16,359 --> 01:46:20,720
Speaker 3: That, or maybe until Stephen finds out that it's on

1997
01:46:21,159 --> 01:46:22,319
cultpicks dot com.

1998
01:46:22,600 --> 01:46:24,520
Speaker 2: He could, he could, he could care less, he could

1999
01:46:24,520 --> 01:46:27,560
give a ship. Yeah, if he's not doing anything with it, honestly,

2000
01:46:27,800 --> 01:46:29,920
he shouldn't care. It's like, you know, don't be a

2001
01:46:29,960 --> 01:46:32,439
Howard Winners about it. Don't don't have a hissy fit

2002
01:46:32,640 --> 01:46:35,680
and not exploit the film you have. Sorry, Steven, I

2003
01:46:35,800 --> 01:46:37,319
love you, but that is what it is it is

2004
01:46:37,399 --> 01:46:42,159
Fancy's Friday on Cultpicks? No interesting, okay, mister picks.

2005
01:46:44,680 --> 01:46:45,159
Speaker 4: So yeah.

2006
01:46:45,199 --> 01:46:49,119
Speaker 2: I mean we also didn't mention the actual star of

2007
01:46:49,159 --> 01:46:50,960
this movie. Who is Frank Spencer?

2008
01:46:51,359 --> 01:46:51,560
Speaker 4: Yes?

2009
01:46:51,720 --> 01:46:52,920
Speaker 3: Who is Frank Spencer?

2010
01:46:54,079 --> 01:46:58,560
Speaker 2: A good question with a name is nondescriptives? That good luck?

2011
01:46:59,039 --> 01:47:04,239
He he used pseudonyms on virtually everything. He worked a

2012
01:47:04,319 --> 01:47:07,640
lot with Sarno. He was in Uh, he worked with

2013
01:47:07,720 --> 01:47:10,359
Luke Kampa, he was come on, let my come on baby,

2014
01:47:10,439 --> 01:47:14,239
light my fire miniskirt? Love cool at baby? Who's in?

2015
01:47:14,640 --> 01:47:18,560
Goes to pot? Uh? Who was in so much other stuff?

2016
01:47:18,800 --> 01:47:20,640
I mean he he was a very regular and he

2017
01:47:20,760 --> 01:47:23,920
used fake names on almost everything. Fank Spencer might not

2018
01:47:24,000 --> 01:47:25,720
even be his run name for all I know. This

2019
01:47:25,960 --> 01:47:28,600
is this is one for Bowen. Potentially, I think the

2020
01:47:28,640 --> 01:47:32,880
fact that he was in so many Sarno's he might

2021
01:47:32,960 --> 01:47:35,159
have gotten a clue of who he was. That's the

2022
01:47:35,279 --> 01:47:37,319
only route that I would potentially go down.

2023
01:47:38,159 --> 01:47:40,479
Speaker 3: I've seen him in a bunch of stuff, but I

2024
01:47:40,600 --> 01:47:43,720
can't pick out one role that he was that he

2025
01:47:43,920 --> 01:47:46,600
did that really jumped off the screen to me.

2026
01:47:46,760 --> 01:47:48,880
Speaker 2: Yeah, I don't know, not even like well, yeah, because

2027
01:47:48,880 --> 01:47:51,239
he's usually like a character actor. I mean, he is

2028
01:47:51,319 --> 01:47:55,279
the lead in Miniskirt Love, he's the nephew. He's also

2029
01:47:55,399 --> 01:47:57,359
the lead and cool at Baby, he's the he's the

2030
01:47:57,399 --> 01:48:01,800
asshole guy who's kind of in charge of everything. And

2031
01:48:01,880 --> 01:48:04,640
then he's in the pill with Monica Davis, those inserts

2032
01:48:04,720 --> 01:48:08,439
for the testing Babi's reissue for George Weiss. But yeah,

2033
01:48:08,520 --> 01:48:11,439
he just keeps popping up and stuff, and it's always

2034
01:48:11,520 --> 01:48:13,840
under a different name, so it's very it's weird. Like

2035
01:48:13,920 --> 01:48:15,880
I spotted him in this JESU Ghost to Pot trailer

2036
01:48:15,960 --> 01:48:18,640
and that's nineteen seventy, like he was still doing this

2037
01:48:18,680 --> 01:48:21,159
stuff and he looks really haggard. He's like foreman Shane

2038
01:48:21,199 --> 01:48:25,960
Haggard in that trailer. I'm just like, sir, it might

2039
01:48:26,039 --> 01:48:29,600
be time too, hey, hang your boxer shorts up and

2040
01:48:29,640 --> 01:48:30,760
stop doing these films.

2041
01:48:30,880 --> 01:48:33,760
Speaker 3: How would you describe Frank Spencer? Like Physically, he's just

2042
01:48:33,840 --> 01:48:34,159
kind of a.

2043
01:48:34,199 --> 01:48:40,239
Speaker 2: Tall He's like a lanky brunette. Sometimes he's like clean cut,

2044
01:48:40,479 --> 01:48:42,560
but in films like sometimes in films like this, he

2045
01:48:42,600 --> 01:48:45,640
has longer hair, kind of like a like a Beatles'

2046
01:48:45,680 --> 01:48:48,319
length hairdoo. The thing about it is, I know Frank

2047
01:48:48,359 --> 01:48:50,199
Spencer when I see him, just because I know I've

2048
01:48:50,239 --> 01:48:52,399
seen him in so many of these films, but describing

2049
01:48:52,479 --> 01:48:55,279
him as difficult, especially because we know you have white

2050
01:48:55,279 --> 01:48:56,600
guy face blind this, so it's.

2051
01:48:56,479 --> 01:49:00,640
Speaker 3: Not gonna help white blonde girl blindness.

2052
01:49:01,479 --> 01:49:04,239
Speaker 2: That's crazy to me. But like Kristen Steen, like if

2053
01:49:04,279 --> 01:49:05,920
I put a picture of Christen seen next to like

2054
01:49:06,000 --> 01:49:09,279
Daniel we May you would know the difference, right, yeah, Okay,

2055
01:49:09,359 --> 01:49:12,479
well then maybe you don't have blonde girl. But trying

2056
01:49:12,520 --> 01:49:14,840
to get other blondes from that era, there weren't that

2057
01:49:14,920 --> 01:49:19,119
many Uda Ericksson. Oh yeah, in New York. She has

2058
01:49:19,159 --> 01:49:20,840
a very distinctive profile.

2059
01:49:21,439 --> 01:49:23,720
Speaker 3: Yes, the nose, the nose.

2060
01:49:24,479 --> 01:49:27,399
Speaker 2: Kristen Stein definitely has that. And even in the seventies

2061
01:49:27,479 --> 01:49:30,680
when like she has very different hair, you know because

2062
01:49:30,720 --> 01:49:33,319
of the profile, like through the looking glass she has

2063
01:49:33,439 --> 01:49:35,960
terrible hair. Alice in Wonderland, you can definitely tell that

2064
01:49:36,039 --> 01:49:40,039
profile sometimes Sweet Susan, yeah, because she only had that

2065
01:49:40,199 --> 01:49:42,960
long like you know, kind of like yeah, like a

2066
01:49:43,039 --> 01:49:47,319
hippyish kind of hair up to like I don't know,

2067
01:49:47,399 --> 01:49:48,279
the early seventies.

2068
01:49:48,399 --> 01:49:51,359
Speaker 3: I think those are the main players in this film.

2069
01:49:51,439 --> 01:49:53,680
I mean, those those Pool Hall guys.

2070
01:49:54,319 --> 01:49:57,840
Speaker 2: No clue on those I recognize the one guy, the

2071
01:49:58,359 --> 01:50:01,920
one guy that is the rapist. I recognize him from something,

2072
01:50:01,960 --> 01:50:05,520
but I don't know what. The guy who is doing

2073
01:50:05,600 --> 01:50:08,520
the race car drive, No, I'm sorry, the guy who

2074
01:50:09,640 --> 01:50:13,560
looks like there's a guy who looks like Jim Nabors,

2075
01:50:14,439 --> 01:50:18,640
who is the guy who gives Frank Spencer the acid

2076
01:50:18,840 --> 01:50:21,000
and then he puts it in the water. That guy

2077
01:50:21,079 --> 01:50:23,439
looks like Jim Nabors. I know I've seen him somewhere,

2078
01:50:23,479 --> 01:50:26,279
but he also looks like maybe another Brooklyn truck driver

2079
01:50:26,640 --> 01:50:29,479
that Joe called and was like, it's not a sex role,

2080
01:50:29,800 --> 01:50:31,640
just we just need you to show up and look

2081
01:50:31,680 --> 01:50:34,520
beefy and great. There's there's a lot of attractive guys

2082
01:50:34,560 --> 01:50:37,279
in this movie. It's like there's a lot of it.

2083
01:50:37,640 --> 01:50:39,600
There's a lot of attractive guys in this movie.

2084
01:50:40,720 --> 01:50:41,399
Speaker 3: When Charlotte and.

2085
01:50:41,399 --> 01:50:44,640
Speaker 13: I were first married, we had have to be a

2086
01:50:44,800 --> 01:50:49,520
normal sex fight. And then I developed a very serious

2087
01:50:49,800 --> 01:50:54,119
range of a condition an operation follow and well, and

2088
01:50:54,159 --> 01:50:56,680
then I discovered that I wasn't able to fulfill my

2089
01:50:57,119 --> 01:50:59,520
customed late duties, you know what I mean.

2090
01:51:00,880 --> 01:51:03,439
Speaker 9: So we work at a solution that would be agreeable

2091
01:51:03,560 --> 01:51:06,920
to both Welter. Lets me have relations with a partner

2092
01:51:06,920 --> 01:51:10,000
of my choice, and I know him watch and he

2093
01:51:10,159 --> 01:51:10,600
enjoys it.

2094
01:51:11,199 --> 01:51:14,000
Speaker 3: I was looking to see if maybe one of these

2095
01:51:14,119 --> 01:51:17,600
guys that we don't know is was Joe was Joe Manngen,

2096
01:51:17,760 --> 01:51:19,520
But I don't think they fits.

2097
01:51:20,199 --> 01:51:20,439
Speaker 5: Yeah.

2098
01:51:20,680 --> 01:51:24,279
Speaker 2: No, And he was a cinematographer, so unless he had

2099
01:51:24,520 --> 01:51:28,840
Harry August because he was second camera and someone else

2100
01:51:28,880 --> 01:51:32,199
was assistant camera. Oh, Phil Fitzpatrick, that's the potential. But

2101
01:51:32,319 --> 01:51:35,439
I don't feel like Joe because we know that Joe

2102
01:51:35,720 --> 01:51:38,640
liked to downplay everything and not center himself. I don't

2103
01:51:38,680 --> 01:51:41,920
see him appearing in this movie. Yeah, it doesn't jive

2104
01:51:42,079 --> 01:51:44,560
with It doesn't jibe with what we know about him.

2105
01:51:44,720 --> 01:51:47,079
But I wondered that too. I thought about it too,

2106
01:51:47,279 --> 01:51:49,800
but then was like, it doesn't really all in all,

2107
01:51:49,800 --> 01:51:52,000
it doesn't seem like something he would do. It seems

2108
01:51:52,000 --> 01:51:53,680
like he would give roles to his friends because he

2109
01:51:53,760 --> 01:51:56,560
constantly was involved with doing stuff with people he liked.

2110
01:51:58,319 --> 01:52:01,720
And also it feels like he took this projects quite seriously.

2111
01:52:02,720 --> 01:52:06,079
Speaker 3: So yeah, you can tell technically, Yeah, it's his first big,

2112
01:52:06,800 --> 01:52:11,159
I mean more or less solo project. Yeah, I mean yeah,

2113
01:52:11,239 --> 01:52:13,039
that like that montage at the end, you know, we

2114
01:52:13,479 --> 01:52:15,800
kind of said, you know, we wish the ending was

2115
01:52:15,840 --> 01:52:20,159
a little stronger, but it's a nice montage. It's shot well,

2116
01:52:21,119 --> 01:52:23,239
you know, all the fish tank stuff. I mean, who

2117
01:52:23,239 --> 01:52:26,439
doesn't love a sex scene shot through a fish tank?

2118
01:52:26,520 --> 01:52:27,279
Speaker 11: You know that.

2119
01:52:27,520 --> 01:52:31,079
Speaker 2: I didn't mind because I hate when Metzker does it. Yeah,

2120
01:52:31,159 --> 01:52:33,239
but I didn't mind it here because Metzker did it

2121
01:52:33,319 --> 01:52:35,239
in It wasn't Carmen.

2122
01:52:35,000 --> 01:52:37,560
Speaker 3: Baby, Everybody's done it. Franco did it.

2123
01:52:37,960 --> 01:52:40,560
Speaker 2: I mean, Metzger did it first, and it makes no

2124
01:52:40,720 --> 01:52:43,039
sense for his and he only did it to basically

2125
01:52:43,159 --> 01:52:44,920
distract from the fact that he had no nudity in

2126
01:52:45,000 --> 01:52:46,760
the film. I forget. It might have been The Dirty

2127
01:52:46,840 --> 01:52:49,720
Girls potentially. I'm trying to remember. All of those movies

2128
01:52:49,760 --> 01:52:56,720
are terrible. Don't get me started on metzkerg again. Yeah,

2129
01:52:56,760 --> 01:52:58,399
there's just so much style in this, and that's why

2130
01:52:58,439 --> 01:53:00,880
I kind of like, this is kind kind of like submission,

2131
01:53:01,199 --> 01:53:03,760
submission again. And then I get that people would be like, well,

2132
01:53:03,800 --> 01:53:06,439
nothing happens in this, Like what stuff does happen? It's

2133
01:53:06,520 --> 01:53:09,880
just it's more about style over substance, which is that's

2134
01:53:09,920 --> 01:53:11,520
why I call it the can Hardly Wait of New

2135
01:53:11,600 --> 01:53:14,199
York's Exploitation because can hardly Wade has enough story either.

2136
01:53:14,359 --> 01:53:16,439
It's a bunch of characters thrown together and you're following

2137
01:53:16,520 --> 01:53:18,000
these characters. There's no story there.

2138
01:53:18,199 --> 01:53:19,119
Speaker 3: Yeah, can't.

2139
01:53:19,119 --> 01:53:19,399
Speaker 2: Hardly.

2140
01:53:19,439 --> 01:53:21,399
Speaker 3: Waite has a really good soundtrack too, doesn't it.

2141
01:53:21,600 --> 01:53:24,000
Speaker 2: So speaking of the soundtrack, I wish I knew what

2142
01:53:24,119 --> 01:53:27,520
the soundtrack was. It's really good garage rock instrumentals that

2143
01:53:27,720 --> 01:53:31,479
aren't library music, and it could be it could be originals.

2144
01:53:31,880 --> 01:53:34,960
We don't know. No credits, but I've tried just xaming it.

2145
01:53:35,239 --> 01:53:38,920
Nothing nothing so but it's very good.

2146
01:53:39,319 --> 01:53:43,359
Speaker 3: Yeah, you mentioned submission too, and again this is like

2147
01:53:43,479 --> 01:53:46,880
submission track. When I'm watching this, I can just see

2148
01:53:46,920 --> 01:53:49,760
how good it would look with from that original camera

2149
01:53:49,920 --> 01:53:51,079
negative restore.

2150
01:53:51,359 --> 01:53:53,760
Speaker 2: Now, let's see submission would be a good in a

2151
01:53:53,840 --> 01:53:56,000
sixty nine collection. Give us a sixty nine collection.

2152
01:53:56,760 --> 01:53:59,039
Speaker 3: Yeah, hey, we could start a whole series here. We'll

2153
01:53:59,039 --> 01:53:59,840
start with the sixteen.

2154
01:54:00,520 --> 01:54:02,279
Speaker 2: I feel like sixty eight is a good starting off

2155
01:54:02,279 --> 01:54:05,399
point because it's twenty twenty six, and if we two

2156
01:54:05,520 --> 01:54:07,720
years to finesse this and figure out what to do,

2157
01:54:08,159 --> 01:54:11,960
I feel like that would give us enough time to curate.

2158
01:54:12,840 --> 01:54:15,880
As Dino hates to put it, a package of four

2159
01:54:16,000 --> 01:54:20,199
nineteen sixty eight films restored from original like negatives which

2160
01:54:20,239 --> 01:54:23,199
are there with a little bit of a historical context.

2161
01:54:23,720 --> 01:54:26,039
And yeah, do it for sixty eight, sixty nine to

2162
01:54:26,079 --> 01:54:29,279
seventy even into seventy one potentially because software didn't really

2163
01:54:29,359 --> 01:54:31,920
die until way later. But and then go backwards, go

2164
01:54:32,079 --> 01:54:36,279
back sixty seven, sixty six, sixty five, or do volume one,

2165
01:54:36,640 --> 01:54:40,680
do filmsusato and do the volumes sixty eight, Volume one,

2166
01:54:40,760 --> 01:54:43,840
sixty eight, Volume two, sixty eight, Volume three. Yep, Yeah,

2167
01:54:44,159 --> 01:54:46,720
I like it all right, especially when you have a

2168
01:54:46,760 --> 01:54:48,960
movie that's like sixty eight sixty eight minutes like this,

2169
01:54:49,079 --> 01:54:51,560
and it doesn't really match with anything else. It's so

2170
01:54:51,760 --> 01:54:54,159
very distinctive. The only other thing I could think of

2171
01:54:54,239 --> 01:54:56,279
that it could possibly go with was Blonde on a

2172
01:54:56,319 --> 01:55:01,000
Bum Trip, But that's such a different movie. Is yeah,

2173
01:55:01,039 --> 01:55:03,279
I know, but I'm saying like they had shoved it

2174
01:55:03,319 --> 01:55:06,479
on there for some reason. That's the only possible thing

2175
01:55:06,520 --> 01:55:07,960
I can think of that it could be paired with,

2176
01:55:08,479 --> 01:55:11,000
because it is another New York film involving LSD. But

2177
01:55:11,439 --> 01:55:13,880
this is really mostly about the HASH, not about the LSD,

2178
01:55:14,359 --> 01:55:18,800
and the moods of both of them are wildly different.

2179
01:55:19,920 --> 01:55:21,079
Speaker 4: This movie, I.

2180
01:55:21,199 --> 01:55:25,520
Speaker 3: Think is a good sexploitation intro. If you're listening it

2181
01:55:25,600 --> 01:55:28,720
out there, you're a big sexploitation fan, you want to

2182
01:55:28,760 --> 01:55:31,600
maybe show a friend a movie. This one is good.

2183
01:55:31,920 --> 01:55:34,640
I mean, it's not too strong, if you know what

2184
01:55:34,720 --> 01:55:39,479
I'm saying. It's got cool music, cool visuals, attractive people,

2185
01:55:40,399 --> 01:55:44,359
it's short, looks great. Yeah, I don't, I just can't. Yeah,

2186
01:55:44,439 --> 01:55:46,239
I love this movie. I think it's great. I'm fine.

2187
01:55:46,359 --> 01:55:48,399
I'm glad we finally got a chance to cover it

2188
01:55:49,600 --> 01:55:50,960
for Stoner Holiday.

2189
01:55:51,680 --> 01:55:54,359
Speaker 2: It's also more diverse than one would think, too, and

2190
01:55:54,439 --> 01:55:57,439
so you kind of get that approach to it. It's

2191
01:55:57,479 --> 01:56:01,000
like it's not all like, it's not all pretty blondes

2192
01:56:01,159 --> 01:56:04,600
and like ugly middle aged guys you keep their boxes on.

2193
01:56:04,720 --> 01:56:05,920
Speaker 3: And yes, you know exactly.

2194
01:56:06,600 --> 01:56:09,119
Speaker 2: It's definitely that's a weird thing. It's kind of a

2195
01:56:09,159 --> 01:56:12,079
good intro, but it's also not representative of the genre

2196
01:56:12,439 --> 01:56:16,920
because it's not the typical thing you would expect. But

2197
01:56:17,039 --> 01:56:19,399
that's why I'm glad. I'm glad we revisited because I

2198
01:56:19,520 --> 01:56:22,000
was wondering about my five star review and I was like,

2199
01:56:22,960 --> 01:56:25,119
am I misremembering how much I love this? And I

2200
01:56:25,239 --> 01:56:28,439
really wasn't it went down very little in my in

2201
01:56:28,560 --> 01:56:31,840
my review of it. No, I I love it, and

2202
01:56:31,840 --> 01:56:34,199
it goes down real easy, and it's just gorgeous to

2203
01:56:34,279 --> 01:56:37,399
look at, gorgeous to look at. It's it's you know,

2204
01:56:37,479 --> 01:56:39,359
it's good. Just put it on the background too, because

2205
01:56:39,359 --> 01:56:41,159
there's no you don't have to follow the plot. It's

2206
01:56:41,199 --> 01:56:43,600
just nice to look at. There's also we didn't talk

2207
01:56:43,640 --> 01:56:46,199
about the acid trip in this yah where it goes

2208
01:56:46,239 --> 01:56:49,920
to negative and there's more really interesting editing and things. Yeah,

2209
01:56:49,960 --> 01:56:51,680
it's an interesting acid trip.

2210
01:56:52,039 --> 01:56:56,079
Speaker 3: I like it because it's not excessive. It's a he

2211
01:56:56,159 --> 01:56:58,159
does a little trippy stuff, like you said, with that

2212
01:56:58,279 --> 01:57:01,760
negative flipping, but he doesn't go he's not going like

2213
01:57:01,840 --> 01:57:04,840
full psychedelia with it. Which no, it doesn't.

2214
01:57:04,640 --> 01:57:08,079
Speaker 2: Flip to color like Alison Assland. Yeah, they don't have

2215
01:57:08,159 --> 01:57:08,560
the budget.

2216
01:57:08,800 --> 01:57:11,479
Speaker 3: Again that New York influence where it's like, you know,

2217
01:57:11,880 --> 01:57:14,399
let the California boys do that kind of mm hmm,

2218
01:57:14,640 --> 01:57:17,880
crazy stuff, right right. So Yeah, but it is.

2219
01:57:17,880 --> 01:57:20,359
Speaker 2: Also it's not judge Yeah, that is different in the

2220
01:57:20,399 --> 01:57:24,319
California films that it's not It isn't judgmental. By the

2221
01:57:24,399 --> 01:57:28,720
end of the movie, everyone had smoke ye go back

2222
01:57:28,720 --> 01:57:31,079
to they go back to work in the morning or whatever. Yeah,

2223
01:57:31,119 --> 01:57:33,039
it's just kind of like, yeah, it is, it is

2224
01:57:33,119 --> 01:57:35,479
what it is. We we smoke, bought, and had sex,

2225
01:57:35,560 --> 01:57:37,479
and guess what, our lives aren't ruined.

2226
01:57:37,960 --> 01:57:38,159
Speaker 3: Yeah.

2227
01:57:38,359 --> 01:57:40,319
Speaker 2: None of us jumped out a window, none of us

2228
01:57:40,399 --> 01:57:42,600
got murdered, like yeah, none of us had to go

2229
01:57:42,640 --> 01:57:45,000
get an abortion after, Like, none of that bullshit that

2230
01:57:45,119 --> 01:57:47,680
you would see in something earlier from California.

2231
01:57:47,960 --> 01:57:51,439
Speaker 3: Yeah, the montage at the end is numerous couples just

2232
01:57:51,880 --> 01:57:56,479
having stone sex apparently and going back to work the

2233
01:57:56,560 --> 01:57:57,199
next day. Yep.

2234
01:57:57,560 --> 01:58:02,439
Speaker 2: It is very pro drugs and pro sex, which we love,

2235
01:58:02,520 --> 01:58:06,520
which is a very rare combination. It's like the opposite

2236
01:58:06,520 --> 01:58:08,640
of Ruckway for a Dream, which is terrible, which is

2237
01:58:08,800 --> 01:58:10,359
anti drugs and anti sex.

2238
01:58:10,600 --> 01:58:13,920
Speaker 3: Well, you know what we didn't talk about was the

2239
01:58:14,079 --> 01:58:19,640
strange Robert Crumble looking bald headed weirdo. We talked a

2240
01:58:19,720 --> 01:58:21,840
little bit. No, is it a bald cap.

2241
01:58:22,640 --> 01:58:26,920
Speaker 2: I think it might be. You just think it's a

2242
01:58:27,000 --> 01:58:28,119
weird shaving job.

2243
01:58:28,920 --> 01:58:31,920
Speaker 3: I think that's just his normal head because you can

2244
01:58:31,960 --> 01:58:32,760
see his veins.

2245
01:58:33,840 --> 01:58:36,760
Speaker 2: I don't know. This is another situation though that we

2246
01:58:36,880 --> 01:58:39,199
see this on a lot of exploitation where the cow

2247
01:58:39,359 --> 01:58:42,319
the cast names are fake and all the crew members

2248
01:58:42,439 --> 01:58:45,439
names are real, which is just like great, now we'll

2249
01:58:45,479 --> 01:58:47,279
never know who these people are, which I guess is

2250
01:58:47,359 --> 01:58:49,800
intentional because they have more to lose because they're on camera.

2251
01:58:50,439 --> 01:58:53,079
So I guess that is the thinking there. It's like, well,

2252
01:58:53,159 --> 01:58:55,439
the crew, it's not a big deal. The cast is

2253
01:58:55,520 --> 01:58:57,199
right there in your face. They could get in trouble,

2254
01:58:57,479 --> 01:59:01,439
so it doesn't help when you're a researcher though, But yeah, no,

2255
01:59:01,560 --> 01:59:04,000
this is Yeah, this is definitely one I remember than

2256
01:59:04,039 --> 01:59:05,960
we did The Disconnected that that was one of the

2257
01:59:06,039 --> 01:59:07,920
first questions was what do you want to see restored

2258
01:59:08,399 --> 01:59:10,680
in twenty twenty six, And I said this one because

2259
01:59:10,840 --> 01:59:13,800
I do think it's a really good gateway movie. It's

2260
01:59:13,960 --> 01:59:17,880
very accessible. It's not uh, it doesn't have the tasteless

2261
01:59:17,880 --> 01:59:19,840
inness that a lot of New York's expectation might have

2262
01:59:20,000 --> 01:59:23,199
for some people. Even the attic assault sequence, it's very

2263
01:59:23,239 --> 01:59:25,880
it's much more about the style than the actual substance

2264
01:59:25,920 --> 01:59:28,800
of that sequence. Yeah, and yeah, it's just it's just

2265
01:59:28,960 --> 01:59:32,199
it's just incredibly accessible. It goes by really quickly. Yeah,

2266
01:59:32,359 --> 01:59:35,039
it's a really good Yeah. I just yeah, I'm hoping

2267
01:59:35,079 --> 01:59:36,960
that more people see it, especially if it's on if

2268
01:59:37,000 --> 01:59:39,359
it's on Cult Pics, absolutely go watch it.

2269
01:59:39,880 --> 01:59:40,039
Speaker 10: Yeah.

2270
01:59:40,079 --> 01:59:43,399
Speaker 3: Absolutely, Actually looks like it's on Night Flight as well.

2271
01:59:43,479 --> 01:59:45,479
If people have that service.

2272
01:59:45,560 --> 01:59:47,920
Speaker 2: Get on it, go watch you need y'all need to

2273
01:59:47,960 --> 01:59:50,119
go watch this, I'm telling you. I know we say

2274
01:59:50,159 --> 01:59:51,600
that about a lot of the stuff we cover, but

2275
01:59:51,760 --> 01:59:53,279
this is a this is a really this is a

2276
01:59:53,319 --> 01:59:55,039
really good one, guys, you know it's really good one.

2277
01:59:55,079 --> 01:59:57,520
Speaker 3: Then. Yeah, I was thinking about that too recently, where

2278
01:59:58,239 --> 02:00:00,239
you know, there are people who don't want to listen

2279
02:00:00,239 --> 02:00:02,159
to our episodes until they've seen the movies.

2280
02:00:02,239 --> 02:00:04,199
Speaker 2: So true, that is true.

2281
02:00:04,640 --> 02:00:08,239
Speaker 3: Look, we're not going to cover popular stuff that just

2282
02:00:08,359 --> 02:00:11,800
because it's popular and because it's easily accessible. We're gonna

2283
02:00:11,800 --> 02:00:14,479
cover whatever we want to cover here, Like can.

2284
02:00:14,399 --> 02:00:16,399
Speaker 2: We eventually just Steve apostle Off. We're not gonna do

2285
02:00:16,439 --> 02:00:19,920
Worgy the Dead. We're gonna do I don't know, dropout wife. Yeah,

2286
02:00:20,319 --> 02:00:21,960
We're something people that want to talk about.

2287
02:00:22,039 --> 02:00:27,319
Speaker 3: Probably, Yeah, but I understand yeah that people want to

2288
02:00:27,319 --> 02:00:30,840
see these movies, and this one's easy to find and hopefully.

2289
02:00:30,760 --> 02:00:34,680
Speaker 2: Twenty twenty eight, yep, so we got two years. Let's

2290
02:00:34,720 --> 02:00:38,600
figure out. Let's let's uh let's program a sixty eight collection.

2291
02:00:39,000 --> 02:00:41,680
We're supposed to have Steven on a couple months. Anyway,

2292
02:00:41,720 --> 02:00:43,960
we'll have to pitch that to him live. Let's see

2293
02:00:43,960 --> 02:00:46,880
what he says. Yeah, because as far as I know,

2294
02:00:47,319 --> 02:00:49,880
they don't have twenty twenty eight on the books yet. Yeah,

2295
02:00:50,720 --> 02:00:53,279
as far as I know, that could have changed.

2296
02:00:53,439 --> 02:00:55,720
Speaker 3: Do we need to warn Stephen before he comes on

2297
02:00:55,840 --> 02:00:59,840
that we're gonna be assailing him with demands?

2298
02:01:00,680 --> 02:01:05,800
Speaker 2: You think I haven't told him this? Okay? Listen, Stephen.

2299
02:01:06,279 --> 02:01:10,000
Stephen is like my older brother from another mother. We've

2300
02:01:10,079 --> 02:01:13,079
been there so much. We're trauma bonded from so much stuff.

2301
02:01:13,560 --> 02:01:17,520
We Yeah, no, no, there's nothing I wouldn't tell. See

2302
02:01:17,520 --> 02:01:18,840
when I trust that man with my life?

2303
02:02:29,479 --> 02:02:59,119
Speaker 4: N people, I think it was the mouth of the people,

2304
02:02:59,279 --> 02:03:00,279
things with the.

2305
02:03:01,800 --> 02:03:16,439
Speaker 14: Other person, something set sometimes people presents of things pass

2306
02:03:16,439 --> 02:03:17,159
another thing.

2307
02:03:21,960 --> 02:04:03,560
Speaker 15: The people.

2308
02:04:01,760 --> 02:05:01,279
Speaker 10: Than b Thank you for listening to hear more shows

2309
02:05:01,319 --> 02:05:03,920
from the Someone's Favorite Productions podcast network.

2310
02:05:04,319 --> 02:05:12,760
Speaker 3: Please select the link in the description. Are you a

2311
02:05:12,840 --> 02:05:16,720
film fan who loves the ultimate home video experience? Look

2312
02:05:16,840 --> 02:05:18,479
no further than the disc Connected.

2313
02:05:19,039 --> 02:05:22,039
Speaker 5: Your host, Ryan Verel, is your go to source for

2314
02:05:22,119 --> 02:05:25,439
the latest and most accurate information on home video releases

2315
02:05:25,800 --> 02:05:30,039
exclusive interviews with industry insiders and filmmakers, and has established

2316
02:05:30,039 --> 02:05:33,720
a thriving community where every film and physical media enthusiast

2317
02:05:33,800 --> 02:05:34,520
feels welcome.

2318
02:05:35,319 --> 02:05:39,439
Speaker 3: From hidden gems to blockbuster hits, The disc Connected brings

2319
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you insider knowledge and a welcoming space to share your

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love of cinema. Watch every Thursday night at nine thirty

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Eastern six thirty Pacific for the live announcements show, and

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follow The disc Connected on social media to stay updated.

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Subscribe to The Disconnected on YouTube or on the podcast

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provider of your choice, and dive into a world where

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every movie night is an adventure.