Speaker 1: We're all owned by the syndicate Body and Soul or
should I just say Bunny.
Speaker 2: Hello, filthy movie lovers, Something Weirdos and Anti Criterion Bros.
To the fourth episode of the Short Ends, our series
of bite sized bonus episodes where we present the odds,
ends and dephemera that didn't exactly fit into previous discussions.
This week is something a little different. We are doing
a mini sould which is going to be talking about
Reviver two, the second release in the ongoing Secret Lost
Film series by Vinegar Syndrome, curated by head archivist Oscar
Bacher and with profits from each release going directly into
funding the VS Film Archive. The entire premise of this
line is the mystery box aspect, so we should probably
say right up there will be spoilers, So if you
want to go into Reviver to completely virginal, you'll want
to skip the last portion of this episode. But first
let's cover a few other recent more sexploitation related news
and updates. We've got another Secret Places, Secret Things update.
What do we got here from? Chris Poggiali?
Speaker 1: Yes, Well, first of all, Dino is going to love
that you use the word curated.
Speaker 2: I know I know.
Speaker 1: To do that intentionally to give him to get to
raise his hackles. Yes, folks, we're trying to destroy the
word curated. We're trying to replace it with programmed or
whatever it rolls off the tongue. Okay. So yeah, Chris
sent this to me and I thought it might have
been in this book. So Brian Albright, who is great,
I mean, he wrote a book called whild Beyond Belief,
Interviews with Exploitation Filmmakers of the nineteen sixties nineteen seventies,
and it came out, gosh, almost twenty years ago, and
I still don't have a copy, so bad on me.
But that's also the book where he interviewed Jennifer Bishop,
which was major, and for some reason, she never she
wasn't interviewed for the al Adamson set or their Graffe
set by Severn and Arrow. She still has never done
an interview other than that interview with Brian. But he
did interview Gary Kent for that book, and so he
sent me this screenshot of what Gary had to say
about secret places, secret things. This is before he saw
the movie. So he said, God, I would love to
find a copy of that. I was working as a
production manager for The Pussycat Shame, but they weren't doing anything.
Gary Graver got to be a pal and we were
writing a script called The Moonshiners for them, and I
have found a Box Office magazine article about that where
that movie never went into production, but they were trying
to get The Pussycat to finance it. The next thing
I knew, Vince Miranda called and so there was a
guy named Mike McFarland that wanted to do a movie
and he was looking for a director. They told him
I was a good production manager, so he wanted to
hire me. I met Mike at a sub sandwich shop
and he sat down and I thought, well, if I'm
ever going to make the jump, do it now. I said,
don't look any further for a director. It's me. I
talked him into letting me direct, but he had no
idea what he was doing. He wanted to make Mudi cuties.
I said, let's make an art film. It will be
a newdie, but it will be art accurate.
Speaker 2: Yeah.
Speaker 1: I wrote the script with one of the partners from
The Pussycat. Mike produced it. I co directed it with
his other fellow. At the time, I already worked with
Laslo Kovac's and vill Musigmund. I thought you had to
have a Hungarian cameraman or you were not a director.
So I hired a guy named Lewis Horvath. I think
it was his first job in La. I don't believe
that's true. Part of the film had this great camera
work from this Hungarian cameraman. The other director had his
own cameraman, and I don't know what he did. I
thought my part of it wasn't too bad. Of course,
I know, I've never seen it. Don't know what happened
to it or where it went. Some more questions now,
because I thought Mike McFarland wrote the script to this,
but now Gary saying that he wrote the script with
one of the partners from The Pussycat, which was now
I forget his name, but that's the partner for The Pussycat.
Was the guy that Naola said directed it on her resume. Yeah,
so I think that's the other director. I still think
that's the other director. I just think it's interesting he
didn't name the other fellow, but it sounds like there
were two units shooting this. It sounds like he shot
something and the director the other director shot other things.
So now I'm going to watch this. I need to
watch this again.
Speaker 2: And see if you can notice I love and.
Speaker 1: See if I can notice something else. But also props
to that editor, the woman editor then to make it
all flow, because I don't notice any difference in style
across that those stories in that film don't. I don't
notice any difference. And so that's why when he maintains
that he direct co directed it with someone, I was
kind of like, it doesn't seem like unless you guys
were doing it together at the same time that I
could see. But now he's saying that there was the
director at his own cameraman that wasn't Lewis Horbeth's, And
I'm just like, Okay, well, then who was the other
cameraman on this? Because it all flows very seamlessly to me,
And you know what again, this is I I'm gonna
have to email Mayola. I'm gonna have to you know,
stop being chicken shit and email Naola because I think
she and your your other favorite are the only two
surviving people that we can talk to about this.
Speaker 2: The only thing I could think of is that maybe
they had the two units wanted exteriors wanted interiors. Maybe
they broke it up.
Speaker 1: That way, I believe, Yeah, I don't know. I'm also
and this is when I wish that after it had
become available and he had seen it and I'd seen it,
I wish that I'd been more. I wish that I'd
pressured him more to answer my questions about this, but
at that time he was not doing great health wise,
so I really didn't want to impress him. It doesn't
seem like anybody else did after that film came out,
unless I could talk to Lars from Austin Film Society,
who did mention that he got Gary the copy of
that movie, so I might reach out to Lars. And
I love that We're still going back to get more
info about this movie. But like this, it's an enduring mystery. Yeah,
and I think it's still one of the best movies
that we've done. So the more info we can get,
the better. I just I wish the This is the
situation where I wish that there were, yeah, all the
answers available, but at least it keeps us on our
toes looking for stuff. So thank you Chris for sending this,
and I am going to order that book because I
need that Jennifer Bishop interview.
Speaker 2: Yeah. What year was that book?
Speaker 1: Two thousand and eight, almost twenty years ago. Yeah, and
I think it was at McFarland published. I think it
came out through McFarland, that duel the Tom Weaver books.
Speaker 2: So yeah, well it is good that you know, Gary
did get to see that the film, you know, after
that interview for that book.
Speaker 1: Yeah, mh, I just have too many questions now.
Speaker 2: We keep talking about this film and part of me
is like, wow, this might be a good reviver. But
at the same time, it's like, well, maybe we're talking
about it too much.
Speaker 1: You know, No, Oscar and I have discussed this. He
knows how he knows how important it would be to
put this out. It's not necessarily about the fact that
it's never been available. I mean, if they can find
any even if they find a print that's that would
potentially be longer than what we have because it was
cut for that video. It's missing both the beginning and
end credits. So yeah, there's definitely stuff missing and I
and I made that argument to him, so all right,
I advocated for it.
Speaker 2: Yep, you have been doing some corrections on compass rolls.
Speaker 1: Yes, I posted that on letterbox and I haven't gotten
any blowback, but you know, listen, when I have to
correct my daddy, I have to do it. I'm sorry.
So uh, that correction happened. But then I also I
forgot to because we moved over to Canada to discuss,
you know, with Eric, which was so so educational and great.
I wanted to read out the email, the exchange that
I had, or at least the initial message I got
from Anthony MUSKINI who was the male lead of Compass Rows.
Speaker 2: And when was this?
Speaker 1: So this was two thousand and twenty seventeen. Okay, so
this was when so Quadsenman was doing screening of Vapors
and Seeds, and Joe Rubin asked me to try to
get as many people as possible for every screening. So
I said, okay, well, there's got to be New Yorkers
who were still around who were part of these two movies.
So I called Gerald Jacuzzo and he came down from
Upstate for Vapors, and then we got John Borsky, who
co wrote Seeds, and then his wife Patty Dinner his
ex wife Patty Dylan, who was the maid in the film.
But I wanted to go a little bigger. So I
found Anthony Muskine, who was still living in New York.
I was like, I want to get somebody that isn't
in the book or you know. I wanted to get
somebody who even Jimmy hadn't talked to, because I don't
think Jimmy had even talked to him. So I emailed
him out of the blue, and I wasn't sure to
found the right Anthony Muskini. So I was like, Okay,
I'm trying to find Anthony MUSKINI that worked with an
Andy Milligan in the nineteen sixties, because we're doing a
screening of his movie. So I found him and he
wrote back really quickly. Actually he wrote back like twenty
four hours later. So his email, he wrote back and said, yeah,
I'm still kicking around. Those were three or four great years,
and I remember Andy. He was a little gruff, but
an interesting human. His directing was off the cuff, interesting
and jovial. He'd hoist that camera onto his shoulders and
you knew it was action time. He seemed to have
a short fuse with some now we never got angry.
He seemed to want to be surprised by what you
came up with. He was a good guy, even though
he seemed dangerous at times. It might make for an
interesting evening just kicking around those years way way back.
Let me know where and when this will all happen.
And he came with his wife. He came with his wife,
sat in the audience after the after the the experience
is sitting with his wife watching Seeds. He did not
join the Q and A, uh who I thought it
was fine. Uh. He seemed a little shell shocks because
I don't think he ever saw the film. There was
really it wasn't There wasn't a premiere of this, you know,
so I don't think he ever saw it. And uh,
I don't think he knew it was around. So he
talked to John I remember, and I think he talked
to Jerry too, and that was kind of the end
of it. And I gave his contact information to Vinegar
Syndrome because they were going to reach I think they
were reissuing Seeds because that was the debut of the
restoration that Alex did, and they were going to try
to get him for the release. And I I'm not
sure if they did or either they contacted him and
he said no or they didn't contact him. But I
sent his email address to Alex because I was like, Alex,
if we're going to figure out any of these mysteries
of Compass Row, specifically those two actresses, the one who
plays Asa, the blonde who's supposed to be like Hope Stansbury,
and the one who plays miss not Miss Georgia whatever,
the lady who's not in Lindon. I was like, if anything,
you can send him some screenshots and see would see
what he says. He was very nice, very cordial. There
was no hesitation on his part, as you can hear
from that email, and then he thanked me after for
inviting him and everything, and the conversation just kind of
ended there because I was like, Okay, you guys figure
out this interview and do the interview, and it never happened.
So he's still around, still in New York.
Speaker 2: Yeah, that'd be the way to go, is just email
them some screenshots of the actresses and be like, hey,
we're just doing some research into this film. Do you
remember any names associated with these people? Yeah?
Speaker 1: Right, Because Robert Patrick did not remember the blonde because
he he saw compassers and identified a lot of people
on his word press years ago. He could not identify her.
He couldn't identify either of them. He did identify Muscini himself,
Matt Baylor, and some other people that he didn't know
who either of those women were. So but to be fair,
that was when that it was a terrible transfer. So
you know, with the clarity that we have now, yeah,
it's much clearer. Did you ever see the original transfer? Listen?
It was that was rough. That was really rough. So
I never thought we'd see anything with any kind of
clarity like we do on that box. Sett It doesn't
make the movie good. It's still very difficult to get through.
But I gave it like a historic interest. I think
if you if you view it as like a companion
disease because it has some of the came cast, and
then it's it's interesting, but it's also kind of like,
this is why he stopped, This is why his best
movies are the movies that he wrote, So not kiss Me,
kiss Me Kissing.
Speaker 2: Yeah, that one's yeah. Compass is just it's trying to
be cute and you know, satirical bit and.
Speaker 1: It's too inside baseball. Yeah, it's two inside Baseball, and
it's just like, yeah, now that it's now that we're
sixty years on from all the people that are referenced
in that it's and a lot of them, it's tough
to even get all those references.
Speaker 2: Yeah, yeah, yeah, we've got Oh you wanted to mention
something about our Bunny Yeger release coming up?
Speaker 1: I did. I felt bad because I was I was
listening back and I was like, we were talking about
how much fun it was was to do the extras
for the Bunny Yeger release, and then I remembered, oh, right,
we got Chris Malasko from doing the Pinku on that
release too, So I think I can disclose this now.
Vinegar Centrome was so they put out Body of Evidence,
and I wanted and I'd asked. I was reached out
to do something for that release, and I said no,
but I thought, you know who'd be great for this,
Chris because I went to his letterbox and I saw
how give it five stars? And I was like, perfect
sex movie. He loves the movie, like, you know, he
can write something about this. So I suggested Chris, and
then it didn't happen because they randomly found somebody else
and I was bummed, So I'm glad that you came
up with the idea. Well, this makes sense because Chris
is of Chris's photographer, so this is this makes total sense.
It's still adjacent to the sex films that he discusses,
in the genre that he discusses, but also he is
an expert in cameras and he was so cute because
he messaged us little notes and stuff, I think to
both of us about like, oh, I just want to
identified this camera and oh I'm really interested in this
and like noting her style and I was like, oh god,
this is going to be such a good essay. So
I got really excited. So yeah, I just want to
I wanted to shout him out just because I felt
bad that we didn't do that because it really kind
of was that really happened beautifully, and and Brett Would,
the producer of that set, was really receptive to it,
and you know, he was really excited about this, this
adding something else to the package that wasn't just our commentaries.
Speaker 2: So yeah, yep, Chris is the kind of guy that can,
you know, see a camera and instantly know what it is,
which I think is a great research talent to have.
Speaker 1: Yeah. So he just did that with the sex Bloiters,
all these cameras, and I was like, damn, why didn't
we think of Christophers Sexploiters. I didn't think of the
camera angle for that either, But he gave it the
same reading as I did, and I was like, that's
what I'm talking about.
Speaker 2: Yeah, I knew he would like it.
Speaker 1: It's action exactly.
Speaker 2: It's just all the lighting and it like, you know,
the the you know, Gigi's ice cream scene has just
lit so well and a photographer will see that and
understand how much work goes into.
Speaker 1: He did note that too as well, and I was like,
that's the best, maybe the best photograph scene in the movie. Yeah,
it's over two and it's over too quickly.
Speaker 2: Yep. So that's coming out. Oh crap, when is that
coming out next month?
Speaker 1: I don't remember May at the end of May. And
I'm hoping we get our Sex Sploiters contributors copies soon.
I know we requested them. Yeah, so it's weird to
see all these regrease pop up of stuff that we
don't have yet. So fingers crossed, please let's get those copies.
Speaker 2: I don't know how different companies work, you know, for AGFA.
They sent us two each, so I was able to
give away one. So if if if he sends multiple,
I will do another giveaway, which should be fun.
Speaker 1: M hmm.
Speaker 2: We've got our friend. Mark Murray has announced Endless X
to See volume one from Ultra Flesh Archives.
Speaker 1: Which the crazy thing. The thing that was so crazy
to me was he announced this literally ten minutes after
I gave him that title. Oh really, he messed me
and he was like, so, I'm putting together this, this
this loops compilation series, but I can't think of like
a good name for it. And I said, well, the
idea of a loop is that it's on a loop,
so endless and I was like, well, endless ecstasy with
three x's. That makes that make sense and that's marketable.
She's like, oh, I really like that. I'll go with it.
And then all of a sudden, ten minutes later this
this photoshops cover. It's like, oh he he went right
into the Endless Ecstasy, so I'm excited. And also he
put Don Nudson on the cover. Love Don Knudsen. She's
a big, a big breast fetish model from that period,
so she's she's she kind of looks like Sue Hawk
from Survivor with a mullet. So not the most attractive woman,
but definitely.
Speaker 3: Very memorable in these films, So Leslie Winston, Jamie Gillis,
Gloria Leonard, Constance Money, long Down Silver Gross.
Speaker 1: So I'm not happy about that long Don Silver, but whatever,
I'm sure it's the Seka one. Probably it's probably the
Sekah loop. Well, I don't know, maybe not. If he
doesn't mention her, then it probably isn't.
Speaker 2: But yeah, because he'd want to mention Seka.
Speaker 1: That's true, and he did. He is already planning his
next release after that, which is probably the Serena release,
because he posted that, he posted pictures of her. They
spent the two days together doing commentaries and things like that,
and I think it might be even a two volume set.
So immediately I once I saw that, I was like, oh, well,
Serena's done softcore, so we can have We should have
Mark on to promote this and discuss the Serena film,
and then that way, I mean, because Mark was just
on something promoting I don't remember what it was now,
but I was like, he wanted to come on to
promote the Leslie Winson one. I was like, it's a
little tough because it's not she never did softcore. We're
trying to stay softcore, you know, as much as we can.
But I mean, there are definitely options there.
Speaker 2: She didn't do a whole lot of softcore though, from
what she did enough.
Speaker 1: I mean she did like she did Massage Parlor Wife,
the two Phantasm movies, Hockey Tonk Nights, which is also
with Georgina Spelvin and Carol Doda. Well, she did Pleasure Palace,
which came out in a softcore version. She's she's done
other software. She denied the Juggler, She's the Juggler. We
can talk about Night of the Juggler does not count.
She's in hardcore, the Paul Schrader movie. So she is like,
she has a good career. She's was she in ten?
I don't believe she was in ten. She would not
have been on the set with an ed Haven.
Speaker 2: Sure, Yeah, it's funny, we have options. Yeah. I just
watched Massage Parlor Wife and I was I loved it,
and I was like, we gotta get Mark on to
talk about this because he's doing this Serna series. So yeah,
that's perfect, So we'll talk to Mark.
Speaker 1: Yes, yeah, I'm glad you liked that. I like that
movie quite a bit. I do like that movie quite
a bit. And that's one of his late Novacinae periods
exploitations because by that time he was not really doing
sex anymore. He was trying to go into horror and action.
He was not he didn't want to do hardcore, so
he wasn't. You know, there's not a lot of options
for softcore that he could find, so he kept re
issuing stuff like booby Trap and things like that with
hardcore inserts.
Speaker 2: Eventually, but yeah, watching booby Trap with hardcore that would
I don't know if that's.
Speaker 1: Going to be bad enough. No, it's bad enough. It's
not good. But also then he did Behind Locked Doors
with hardcore inserts as what is it? And then came
Ecstasy I think was the title on that, and that's
never surfaced on video, just like Love Explosions is the
hardcore booby Trap that's never been on video either. Yeah,
so if someone's going to put out the no backs,
I want to see the hardcore versions. If he still
has them, I think he must have them in the vaults.
I just think that maybe something Word might have been
hesitant to.
Speaker 2: Do something with those. Right. Well, speaking of Massage Parlor Wife,
me watching that, you've got a little what are we
watching here? So I guess we can talk about a
few things here before we get into Reviver. Yeah, so
I did watch Massage Parlor Wife, loved it. Serena's just
on fire throughout that entire movie. We'll talk about that
probably further down the line. So what else did I watch?
I got that Jack Weiss big Sleazy double feature from Severn,
which I don't know. Did that go under the radar?
I don't know. It was in twenty twenty.
Speaker 1: So definitely it definitely did. I keep forgetting They have it,
and it's very rarely on sale for a price that
I think is fair to be honest, Yeah, I still
need it. But you surprised me by revealing that there's
an interview on there that is not listed right anywhere,
And I'm just kind of like that would have sold
me on this. What do you mean?
Speaker 2: Yeah, they have an interview with Marine Ridley. She plays
the I Forget Dombala and she also has a small
part in Death Brings Roses. She's like, okay, yeah, she's
a hooker in the bed whatever.
Speaker 1: She's very vivid implants, very vivid implants.
Speaker 2: I compared her to like kind of like a Pat
Barrington type of character.
Speaker 1: Actually, yes, yes, I agree with those and the implant.
But she's fascinating, fascinating. Yeah.
Speaker 2: So David Gregory actually got an interview with her very
last minute and they put that on the disc And yeah,
like I said, I think it's worth the price if
you can get it at a fair price, because you know,
you just don't get people like that on camera that
are you know, she was very open about the whole thing,
just went through her whole life story. Yeah, it's great,
It's really great.
Speaker 1: I like that crypto dark Secrets. I think that's a
I enjoy that one.
Speaker 2: Think it's fun.
Speaker 1: Mosts are regional horror sex hybrid. Yeah, I quite enjoy
Ithot in New Orleans.
Speaker 2: Yeah, it's a good, you know, really good location for
Halloween season type of movie to put on. Yeah, that's good.
Speaker 1: Better than Naked Witch, which is on the same DVD.
Something weird, the big Canon one, which is just it's fine.
Speaker 2: And what else. I'll rewatched Daughters of Darkness after our
episode in Canada, just to see Danielle again, which was nice.
And what did you think of her in the I'd
like her, Yeah, she I mean she's playing the Yeah,
I mean I'm trying to connect her back to like
maybe like a like the Mina character and the original
Dracula sort of. I can kind of try to see
where she's trying to, Yeah, trying to go with the character.
I don't know, but no, I like it, but I
don't have the like really, I don't have any of
the new they have so many releases of this movie.
Speaker 1: But yeah, I need the four K bad.
Speaker 2: So I don't know. I haven't heard that full story
about her experience on the set or he heard anybody
talk about it.
Speaker 1: Yeah, he was apparently very the director was apparently very
nasty to her. I don't I need to revisit those
extras because well, I need the four K because the
extras are ported from their previous DVD, which I don't
have anymore. But I just remember him being very brutal
to her, and I get I'm trying to remember if
she was imposed on him. I'm trying to remember. I don't.
I feel like maybe he didn't want her, but it
was somebody that the producers wanted. And so I mean
she's with John Carlin, who's great. He was also an
American TV star at that point, and then Delphine Zavik,
who was incredible, peerless. Yeah.
Speaker 2: What's funny is you know Andrea Row's character it goes
through more you know, i'd say hardship at least on
screen than Danielle's character.
Speaker 1: Yeah, but I like her in that too. Actually, I
like her in that considering that I think she learned
her lines phonetically. I don't think she she didn't know
English when they made that, I believe.
Speaker 2: Yeah. But what's funny is I didn't realize Danielle's character
is named Valerie in that movie.
Speaker 1: Oh yes it is, that's right.
Speaker 2: So I message Eric, I'm like remember this. He's like, oh,
I totally forgot that. I was like, do you think
that was intentional? He's like, oh, yeah, they knew what
they were doing.
Speaker 1: It probably was. At that point, I ain't me, you know,
I need to. I think I need to order that
four K but maybe today. I love that movie so much.
That was That was one that I bought blind when
it was on Anchor Bae VHS, and that was before
DVD so, and it was a VH. The Ankorbay used to
have the vhs where to have like a little thing
that would open and it would give you a little
liner notes on the inside of this little flap on
the VHS. And I watched that and it totally blew
me away. And uh, I've had every version on. I've
had a DVD. I've had the Blu Ray and I
still I got rid of the Blue Rig because I
was gonna get the four K and I still haven't
got it yet. So yeah, that's that's an old timer
for me. I love everything about that movie.
Speaker 2: It's just yeah, it's classic eur o cult, like classy
ye o cult is what I would say.
Speaker 1: You very classic. You don't get Delphine zayreg and that
and make it trashy. Oh, she wouldn't have signed on
it that, I don't think if it went down any
kind of road that she didn't like.
Speaker 2: So exactly. Yeah, I also on that tip. I also
went down the Rabbit Hole again. I rewatched Cronenberg's Rabbit
because I saw this on IMDb. They had said that
there was a scene from Valerie in Rabbit, so I'm like,
where is this scene? So I rewatched and apparently they said,
you know the movie that Rose Marilyn Chambers goes to
see at the Eve Theater is Valerie. So I rewatched Rabbit.
You'd never actually see the screen, but you can hear
dialogue in the background, and the dialogue is it's from
It's not Valerie, it's from the follow up. It's from
the movie your.
Speaker 1: Favorite movie here and now the initiation. Yes, god, piece
of shit. Yeah, yeah, got it so mad.
Speaker 2: It's very obvious if you've seen the initiation the dialogue
is from that.
Speaker 1: Interesting. I'm glad you did that reconnaissance because I wondered
about that because I knew you'd mentioned that, and I
was like, I totally don't remember. I would think I
remember or Dannie, well, we may showing up in that,
but that totally makes sense. Then it was like a
it was a poster on the exterior, but then the
movie didn't match. No, that's so you know what that's like.
Taxi drivers like that they have the poster for Sometimes
Sweet Susan, but then they're watching a medical White Coader movie,
which is not Sometimes Sweet Susan.
Speaker 2: And taxi driver I'm looking at the poster right now. Yeah,
the movie that they that she goes to see is
called Models for Pleasure, and it kind of.
Speaker 1: A terrible retitle for Vallery if we hate.
Speaker 2: That it's actually the initiation.
Speaker 1: Oh does that make sense.
Speaker 2: If it's a little bit closer to the initiation, right
of because they're modeling. I mean there's modeling Valerie as well,
so whatever y.
Speaker 1: Sort of yes, but it's modeling for like well, yeah,
it's modeling for the art, right, for the painting, right, well,
that movie so much.
Speaker 2: Yeah, Chatterbox, what do you think about Chatterbox?
Speaker 1: You know what, You're never gonna get a fair and
balanced review of me from Chatterbox because one Candice Ryleson
Love Her to the Moon and back. I cried when
I found out she died. And Tom de Simone, who
I am friends with and was very surprised when I
asked the questions about Candice Rouleson, He's like, well, why
are you interested in her? And I was like, well,
she's great, she has good comic timing, she's gorgeous. He's like, yeah,
she was she was fine, Yeah, she was good. And
I was just like, Tom, you we're both gay. We
should be have this star worship thing. And he was like, yeah,
I didn't. I didn't worship her star. I was like,
thanks Tom so made me feel like a weirdo. But
I enjoy it. I think Rip Taylor's fun in it.
It's funnier than Pussy Talk, which is the movie that
it's remaking, which is the French Is it.
Speaker 2: Actually remaking or is it just coincidental?
Speaker 1: Conceptually, it's not really a remake. It's the same concept
because that the first the French film. She's married and
it's about her being sexually satisfied, and it's very different
from this woman who's like an up and coming and
aspiring actress who's only gets a career. Because if you're
talking with you, right, But I enjoy it quite a bit,
and I'd love a nice restoration of that, which I
never see happening.
Speaker 2: Yeah, I was going to ask you about that. What's
why don't you see that happening?
Speaker 1: I don't know. It's with MGM, I believe because it
was a IP and it was Bruce Cohen Curtis, who
legendary gay producer who was involved with some other stuff.
I think did he just he didn't do sex tet,
he did some other stuff. It is very very queer
and camp. Yeah, and actually a friend of mine's brother
was was was like kind of bris Cone Curtis got
handsy with him at a screening and he was like
he got me too. By Bruce Cohen. Curtis not great,
but I do enjoy that movie. I don't like the
Wang Dang Doodle song, but I'm like, oh, it's a
musical now great, it's.
Speaker 2: A New Dye musical, now it is.
Speaker 1: I mean, I enjoy it. I will always Yeah, Like
I said, I don't listen to my opinion on it
because I'm fully biased. I will sit through that movie
over and over because it's Candace. Yeah, and I worshiped
that woman so much.
Speaker 2: So yeah, that's kind of what I alluded to in
my little quickie review, which is, yeah, it's one joke whatever,
you know. It's basically it's one joke, but it's Candace
and she's great, so it's but.
Speaker 1: You know what's funny. Alice Goodbody is the same thing
where it's one joke and it's an actress that I love.
And I still don't like that movie though. Something about Chowderbox,
I don't know what it is. I love Sharon Kelly.
I think she's great and Alice goodbody, but I hate
that movie.
Speaker 2: I think maybe it's Tom I don't know, gay sensibility
coming through.
Speaker 1: I think so Rip Taylor, Rip Taylor helps.
Speaker 2: Yeah.
Speaker 1: Yeah, there's some other good people in there.
Speaker 2: I like Alice good buddy.
Speaker 1: For the record, No, I love her in it. I'm
glad that she got a nice lead role, got to
do some good comic business.
Speaker 2: Really funny. Yeah, anyways, what do you got?
Speaker 1: Uh, well, you not mentioning the other movie that you saw.
You went to the movies.
Speaker 2: That's that exploitation of Jason, the.
Speaker 1: Biggest movie in America probably which you gave a decent review,
which I'm fine. You know, there's a lot of discourse
going on around about the Super Mario Brothers movie, and
I'm just kind of like, what's discourse. I'm not even yes,
there is. There's people that are saying like, this is
stupid and dumb, and there are a lot of parents
who are like, well, I don't care, my kid liked it,
and I'm not gonna argue with parents about a children's movie.
I think that's stupid. So there are people arguing about
the quality of children's movies. I'm gonna listen. This is
just kind of the way it is. If you feel
a certain way about it, then don't let your kids
watch those movies. But that's on you. And if you
don't have kids, then what are you talking about them? Yeah?
Speaker 2: So I'm not waiting to any discourse about a children's movie.
Speaker 1: Okay, No, I'm not either unless it's no. I can't
think of any example why I would do that unless
I'm advocating for a film and I want like my
niece and nephew to watch it. Like all the Miyazaki's,
they're really into Miyazaki, and that's my doing. I will
take credit for that because I wanted them to start
with good shit. I didn't want them to start with,
you know, terrible stuff.
Speaker 2: We have.
Speaker 1: I've been watching so I'm trying to play catch up
on a lot of stuff. So I watched the I'm
two films into the Nikatsu Sweden Poor No Collection and
I'm not taken with these yet. But I haven't gotten
to the two that I know I'm gonna like, which
are the last two, which are the ones that have
my Queen's silviag Andersen and Ingersound those are I love
both of them. I actually watched So So Recard at
Club Super eight did visual essays on both of them,
and I cried at both of them, and then I
watched the Ingersound one. I was like devastated because the
spoiler alert things did not end well for her, and
I watched it again because I wanted to keep crying
to get it out of my system. But I haven't
watched the movies that they're in yet, but I love
both of them. They're both no longer with us and
Alston I watched. I finally finished the Nakatsu Roman Porno
DVDs that I bought from the MVD sale. Two of
them I'm getting rid of, so they're not. I finally
ran into my first my first pink films that I
didn't like. It had to happen, so it was a
women in prison movie. I'm going to probably try selling
them somewhere at some point. Yeah, I don't, Yeah, I
don't want them. One one was like a Pearl Diver
sex comedy which was not funny and uh just yeah,
I didn't didn't really work for me, and the other
was a women in prison sequel that I didn't care
for either. But I did see my first dirty Teacher movie,
or was a Dirty Teacher No female teacher, Female teacher.
Speaker 2: If you didn't want to go through the hass of
selling them, you know, you can just throw them in
that package.
Speaker 1: To me, Oh, that's true, I guess I could. I
have other DVDs in there for you. The package is
getting big.
Speaker 2: But you have a little corner Do you have a
little corner nook over there with all the stuff you're
sending to me?
Speaker 1: Like a no, it's on a pile on top of
my bookshelf, so so it's out of the way. Yeah, yeah,
Female Teacher, Dirty Afternoon. I loved it was shockingly emotional.
It was a melodrama about like sexual trauma and healing
between this teacher and the daughter of a accused rapist.
And I was very surprised at how good it was.
I was just like, I cried at the end of it. Again,
I cried a lot of shit. This was was crazy
to me that this is not even the first Japanese
pink film. But I've cried at I've cried a female Leopard,
and there's a few other ones that are just like
they really hit you.
Speaker 2: I think people still don't understand, like just get past
the title, and these movies can be quite emotional. Yeah, yeah, layered,
like you're looking at this, you know, the poster and
this for this movie nothing like the post trail teacher
Dirty Afternoon. It's like you have to you just have
to get past that, or you know.
Speaker 1: You don't even see the teacher. You don't even see
the teacher in the school room she has she's not
in this. She's not teaching. She's not in this in
the classroom or in the school. Ever. The entire movie,
the whole thing, is just the fact that she is
a teacher and something about her past is a teacher
in another place that is coming back to Hunter. I
loved it so much. I thought it was really terrific.
I saw that watch Debauchery, which I loved, which has
the actress that's in Top Cut who she plays a
She plays a hairstylist that has diarrhea in that movie
in like a comedy role. And then in Debauchery is
she's playing like Catherine Deneuve in Belldejoor. It's a very intense, dramatic,
dramatic role. Also, there's a sequence where a literal wolf
spider is crawling on her. Real wolf spider crawling on
her and she's fondling her breast and I'm just like
Nakatsu really puts their actresses through it, but they rise
above and are able to deliver so much.
Speaker 2: Ryoko waaabby, that's her.
Speaker 1: Yes, she's so good. Yes, and actually Dirty Afternoon has
Asako Ota, who I love, who was in Sex Hunter
and then she also was in Top Stripper, Top Stripper.
Yeah he was. Yeah, she was the girl that seduced
the delivery guy. She's she's great in them. And I
meant I meant pink cut, not top cut. Pink cut
just related to Reviver since we're gonna eventually get into
a Reviver. Oh. I also watched Anita, the Christina Limberg movie,
which Club super eight put out. There's a second version
on there that's a French version in Alpha France released,
which doesn't have hardcore in it, but it completely rearranges
scenes and rearranges the new varrative of the film and
ads footage software footage to the actual footage from the
actual shoot and ADS footage to all of the sex scenes.
And it's only it's seventy eight minutes, so it's seventeen
minutes shorter. But the stuff they cut out is like
home life stuff, and I think there's there's another sequence
that I'm I didn't miss the footage they cut out.
I'll put it that way. So in some ways I
preferred the seventy eight minute French version to the ninety
five minute Swedish version. Interesting, but it's still Christina Lilmberg.
It's her best performance. She's so so, so, so so
good in that, and that's at a time when she
wasn't really getting asked to act. She was showing up
and she was there because she took a close off
and looked great nude. And so for her to do
this role where she plays this teenage informaniac, she's so good.
She's really terrific, and it's her best role other than Thriller.
I think that those are her two best movies. But
Anita she gets to act with dialogue. Thriller is very different, right, Yeah,
and it is great. Picked that up if you haven't already,
I think if you can buy it on Vinegar Syndrome site.
I believe in melicine.
Speaker 2: I'm loving that the Club super Eights are getting over
on the melody scene and the Vinegar Syndrome site. Now
they've got like international releases, you know, they're they're tailored
for all markets.
Speaker 1: Well, the Anita, the Swedish version has additional extras on it.
It has two additional visual essays, which I think are essential.
So I would say, if you're going to get Anita,
order direct from Club super eight, or if you can
get it on Diabolik or some other site, I would
definitely get the Swedish version of that release, not the
Melosine version, okay, because it has that extra extra extra
stuff in it.
Speaker 2: That's is it translated like the extra it is?
Speaker 1: Yeah, the all the clubs Super eights. Because I ordered
everything directly from I typically try to order directly from them,
just you know, mister money bags here, but I like,
I like to I like to support the companies directly
if I can, and especially because I know that money
is going directly to them rather than you know, as
a partner label of Melocine. I think that there's additional
stuff that might come out the back end if you
buy from them, so I'd rather just buy it directly
from Club Super eight. So I bought Anita directly from them,
and yeah, all of their extras have English subtitles. Everything
on the disc as English subtitles, which is great.
Speaker 2: I just order they cum blow the horn.
Speaker 1: I need to order that too, Yes, I think I'm
going to order that. Well something else. I will say
tip for people if you're anxious, you know, the melosines,
those slipcovers sell out, which I'm fine with. I don't
need to slipcover. Those are typically in stock if you
buy directly from Club super eight. So if you're desperate
for that slipcover, Club super eight will have the slipcover.
The melacines seld out because there's a certain amount that
they have and a certain amount Club super eight have,
So I don't need the slipcovers. Sound fine, but for
those who care, I do need to get clumble and
cumblow the horn and for your has a thousand eyes
because that's longer than the version that I have app
with fan subs and that Solvak Anderson, who yeah, have
you You haven't seen any solve Anderson yet? I don't
think I have not sure you? She is she? You
know who? She's very much like She's like a Swedish
solidub Meadonda. She is very she has a similar vibe
to solid kind of sad eyes, very captivating. So yeah,
that's how the best way I would describe her. This
is a Swedish solidub Meadonda. I think she's absolutely fantastic.
But the last thing I wanted to mention was so
I was influenced by an Instagram ad to buy a
release by a company I'd never heard of called Petroglyph Media.
And it's a new company just started. Uh. It's a
double feature of two films by a Colombian director. It's
twenty dollars with a slips leave, and I ordered it
and I got it like three days later, super quick shipping.
It's eliminated of a thousand, and it's a double feature.
The first one is a movie called Sinister Funeral, which
is a seventy nineteen seventy eight kind of like a
supernatural slash murder mystery kind of thing, which I quite liked.
But the set double feed to the second feature is
a movie called The Golden Triangle, which is kind of
like a it's a mix of the supernatural with like
Indiana Jones, so it's like this adventure with like this
Golden Triangle. It's I reviewed both on letterbox and I'm
hoping more people. I linked to the website in my
letterbox reviews. I'm hoping more people buy these releases. If
you're a Momda Macaber person and you like things you
like like Turkish cinema, Filipino cinema, any of the Indonesian
stuff that they put out, then you would love these.
They're really they're very good. Especially the Golden Triangle is
so like Turkish exploitation. There's like crazy fight scenes, there's
killer plants there, there's like there's this little island monster
that's played by a kid covered in moss like it's
it's it's so much fun. They're very cheap and low budget,
but there's so much fun. And I really loved both
of them, and I'm really hoping that they'll put out
more stuff like this. It's for twenty bucks. It's also
a steal. The first film is scanned from the last
remaining thirty five millimeter print and it looks good. The
second one is a one inch tape master, which that's
all that exists of that, but it I was really,
you know, I was floored by that release. It's already
one of my favorites of the year. All that's missing
is some historical and cultural context. There's no like liner notes, commentary,
no commentary, no visual essay, no interviews, no nothing. So
it really is like a labor of love by this
guy who came. Yeah, the guy came out of nowhere
and was just like, I wanted to do this for
like my kids, because my kids are Colombian on my
wife's side. And yeah, he put out these two Colombian movies,
like bring on more Columbian movies, Bring on more South
American movies like this please, because Yeah, I was really
impressed by this release.
Speaker 2: Yeah, he was on Ryan's Disconnected show a while back
and he really talked, Yeah, you'll have to watch that.
Speaker 1: It's really I need to go watch that.
Speaker 2: Yeah, the from he talks about how expensive this is
to get these restorations done and shipping you know, prints
and negatives around. Yeah, it's really It's not for the
faint of heart.
Speaker 1: No, that's why I would never do it.
Speaker 2: Yeah, I am.
Speaker 1: Much more comfortable begging people to do what I want
rather than actually doing what I want because they have
the money and the access that I don't. So that's
why I'm fine, you know, being a pest to Oscar
about secret places, secret things or anything else that they have,
and I'm just like, please put this out. But yeah, no,
I admire that he took that he took the took
the plunge and did it and it came out of
quality product And I would never have heard about it
if it wasn't for this targeted Instagram ad that like,
had this gorgeous, gorgeous artwork and I was like, what
the hell is this? And then I clicked it. They
did a really good trailer with footage from the movie,
and I was like, this is a for twenty bucks.
This is a blind buy. I had no problem buying
this for twenty bucks, and I it's a steal at
twenty bucks, I gotta tell you, especially because we've talked
about this, We've talked about putting out things price to own,
very nicely priced with maybe with you don't need necessarily extras.
There's enough on the on the back of the box
and the line in the box copy that tells you
what they are and why the director is important. It
did leave me with more questions, though, So now I'm like,
I'd be happy if he just posted something on the YouTube,
just kind of like saying okay, so here's who this
director was, you know, just to give me a little
more info. But I'm excited to see what else they
come out with. It kind of reminds me of like
Cellular Dreams or they can out of like this, these
little companies that do like one or two releases a year,
and I'm just like, sometimes that's enough if you put
everything you have into it.
Speaker 2: And they're not a partner label with anybody, so they're
kind of making out their own living there. Yeah, it's
not easy. It can be yeah, fulfilling or hopefully get
a good audience, and you know, you get that audience,
they're gonna buy everything that you put out. Once you
show that you're consistently putting out interesting stuff that you're
not going to find anywhere else. Yeah, people will, people
will buy it.
Speaker 1: So yeah, yeah, I'm excited. I'm excited to see what
they come up with.
Speaker 2: He should just do commentaries himself, you know, I don't
know if.
Speaker 1: He's coming, well, that's what that's what the that's what
the Hankle would just do your own commentary is. That's fine.
We don't need to know every single thing about the
production because sometimes that's just not going to be available,
So even just like a basic or just even like
a little visual essay, or even if you do, like
I don't know, because of the way that the design
of the menus or the the program is, we just
want to do like a selected scenes commentary or something.
It's like, well, because one of them, with the Sinister Funeral,
is one hundred and four minutes long, So it is long,
and there's definitely some pacting problems, but there's so much
good stuff in it that I was just like mesmerized
the whole time. But that might be tough to do
a commentary for one hundred and four minutes if you
don't know every single thing about the production. But then
like the other one is ninety three minutes, and that
you don't feel about ninety three minutes, that goes way quicker. Okay,
But yeah, I had to rave about them just because
I I would love them to sell out of only
one thousand, Yeah, I'd love for them to sell out
and do more.
Speaker 2: Did you have anything else here? I think you got
a one last Are you still working through the Black
Emanuel box?
Speaker 1: I haven't made any progress. I'm still on Emmanuel and Bangkok.
Oh Okay, that's like the third one on the set.
I've only watched Black Emmanuel one, Black Emmanuel two, and
I've gotten any further because I keep getting stuff that
shows up.
Speaker 2: What do you think of Black and Manuel two? Quick?
Are you a fan?
Speaker 1: I don't hate it? Okay, I don't hate it. I
think she's not the best lead leading lady. There's enough
and that I.
Speaker 2: Like, Yeah, I need to rewatch it again to see how.
Speaker 1: I love the soundtrack. And actually I will say, see
there's a song that song Going to Hawaii I fucking
love and that came out on vinyl. I've never been
able to find a copy. So when they said they
were gonna have two CDs in that set, one was
gonna be the non Nico Fidenko stuff songs from the
other movies in the set, I was like, oh, great,
maybe look up Going to Hawaii. No Going to Hawaii.
So I'm just like, God, damn it, the one probably
the best thing about that movie, and it's not. It's
not available, so they kind of like get their rip
of it, or what if you're dealing with the licensers,
they should have the tapes. But that's what I'm thinking.
Either they don't have the tapes or the Licenser doesn't
have the rights anymore and they kind of went away.
I don't know, but you think about it, Bald and Bembo.
Stuff is either not available, it took forever to come out,
if Luto Narrow took forever to come out finally, and
that is there are parts included on the on that
CD uh in that collection, but I have the I
have the have the vinyl of that.
Speaker 2: Anyway, So four Flies Records, they've been putting out some stuff,
kind of Italian niche soundtrack stuff.
Speaker 1: So yeah, for a while there, I was buying everything
they put out because it was very limited, so I
just wanted it. And I have some stuff of theirs
that I don't even want any more that's worth a fortune,
and I'm just kind of like, well, I guess they
could go on discogs. I don't know. Yeah, yeah, I
have that Laura soundtrack, which I'm kind of like, do
I send this to Gentry becuse I don't I like
the soundtrack, but I don't know if I need that vinyl.
Well isn't worth like five hundred bucks.
Speaker 2: Now to celebrate the release of the book when it
comes out, you can send me out.
Speaker 1: I think that's fair. I think that's fair. I will
part with it because you know I wouldn't sell that,
I would send it to you. I was gonna get
rid of it, all right.
Speaker 2: Should we go to the Philippines?
Speaker 1: We should.
Speaker 2: Revivor two? Yeah we are. Let me just start with
my initial thoughts here. Okay, this is Oscar's baby, right,
I think we can say that is? How involved is
Joe in these Do you.
Speaker 1: Think Joe with anything these days? Like, I mean, Steven's
running his run himself, ragget at Melosine Right now we're
basically by himself, with Dino helping in a few other people,
And I like, this is this is supposed to be
Joe's baby. I don't know what Joe is an except
reviewing shit on letterbox, giving it bad reviews that make
one of ripping apart. You know, we used to be
able to have arguments about this ship. Now he doesn't
text me back. But no, I love Joe, I mean Joe,
and we've been friends for a fucking long time. But well,
so he's not he's not that involved. I don't believe
you can look at the credits after every reviver. I
mean he's on there for obvious reasons. I don't think
he's his hands on as Oscar is or anybody else really.
I mean, Dino was credited more on this release than
Joe was. I'm Reviver too, well.
Speaker 2: I'm trying to get at is. Yeah, this is This
does seem like Oscar's baby, and I really love what
he's doing with it, which is he's finding films that
go well together. Obviously these two have a very clear
through line. But even the last Reviver one, which was
it was it was Carolina's themed. Everything around it was Carolina's.
This one is Philippines themed, and it's I guess you
could call it horror themed as well, which is nice
for all the horror fans out there, there are plenty
of them.
Speaker 1: No sexploitation here, not s exploitation yet.
Speaker 2: So I'm just yeah, I love the theming around it,
and I'm really excited to see where they go next.
You know what Year three is. We know Chris Poscioli's
involved with Number three, but that doesn't help me like
try to figure out what it could be because Chris
is in has got hands and obviously martial arts, but
I don't think it's going to be a martial arts.
Speaker 1: Well, you know, it probably won't be because of some
rights issues. But he mentioned he says that it's a
it's a endangered film, and there are dozens of those,
so that does not help at all. Yeah, so I
would think it would be I would hope there would
be one that does not have found next to it
on that Actually, you know what one? Do you ever
see the Win? You didn't see Wednesday Children? Have you?
This little low budget movie about like these killer children.
It was very good. You had to order it directly
from the director and he sent it to you in
like a little paper sleeve that he illustrated. That one
I would love to see if it was amount of reviver.
That one needs a wider audience. But I'd prefer that
one says found on it. I'd like one that doesn't
say found on it, to be honest. But we'll see.
Speaker 2: Yeah, this is a really interesting release because the first
film I'm calling it the first because it's like on
the left side of the of the menu. Did you
watch them in that order?
Speaker 1: I did? And it's funny because when I posted that,
I had it. So here's my thing. So I got
it before you, and I was very careful because I
know you probably don't want to be spoiled either. So
I posted that I had it, and I turn my
fucking phone off, and I turned my laptop off, and
so I turned my phone back on. Messages some Dino
a text from Oscar like hope you enjoy. Then Dino
said to you bit horror terror, and then he got
mad because I wasn't responding. I was like, you know,
I turned my phone off. I want to experience this
without any distractions, and I'm glad I did. But yeah,
it makes sense. I just started with the left and
then it just kept going. You if you watch it,
it doesn't take you back to the menu. So I
just kept watching it. You know, it's just a program.
Speaker 2: I told that. The Dinos, Well, he's like, well, you
watched it in the wrong order. I think he was
trying to be funny or something, because incorrect. The first
one's not his favorite, but the first.
Speaker 1: One is what you should start with, because the second
one is such a slam dunk that you want to
start with the quote unquote weaker one. I still liked it,
but it's not it did not wow me like the
second one did.
Speaker 2: Yeah, yeah, so play it, just play it just hit
play and it'll play it in the order it's supposed
to be played, right, we'll go through all the special
features and everything, which again is a thing that I
really enjoyed about how they're how they're authoring this disc
is you know, you just put it in and let
it play and you're going to get Yes. I didn't,
I didn't clock it. What the what the length is
of everything together? But it's probably about two and a
half hours, three hours with the two films, plus like
three or three fifteen minute special features.
Speaker 1: Don't remember if there's a time on there I'm thinking of,
I don't so what's his Backyard Bloodbaths thing from AGFA
and that had the full thing on it, but yeah,
I don't remember. Now.
Speaker 2: So these are two Filipino Filipino American what would you.
Speaker 1: Say, Filipino shot American financed, Yes, productions from like a
lot of a lot of Filipino stuff at that time.
I mean, like yeah, yeah, a lot of the Filipino
stuff that we saw here with American people in it
were financed by yeah, Americans.
Speaker 2: So these are these there are two four Journey Productions releases. Well,
the titles are we have the Horror from Beyond is
the first one, and that's the one with the water damage.
Speaker 1: So yes, which actually I I it worked for me
when I watched it because the idea of like this,
the plot had something to do with an alien invader
coming drawn to Earth because of waves and yes, and
so I was like, this works visually, this works. It didn't.
But it didn't. It didn't bother me. And it was
only one reel. I think I think it was only
real or was it real four?
Speaker 2: Maybe?
Speaker 1: But everything else is fine, Yeah, I mean it's the
original camera negative, so you're not going to get anything else.
Speaker 2: Yeah. Well, like they said in the feature special features
or and the text, the tiny tiny text that they
put up on the screen before and after the movie.
Speaker 1: Is I do wish it was bigger. Yeah, my screen
is bigger.
Speaker 2: Yes, make the text the little bigger.
Speaker 1: Yeah, we're old. I'm old.
Speaker 2: But as they said in that, there was no prints
made of this. That's all there is is the.
Speaker 1: OCN because it was never distributed, it was never sold
to anybody, never hit TV, never theatrically released, nothing. It
was basically was a Monster Camp Sunshine situation where these
negatives Monster Camp Sunshine never came out Monster Camp Sunshine
was a negative that Something Weird got from movie Lab,
never was distributed, never picked up, and also All American Honeymoon.
Another one, the Kamal Harulu movie. There are newspaper articles
about that saying it's in production, never released. So when
it came out from the negative from Something Weird, the
first time anybody had ever seen it, and it's terrible,
but it does have in Linden, so kind of worth thing.
But yeah, these had no they had no footprint. There
were newspaper articles about they were planned to be sold
as part of a package deal, which never happened. That's
part of one of the big extra on here which
I liked, was we find out who who had who
got access to these, which is Marco Marco Jochum I
believe that is his name. Yeah. So, and if you
know these Fist Break Bricks, he was the teenage son
of his father Ben was uh, I forget what he did.
He wasn't necessarily a film distributor. Larry something, yes, Larry,
not Ben Yes, Larry. So he's interviewed in these Fist
Break Bricks because as a teenager he edited together the
Bruce Lee Green Hornet movies that were then reissued in
the seventies after Bruce Lee died. So he has been
around for that long in the film world. And this
was another situation. This is another movie lab situation where
they were they were holding auctions for materials.
Speaker 2: Yeah, and his dad bought him at the auction.
Speaker 1: Yeah. Yeah, he bought him as well as his own ship.
I believe, because I think it was a situation where
he pass due bills and he even said, yeah, he
just went to this auction and bought his ship back
and it was less than the bills that they were
good they were charging him. It's like, that's pretty smart. Actually.
Speaker 2: Yeah, he also got Red Roses and Beware Black Widow.
Is that from this same movie lab auction, because that's possible.
Speaker 1: I don't know where did you hear that?
Speaker 2: That was on the special features? They have clips of
those two movies when they're talking.
Speaker 1: Oh, well, then that's possible. Yes, and that's if those
are included in there, then yeah, probably so.
Speaker 2: But then I'm wondering were those negatives?
Speaker 1: Yeah, those those are original camrainatives.
Speaker 2: Okay.
Speaker 1: Yeah. Red Rose is a passion. That's why it's so gorgeous.
It's an original Camarinator.
Speaker 2: Yeah, because that's what I was wondering. Why why are
they calling out these two you know, these exploitation films
when they're talking about this, But they must be because
it was the Negatives that he rescued.
Speaker 1: So yeah, okay, right, But then he also had weird
stuff in that storage and like the camp, I don't
know what the element was for Cannibal Holocaust. I have
no idea what that was.
Speaker 2: You know that Marco like opening up a store and
shed it is always it always reminds me like, thank
god we have vinegar syndrome to take some of this
stuff and properly catalog it and store it.
Speaker 1: Well, that's all the ship they didn't take too, so
you know that that So what that means is that
stuff is either duplicates of stuff they already have or
can't get rights to, or it's unusable. So it's just there,
I believe, is all the other ship. All the other
ship they have like they have they have the red
Roses of Passion, they have the where the Black Widow,
they have these, they have the blood Theirs negative, which
they also got from Marco. So that's the thing they're
not gonna let if they're gonna if they're buying these,
they're gonna keep them in their storage because they trust
their storage. They're not gonna be like, oh yeah, sure,
we'll just get them. We need them, No, give them
to us. We don't trust their storage. That too many
potential bad things can go wrong.
Speaker 2: You know, when this this was La that they show
in the clip is LA storage units. But back when
it was in New York, when they had a unit
over there, that's where the water damage came from. So
it's like, yeah, you don't want that happening again.
Speaker 1: I wonder what I wonder what storage it was in.
I just Manhattan Mini storage. That's where Robertas put her
stuff before that was transferred over to Feniger syndrome.
Speaker 2: Yeah, and he said the lost Yeah, with that and
that flood, they lost too negatives, which is like, it's
funny when you think about that. It's not funny, but
it's it's like to a certain to an archivist, that's
like that's losing like a child, you know, as Oscar says, like,
it's all you know, every all these films are important,
and if all we have is a negative of them,
when it's gone, that history is completely gone. It's it's right,
he's ever going to see this again?
Speaker 1: Right, Well, that's like when we I think, I think
when we talked about previously, like the Chancellor films, where
you and Alice were like, well, if we can talk
to Sandy Johnson's kids, then we'll know where the Chancellor
stuff is. No, we won't. Those negatives are gone. Alex
has already confirmed that that the place where those negatives
are being held they were dumping them in the garbage.
So when it's gone, it's gone. You have to rely
on theatrical prints, and that's not that's not great because
then you have to deal with people like Harry Garrow
or or all these others, the guy who has the
trailer for Tricks of the Trade, which who will not
let it out of sight or let anyone access it. Yeah,
I mean, it's obviously better to have pre print elements.
Sometimes you don't have a choice, Like Boots in The
Preacher was a thirty five millimeter theatrical print because that's
all they had because nobody. I don't know where that
would have been held in storage in North Carolina, but yeah,
who knows. Patterson's family might not have even had access
to it.
Speaker 2: Yeah, so this film, yeah, the first film Horror from Beyond.
I should also say this is sort of a production connection,
but it's also has a couple shared as Eddie, Eddie
and Fante.
Speaker 1: Yeah, Susan everything. I mean, he's another one. He's like
Vic Diasm that he's in everything, Like he was the
head of wasn't he in Sweet He's in Sweet Sugar.
He's the head guy in the prison in Sweet Sugar.
That's what I remember him from mostly, But he's in
so much stuff.
Speaker 2: He's so memorable, Like he just has a memorable face
and yeah, you know when you see him.
Speaker 1: He's great. He that reminds me of like Regginalder, but
not as scarred, okay as Reggiealder. He's more photogenic than Reggialder. Yeah.
Speaker 2: Yeah, back to that like print damage we were talking
about from the water. You know, if you watch again
the special feature with Oscar, you see him like with
a like a straight razor just trying to pry this
print apart. That was, you know, damaged. And I think
they even said it took two years of work to
get this thing in shape. So it's like, yeah, it's crazy.
Speaker 1: I believe it.
Speaker 2: Yeah, but it also made me think about this fact
that you know, nobody had known what this film was.
So I'm just trying to go through Oscar's thought process here,
like he has this, like how does he even know
this is worth spending two years of his life on
the thing.
Speaker 1: You can't put it on a flatbed, You can't understand
what he's.
Speaker 2: Just looking at the images that he's that he's seen
as he's winding through and sort of like unraveling this
damage print, Like.
Speaker 1: Right, well, all you can do is kind of just
like a basic web search and see if anything with
that title comes up, because that's all you can do.
Speaker 2: Yeah, which I guess leads to that other bonus feature
with Chris Koenig.
Speaker 1: Chris and I had a very public discussion about how
he thinks that sex sex films, sex sex films and
sex quotation of adult films don't mean anything. There's no
meaning to them. Oh yeah, just entertainment.
Speaker 2: And I'm just like, well, not like horror movies.
Speaker 1: Listen, if you're a film historian with any kind of
background in film, it's crazy for you to be saying
that in twenty twenty six, is all I'm gonna say.
So yeah, I don't love that. I will give him props.
I did like his peace on this actually because it
gave that background that it gave really good background that
we needed. Not all the background obviously, because there's only
so much you can discover about these films, but enough
that it really gave a good context on what the
films were, why we didn't see them. So yeah, I'll
give him props for that for sure.
Speaker 2: Yeah, and some of the people making them and you
know their motives behind it.
Speaker 1: Yeah, Well it's funny. So when I was watching the
credits for the Horror from Beyond the first title, I
saw these Philippine names and I was like, oh, okay,
so it was Filipino movie. Then I saw newt Arnold
and I immediately was like, oh shit, this better not
be as bad as blood Thirst, because Jesus Christ, I
do not want to sit there's something as bad as Bloodthirst.
Because Bloodthirst another the only film of this group that
was released somehow in nineteen seventy one is black and
white Filipino horror film released. Blood Beast is one of
the blood blood feasts. Bloodthirst looks gorgeous, so boring, so boring,
and it's interesting. There's a there's a there's a listing
on IMDb for a movie called The Bloodless Vampire, and
it says the trivia says, so it looks like this
was completed but never distributed. The plot synopsis is the
same plot as blood Thirst. So I'm just like, well,
it's the same movie. Yeah, it wasn't shot as blood Thirst.
It was shot as the Bloodless Vampire.
Speaker 2: Obviously, that's the connections Chris made as well. I think
through his.
Speaker 1: Yeah, I know, I saw black and white nude Arnold
and then also and then Robert Winston showed up super
friggin hot Robert Winston, and I was like, Okay, this
is definitely definitely at the same time as Bloodthirst because
it's all these same people involved. And then I wondered, Okay,
does that mean the movie when I'm done, when I
move on to the second movie, is it going to
be connected? And it was.
Speaker 2: Yeah, Oh so you were thinking that they would have
that they were maybe going to re release Bloodthirst.
Speaker 1: Oh no, no, no, I was just like Knute Arnold
made some other piece of shit at the same time,
just like worried about the quality because of it. I
was worried about the quality exactly I was. I didn't.
I knew it wasn't blood Thirst because I know the
opening to blood Thirst. But I was just like, oh God,
all these names, this this better not be like a
Bloodthirst adjacent piece of shit. And it wasn't. I thought
it was very It was much more creative. I thought
it that. I think the pacing was better. Not the
fastest movie, but still I was compelled enough to keep going,
unlike Bloodthirst, which is such a chore to get through.
Speaker 2: Yeah, as I watched that opening, that opening scene with
the casket kind of floating up over the credits, you know,
I'm imagining Oscar, you know, looking at these images as
he's trying to clean up this. This you know, this real.
And then I'm like, Okay, I can kind of see
why he got invested in this, because if you're just
looking at those opening credits, you're like, wait, I need
to see this, and I think this might be worth
my time.
Speaker 1: Unless you're like me and you see Nut Arnold and
you immediately pause, yeah, because you're like, oh, I'm.
Speaker 2: Sure he knew that name as well, so he probably
immediately made the connection about like what this was right,
And then once he realized what it was, He's probably like, Okay,
well we did Bloodthirst before. This guy apparently did other movies.
I'm kind of curious and maybe we can yeah make
something of this and at least like complete complete the
set is kind of what they're doing now, right, there's
one left that they haven't there's one left.
Speaker 1: That I I don't see that happening.
Speaker 2: Though, Lisa Luisa.
Speaker 1: Yeah, if it's God, I don't know what it would
I don't know what it would come out as or with,
because they even note in that in that note at
the end of the Oscar featurette that it's incomplete incomplete. Yeah,
it doesn't exist in its complete version, So I don't
know what we'll be seeing if if it comes out.
The clips of it are look really gorgeous, right, so,
and that's something even I would give blood Thirst. They
all these films are really gorgeously photographed, really absolutely stunning.
But Paradise of Terror is just like next level. Once
it gets inside the house, it plays with shadows so much,
the lighting. There's really those really good visual effects in
there that like really startled me for their time. I
was very impressed with like the painting coming to Life.
I was really impressed with that. I need to watch
it again. But I'm just by the end of the movie,
I'm just kind of like, so, what what happened? And
what the what? What's going on? It doesn't have any
closure to it, so it got it is. I need
to rewatch it. Uh yeah, but.
Speaker 2: Uh but let me ask you this, because I didn't
understand that note at the beginning of Paradise. If we're
talking about the second film here, Paradise of Terror, they
mentioned that there was a title too, by the way, yeah,
bad title. They're talking about the in camera framing issues
were left uncorrected. Do you know what I'm talking about.
It was like a note at the beginning it said
that they left some in camera framing issues. I didn't
notice any weirdness.
Speaker 1: Oh see, I didn't notice that either.
Speaker 2: Well, you have to watch it all right.
Speaker 1: Another reason I don't watch again, that is something that's
something else that kind of bothers me, that bothers me
above center. Well, there's something about concenter my stuff that
bothers me in general, which is the the number of
chapters correspond to the number of reels, so you can't
really accurately fast forward, skip through a movie with chapters
like I don't want to go back? I like, no,
I don't If you want to go back a bit,
if you walked out of the room to go do
something and then like jump all the the way back
twenty minutes to go to the beginning, yeah, I'm just like, yeah,
it was a cute idea, No into it. And this
is the survivor. The reviver thing is worse. It's one chapter.
You can't skip through any of it. Yes, you can't
skip through any of it. So if we're trying to
rewatch it, or again, you walk out of the room
and don't press pots, something happens and you have to
go take care of something quick, you come back, you
have to start over at the very fucking beginning, or
like manually rewind it. I don't like that.
Speaker 2: All right, Oscar, are you listening.
Speaker 1: I don't like that. No, I don't like that. It's
like it's it's this is not a special feature. It's
a film, like special features is one chapter? That's fine, Yeah,
even but even then, if it's feature length, shouldn't be
one fucking chapter. It should be split up.
Speaker 2: But I'll ask ask her about this because yeah, I
think that the insinuation with this vague comment, you know,
this this vague note at the beginning, is that there
is some weird camera framing because I think that they
were going to add some kind of like special effects,
or they're going to add something that they never got
to later. Maybe yeah, whatever it is, I didn't notice it.
Speaker 1: So no, I didn't notice it either. I was yeah, no,
I didn't notice that. It's not like water damage that
you were definitely noticed. This is like and it was
funny because I was watching for a while. I was like,
where's the fucking water damage? And then it showed up
and I was like, oh, okay. But then that also
explains a lot of like I was, what was I
watching Disconnected? I was watching Disconnected and it was Ryan
wasn't on It was Will doing it and they were
just breezing through stuff. And the guy he was on
with there was the guy he was on with didn't
like the idea of Reviver. He was kind of like, well,
I don't know, I guess. I mean they're going through
the through for this like gullibility of people just buying
stuff side on sea, and I'm just like if it's
so if and they're like, if it's so good to
tell us what it is, okay, but this is good.
But they can't put it out on its own because
of the fucking water damage. Like you know, if they
put it out that you would have these these armchair
these armchair warriors on Reddit would be bitching about it.
So this is the way you're gonna get it. You're
gonna have to get it this way. Just deal with it.
And I you know, I know Alex is against the
mystery of it. I love the mystery of it. Like
it does not bother me, bother me in the least.
Speaker 2: I don't think I think that works at all, especially
if you're a film person, Like there are people who
like will never watch something shot on video or digitally
or anything.
Speaker 1: This is all film, so you know that it's of
a certain vintage. So if you like films from a
certain era and you're not stuck to one genre, nine
times out of ten, you're going to be into whatever
it is. Like I like all kinds of film. If
it's shot on film, I'm especially impressed because I like
the way film looks so regardless of And I think
that even the first one when they were like there
was an education of film on there which came out
of nowhere, and two films with no soundtracks. I was like, well,
this is great, this is I'm really into this. So yeah,
I like the mystery aspect of it. But that's only
I think if it was anybody else, I might be
a little more suspect, just because, as I know, Vinegar
Syndrome in their background and the kind of films that
they started with and the films that if it's film
that they're working hard to restore from like a single
print or water damaged camera negative, then it's going to
be good because it's because they have that track record
of going after stuff of a certain vintage.
Speaker 2: Yeah. So because I mean, like terror Vision, that label
they do miss they've done mystery stuff before, and apparently.
Speaker 1: It's they mentioned that on that Disconnected they said they
mentioned that people do that and they buy that. It's like, well, yeah,
because you're taking a shot that it's going to be
something you like, and if it's a label you like,
if it's and you know what they you know what
their focus is, then the chances are you're gonna like it.
So I don't see the people complaining about it. Are
the people who I think are like would be what
would prefer it if it was like an eighty slasher
or like a nineties Jallo or something. It's like, well,
that's not going to happen because you know, they're dealing
with film elements from America. They're going to be American
first of all, or at least in my American finance,
like these two films. So yeah, if you're interested in
like American film history, then I feel like this series
is like a slam dump for you because it covers
so much different, so many different possibilities.
Speaker 2: Did you watch Oscar's like winding through featurette?
Speaker 1: I did? I did? Oscar Gotta tell you he's a
very distinctive sense of humor.
Speaker 2: It's a stand up com.
Speaker 1: You know what it reminds me of. It reminds me
of Tim and Eric Awesome show. I feel like that's
very much his sense of humor, and I think it's wild.
Yeah so, but it also but you know, I think
it makes those less like stagnant. I think there is
a reputation of people working in film, like behind the
scenes and film restoration stuff, of being very boring, not
not not social creatures because they prefer to work with
like film the over people. So I like that it
gives kind of a little more accessibility to people working
with film, because I think a lot of these people
they don't really you don't know who they are. And
a lot of the people that I know who work
in archiving and stuff not the most socially savvy people.
I love them, but that's why. That's how I can
get along with them, because I'm also not that socially savvy.
But yeah, I'm still dying to meet Oscar. I need
to get up there, do you know? Keep telling me
I need to go up and visit. I think I'm
gonna take a I need to take like a four
day weekend and go up for like two days. I
think I have too much to do up there. I
have to go through all those papers and stuff.
Speaker 2: Yeah. Well, did you notice Oscar in that piece he
talked about access to films? This you remember that? And
I was like, I do, curing in my seat and
like I do Casey. This is what Casey's been saying.
It's like, what's the point of you know, being an
archive if there's no access? And Oscar spoke directly to that.
Speaker 1: Yes, if you're an archivist and you are not discussing access,
then you're not an archivist. Yeah, I don't know what
you're doing. Yeah. Yeah, anybody working in archiving, in uh yeah,
in anything related to film or keeping things safe and
preserving things, you need to be talking about access. It's not.
That's kind of like, you know, who doesn't talk about access?
The Andy fucking Warhol Foundation, all that shit is under
lock and key. It's like, well, why are you saving this?
Andy's long dead. You won't let anybody see unless you're
a researcher that goes to the museum to see it,
and even then you have to schedule way ahead of time.
It's just like, yeah, that's it's very elitist. And I
think that's why this series is kind of like it's
sure it's charging money, but it's the only way we're
gonna be able to access this shit. So and the
money is going towards the archive, which I think is
really important because you know how much shit they have
that they have to take care of. Yeah, you know,
it's a lot to worry about.
Speaker 2: The Other thing I liked that Oscar was talking about,
which was with regard to you know, as we're talking
about film. You know, these are all film elements, you know.
With regard to the water damage, he was like, Okay, yeah,
this is bad, But if this was a digital drive,
it would be gone, there'd be nothing absolutely salvage. But
here we salvage something because it's a physical film piece.
Speaker 1: Yeah.
Speaker 2: So I thought that was a really nice point to make,
which is, you know, all you digital archivists out there,
we love you as well, but like it's different, you know,
film and survive something that you know that your digital
drive can't.
Speaker 1: Yeah, it's harder to preserve. It's harder to preserve and
restore analog tape. Yeah, like VHS beta one inch, you know,
two inch, all these all these old formats. It's much
harder to take care of that stuff than it is.
You get way luckier with film in situations like this.
If this was a video that if there's a videotape
that had been like baked or or had been water damages,
there wouldn't necessarily hurt videotape. Well it depends, actually, but
that's a whole area that I kind of wish. But
that's not Oscars, that's not Oscar's focus. Like there's there
are video. There are archivists who work in video that
they would know that. That is something I might suggest
to Oscar Actually, if he could get a like a
guest archivist to maybe come in and assist with some
of the video stuff they had that was shot on
video on some different obsolete format that would be tough
to restore, that might be something interesting to see. I
feel like there's a snobbishness against stuff that shot on video.
I used to have that snobbishness. I really don't now,
you know. I will always love the look of film
over video, obviously, but that isn't get dismissing video entirely.
It's dismissing like so many different interesting filmmakers and in
different ways of telling stories and doing things. So I
actually would love a video reviver. They tell you the truth.
Speaker 2: Well, what's the vinegar syndrome partner that does all the video?
Speaker 1: Uh oh de Gausse or degasser or whatever?
Speaker 2: Can I think they've spinning?
Speaker 1: Actually that's a good idea, yes, something with video. Yeah,
just because that's a lot of those master tapes. Yeah,
depending on the age of the master tape. Good grief. Yeah,
that makes me think about like, well, command Cinema. They
have Dangerous stuff, which is one of the earliest shot
on video productions. It was actually like quality, and that's
gonna be tough for them to put out because I
don't think they do video stuff in house, and that's
that would look gorgeous restored from the master tape. I
got to tell you, I just don't know if they're
actually thinking about doing it. Is that Chuck Vincent, No,
that's Howard Winner, Cecil Howard.
Speaker 2: Oh, okay, Yeah.
Speaker 1: It was made around the same time as Star Angel
because angels in it, and it was shot on like
a stage essentially. Yes, Star Angels great, Angels, very good
in this. It's hurts Eric Edwards. I don't remember who
else is in it. But it's like the lighting is
film quality, so it looks gorgeous. It's not. It's not
a poorly shot video, but it obviously needs to be
restored well because of like white balance issues and potential
like that, you know, where everything should look more crisp.
But obviously a reviver can't do that, but somebody should.
Somebody should some.
Speaker 2: We're just yeah, kind of breezing through these two films.
Like we said, I think everybody the consensus is Paradise
of Terror is a minor, little uh Filipino Gothic masterpiece.
Speaker 1: I think I loved it well. Also, I didn't know
where it was going to go, right, I had no
idea where it was going. I didn't know when these
women showed up. Why are these women here? Like I I, Yeah,
It's just it's one of those things where it's just
like and that's kind of what you want in a
in a film, especially in the genre at this time period,
where like everybody's doing the same thing, just with different
actors and you know, maybe a different look here and there.
This was really unlike anything else from that period, and.
Speaker 2: That's surprise, like kind of dismemberment at the end, kind
of God.
Speaker 1: Right right, it's I was super and I love seeing
Dracula from Blacula. Arles McCauley was was was kind of
the heavy. Uh. That first appearance of that ghostly woman
was really rejolting. And then to like walk Storre. It was.
Speaker 2: It was on the artwork, isn't it? Or like standing
against the window? Is that the same image you're talking about?
Speaker 1: Is it on the artwork? Did they change the artwork? Oh? Yes,
that's it. Yeah, that's it. Yeah, yeah, yeah, I love it.
That really jolted me. And then it's yeah, it's just
so they just yeah, like there was obviously money put
into this production. It wasn't some cheap fly by night
even though it was mostly shot indoors. Just made so
much good use of that location, really really good work.
Speaker 2: Yeah, both of them are really good productions, like obviously
the low budget. But it's yeah, nothing feels like slap
dash about it. Their their quality, Like you said.
Speaker 1: No, which is all I mean that I need to
revisit Me do I need to revisit Bloodthirst?
Speaker 2: Well maybe just wait until that's uh, I think we're
gonna go is going to probably re release it, right.
Speaker 1: I mean their restoration from a thirty five millimeterre it
was like a mint thirty five millimeter print. It looked gorgeous. Anyway,
that's the thing. That's what that's when the suggestion that
they're going to reissue Blood Thro's from the original camera negative.
I don't see the point unless unless it was part
of a package with something. I don't think that movie
on its own has legs.
Speaker 2: Package it with the reels of Lisa Luisa, we can see.
Speaker 1: Again for what for what audience for? Yeah? For what? Yeah?
For who?
Speaker 2: For the completion to want all these four Journey productions,
you know, well.
Speaker 1: You're gonna have to hope that everyone who bought the
Reviver would buy that release. Yeah, they might not. And
also that's a very They only had a certain amount
of these, so that's not enough. That's not enough people
to justify the Blue Bluer Blu Ray license paying the Yeah,
like there's costs involved with every release. I just don't
see them releasing reissuing blood thirst Maybe they are, but
that everyone knows that movie is terrible, So I think
trying to upgrade to that, even if it's from an
original camera negative. I don't know. I don't know. I
have the DVD with Thirsty Dead. That's perfectly fine.
Speaker 2: Yeah, it's on that drive I.
Speaker 1: Love Thirsty Dead though, I love Thirsty Dead. Actually, you
know what, maybe that's how you do it. Maybe maybe
upgrade it, or if you're gonna upgrade, well there's a
lot of those drive in that should be upgraded. Dungeons
of Harrow would be good to have on Blu Ray. Yeah,
that's I don't know. Maybe maybe there'd be like a
little package I don't know. By itself, I don't see
it working.
Speaker 2: Yeah, I wonder why they didn't get the Lisa Luisa
on this release. Maybe they just didn't get Glad.
Speaker 1: I don't know. Because it looks great in the clips.
I think it's possible that it's not as much of
a horror movie as these two. So it would not fit.
Speaker 2: Yeah, maybe, like in.
Speaker 1: Terms of theme, it wouldn't. It wouldn't fit.
Speaker 2: Yeah, that's right, that might be right, But.
Speaker 1: I don't know. Yeah, well I don't remember what Oscar
told me. Well, whatever he told me, I couldn't share
it here anyway.
Speaker 2: So, oh, before we go, what the heck is that
little toy on the desk, that little like paint?
Speaker 1: I love that?
Speaker 2: Why can't I buy that right now? On Vinegars?
Speaker 1: I know it reminds me of that. Oh what were
the two movies that we watched with the Donkey that
I had a cigarette come out of its ass?
Speaker 2: Well it's Nymphs Anonymous.
Speaker 1: Yes one and she mob Yes, that's right. Yes, So
it is one of those things that I would like
to have on my desk. And I love the way
it was shot. It was shot like it was a
major part of the scene just like in the background. Yeah,
before gry out, it was like shot beautifully lit. I
was like, okay, right, I did like that little twist
also where like the wife died, It's like what I
thought she was going to be brought back and she.
Speaker 2: Wasn't, right.
Speaker 1: Yeah, I thought it was going to beat situation, was
going to say you know what, or like Mac and
Me where that's what happened in Acting Me where the
kid gets shot and then Mac brings the kid back
to life. I was like, oh, they're they're this invader
is going to bring her back to life, didn't.
Speaker 2: Bring I totally thought that's where it was going as well.
Speaker 1: Yeah, yeah, yeah, she's bad anyway, I don't know who
that actress was. She was not good. She's not good.
Speaker 2: Yeah, I don't know Revivor too in the books. Yeah,
I kind of wanted to get this out there because
you know, look, they're Oscars doing great work. We are
supportive of the film archive over there, and obviously like, yeah,
we just know how much of a labor of love
this is for for the whole team over there, and
I wanted to give it some time, but you know,
because we probably won't get to it for a little uh,
you know, until next episode or so, which might be
a little ways way.
Speaker 1: Next week, next weekend. What are you talking about? Very
someone else? Someone else complaining kind of like they sold
out and then then oh, we found some extra copies
and they were like, of course they found extra copies.
What a? What a? What a an underhanded move trying
to get more copies sold. I'm just like, shut the
puck up and go buy it, Like what what what is?
Shut up? Let's just go buy it. Stop complaining, go
buy it.
Speaker 2: So well, Remind me how are they doing this reveal here,
because I think after a certain point, you know, whoever
is running the Reviver, uh, once it sells out Socials,
then they'll okay, once it sells out, then they'll talk
about what the films are.
Speaker 1: Yes, hasn't sold out yet because they found those extra extra.
Speaker 2: Slips, and ninety six are still in stock as I'm
looking right now.
Speaker 1: Get you're shut together, people, This is really this is
really good. This is a really good one. It's a
major upgrade in terms of quality of the films and
the restoration work. I think because they're dealing with the
original camera negatives, not these eight millimeters sixteen limited things
and a thirty five print from the first one. Like
they they got really lucky with this one. They got
you know, these camera negatives.
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