Speaker 1: You are now listening to the Someone's Favorite Productions podcast network.
Speaker 2: Hello there, and welcome back to the Disconnected. We are
Speaker 2: here doing a little bit of a catch up with
Speaker 2: somebody that we talked to earlier this year. We got
Speaker 2: the director, filmmaker, writer and everything extraordinary, Damian Leahy.
Speaker 3: Thanks for coming back on sir. Thank you Ryan. It's
Speaker 3: great to be back on here. I had a wonderful
Speaker 3: time speaking with you last time. And you know what,
Speaker 3: you know what I want to kick kick things off
Speaker 3: with some holiday some holiday physical media and real real quick,
Speaker 3: because I am I am still here in Pakistan. I'm
Speaker 3: in Karachi. It's early morning here, I'm having some having
Speaker 3: some coffee, and I was recently, I was recently doing
Speaker 3: some shopping right for Christmas. So Christmas shopping, some holiday
Speaker 3: shopping as you do, and what I wanted to yeah, yeah,
Speaker 3: and you know, I was talking to some friends of
Speaker 3: mine and you know, when when we were younger, our
Speaker 3: parents would be the ones that would like surprise us
Speaker 3: with gifts of course, but now for years now that
Speaker 3: I'm older, like I'm the one that surprises them with
Speaker 3: gifts and they just ask me to shoot them some
Speaker 3: Amazon links. You know what I mean. And so so
Speaker 3: it's like reverse like I'm the one that like you know,
Speaker 3: bends into a pretzel trying to get all these thoughtful,
Speaker 3: clever and creative gifts, just like they used to when
Speaker 3: I was like, you know, in grade school and in
Speaker 3: high school. And they're the ones now that are you know,
Speaker 3: just get the obvious stuff that like get be the
Speaker 3: obvious stuff, right, They're just like they're just like, don't
Speaker 3: forget to send us a couple of weeks on Brad,
Speaker 3: you know, on Black Friday for you know, for what
Speaker 3: you want. But I was doing that. So I was
Speaker 3: looking for a couple of things, and you know, I
Speaker 3: was looking at the prices on Amazon. And one thing
Speaker 3: that I've tracked, and you and I have kind of
Speaker 3: talked about this is I've kind of been tracking how
Speaker 3: like not just Amazon, but in general, the deals that
Speaker 3: companies haven't rolling out aren't very aren't very enticing, you
Speaker 3: know what I mean. Absolutely, like like you're seeing a
Speaker 3: lot of seventeen percent off, you know, like like like
Speaker 3: like up to forty percent off, Like like a couple
Speaker 3: of years back for Amazon, it wasn't up to forty
Speaker 3: percent off. It was up to seventy percent off, right,
Speaker 3: you know. And I was looking at the steel books,
Speaker 3: and you know, during the pandemic, I scooped up and
Speaker 3: before the pandemic, I scooped up quite a few cool
Speaker 3: steel books. And you know, I picked up that Scarface
Speaker 3: steel book, the Blues Brothers one that had the the
Speaker 3: alternate cut of the movie on there, the Bridge Over River,
Speaker 3: Kawhi steel book, you know, those more art you know,
Speaker 3: mid artistic design ones they were doing there. And I
Speaker 3: picked up, you know, Rock and Roll High School, which
Speaker 3: was awesome. I got that steel book, but again, those
Speaker 3: were those were in the context of those being movies
Speaker 3: that I kind of already wanted to have in my collection.
Speaker 3: And I got the steel book because of the flash sales,
Speaker 3: because the the flash sales the steel Book was was
Speaker 3: in some cases cheaper than the standard verse. Very true. Yeah,
Speaker 3: it seems like they want to get rid of those. Yeah. Yeah.
Speaker 3: And and so that was during that was kind of
Speaker 3: during the pandemic. And you know, I'm not gonna you know,
Speaker 3: I'm not ashamed to say that I'm on a budget.
Speaker 3: We all should be. Yeah, yeah, absolutely absolutely, I'm always
Speaker 3: trying to find good deals on these things. So and
Speaker 3: I got them all like Amazon was constantly having flash
Speaker 3: sales on those things. Oh yeah, And I got most
Speaker 3: of those between eight dollars and ninety nine cents and
Speaker 3: seventeen ninety nine. I think seventeen ninety nine for Fargo
Speaker 3: is the most I paid. Eight ninety nine was the cheapest,
Speaker 3: and I got I got Snatch Steel Book and then
Speaker 3: but most of them I was scooping up for like
Speaker 3: twelve ninety nine, you know, like the Psycho Steel Book
Speaker 3: and the Court Dobula and Steel Book, you know, right, and.
Speaker 2: Around that time they were pushed by best Buy all
Speaker 2: that competition.
Speaker 3: Yes, yes, and actually Snatch I got from best By. Actually,
Speaker 3: there you go. And so I got, you know, I
Speaker 3: splurged in got the I got a Mondo edition of
Speaker 3: Ghost in a Shell that I like, splurge and bought
Speaker 3: myself as a as a too Damien from Damien Birthday
Speaker 3: President one year. So that was like twenty five bucks.
Speaker 3: And that was the I don't know if you were
Speaker 3: aware they had the but there were two versions of
Speaker 3: Ghost in the Shell available yep. There was one that
Speaker 3: was like super digitally remastered, and then there was one
Speaker 3: that retained the more like film quality, right, you know,
Speaker 3: and depending on your taste, your preference, you could get
Speaker 3: either or you know what I mean, Oh yeah, both
Speaker 3: were available. So I got that one. But I was
Speaker 3: so I was looking at the steel books on the
Speaker 3: Black Friday on Amazon, and you know, the deals were
Speaker 3: not very good, right, And then I wound up And
Speaker 3: here's the here's kind of like the unspoken rule with
Speaker 3: my family when it comes to like gifts around the holidays.
Speaker 3: It's like, you know, air on the special edition, right,
Speaker 3: because it's the holidays. So it's like, if you're going
Speaker 3: to get somebody a book, usually get the hardback, right.
Speaker 3: If you get somebody a movie, it's usually the two
Speaker 3: disc special edition, whatever, you know. And so I and
Speaker 3: I also try to pick out things we can all
Speaker 3: watch together, right. So I got a steel book for
Speaker 3: the Guns of Navarone I had. I shot my parents
Speaker 3: the links to that. I think that was like twenty
Speaker 3: two bucks yep. And that was on and that was
Speaker 3: on sale, and that was on the that was like
Speaker 3: the cheaper side, and that was just I believe the
Speaker 3: Blu ray. I'm not sure if I have the four
Speaker 3: K in it. I don't. I don't do four K.
Speaker 3: So I don't care. I noticed that they eliminated a
Speaker 3: lot of the Blu Ray Only correct, you know, and
Speaker 3: as if there's like like like like uh propping up
Speaker 3: this narrative that four K just like dominated the scene,
Speaker 3: which didn't happen, you know what I mean, They just
Speaker 3: want to push it so to a point. Yeah, I
Speaker 3: mean it's caught on a little bit, but I mean
Speaker 3: not not not to the point where you're like no
Speaker 3: longer selling Blu rays steal books. Like I know those
Speaker 3: steal books are available, you know what I mean, they're
Speaker 3: just not on the on the website. You know, they
Speaker 3: either the company either had, you know, told them to
Speaker 3: ship them back or do whatever to push the four K.
Speaker 2: You know, any of the newer titles are almost entire
Speaker 2: not getting Blu ray steal books at all. That they're
Speaker 2: they're really sticking to four K sometimes four K Blu
Speaker 2: Ray combo packs. But there really are not being made
Speaker 2: many more of the Blu Ray only.
Speaker 3: Steel books, right, right, And that's a that's that that's
Speaker 3: an adoption by force, right to a point. Yeah, and
Speaker 3: so so so I went ahead and got that, right.
Speaker 3: So I haven't seen the Guns of Navarona forever. Yeah,
Speaker 3: you know, and I think it'll be a good thing
Speaker 3: when I come back. I'm going to be back in
Speaker 3: the States in the summer, right, so I'm i'll you know,
Speaker 3: when i'm and I'll be you know, spending time with
Speaker 3: the folks. So we'll definitely have that to look forward to.
Speaker 3: But it was interesting checking that out. I did get
Speaker 3: my dad the support your local Share of Support, your
Speaker 3: local gun Fighter. I got my dad those on on
Speaker 3: Blu Ray by Kenose. That'll be a nice surprise or
Speaker 3: he won't see see that coming. I got my mom
Speaker 3: the Dances with Wolves two disc. Oh right, I almost
Speaker 3: got heard the Steel book for that, but I noticed
Speaker 3: that the two disc Blu Ray has like a different
Speaker 3: cut of the movie on it. Yeah, and that was
Speaker 3: an odd one.
Speaker 2: They shouted this thing where they had a limited Steel
Speaker 2: book that had ten thousand print run, and then that
Speaker 2: sold out, and then a handful of months later they said, oh,
Speaker 2: we're reprinting another Steel book that has a ten thousand
Speaker 2: print run. The only thing that's different is the cover
Speaker 2: of the steel really yeah, yeah.
Speaker 3: So I've got the one that I got isn't steel,
Speaker 3: it's two discs and it's got like a director's cut
Speaker 3: of the movie on it, And to be honest, I
Speaker 3: had never heard of a director's cut for that film.
Speaker 3: You know, things are a thing get blurry with with
Speaker 3: uncut and director's cuts now, of course, yeah, because it
Speaker 3: kind of used to be. You know, extreme examples are
Speaker 3: are the best to use. You know, you had the
Speaker 3: famous Once upon a Time in America example, right right,
Speaker 3: But that's like, you know, that's like an outlayer, and
Speaker 3: then you do have like other films. Obviously, the uncut
Speaker 3: version of Dead Alive is superior to the cut one
Speaker 3: that sub video stores got in the nineties. You know,
Speaker 3: that's another extreme example. And but then you see a
Speaker 3: lot of you know, especially with the horror, where it's
Speaker 3: like the theatrical version is the superior version. It's the
Speaker 3: version that the director approved and prefers. Yet we also
Speaker 3: have an uncut version that's not a better movie bloated
Speaker 3: usually yeah, yeah, and it has just like either more
Speaker 3: it usually just has like more gore for the gorehounds, right.
Speaker 3: But but it confuses it because people are are sometimes
Speaker 3: you know, they think of those examples of oh man,
Speaker 3: the director's cut is superior, you know, they think it
Speaker 3: once about Time in America or like the Dead Alive thing,
Speaker 3: it's like, oh, I've got to get the director's cut,
Speaker 3: Like I got the amidais with the director's cut, and
Speaker 3: there's a couple of scenes in there that are like
Speaker 3: that one are not necessary to the movie, but they're
Speaker 3: also like the direction in the acting is like film
Speaker 3: school quality, right, right, you know what I mean, Like
Speaker 3: I mean, it was just a poorly produced scene, and
Speaker 3: then it happens, you know what I mean, for any
Speaker 3: number of reasons, Like there's a reason that this scene
Speaker 3: shouldn't be in Phnomadai's like tonally it stinks the acting
Speaker 3: is bad, you know what I mean. But there it
Speaker 3: is in the director's cut, yep, you know. And that's
Speaker 3: a thing where it's not really the you know what.
Speaker 3: It sometimes gets blurred as to what's the preferred version,
Speaker 3: and sometimes the sometimes the producers are right, you know,
Speaker 3: sometimes the director isn't right quite often, you know. And
Speaker 3: and you you you see from just like all the
Speaker 3: mistakes that get made by by directors, you know, and
Speaker 3: and again a lot of it goes back to that
Speaker 3: once upon Time in America example, you know, the like
Speaker 3: or like Pat Garrett and Billy the Kid, you know,
Speaker 3: the like evil studio, you know, the evil studio trying
Speaker 3: to compromise the director's vision, you know. And it's like, look, man,
Speaker 3: I've I've read a little books on Sam Pegan Paw.
Speaker 3: He was irresponsible and completely ship faced on that set
Speaker 3: on you know, yeah, then on most sets. But you know,
Speaker 3: if he had cared about his director's vision so much,
Speaker 3: he could have tightened up, you know what I mean.
Speaker 3: Oh yeah, So that's and I know Criterion Criterion just
Speaker 3: put out like a four disc version of that. I
Speaker 3: was an early adopter of that movie, and I'm you know,
Speaker 3: that's one of those movies where, you know, Sam Pegan
Speaker 3: pau is one of my main guys coming up. You know,
Speaker 3: that inspired me to get into film and all that.
Speaker 3: And I just want to say that, you know, and
Speaker 3: I am just like an avid, Like I am like
Speaker 3: a pretty big Bob Dylan fan. Yeah, you know what
Speaker 3: I mean, Like I'm a very big Bob Bob Dylan fan.
Speaker 3: So like Bob Dylan pat you know, Sam Peghan Pad.
Speaker 3: To me, that was like a killer combination. And I've
Speaker 3: probably seen that movie fifteen times, Like I had the
Speaker 3: first director's cut that came out, and I think it's
Speaker 3: a I think it's a good movie at best. Like
Speaker 3: I would love to be able every time that I
Speaker 3: watch it. I would love to be able to like
Speaker 3: join the ranks of it's a masterpiece, but I I
Speaker 3: just can't. Like, I think some of it is like inept.
Speaker 3: Some of it is like a Jess Franco movie, you
Speaker 3: know what I mean. Like, I mean like the basics
Speaker 3: of like filmmaking, like like just eyelines don't match. Like
Speaker 3: there's one scene where like the film is like oddly
Speaker 3: sped up. You can tell it's a mistake. I mean
Speaker 3: it's truly Like there's moments, especially the beginning. The beginning
Speaker 3: is super clever, amazing, Bob Dylan's score is awesome. Yeah,
Speaker 3: I just think it's it's it's me needlessly. Uh. I
Speaker 3: think it's sloppy, and so I've I've watched another cut
Speaker 3: of it. I watched another cut of it. I got
Speaker 3: the DVD which had like three cuts on it. Did
Speaker 3: you ever get that version? Not the DVD?
Speaker 2: No, I I honestly I've not even seen the film ever.
Speaker 2: This is one that has eluded me. And I just
Speaker 2: got the Criterion version when they released it, and it's
Speaker 2: on my list for coming up here. Soon after I
Speaker 2: finished a couple more of these projects.
Speaker 3: And yeah, so so I I got that version. And
Speaker 3: then what was weird about that version is that it
Speaker 3: took away some things that I thought were really cool
Speaker 3: in the the first director's cut, right, and then like
Speaker 3: like in my opinion, it kind of broke even you
Speaker 3: know what I mean. So I know that, and I
Speaker 3: have some very very dear friends that swear by that movie.
Speaker 3: But that's one that I think is I think it's good,
Speaker 3: you know what I mean, Like I think it, I
Speaker 3: think I think it gets to good, and but I
Speaker 3: don't think it's great. And I think I think it
Speaker 3: reflects the I think it reflects the behavior, you know,
Speaker 3: of the director, which you know was well documented as
Speaker 3: certainly contributing to the film's demise, like like no, there's
Speaker 3: just no there's just no way you can come down.
Speaker 3: And I'm not you know, I'm not a boot liquor
Speaker 3: for the studios, you know what I mean for studio executives.
Speaker 3: But you know, sometimes you know, it takes two to tango,
Speaker 3: and you know that that's one of those cases where
Speaker 3: like the Homeboy was just fucked up, you know, and
Speaker 3: did to himself any favors, just like really self destructive. Now,
Speaker 3: I will say this, have you heard the uh have
Speaker 3: you heard the pay Cohast Blues? I don't think so, okay,
Speaker 3: Pay Coast Blues. So when when Bob Dylan came in
Speaker 3: for a couple sessions to record the soundtrack for Pat
Speaker 3: Garrett and Billy the Kid, they just left the the
Speaker 3: tape rolling for like the entire thing, so you hear
Speaker 3: like all the behind the scenes conversations with Bob Dylan
Speaker 3: talking to the studio people, and then like you know,
Speaker 3: just candid conversations, and then James Coburn comes in and
Speaker 3: Bob Dylan and they run through a bunch of the
Speaker 3: songs and all this. It's awesome. It's called Payghost Blues.
Speaker 3: I'll go ahead and send you the link. I actually
Speaker 3: think that's better than the freaking movie. Again, I've seen
Speaker 3: it fifteen times, so obviously it's got stuff that keeps
Speaker 3: me coming back, you know what I mean. I just
Speaker 3: wish I just kind of always go back to that one,
Speaker 3: like hoping it's going to be a better movie. So
Speaker 3: and and you mentioning that that four disc Criterion Sampeck
Speaker 3: and Pop Pat Garrett and Billy the Kid deal. I
Speaker 3: have a question for you. I have a question for you, like,
Speaker 3: have you ever experienced, like, have you ever watched has
Speaker 3: it been so dramatic right like remastering, especially when we're
Speaker 3: talking about like Blu Ray of four K. Has it
Speaker 3: ever taken a two star movie and made it a
Speaker 3: four star movie?
Speaker 2: For you? I, honestly, yeah, there have been a couple
Speaker 2: of times that I have definitely re evaluated that way.
Speaker 2: I don't know that it was necessarily only due to
Speaker 2: the remaster. I know that there was sometimes that I
Speaker 2: saw films early in my film appreciation that I either
Speaker 2: didn't have the life experiences to really appreciate yet, or
Speaker 2: I was simply too young and naive to really understand
Speaker 2: them yet. But beyond that, there's also some things that
Speaker 2: I just simply did not like the look and feel of,
Speaker 2: but later on, when they were either clearer or handled properly,
Speaker 2: at least, it went, oh wait, wait, wait, there was
Speaker 2: a good movie hidden in there. And now that you
Speaker 2: can see the details, this means quite a bit more.
Speaker 3: Now, has that been the same cut of the film? Oh? Yeah,
Speaker 3: pretty much every time.
Speaker 2: Yeah, I really try to keep when I'm comparing stuff
Speaker 2: like that fairly one to one. Obviously, if something happens
Speaker 2: internally and that they're changing something, we can't control that.
Speaker 2: But yeah, I tend to watch the same cuts that
Speaker 2: I did previously.
Speaker 3: Okay, that's fair, that's fair. What do you what do
Speaker 3: you see as a you know, I was speaking with
Speaker 3: our dear friend Michelle Kissner about a couple of years ago,
Speaker 3: somebody posted a very good and I'm sorry, I don't
Speaker 3: have the guy's name, somebody posted a very good YouTube
Speaker 3: video about physical media collecting, right, and he called out
Speaker 3: and I think in our first our first chat, our
Speaker 3: first tire side chat as it were, we talked about
Speaker 3: this kind of re revisionist evaluation, this like inability to
Speaker 3: criticize anything that that we purchased, not us, or that
Speaker 3: collectors in general, and this this pot this this chat
Speaker 3: on his YouTube. Fella was just talking about how it's
Speaker 3: created this epidemic of revisionism, like nobody wants to admit
Speaker 3: that some that that some of these movies aren't very good.
Speaker 3: Like even though it's like some subjective, it's all subjective.
Speaker 3: It's like it's created this like bizarre reluctance to be
Speaker 3: critical of these movies because you feel like you're being
Speaker 3: critical of the like the boutiques, like their their fancy
Speaker 3: box sets, and you know, all their packaging and all
Speaker 3: that stuff, which you know amounts to and this is
Speaker 3: his words, not mine, polishing a turd, right right, So
Speaker 3: I mean, what are your thoughts on that. I mean,
Speaker 3: there's a couple of things.
Speaker 2: I certainly agree that many of the movies getting these
Speaker 2: giant bills and whistles releases do not simply do not
Speaker 2: warrant that they are not great films. That being said,
Speaker 2: I will counter the argument of an epidemic of not
Speaker 2: being able to criticize those things, like, for example, on
Speaker 2: my show, I tend to really only talk up things
Speaker 2: that I like, and I've been personally criticized before. People
Speaker 2: have said that I'm a yes man and I'm only
Speaker 2: here to I had somebody tell me that the labels
Speaker 2: were paying me to be positive about their releases. Oh yeah,
Speaker 2: I've literally been accused of that, and I had to explain,
Speaker 2: like if I don't if I spend two and a
Speaker 2: half hours watching a movie and going through some bonus
Speaker 2: features and I don't like it, why would I want
Speaker 2: to come onto my show and talk about that for
Speaker 2: fifteen minutes.
Speaker 3: To me, that's not fun.
Speaker 2: I don't get enjoyment out of that, out of talking
Speaker 2: about why a movie was bad. I would much rather
Speaker 2: spend fifteen minutes talking about a movie that moved me personally,
Speaker 2: or that was relevant to my life or had some
Speaker 2: sort of impact on me. And yeah, there are some
Speaker 2: weeks where, you know, I may watch four films and
Speaker 2: I can gush about two of them on my show
Speaker 2: and say that I watched them. I may not even watch.
Speaker 2: I may not even mention the other two that I
Speaker 2: watched if they were just straight garbage. That being said,
Speaker 2: I think there are certain times where people are wanting
Speaker 2: to hear somebody that does like I do, break from
Speaker 2: the mold a little bit. So every once in a
Speaker 2: while I'll throw something in and say I watched this
Speaker 2: and it was it wasn't good. But you know, that
Speaker 2: doesn't mean that I'm sharing that you're going to think
Speaker 2: it was bad, but just the fact that I didn't
Speaker 2: like it, so that people understand I do not like everything.
Speaker 3: But that's I don't know.
Speaker 2: I think, you know, we hear the words echo chamber
Speaker 2: a lot when a lot of people really don't comprehend
Speaker 2: that it doesn't have to be an echo chamber to
Speaker 2: always sound positive. It simply could be when you're trying
Speaker 2: to be, you know, immersed in other people that are
Speaker 2: watching these things. Things that are good are more enjoyable
Speaker 2: than things that are bad. I would much rather talk about,
Speaker 2: you know, classics than something that is, you know, a
Speaker 2: one point three on letterbox that is awful.
Speaker 3: Right right, And I understand that a lot of it's
Speaker 3: context and the position you're in, you know what I mean.
Speaker 3: Like I'm a Look, I always I hesitate and certainly
Speaker 3: publicly on my wall and things like that. You don't
Speaker 3: see me very often, you actually you'll never see me
Speaker 3: on my on social media posting anything negative about movies.
Speaker 3: There's a couple of groups that I'm you know, and
Speaker 3: I'm very careful with how I word criticism because look,
Speaker 3: I'm a really small filmmaker, you know what I mean,
Speaker 3: and screenwriter or whatever, and so you know, it's just
Speaker 3: it would look ridiculous if I'm just like, you know,
Speaker 3: talking out my ass like shredding like master filmmakers, you
Speaker 3: know what I mean. Like I mean, that's the kind
Speaker 3: of stuff that everybody, you know, we all go through
Speaker 3: that phase when we're in our twenties. But once you
Speaker 3: get to a certain point, you understand how the industry
Speaker 3: works and how much goes into it, and you can
Speaker 3: kind of, you know, if you learn how to contextualize
Speaker 3: yourself properly and you have some sort of self awareness,
Speaker 3: you know, you don't you know, you have to be
Speaker 3: mindful of your place, you know what I means for
Speaker 3: lack of a better lack of a better word, you know,
Speaker 3: And I think that the way that I look at
Speaker 3: it is, you know, there's some things that are going
Speaker 3: to be released that are lesser quality because of the
Speaker 3: artists standing, and it's almost like for academic purposes, right Like, so,
Speaker 3: so Bob Dylan is going to have everything released because
Speaker 3: he's like one of the most important an artists in
Speaker 3: the history of the world, right right, So even his
Speaker 3: eighties turkeys get their due, you know. So Sam Peckinpah
Speaker 3: is such an influential filmmaker, such a unique filmmaker, and
Speaker 3: he has such an art fan base that everything's going
Speaker 3: to be released right now. When I see when I
Speaker 3: see clunkers like the Austrman Weekend in convoy getting four
Speaker 3: disc box sets. You know, obviously I kind of roll
Speaker 3: my eyes. You know. Again, Sam Peg and Pauw, you know,
Speaker 3: he's a master, He's one of my heroes, you know
Speaker 3: what I mean, one of the guys that you know,
Speaker 3: got me started and again. But you know when I
Speaker 3: see that, I rolled my eyes in a little bit.
Speaker 3: But then I'm like, hey, it's Sam Peg and Pauw,
Speaker 3: you know what I mean. It's just like for academic purposes.
Speaker 3: But you know when I see just like you know,
Speaker 3: standalone films that don't have that kind of narrative along
Speaker 3: with them. And you know, when I see these films
Speaker 3: and I know enough of the people that are in
Speaker 3: this side of the industry, and I know when these
Speaker 3: films were released on Blu Ray that they didn't sell, right,
Speaker 3: And now I see him coming out in like four
Speaker 3: K like three disc sets, you know, And then I
Speaker 3: see I see more and more, not not just I'm
Speaker 3: not talking about your announcements, but just like when other
Speaker 3: because I have you know, my social media feed is
Speaker 3: loaded with cinemaniacs, right and they're always popping up announcements
Speaker 3: and stuff. But I see more and more people kind
Speaker 3: of being a little, you know, making kind of snide comments,
Speaker 3: you know, and then you kind of you kind of
Speaker 3: run into run into like sign posts, right like you
Speaker 3: and I have talked about like you were. You remember
Speaker 3: when I when I shared with you that completely insane
Speaker 3: box set for John Lennon's Mind Games. Yes, man, I
Speaker 3: went and watched the video for that thing. It was insane. Yeah,
Speaker 3: And to me, that's like that's the sort of peak
Speaker 3: event that happens before in decline, right, And you know,
Speaker 3: I couldn't help when I saw when I saw the
Speaker 3: like uber addition for Barbed Wire with Imla Anderson or whatever,
Speaker 3: you know, that kind of made me that, you know,
Speaker 3: And that came out like during a week of like
Speaker 3: heavy announcements of like general of films that are generally
Speaker 3: regarded as like one star, two star, like just you know, turkeys,
Speaker 3: like uh, you know, I think what was that Cindy
Speaker 3: Crawford movie with the Baldwin guy that was also a flop?
Speaker 3: I think that was getting some sort of reissue but whatever,
Speaker 3: you know, And again, one man's trash is another man's treasure.
Speaker 3: But when I saw that, like barb but when I
Speaker 3: saw the barb Wire, the Uber mid edition or whatever.
Speaker 3: That kind of gave me, you know, that kind of
Speaker 3: gave me flashbacks to the image comics bubble of the nineties,
Speaker 3: you know what I mean, where it was like everything
Speaker 3: that they could publish was like getting a super mid edition,
Speaker 3: like here's Jim Lee's sketches for the Wildcats cartoon show
Speaker 3: in a glossy cover, right, you know what I mean,
Speaker 3: And you were getting that kind of like gimmicky stuff
Speaker 3: and there wasn't a lot of there there and they
Speaker 3: were doing like victory laps or things that like people
Speaker 3: didn't even that had no like legacy that like people
Speaker 3: weren't asking for. I was getting a similar vibe from that,
Speaker 3: And I know that you know, you've probably as a
Speaker 3: you know, as the publisher of the Physical Media Advocate, right,
Speaker 3: you probably have your own kind of pet peeves or
Speaker 3: whatever your own thoughts on that. What are what are some.
Speaker 2: Of those you know, one that I actually just printed
Speaker 2: in the November issue of The Physical Media Advocate is
Speaker 2: how you know, we can all rant about how Disney
Speaker 2: has locked up titles in their vault, and not just
Speaker 2: their titles, but all the Fox titles, all the Touchstone titles,
Speaker 2: all the Hollywood picture titles, all of these movies that
Speaker 2: many of us would love to have huge, great four
Speaker 2: K releases for, They've locked many of those, and that's
Speaker 2: you know what, that's their prerogative. Sure, what really pissed
Speaker 2: me off is just a couple months ago they announced
Speaker 2: that they are giving an official VHS release to Alien Romulus. Now, normally, sure,
Speaker 2: whatever nostalgia bait, go right ahead, that's fine. But the
Speaker 2: fact that you're holding back all these classics while releasing
Speaker 2: this brand new movie on VHS at the same time
Speaker 2: is just I don't like extra balls in a way,
Speaker 2: and it is so unnecessary. Why are we doing VHS
Speaker 2: in twenty twenty four, especially letter mocks? Is it wisecreen?
Speaker 3: I believe it is. Yeah, well here, I mean, here's
Speaker 3: my thing. Well, first off, that's like them trying to
Speaker 3: be hit right hip, Yeah exactly. But you know the
Speaker 3: that's another I actually remember how many months ago was
Speaker 3: that when I was announced two months ago?
Speaker 2: Yeah, I think it was announced in October September, and
Speaker 2: then it I think it literally like just released in
Speaker 2: the last couple of weeks.
Speaker 3: Well, that to me is another like sign post of
Speaker 3: like an extreme kind of thing before a decline right
Speaker 3: right where it's almost like absurd. You know. However, some
Speaker 3: I mean something like that as a one off, something
Speaker 3: like that as a one off could sell. I'm not
Speaker 3: sure how over that movie was. I know it was
Speaker 3: pretty hop you know, it was fairly hot. Oh yeah,
Speaker 3: it did very well. It did well. I mean I
Speaker 3: thought it was I thought it was very enjoyable, except,
Speaker 3: you know, the last twenty minutes. I agree with those
Speaker 3: that said the last twenty minutes like it completely. Like
Speaker 3: if it wasn't for the last twenty minutes of that movie,
Speaker 3: I'd probably go back and watch it again, right, but
Speaker 3: those last like fifteen minutes or so, was was hard
Speaker 3: on my soul. So I you know, and I went
Speaker 3: into it expecting that because a lot of people had
Speaker 3: mentioned that when they were discussing the film, and I
Speaker 3: was watching, and I was just like, oh man, I'm
Speaker 3: totally into it. This is cool. I thought it skewed
Speaker 3: a little too young adult, but the way they used
Speaker 3: the original Android was very clever, I thought. So I
Speaker 3: was like into it, and then I was like, oh man,
Speaker 3: I was like, I was like, I've only got fifteen
Speaker 3: minutes left and this is still holding strong and then
Speaker 3: I was like, oh lordie. And then it was like
Speaker 3: it was like all the main What was weird about
Speaker 3: the last fifteen twenty minutes is that it was like
Speaker 3: all the stuff from the previous three movies that everybody
Speaker 3: was unanimously like, this is like, this is terrible, this
Speaker 3: is like ruining this series. Like they crammed all of
Speaker 3: that into the last fifteen minutes of that movie. And
Speaker 3: I was like wow. I was like, I was like wow,
Speaker 3: So you know, but however, it was still, you know,
Speaker 3: that's a movie. If it came on TV, I would probably,
Speaker 3: you know, I was still I got a backpedal on
Speaker 3: what I said, like, I would probably watch it again
Speaker 3: because I thought it was I thought it had a
Speaker 3: really good texture. I thought it was well made. Now
Speaker 3: I now going back to your point about all the
Speaker 3: movies that they're holding that Disney is like holding back.
Speaker 3: I think that they would be. Look, the House of
Speaker 3: Mouse is going through a has gone through a little
Speaker 3: bit of a downturn, but they've been historically, They've always
Speaker 3: had downturns. Right Like people seem to act like every
Speaker 3: time Disney has a downturn that like the entire company
Speaker 3: is going to go belly up, right, you know, like
Speaker 3: they were saying that in the years leading up to
Speaker 3: a Little Mermaid is true, and then they were saying
Speaker 3: that after Pocahontas bombed, Pokahontas finished off their like big
Speaker 3: winning streak. And then actually, I think that still did okay,
Speaker 3: but Hunchback of Notre Dame definitely killed it. But I
Speaker 3: don't want to get into all that, you know. But
Speaker 3: then they came back with Toy Story anyway, you know
Speaker 3: what I'm saying, right, like, like there's no situation, like
Speaker 3: they just had. Disney just came off of like the
Speaker 3: most successful run in like the history of Hollywood, right,
Speaker 3: you know what I mean, in the history of Hollywood.
Speaker 3: And you have these jerk offs on their YouTube channels, right,
Speaker 3: which is they're all my age, which I think is hilarious.
Speaker 3: They're all my age and like purport to be like
Speaker 3: film historians and like know their stuff, but they don't.
Speaker 3: They're like completely ignorant. They don't know the history of
Speaker 3: the business. They don't know the history of Disney, they
Speaker 3: don't know the history of like just about anything that
Speaker 3: they're talking about, right, you know what I mean? And
Speaker 3: you know, as soon as as soon as there's like,
Speaker 3: you know, a weakness there, and look, I'm no mark
Speaker 3: for the House of Mouse, right, I'm no mark for
Speaker 3: the House of Mouse. And watching them make the kind
Speaker 3: of mistakes that they used to never make was pretty
Speaker 3: pretty interesting. And now, look all the issues with Marvel
Speaker 3: and all the issues with Star Wars, those are all
Speaker 3: obvious things that everybody talked to death, right, So we
Speaker 3: don't need to retrace any of that. But what I
Speaker 3: do want to do is tie it into what you said.
Speaker 3: And I think that there is a hesitancy based on
Speaker 3: their last couple of years of like huge flops right
Speaker 3: like Indiana Jones, right yep, and other animated movies that
Speaker 3: they had in Marvel movies that didn't do so hot.
Speaker 3: So I think there's a hesitant seed to maybe like
Speaker 3: roll out in the midst of like a title wave
Speaker 3: of releases to maybe you know, push for that. Right now,
Speaker 3: at the same time, I have heard, and I wanted
Speaker 3: to ask you about this, I've heard that they are
Speaker 3: they have been doing a lot of like super limited edition,
Speaker 3: like very pricey steel books. Going back to the steel
Speaker 3: book thing that I was originally talking about, What are
Speaker 3: your thoughts on that what have you heard about that?
Speaker 2: What's the deal for some newer releases?
Speaker 3: That is absolutely the case.
Speaker 2: So the two biggest, most egregious ones from them over
Speaker 2: the last handful of months were Inside Out Too, that
Speaker 2: newest Pixar film, and then the new Marvel movie Deadpool
Speaker 2: and Wolverine. Both of those came in a four K
Speaker 2: steel book that were sold out, like we're talking sold out,
Speaker 2: either on pre order or in the first week of release.
Speaker 2: And Disney steel books historically since you know the I
Speaker 2: don't want to say the heyday, but over the last
Speaker 2: you know, four or five years, with best buy holding
Speaker 2: strong on release day, those have historically been thirty four
Speaker 2: ninety nine. And when Inside Out to released it was
Speaker 2: I believe forty five dollars or forty four ninety nine
Speaker 2: whatever somewhere around there. Even worse the Deadpool and Wolverine.
Speaker 2: The most sites held that to like fifty five to
Speaker 2: even in some places sixty dollars for a brand new
Speaker 2: steel book of just the most bland superhero you know,
Speaker 2: not even like an Lash Flipps.
Speaker 3: And but let's be honest here though, like the first
Speaker 3: I have a question, what's the secondary market on those?
Speaker 2: Uh, they're probably hitting around one hundred dollars right now.
Speaker 3: Okay, so that's like Taylor Swift money. So so I
Speaker 3: will say this though, is that both of those movies
Speaker 3: were legitimately successful films. Oh of course, all right, so
Speaker 3: you know that needs to be that needs to be said.
Speaker 3: I mean, yeah, they were successful. Those were those were
Speaker 3: tremendously successful movies, right that have a you know, that
Speaker 3: have a large audience that's going to be looking for
Speaker 3: gifts over the holidays. Now, I do think I do
Speaker 3: think the pricing is egregious. Now, the pricing on all
Speaker 3: of this stuff, you know, especially the vinyl stuff, and
Speaker 3: has gone up tremendously, right, And so you know, I
Speaker 3: am looking at it's very very easy. Look, if you're
Speaker 3: if you're if you're a household, right and it's part
Speaker 3: of your family die dynamic to collect your teenage kids
Speaker 3: are into it, you know, Look, man, and you have
Speaker 3: to spend either you're going to spend either thirty five
Speaker 3: dollars on Barbarian Queen two, or you're gonna get your kids,
Speaker 3: you know, Deadpool and Wolverine for forty five dollars. You
Speaker 3: know what I mean, Like, I think that it falls
Speaker 3: it's going to go the more popular route, you know,
Speaker 3: and and look that that that just is what it is.
Speaker 3: But the problem with that is that I don't even
Speaker 3: know if it's a problem, but I think it's a
Speaker 3: it's like a systemic and sorry if I'm talking over
Speaker 3: my words. It's a systemic issue that the you know,
Speaker 3: and I don't want to get into I don't want
Speaker 3: to get into a shareholder value conversation, right, but it's
Speaker 3: it's squeezing every last drop, right, And I think you
Speaker 3: have Disney also in a situation where they hadn't had
Speaker 3: a couple of big hits in a while, so they're
Speaker 3: trying to juice Inside Out too and Deadpool and Wolverine
Speaker 3: for as much as they can because those are their
Speaker 3: two biggies, you know what I mean. I mean, look,
Speaker 3: they're definitely not selling tons of steel books for a
Speaker 3: for ant Man Quantka.
Speaker 2: Unfortunately, I do know that that is false. They sold
Speaker 2: a shit ton of steel books of a Man Quantumania.
Speaker 2: They oh, they did thousands on thousands.
Speaker 3: Well then so so so who is the That was
Speaker 3: generally derided as a mediocre title, but like who's are
Speaker 3: are those collectors? Are those parents buying for kids that
Speaker 3: are like still on the Marvel train. Most of them are.
Speaker 3: Most of them are collectors. Absolutely.
Speaker 2: There are people that have literally every single Marvel movie
Speaker 2: in a four K steel book and they don't want
Speaker 2: to stop because that's what they're collecting. That's one of
Speaker 2: the things they're collecting. And I don't think we're in
Speaker 2: a situation where these two were popular, so they chose
Speaker 2: to raise the price at all. I think one of
Speaker 2: the things that led to this is the fact that
Speaker 2: Sony took over the production for them, So Sony Pictures
Speaker 2: is now doing their authoring for their discs and handling
Speaker 2: all manufacturing. And they have also started raising price on
Speaker 2: certain things.
Speaker 3: Which is odd.
Speaker 2: They're not doing it really for catalog titles, but like
Speaker 2: the Newest Planet of the Apes movie was also exorbitantly priced,
Speaker 2: and so they're being selective about some newer things. And
Speaker 2: what's crazy is they'll sell out. You know, it might
Speaker 2: only be like a six to eight thousand print run
Speaker 2: in those first couple of weeks where they'll they'll be
Speaker 2: sold out, But for many of these titles, we'll find
Speaker 2: a year, year and a half later they'll just release
Speaker 2: another steel book and it'll be regularly priced.
Speaker 3: Right right, right, But I mean, but I understand that,
Speaker 3: but you're always going to see some of that. I
Speaker 3: mean you said yourself is targeted a little bit. I
Speaker 3: mean you're going to have things targeted based on, of
Speaker 3: course a little bit sure how popular they are. Like
Speaker 3: you and I men grew up in the era of CDs,
Speaker 3: right right, So, like you remember going to the CD
Speaker 3: store and every Tuesday, and the Beatles albums were always
Speaker 3: four dollars more than everybody else. The Beatles albums are
Speaker 3: always the most.
Speaker 2: Expensive, correct, But I think the difference there is that
Speaker 2: word always. What is interesting here is that it suddenly
Speaker 2: happened on a couple of titles. So this wasn't even
Speaker 2: the most popular MCU film over the last couple of years,
Speaker 2: and it just it. I do think it has more
Speaker 2: to do with Sony taking over because of that, because
Speaker 2: they've never done that ever.
Speaker 3: So they're just experimenting with pricing.
Speaker 2: That honestly, that is what I said earlier this year.
Speaker 2: I think they're trying to find a new minimum price point.
Speaker 2: And so Planet of the Apes and Deadpool Versus Wolverine
Speaker 2: and Inside Out Too were all released at three different
Speaker 2: prices roughly forty five, fifty five and sixty five.
Speaker 3: And this is the fourth Planet of the Apes movie
Speaker 3: you're talking about, right, this isn't the first trilogy steal
Speaker 3: book no, when released.
Speaker 2: Yes, it was all all of them have all gotten
Speaker 2: steel books, yes, Okay, that's what I thought, so, yeah,
Speaker 2: because they were all about ten dollars difference. That was
Speaker 2: my idea earlier this year is I bet they're trying
Speaker 2: to see what is the minimum or what is the
Speaker 2: maximum amount that we can sell out a limited run
Speaker 2: in that first couple of weeks.
Speaker 3: Well, you have to give right, right, and you have
Speaker 3: to kind of you have to diversify your portfolio so
Speaker 3: to speak. Right, So like you if you have, for example,
Speaker 3: like David Bowie, I'm gonna use a vinyl example, like
Speaker 3: David Bowie had a David Bowie had a box set
Speaker 3: for the Hunky Dory album right, right, And it was
Speaker 3: this big box set you could get for the album, right,
Speaker 3: and the box set included an alternate version of the
Speaker 3: album right with like you know, different mixes and whatever,
Speaker 3: different song selection. Right that was released, right, But then
Speaker 3: you could also you could also purchase that alternative album
Speaker 3: and the new remaster or whatever it was of the
Speaker 3: original album that was you know, released separately, right. So
Speaker 3: basically you're you know, for like parents that have a
Speaker 3: daughter that's big into or a son that's big into
Speaker 3: David Bowie, right, and you want to get him something special.
Speaker 3: You can buy them both of those albums. Right. You
Speaker 3: can buy the new version of the you know whatever,
Speaker 3: the new reissue of Hunky Dory, you can get the
Speaker 3: alternate version of the album, right, and if you're on
Speaker 3: a budget, it saves you seventy dollars from having to
Speaker 3: buy the box set. Right. So like you have like
Speaker 3: alternate you have alternate versions, you know. Like so for example,
Speaker 3: that that opera right, yep, the you know they they
Speaker 3: they released that what was it four or five discs, yeah,
Speaker 3: the Giant one, Yeah, but then they went ahead and
Speaker 3: months later they just released for Black Friday, they have
Speaker 3: the like standard version. Right. But that's following the model
Speaker 3: that these that's following the you know, both the Blu
Speaker 3: ray both the physical media movie market the vinyl market
Speaker 3: kind of follow a similar thing. So like the whole
Speaker 3: idea of releasing a box set and then you break
Speaker 3: up the box set and sell it in smaller, cheaper
Speaker 3: pieces later, you know what I mean. Oh yeah, that's
Speaker 3: very very common. Yes, you know, because you're going to
Speaker 3: have whether it's you know, vinyl or whether it's physical media, right,
Speaker 3: whether it's movies, which is now kind of a thing
Speaker 3: and it's kind of as you know, is uh, I mean,
Speaker 3: it's been a thing for a while, but not at
Speaker 3: this peak frenzy level, right, would you agree? So you're
Speaker 3: gonna have You're gonna have the early adopters, right, so
Speaker 3: that are going to buy all that. They're gonna buy
Speaker 3: all this stuff when it's new, and they're never going
Speaker 3: to believe that anything's going to be around for a
Speaker 3: while or it's going to go on sale. So like,
Speaker 3: for example, when the when the Rolling Stones mono box
Speaker 3: set came out a couple of years ago, right like
Speaker 3: there's only ten thousand, everybody's going crazy. All these people
Speaker 3: like are gonna buy it, right of course, you know,
Speaker 3: because it's going to sell out, Like that box set
Speaker 3: is still available on Amazon for like way cheaper. But
Speaker 3: that's like everything, but you're always going to have those
Speaker 3: early adopters. So so like whenever you're like watching YouTube,
Speaker 3: whenever I'm watching YouTube, channels or I'm looking at the
Speaker 3: social media posts for these boutique film releasing companies, and
Speaker 3: I'm also watching YouTube stuff for like Vinyl. You know,
Speaker 3: I have my YouTube channels that I listened to for
Speaker 3: Vinyl and stuff like that. Ye both have one thing
Speaker 3: in common, and that is in the comments. There's all
Speaker 3: there's always the early adopters, and it's the same comments
Speaker 3: by my my wall it's gonna be killing me, by
Speaker 3: my wife might leave me. But I have to have this.
Speaker 3: We were gonna go to Disney World, but I've gotta
Speaker 3: I've got to jump on this or it's gonna sell out,
Speaker 3: you know what I mean. Like these are people that
Speaker 3: are like borderline like addicts. Oh it's not borderline. They
Speaker 3: absolutely are, you know what well I mean, I didn't
Speaker 3: want to you know, I'm trying. I'm a guest on
Speaker 3: the podcast Trying So so so. Yes, yes, they they
Speaker 3: are certainly an extreme an extreme version of that, you
Speaker 3: know what I mean. But you have to you have
Speaker 3: to realize though, like just as with like the comic
Speaker 3: book you know, situation in the nineties or you know,
Speaker 3: the Vinyl situation now and the boutique stuff, is that
Speaker 3: like if you just start if you just if you're
Speaker 3: if you're only if you're only generating releases for that
Speaker 3: level of buyer, that level of collector, you know what
Speaker 3: I mean, You're you're you're leaving the casual hundreds of
Speaker 3: millions behind, right and especially some of these companies don't
Speaker 3: seem interested in marketing what they're selling to anything outside
Speaker 3: of the bubble, you know what I mean, And eventually
Speaker 3: the bubble burst right right.
Speaker 2: So recently you also wrote an article for dread Central,
Speaker 2: and it's kind of apt for you know, twenty twenty
Speaker 2: four as a whole, where many people are feeling like
Speaker 2: everything's on fire and got held you. You're not even
Speaker 2: in the US, You're over in the Middle East right now,
Speaker 2: and your your article that you wrote about is watching
Speaker 2: horror movies when everything around you is a horror movie
Speaker 2: as well. Tell us where that came from.
Speaker 3: That, you know, it's funny. I had actually wanted to
Speaker 3: wanted to write that for quite some time. And as
Speaker 3: you know, in the article, it talks about when I
Speaker 3: originally became kind of more more aware in you know,
Speaker 3: global events, you know, and not not that I was,
Speaker 3: you know, I always prided myself kind of like it says.
Speaker 3: It says in the piece, I don't want to be
Speaker 3: you know, redundant there. But you know, I've always prided
Speaker 3: myself I'm being you know, aware of what's going on
Speaker 3: in the world. I think it's incredibly important. It's incredibly
Speaker 3: important to you if you're a writer, you're an artist
Speaker 3: of any kind. I also think that when you're in
Speaker 3: entertainment spaces, I think that people have a tendency to
Speaker 3: get in a bubble and my you know, my my
Speaker 3: heroes are you know, folks like Paul Duman, you know,
Speaker 3: Audrey Hepburn, right, and because of Audrey Hepburn's work with UNISEF,
Speaker 3: you know, that's like as that's something that I'm doing,
Speaker 3: developing here in uh you know Karachi Pakistan, And you
Speaker 3: know Denzel Washington, you know Reach One, Teach One, you know,
Speaker 3: he's he's one of my heroes. Anyway, the folks that
Speaker 3: I kind of admired the most, you know, even you know,
Speaker 3: on the rock and roll side of things, you know,
Speaker 3: with Bruce Springsteen. You know, these are these are people
Speaker 3: that you know, the the more acclaim right that they achieved,
Speaker 3: the more they the more they gave back and acknowledged,
Speaker 3: you know, horrors of the world, you know what I mean,
Speaker 3: not in a not in an obnoxious way. You know,
Speaker 3: no one's ever gonna accuse Audrey Hepburn of being obnoxious,
Speaker 3: you know, in her and in her humanitarian and efforts.
Speaker 3: But that's you know, that's an entire generation that wouldn't
Speaker 3: have known about organizations like UNICEF if it wasn't for
Speaker 3: the fact that they were fans of her, you know
Speaker 3: what I mean. And and Audrey Hepburn obviously benefited from
Speaker 3: having a having a legacy, an enduring legacy and popularity
Speaker 3: that lasted decades after she you know, retired from the business,
Speaker 3: and you know, has has since passed away. You know,
Speaker 3: she's she's her. Her filmography is pretty amazing in that
Speaker 3: she was she chose a lot of good pets that
Speaker 3: were ahead of their time. So some of her projects
Speaker 3: that were popular at the time that have since become
Speaker 3: a little dated, they're balanced out by the stuff that
Speaker 3: she did that was like really ahead of its time, right,
Speaker 3: like the Children's Hour two for the Road, you know,
Speaker 3: and things like that, or like Robin and Marion, you know.
Speaker 3: So so that's where so I think that I think that.
Speaker 3: To answer your question, I kind of wanted to. I
Speaker 3: wanted to discuss that, and I wanted I thought there
Speaker 3: was an opportunity to write a piece like that because
Speaker 3: I try to also pay attention to kind of what's
Speaker 3: out there, you know, And so whenever you're crafting an
Speaker 3: article for you know, for whatever reason it might be,
Speaker 3: you don't want it to be a piece that you
Speaker 3: know has been done before, like for example, perfect example
Speaker 3: of this, I actually had an idea that I was
Speaker 3: going to write a piece about John Carpenter's The Ward,
Speaker 3: and it was going to be called, you know, Production
Speaker 3: Design and John Carpenter's The Ward, and it was going
Speaker 3: to discuss how even though The Ward was kind of
Speaker 3: like this film that a lot of people put down
Speaker 3: from a production design standpoint, it's one of his most
Speaker 3: consistent films. From a production standpoint, it's one of his
Speaker 3: most consistent films. So many of John Carpenter's movies, the
Speaker 3: production value fluctuates like wildly, where like sometimes you'll see like,
Speaker 3: oh my gosh, this incredibly like well crafted set piece,
Speaker 3: and then like you'll watch like the following scene that
Speaker 3: looks like it costs like seventeen dollars to make, you
Speaker 3: know what I mean, and that that inconsistency in John
Speaker 3: Carpenter's work always always kind of fascinated me, you know
Speaker 3: what I mean, and it just, you know, again, it
Speaker 3: goes to show how difficult it is in this business,
Speaker 3: even when you have all those resources available, how to
Speaker 3: allocate everything, how to balance everything out right, you know
Speaker 3: what I mean, and you're not always going to get
Speaker 3: you know, Starman or the Thing, you know what I mean,
Speaker 3: or you know Halloween right.
Speaker 2: Well, and even many of those were put down for
Speaker 2: a right reasons back.
Speaker 3: In the day, right exactly exactly. And so what happened though,
Speaker 3: was that while I was kind of like putting some
Speaker 3: notes together for that, like three articles like reevaluating the
Speaker 3: ward came out like all of a sudden, it was
Speaker 3: like the ward appreciation months in the Horror Space, you
Speaker 3: know what I mean. And I was like, ah, I
Speaker 3: was like, and I was like, I can't go you know,
Speaker 3: I can't go forward with this, you know what I mean.
Speaker 3: I'm gonna have to show this one for another two decades,
Speaker 3: you know what I'm saying.
Speaker 2: It's so weird how cyclical many of those things are.
Speaker 2: It seems like you don't hear anything about some certain subject,
Speaker 2: and then for a month, that's all you will hear about,
Speaker 2: even big things, like you won't hear anything about George A.
Speaker 2: Ramiro except for the Dead trilogy that he did originally,
Speaker 2: and then all of a sudden, while you're planning something
Speaker 2: to write about Bruiser, there will be nine different reappreciations,
Speaker 2: seven YouTube videos, and a brand new podcast, all dedicated
Speaker 2: to Bruiser.
Speaker 3: Right right, absolutely, absolutely, And you know it's funny when
Speaker 3: he came to our film school and visited, he actually
Speaker 3: screened Bruiser. That was like one of his first screenings
Speaker 3: of that film. But the the article seemed like it
Speaker 3: seemed like the time to write it, and so look,
Speaker 3: it felt good getting it out there. I had just
Speaker 3: they had just dread Central, had just done the interview
Speaker 3: with with with Christina, Yeah, while we were doing the
Speaker 3: promotion for the release of Opera and simple like silver. Well.
Speaker 2: And one really great thing about this article is it's
Speaker 2: there's no easy way to say this, I guess, but
Speaker 2: it's like the opposite of gatekeeping. It's trying to tell
Speaker 2: people that, no matter your worldview on this subject, you're
Speaker 2: not alone because there's other people like you, and not
Speaker 2: enough people are saying something like that specifically, And it's
Speaker 2: important in a time where you know we're hearing on
Speaker 2: one far end of the spectrum is all of a sudden,
Speaker 2: these movies are too political. And then the other end
Speaker 2: of the spectrum is you know, looking to make a
Speaker 2: difference with art and you know, coming against politics in
Speaker 2: a way. There's got to be a balancing point for both.
Speaker 2: But in all reality, politics have always been a part
Speaker 2: of art and it always will be.
Speaker 3: That's one of the biggest aspects of art. Men, absolutely,
Speaker 3: And I'm glad you brought that up, because you know,
Speaker 3: nobody is more message heavy than probably Sidney Lumet. And
Speaker 3: I see, I see so many filmmakers, I mean film
Speaker 3: fanatics that decree the modern politics in cinema right, and
Speaker 3: they and they always they'll use Sidney LeMay as an example.
Speaker 3: Whenever somebody talks about his movies. They'll be like, oh, man,
Speaker 3: I wish movies could go back to that where they
Speaker 3: didn't have all this politics, and it doesn't. And they
Speaker 3: always reference these directors that made political like movies with
Speaker 3: a lot of heavy socio political messaging in them. Look
Speaker 3: at the vertic. Yeah, I mean the verdict twelve twelve
Speaker 3: angry men? What's that? What's that running on empty? Right?
Speaker 3: Is that the one with River Phoenix with like the Yeah,
Speaker 3: I mean that's like heavy political stuff, you know, even
Speaker 3: if you're talking about police corruption, right with Serperco and
Speaker 3: Prince of the City of course, you know. I mean,
Speaker 3: so I think that that there's when you talk about
Speaker 3: a when you're talking about a balance. Is that. One
Speaker 3: thing that I want people to be aware of too,
Speaker 3: is that these these filmmakers and these screenwriters, they're not
Speaker 3: not as many of them are activists as people would
Speaker 3: like to believe, right, And that's both that's both a
Speaker 3: positive and and negative, all right, And the bottom line
Speaker 3: is the bottom line, right, So, when you see a
Speaker 3: large number of female led movies coming out, or female
Speaker 3: lead action movies, right, Like how many variations of the
Speaker 3: Mendikida have we seen in the last ten years? Right? Right? Like,
Speaker 3: very few of the producers behind those movies are doing
Speaker 3: so because they care about female empowerment or feminism or
Speaker 3: you know, have a statement about gender roles. Yeah, they're
Speaker 3: make money no matter what. Yeah, Yeah, They're they're producing
Speaker 3: those movies because they think they will make money and
Speaker 3: as as soon as that trend wears itself into the ground,
Speaker 3: because that's the that's the history of the business. The
Speaker 3: history of the business going back to the very beginning
Speaker 3: the nineteen tens, is you know, in the twenties is
Speaker 3: running every trend then into the ground, right, finding a
Speaker 3: new trend, right, and then running that one and into
Speaker 3: the ground, And then a decade or so later it
Speaker 3: becomes kish, or it becomes hip to revisit the other trend,
Speaker 3: or there's a parody cycle, right where you have to
Speaker 3: like make fun of it, right, kind of like the
Speaker 3: original with the Universal Monsters, Right, they had to they
Speaker 3: they ran that, they ran that into the ground in
Speaker 3: the forties and they had to kind of poke fun
Speaker 3: at themselves with at it in Costello, right. Right. So,
Speaker 3: so what a lot of folks need to understand is
Speaker 3: that a lot of this current trend right is fueled
Speaker 3: by I don't I don't want to say the word cynicism,
Speaker 3: but a lot of the people producing this content, they
Speaker 3: don't see these trends as anything more than another version
Speaker 3: of three D. Right. They see it as a gimmick
Speaker 3: that's hot, that makes money. Now and therefore we're going
Speaker 3: to do this. And so when you hear people complain
Speaker 3: about it or they or they push back against it,
Speaker 3: they they they seem to always want this kind of
Speaker 3: like agenda. Like there's like all of these people like
Speaker 3: producing this content are like activists, right, and it's like no, like,
Speaker 3: but the majority of them are not now now are
Speaker 3: But are there some that have been an agenda? Of course,
Speaker 3: you know some some of them that agenda. That agenda
Speaker 3: is genuine and comes from a good space. Some of
Speaker 3: them might come up front from a good space, but
Speaker 3: they don't have the talent to get it out there properly. Right.
Speaker 3: That happens too. However, when I was coming up and
Speaker 3: it was nothing but Arnold Schwarzenegger, Sylvester Salone, Bruce Willis,
Speaker 3: Clint Eastwood, Steven Sagall, Jean Claude Van Dam like like
Speaker 3: there wasn't like there's not a there's not libraries of
Speaker 3: journalism about how it's male activists that are that are
Speaker 3: destroying Hollywood with a male agenda in et cetera, et cetera. Right,
Speaker 3: But as soon as you have a couple of years
Speaker 3: of the trend going the other way, like you You've
Speaker 3: got folks having nervous breakdowns, right, they can't even like
Speaker 3: they don't know how to handle it, you know. And
Speaker 3: so look, I always say this, and it's not, you know,
Speaker 3: just the horror space obviously it's all you know, it's
Speaker 3: it's the other fan spaces, right, But it's not. And
Speaker 3: people always look for a reason, right, We're we're definitely
Speaker 3: at a at a very difficult time in the in
Speaker 3: our society and in the world. But you know how
Speaker 3: Carl Sagan made the comment about how the bamboozled never
Speaker 3: want to admit that they've been bamboozled, right course, Like
Speaker 3: it's easier to blame Kathleen Kennedy and Ray for your
Speaker 3: alcoholism and for not being able to keep a job
Speaker 3: and all of the you know, bad marriage. It's easy.
Speaker 3: It's it's easier to blame them for the socio and
Speaker 3: economic conditions of the time than it is to say, hey,
Speaker 3: I voted for politicians that screwed me over, or I
Speaker 3: listened to the wrong people, or I made the wrong
Speaker 3: and decisions. Now I'm just saying that that's you know,
Speaker 3: that applies to a more extreme segment, right that I've
Speaker 3: that I've listened to. You know, it's it's time at
Speaker 3: a certain age, right when you're in your when when
Speaker 3: you're in your forties and you have kids, you know,
Speaker 3: and you know you're your passion, right is is going
Speaker 3: on a you know, social media space, a virtual space
Speaker 3: and public wishing these screeds, these hysterical screeds about Madam Web,
Speaker 3: about how Madam Web destroyeds you know, Spider Man right right,
Speaker 3: and you know you're you're somebody that also you know,
Speaker 3: you know it's somebody and I see this often is
Speaker 3: is folks that are also hosting in the same spaces
Speaker 3: about you know, they you know, struggling with the job,
Speaker 3: struggling with bills and kids, and you know, it's I
Speaker 3: think that it's it's time to look at the priorities
Speaker 3: and be like, you know, my passion, my energy, where
Speaker 3: where should that go? Should it go to Madam Web?
Speaker 3: You know? Possibly not Madam Web is where your passion,
Speaker 3: frustration and anger to go. But they but but but
Speaker 3: but for many it's easier than and then facing hard
Speaker 3: truths and looking themselves in the mirror, right, looking at
Speaker 3: the world and looking you know, it's a very it's
Speaker 3: a very tumultuous time, and people have a lot of
Speaker 3: bottled up resentment, and it's going to manifest itself in
Speaker 3: other ways, right, It's going to seep through the cracks,
Speaker 3: as it were, right, and sometimes sometimes productive ways, right,
Speaker 3: sometimes healthy ways, because there's there, because there's a lot
Speaker 3: of positive that can come from you know, the community
Speaker 3: around a fan base, right, So let's not discredit that
Speaker 3: a lot of positive, of course, but when it turns,
Speaker 3: when it turns toxic and the obsessing over scapegoating, right,
Speaker 3: like waking up every morning and examining every property as
Speaker 3: to how it's you know, bad for these reasons.
Speaker 2: Well, and the truth is that that exists in literally
Speaker 2: every community.
Speaker 3: We we we should point that out absolutely absolutely, and
Speaker 3: and that and and that's why. Yeah, that that exists
Speaker 3: in every community that that that extreme, But it's no
Speaker 3: longer it's no longer fringe. It's become like the go
Speaker 3: to right. So like here with with with disconnected for example, right,
Speaker 3: I'm gonna I'm gonna shamelessly plug you on S. Yeah. Yeah,
Speaker 3: I'm just gonna go ahead and name drop drop you
Speaker 3: like right here. No, but like but but for example,
Speaker 3: there are there are a large amount there's a a balance,
Speaker 3: it seems that's a negative balance where it's almost like
Speaker 3: for just as many you know, objective well intentioned and
Speaker 3: I don't want to say well intentioned. They're all well
Speaker 3: intentioned in their own minds. But but but you have
Speaker 3: a lot more for lack of a better way to
Speaker 3: explain it, vitriol has become become accepted. Right, it's not
Speaker 3: a fringe thing. And so you have for every you know,
Speaker 3: for every more objective. I don't know how to explain it,
Speaker 3: but like for every more objective kind of you know,
Speaker 3: even Keel, I guess is a good way to say it.
Speaker 3: Even Keel podcast about this hobby or that than hobby, right,
Speaker 3: you have you have, you know, the houses on fire,
Speaker 3: extreme vitriol. You have that whereas years ago, years ago,
Speaker 3: that more extreme stuff would wouldn't be so common.
Speaker 2: So let's cover one more of these pet pet peeves
Speaker 2: in collecting. I'm gonna say the next big one for
Speaker 2: me is a rare compliment I'm going to give to
Speaker 2: the Criterion Collection, and that is that their limited edition
Speaker 2: titles are not so limited. If they come out with
Speaker 2: something that is you know, this fancy packaging or you
Speaker 2: get a bonus with a movie or something like that.
Speaker 2: It tends to stay in print like that for quite
Speaker 2: a long time. And this is, you know, not to
Speaker 2: say that some of these labels that are small and
Speaker 2: independent should be.
Speaker 3: Forced to pay.
Speaker 2: A ton of money on materials or anything like that,
Speaker 2: but I will say it really bugs me how we
Speaker 2: quickly lose booklets in many of these releases. There are
Speaker 2: many individuals that I know that write for these physical
Speaker 2: media releases that we love, that get their stuff in
Speaker 2: the booklets and they're only available for the first thousand copies,
Speaker 2: or you know, on the high end, two or three thousand,
Speaker 2: or if you're some popular vinegar syndrome title like eight
Speaker 2: to twelve thousand, those are huge releases. But for many
Speaker 2: of these smaller companies, it's one and done on a
Speaker 2: quick print run and then those those essays are gone forever.
Speaker 3: I do that? Does an indicator do that quite a bit? Yeah?
Speaker 2: Pretty pretty much every single label that does booklets do that.
Speaker 2: Is the booklets are never in the standard.
Speaker 3: Editions, which which to me, which took to me from
Speaker 3: a from a consumer right just speaking as a consumer,
Speaker 3: I think that it boosts when they have sales and
Speaker 3: that's when they get a lot of people buying stuff,
Speaker 3: especially if they if they keep the any of these
Speaker 3: companies keep the standard pricing a little high, right, a
Speaker 3: little hot. I think when they have sales, it makes
Speaker 3: the sales more special when you're still getting that booklet. True,
Speaker 3: I think when they have the sale, you're still happy
Speaker 3: because of the price. But then you see like they're like,
Speaker 3: but don't be counting on that booklet, right.
Speaker 2: And on the printed material cost side, totally, I totally
Speaker 2: understand those booklets are much more expensive to print each
Speaker 2: than people think, probably, and I really think that the
Speaker 2: way Aero Video used to do it was probably the best,
Speaker 2: like perfect medium that we could have. They used to
Speaker 2: do the limited print run of the booklets, and so
Speaker 2: we'll say, I don't know, three thousand titles came out
Speaker 2: and it had the booklet and the slipcover and all
Speaker 2: that fancy stuff, and then the standard came out and
Speaker 2: it lost the slipcover, lost the booklet. However, once that
Speaker 2: initial print run was gone, they took the booklet and
Speaker 2: uploaded it as a PDF to their website so that
Speaker 2: everybody could still go find the work that was done
Speaker 2: for it. They could still find the pre written essays. Hell,
Speaker 2: if you really wanted, you could print it out and
Speaker 2: make your own booklet. You could literally download the PDF
Speaker 2: and craft to your own booklet for your release and
Speaker 2: have it be the same. If you want to put
Speaker 2: the money into it, that's totally fine. But then that
Speaker 2: work is still preserved, at least online somewhere for people
Speaker 2: to be able to enjoy. For whoever, I mean, Aero
Speaker 2: paid somebody to write those essays, they should be available
Speaker 2: for people to do it. I mean, you paid for
Speaker 2: the work. Let's let's make that.
Speaker 3: I mean, I think that's a very good idea, especially
Speaker 3: if people are, you know, browsing titles to blind by Yea,
Speaker 3: and then after a certain period of time, when people
Speaker 3: go to check out a movie on their website, the
Speaker 3: essays right there for them to read about it, you know,
Speaker 3: whether or not it has spoilers whatever. But I think
Speaker 3: that's I think that's a classy move. I think that's
Speaker 3: a classy call on the part of Errow. Yeah, I
Speaker 3: think I think that there's a I think there's a
Speaker 3: balance right where the sooner or later all of these
Speaker 3: boat tiques cry uncle and they have to have these sales,
Speaker 3: right and and and I think that it's a they're
Speaker 3: from their point of view, it's like, all right, if
Speaker 3: we've got to have these sales, if we're going to
Speaker 3: be offering this, you know, and I I want to
Speaker 3: say that I do. I do questions the the intention
Speaker 3: of some of these companies actually turning a profit based
Speaker 3: on some of their just the way that they operate.
Speaker 3: But they if you're going to give sales, right, like,
Speaker 3: you have to remove something, right okay. And I understand
Speaker 3: that because they're they're their client tele Like, like we
Speaker 3: talked about at the beginning of this podcast, those first
Speaker 3: time adopters that want to get everything as soon as
Speaker 3: it comes out. You want them to always have have
Speaker 3: something special that the people that buy it on sale
Speaker 3: don't don't get right right, So then when they're talking
Speaker 3: and their little communities, they can be like, oh, well,
Speaker 3: I got it when it first came out, so I
Speaker 3: got the booklet or I got the slip cover, or
Speaker 3: I got this or I got that. You know, I'm
Speaker 3: not sure about the what do you think about the
Speaker 3: selling the like slip covers separately thing? What's your opinion
Speaker 3: on it?
Speaker 2: I mean, if if you're doing it later and somebody
Speaker 2: already has a copy of the movie.
Speaker 3: That's fine. And I also think it's.
Speaker 2: A classic move to to put up a standard edition
Speaker 2: the same day as the limited edition, rather than trying
Speaker 2: to sell out all the limited you know immediately. I mean,
Speaker 2: what if somebody wants to get the release early, but
Speaker 2: they don't want to pay for all the bells and
Speaker 2: whistles like the booklet or the slipcover, and they just
Speaker 2: want the disc. That should totally be fine. I would
Speaker 2: love to see that. But yeah, I mean if I
Speaker 2: don't know, if I'm a secondhand buyer and somebody had
Speaker 2: a standard edition of something and you have the slipcovers
Speaker 2: and booklets of available for sale on their own, I
Speaker 2: might want to upgrade those.
Speaker 3: You know.
Speaker 2: Maybe maybe I have a standard edition of a film
Speaker 2: and I watch it and I go, holy shit, this
Speaker 2: is one of the best movies I've ever seen. I
Speaker 2: wish I had the full, complete, robust version because this
Speaker 2: is now one of my favorite movies of all time.
Speaker 2: I would love the option to be able to do that.
Speaker 3: No, I think that's a valid point, and I think
Speaker 3: that comes down to pr right. I think it comes
Speaker 3: down to whether or not you announce, right, you announce
Speaker 3: it from the outset, right. Well, I think people also
Speaker 3: that and warehouse space for the company of course, right
Speaker 3: right right, Oh yeah, yeah, yeah, there's a story you know,
Speaker 3: logistics as well. But I think that people if you
Speaker 3: if you release, you know, like Pink Floyd got in
Speaker 3: a little trouble with that, with that massive with that
Speaker 3: massively expensive and massive Later Years box set in which
Speaker 3: they kind of made it. They kind of the narrative
Speaker 3: was that, Hey, all of the extra great stuff on here,
Speaker 3: all these brand new remixes and all that, like this
Speaker 3: is one hundred percent exclusive to this, right right, And
Speaker 3: then you know, a year and a half down the road,
Speaker 3: they're they're they're you know, pulling all the components out
Speaker 3: and selling them separately. So I think that, you know,
Speaker 3: when when you do it that way, I think you
Speaker 3: can get some some pushback, and I think it's justified,
Speaker 3: right because it looks like you're but when you when
Speaker 3: you're upfront and you say, hey, here's this, here's this
Speaker 3: deluxe box set of this. Right sometime down the road
Speaker 3: there will be a standard edition available, but if you
Speaker 3: want this, this is this, right, And I think I
Speaker 3: think that's the way you have to do it instead
Speaker 3: of you know, trying to front like this is the
Speaker 3: only way you're going to be able to get it
Speaker 3: to me. And then you know, Black Friday rolls around
Speaker 3: and you're and you're like, oh, what do we have here?
Speaker 2: Right, titles that you can't get that were only for
Speaker 2: sale for a limited time, and one of those is
Speaker 2: your film Simple Like Silver that Seven Films put out
Speaker 2: as part of the summer sale that they did in
Speaker 2: twenty twenty four.
Speaker 3: First of all, how's the reaction been to that? The
Speaker 3: reaction to Simple Like Silver has been great? And you know,
Speaker 3: that was one of those films that was kind of
Speaker 3: like a bowling ball film, like you know, it just
Speaker 3: kept knocking down pins, you know what I mean, and
Speaker 3: kept opening up doors for me. So you know the
Speaker 3: main purpose of that release was that kind of what
Speaker 3: inspired me to make the film, or rather in earnest
Speaker 3: track down Christina and go on that adventure with her,
Speaker 3: was when Scorpion did that thirtieth anniversary release of Opera
Speaker 3: and Christina Marcelic wasn't involved in it, right, and I
Speaker 3: was like, this is absurd, Like this is you know,
Speaker 3: this is who you want? Like all of this other
Speaker 3: stuff that they had, you know, on the box that
Speaker 3: you know, all of it's nice, but I mean, Christina's
Speaker 3: the juice, you know what I mean. And so me
Speaker 3: working with Severn on that one of the main the
Speaker 3: main goal, right was to release a version of the film,
Speaker 3: was to have a version of the film come out
Speaker 3: with Christina marcelic on audio commentary and exclusive interviews with
Speaker 3: Christina who is finally meant open to talking about the film,
Speaker 3: right right right, And I was like, you know, just
Speaker 3: four K isn't special enough, you know what I mean.
Speaker 3: I mean, I'm sorry. I love all these other all
Speaker 3: these other folks that are involved in the filmmaking process.
Speaker 3: They're great, you know what I mean, but you really
Speaker 3: need you want the main people involved, right interviewing the
Speaker 3: publicist or the property master or the like, you know,
Speaker 3: key electric. I mean, that's cool, right, They're all hard
Speaker 3: working folks, they're all part of the of the magic.
Speaker 3: But having like the star of the film, who you know,
Speaker 3: has kind of you know, been a wreck loose and
Speaker 3: hasn't spoken about the film in decades and wouldn't do
Speaker 3: interviews and all that, you know, doing getting her that
Speaker 3: was that was really important. To me, okay. Of course
Speaker 3: they wound up pressing double the amount of movies we
Speaker 3: had originally agreed upon, okay, which which means that I
Speaker 3: got more complementary copies of the film. So I come
Speaker 3: bearing gifts for for the for the listeners today, I
Speaker 3: am giving away five copies of Simple Like Silver. And
Speaker 3: I also want to go ahead and say that anybody
Speaker 3: else that has any questions about the opera four K
Speaker 3: set that was was released, you can email Severin directly
Speaker 3: about that if you want to ensure that you know
Speaker 3: the the disc and those issues they had were ironed out.
Speaker 3: And if you want to order Simple Like Silver, you
Speaker 3: can email Severn as well at the orders at Severinfilms
Speaker 3: dot com whatever it's on their website. All of your
Speaker 3: listeners know what that is, but you can email them
Speaker 3: directly if you want to order it. I am not
Speaker 3: sure as to when that is going to be rolled
Speaker 3: out then officially, again, I can't speak to that, but
Speaker 3: I do want to say that overall, bringing Christina Marcelic
Speaker 3: to the table for that four K opera you know,
Speaker 3: release was the goal. Having my film released as as
Speaker 3: well was also magnificent. Glad it's out there and certainly
Speaker 3: folks like you for keeping the magic. For keeping the
Speaker 3: magic alive. We need guys like you, Ryan happy to
Speaker 3: and the same to you.
Speaker 2: For anybody that is interested in one of those copies
Speaker 2: of Simple Like Silver, you can check out the description below.
Speaker 2: We will be sending those out to you directly from
Speaker 2: me on behalf of Damien. So thank you Damien for
Speaker 2: donating those, and again, thank you for your time today.
Speaker 2: I know that it's been some some ranting and raving
Speaker 2: from both of us, but it's something that's important. We
Speaker 2: got to point out some of the things that are
Speaker 2: negative sometimes too.
Speaker 3: Thanks a lot for having me, Ryan and everybody have
Speaker 3: a safe and wonderful holiday and at Merry.
Speaker 2: Christmas you too, sir. We'll talk soon, all right, you
Speaker 2: get see ya. Thank you for listening to the Disconnected podcast.
Speaker 2: There's one big thing that you could do to help
Speaker 2: the show, and that is to leave a rating and
Speaker 2: review on the podcast service of your choice. Thank you tell.
Speaker 3: Me No.
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