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<v Speaker 1>Old you is, folks, It's show died.

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<v Speaker 2>People say good money to see this movie.

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<v Speaker 3>When they go out to a theater. They want cold sodas,

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<v Speaker 3>hot popcorn, and no monsters. In the protection booth.

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<v Speaker 1>Everyone pretend podcasting isn't boring. Got it off? Le me

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<v Speaker 1>get Yeah. Also really was had to.

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<v Speaker 2>Hey, folks, we'll do a special episode of the Projection Booth.

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<v Speaker 2>I'm your host, Mike White. On this episode, I am

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<v Speaker 2>talking with Chantusky. He is the vice president of distribution

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<v Speaker 2>at Gee Kids. It is an organization out of New

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<v Speaker 2>York that is distributing all kinds of great films, including

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<v Speaker 2>the film Linda Linda Linda, which is having a revival Screaming.

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<v Speaker 2>Definitely check your local listings and if you happen to

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<v Speaker 2>miss it, it will be coming out on Blu ray

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<v Speaker 2>and hopefully digital pretty darn soon. I had a chance

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<v Speaker 2>to see it a few years ago on a not

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<v Speaker 2>that great DVD, so I'm super excited that this is

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<v Speaker 2>getting a restoration and more people will have a chance

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<v Speaker 2>to see it. It is a lot of fun, and

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<v Speaker 2>I hope you have fun listening to this interview. Can

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<v Speaker 2>you give me a little bit of your background.

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<v Speaker 1>Yeah, I'm originally from Nashville, Tennessee. I moved to New

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<v Speaker 1>York in two thousand and nine to go in YU,

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<v Speaker 1>where I intended to study classics and ended up in

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<v Speaker 1>film studies and sort of the rest was history. It

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<v Speaker 1>was through that department that I met the president of

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<v Speaker 1>our company, Dave Jestett, who I think was also an

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<v Speaker 1>alumnus of the film studies program there, And I got

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<v Speaker 1>an internship at che Kids back in twenty thirteen, which

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<v Speaker 1>at the time was really focused on these sort of

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<v Speaker 1>prestige animated films, you know, the Secret of Kel's at

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<v Speaker 1>cat and Paris, Chico and Rita, and had made a

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<v Speaker 1>name for itself on that stuff. And then basically I

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<v Speaker 1>had been hired to help handle you know, repertory screenings.

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<v Speaker 1>At the time, we had just taken over theatrical rights

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<v Speaker 1>for the Gibley Catalog, and so I was managing the

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<v Speaker 1>theatrical tour of those thirty five milimeter prints before they

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<v Speaker 1>were digitized into DCPs and stuff. So I've been at

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<v Speaker 1>the company ever since, and I've seen it grow from there.

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<v Speaker 1>But in terms of me personally, basically, I've been at

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<v Speaker 1>the company long enough that it is sort of me

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<v Speaker 1>so there you go.

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<v Speaker 3>For G Kids.

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<v Speaker 2>Is that Gibley or does that stand for Godzilla?

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<v Speaker 1>Technically it stands for gorilla, like gorilla warfare. I like

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<v Speaker 1>to think that it can stand for whatever you wanted

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<v Speaker 1>to stand for. So the Gibli Association is nice, the

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<v Speaker 1>Godzilla Association is nice. But a Gorilla Kids was I

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<v Speaker 1>think the production company that the CEO ran that helped

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<v Speaker 1>produce the festival, out of which G Kids then spun

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<v Speaker 1>complicated situation. A lot has changed the last year, but

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<v Speaker 1>long story short. The CEO of the current CEO, Eric Beckman,

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<v Speaker 1>founded the company as a kind of spin off of

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<v Speaker 1>a festival he'd been running since the nineties, the New

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<v Speaker 1>York International Children's Film Festival. So when I joined, the

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<v Speaker 1>two companies were essentially the same still, but around twenty

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<v Speaker 1>thirteen twenty fourteen, the technically or i guess more formally split.

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<v Speaker 1>The festival still runs as its own nonprofit, the ge

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<v Speaker 1>Kids became its own standalone for profit distribution entity, and

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<v Speaker 1>we basically made it work for a really long time. Basically,

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<v Speaker 1>it's just compared to these sort of billionaire own, venture

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<v Speaker 1>capital backed independent companies, we were really scrappy and for

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<v Speaker 1>a long time we were about four to seven people,

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<v Speaker 1>and around twenty eighteen we started to work more in

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<v Speaker 1>the anime space, and I think that'll facilitated a broader

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<v Speaker 1>range of projects for us to work on, and we

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<v Speaker 1>brought on a lot more people, and about a year

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<v Speaker 1>ago October of twenty twenty four, the company formerly sold

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<v Speaker 1>to Toho in Japan, and it's still fully autonomous, but

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<v Speaker 1>we now report into the bigger Toho conglomerate and it's

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<v Speaker 1>a period. I guess you could call them sort of

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<v Speaker 1>cousin companies that kind of exist inside of it. But

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<v Speaker 1>mostly everything has basically stayed the same, and we're just

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<v Speaker 1>handling Toho projects that we probably would have been bidding on.

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<v Speaker 2>Anyway, you now have an a in. I suppose it's.

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<v Speaker 1>Nice to have friends. I guess that's the way that

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<v Speaker 1>I think about it, compared to like when you're out

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<v Speaker 1>there alone in the independent space, things feel a little lonely.

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<v Speaker 1>A lot of the New York distributors and exhibitors can

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<v Speaker 1>attest to what.

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<v Speaker 2>Are some of the things that Ji Kids have brought

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<v Speaker 2>out over them in the last few years.

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<v Speaker 1>Most notably we handled the US and Canadian distribution and

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<v Speaker 1>for The Boy and the Heron, which is Miazaki's latest film,

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<v Speaker 1>and I would say after that Bell was a pretty

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<v Speaker 1>big one, which was Mamora SODA's last film. He has

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<v Speaker 1>a new film coming out from Sonia's here called Scarlet.

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<v Speaker 1>But we've handled everything big and small, like we do

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<v Speaker 1>a lot of repertory stuff and and here I guess

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<v Speaker 1>I'm part to talk about Linda Linda Linda. We've handled

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<v Speaker 1>a theatrical re release of the End of Evangelion from

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<v Speaker 1>Pidiaki Ano Memorro she goes from Michelle Too Innocence, and

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<v Speaker 1>then in addition to that, we do a lot of

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<v Speaker 1>European film still. So last year we did Mars Express

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<v Speaker 1>from Jeremie perm and Chicken for Linda from Sbastian Loden

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<v Speaker 1>Book and Kira Malta, and so trying to like basically

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<v Speaker 1>keep a little bit of balance in there, because she

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<v Speaker 1>Kids's mission initially was really about the best animation from

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<v Speaker 1>all around the world, and so we still try to

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<v Speaker 1>live up to that where we can.

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<v Speaker 2>Linda Linda Linda is not an animated film, So can

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<v Speaker 2>you tell me a little bit about how that project

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<v Speaker 2>came to you?

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<v Speaker 1>The history with that film goes back quite a bit

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<v Speaker 1>to the festival that I mentioned, because I think a

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<v Speaker 1>lot of programmers from the mid two thousands remember this

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<v Speaker 1>film very fondly, and I believe it's screening that Nika

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<v Speaker 1>for the New York Children's Film Festival back when the

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<v Speaker 1>film came out, and it just retained this very positive

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<v Speaker 1>energy and became kind of a cult occult film over

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<v Speaker 1>time with periodic repertory screenings. I believe Japan Society held

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<v Speaker 1>some a few years ago, and we ended up working

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<v Speaker 1>on one of the director's most recent films, What's Happened

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<v Speaker 1>to be animated called ghostcat Onto, and so you mashed

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<v Speaker 1>us On had work together with an animator, Yoko Kuno,

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<v Speaker 1>to basically create I mean, it's like a slacker in

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<v Speaker 1>D comedy and it's shot like one but it's used

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<v Speaker 1>as rotoscoping in a really innovative way, and so it's

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<v Speaker 1>kind of like it's like a Totuo esque but it

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<v Speaker 1>has a lot of the same sort of endi comedy

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<v Speaker 1>vibe that you would expect from the director. And so

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<v Speaker 1>I think that that basically like when we started handling that,

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<v Speaker 1>we thought, wouldn't it be like a great idea to

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<v Speaker 1>work on the Liland Linda or re release that, and

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<v Speaker 1>then that's in the post us and we said, we'd

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<v Speaker 1>absolutely love to kind of work on this, and it's

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<v Speaker 1>not totally without precedent. Earlier this year we did Anna's

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<v Speaker 1>Love and Pop, which was filn from the late nineties

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<v Speaker 1>that Anno had worked on, and so there was a

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<v Speaker 1>little bit of, oh, if you know this director from

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<v Speaker 1>their animated work, we can carry that audience with us

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<v Speaker 1>into live action. But I expect that we'll continue to

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<v Speaker 1>work on developing this vertical for sure. I think it's

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<v Speaker 1>a really special film with a kind of I don't know,

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<v Speaker 1>like a fundamental elemental power that like sticks with people

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<v Speaker 1>over time, which is why I think it's developed this reputation.

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<v Speaker 1>And I think a lot of people who have seen

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<v Speaker 1>it on DVD because it sort of like came out

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<v Speaker 1>and peaked DVD era, I think you'll be really surprised

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<v Speaker 1>when you revisit it in the restoration because it's just

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<v Speaker 1>it looks really, really gorgeous in a way that I

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<v Speaker 1>was put off guard by the first time I saw

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<v Speaker 1>the restored version.

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<v Speaker 2>Yeah, with the DBD version that I saw, it was

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<v Speaker 2>very tough to tell when it was supposed to be

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<v Speaker 2>the cam quarter footage versus not the camp quarter footage.

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<v Speaker 2>So having that distinction I'm sure was going to be

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<v Speaker 2>very eye opening.

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<v Speaker 1>So much of the film is in its braining and

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<v Speaker 1>its interiors and things like that, and so as a

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<v Speaker 1>visual experience, like I would say, it's deceptively simple in

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<v Speaker 1>terms of what it's how it's presenting. There's a lot

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<v Speaker 1>going on, but beats it to you in this way

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<v Speaker 1>that you don't realize how much information that's conveying to

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<v Speaker 1>you in the moment.

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<v Speaker 2>You're right, it is very universal, the whole struggle of

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<v Speaker 2>high school students, especially outcastish type of girls. It just

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<v Speaker 2>really spoke to me. And just also the music is fantastic.

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<v Speaker 1>The music, I think is what sticks with people. It

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<v Speaker 1>reminds me of Nashville or something. Right, It's like people

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<v Speaker 1>leave the theater like thinking about the song that kind

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<v Speaker 1>of like leaves you with that last impression. And so

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<v Speaker 1>when you're watching it or when you're rewatching it, part

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<v Speaker 1>of the anticipation of that moment is just so much

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<v Speaker 1>a part of the experience, and I think lends itself

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<v Speaker 1>to like the act of rewatching or the act of reexperiencing,

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<v Speaker 1>but also like to your point, there's like a kind

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<v Speaker 1>of nostalgia for this kind of moment in youth where

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<v Speaker 1>everything as a sort of special, like I said, like

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<v Speaker 1>an elemental power to it. And I feel like the

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<v Speaker 1>film like captures that in microcosm, and that kind of

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<v Speaker 1>gives it this unique quality.

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<v Speaker 2>He touched a little bit about how the company grew

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<v Speaker 2>in twenty eighteen, and I'm curious how the pandemic affected

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<v Speaker 2>you guys.

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<v Speaker 1>Ultimately, it worked out for us. I think we got

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<v Speaker 1>really really lucky because we had around twenty seventeen twenty

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<v Speaker 1>eight eighteen, we had taken on more rights on the

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<v Speaker 1>side of the Jibie catalog and we were in the

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<v Speaker 1>process re releasing a lot of those films on the

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<v Speaker 1>new Blu Ray editions and things like that, and I

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<v Speaker 1>think we were able to pivot to a model that

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<v Speaker 1>was more video oriented, and I dare I say, like

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<v Speaker 1>repertory oriented. Like I said, we've been in that space

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<v Speaker 1>from the beginning, because a lot of what I was

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<v Speaker 1>doing when I joined the company was managing like touring retrospectives.

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<v Speaker 1>But being able to enter the DVD and Blu Ray

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<v Speaker 1>market with such heavy hitters I think really helped the

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<v Speaker 1>company grow. Speaking personally, a lot of what I was

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<v Speaker 1>working on twenty twenty one was like the sort of

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<v Speaker 1>low key, I guess you could call it, like the

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<v Speaker 1>life support cinema experience. So working on the ASCOL releases

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<v Speaker 1>of films like Wolf Walkers and Earwig in the Win

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<v Speaker 1>which as much as I could, and then separately working

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<v Speaker 1>on a like a direct sale store online like online

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<v Speaker 1>e commerce play. And we had taken over the rights

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<v Speaker 1>for Neon Genesis Evangelian at that time, and so we

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<v Speaker 1>had this luxurious, you know, ultimate edition that we were

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<v Speaker 1>putting out to the market, but also just regular additions

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<v Speaker 1>that were selling pretty well. Evangelian hadn't been available on

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<v Speaker 1>a commercial DVD at that point, and probably fifteen twenty

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<v Speaker 1>years since the platinum sets, I still have a lot

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<v Speaker 1>of build brinds who are very possessive of their platinum

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<v Speaker 1>DVD sets of HUT series. But there's a whole new generation,

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<v Speaker 1>speaking of Linda, Linda, Linda, there's a whole new generation

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<v Speaker 1>of people who like really appreciate the ability to access

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<v Speaker 1>these things or to own them, as opposed to just

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<v Speaker 1>having them on streaming. Evangelian obviously maybe a huge splash

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<v Speaker 1>when it went direct to Netflix, and that's like how

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<v Speaker 1>I'd say the broader public has encountered it these days.

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<v Speaker 1>But the Blue Rays sets are nice.

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<v Speaker 2>Yeah, it's amazing that you've got the theatrical, you've got

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<v Speaker 2>the Blue Ray, you've got the streaming. I mean that

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<v Speaker 2>just to have the e commerce, to be able to

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<v Speaker 2>have that reach, especially in a market like this these

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<v Speaker 2>days where everything is so fragmented.

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<v Speaker 1>Personally, I'm a big collector. I'm not as big as

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<v Speaker 1>other people in the industry. I think about like vinegar

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<v Speaker 1>syndrome or something like that, where people are just buying

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<v Speaker 1>everything that they possibly can't number whatever, But personally, like

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<v Speaker 1>I do feel a lot of pride when I am

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<v Speaker 1>able to line up all the spines of the Blu

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<v Speaker 1>Rays or whatever in such a way that they match.

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<v Speaker 1>For when I think about the Ghibili collection, like the

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<v Speaker 1>way that it's nice that there's like uniformity across them,

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<v Speaker 1>or however you see it. And then my colleague Allison Cosberg,

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<v Speaker 1>who oversees home media, is put together some really amazing

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<v Speaker 1>products over the years, follow our stuff like the Misaki

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<v Speaker 1>Yuasa five film box set, the aforementioned Evangelian box sets,

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<v Speaker 1>and then We've also been working on Arcane, which is

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<v Speaker 1>the fourtiesh television show for Netflix, and Riot, the being

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<v Speaker 1>developer for League of Legends, and we have some really

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<v Speaker 1>awesome products there as well. So I say that because

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<v Speaker 1>I can't take credit for I can take credit for

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<v Speaker 1>purchasing them myself. So there you go.

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<v Speaker 2>So, besides the upcoming we release of Linda Linda Linda,

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<v Speaker 2>what kind of stuff are you looking forward to seeing

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<v Speaker 2>coming out from G Kids this year?

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<v Speaker 1>So I'm thinking a lot about Toronto because I'm headed

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<v Speaker 1>there tomorrow. But we have a really amazing film out

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<v Speaker 1>of France that's like a genuine discovery called Little Amili

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<v Speaker 1>or The Character of Rain. And this is an adaptation

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<v Speaker 1>of a Belgian novel from Amalin Notom that's sent me

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<v Speaker 1>out a biographical but it imagines the inner life of

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<v Speaker 1>I guess, a three year old. You could think of

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<v Speaker 1>it as a coming of age film in a kind

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<v Speaker 1>of weird way. She's a Belgian girl growing up in

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<v Speaker 1>Japan and basically reconciling with this idea that she doesn't

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<v Speaker 1>really belong there or is otherwise, you know, a foreign presence,

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<v Speaker 1>I guess, in a weird way. It does tie in

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<v Speaker 1>a little bit to Linda Linda Linda in the sense

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<v Speaker 1>of overcoming a language barrier or a cultural divide and

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<v Speaker 1>finding out who you are. But it's a really tremendous

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<v Speaker 1>film from the studio that did Calamity and Long Way North,

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<v Speaker 1>and so it's got this really cool, flat graphic style,

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<v Speaker 1>but it's got a surprising amount of depth and shine

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<v Speaker 1>to it for something like that, it's very different from

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<v Speaker 1>like the graphic style people associated with quote Unook cartoons.

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<v Speaker 1>And because of the literary source material, it's got a

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<v Speaker 1>lot of like screenplay depth that I think is really

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<v Speaker 1>uncommon among animated films generally speaking. That's our big kind

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<v Speaker 1>of prestige full title. And then, like I said, we

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<v Speaker 1>have a lot going on in the anime space as well.

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<v Speaker 1>We're working on the fortieth anniversary re release of Angels

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<v Speaker 1>Egg from Amroshi and Yoshtaka Amano, and we released the

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<v Speaker 1>poster and trailer for that a few weeks ago and

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<v Speaker 1>not got just amazing traction. That's a film similar to

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<v Speaker 1>Linda Linda Linda in terms of a long, long cult status,

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<v Speaker 1>a long period of on a availability, and it's a

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<v Speaker 1>lifelong gamer. I've always loved Yaka Amano's arts for Final Fantasy,

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<v Speaker 1>and so it's a great privilege to be working on

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<v Speaker 1>the film, and I think it'll have surprising traction, probably

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<v Speaker 1>in theaters for a seventy two minute film from forty

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<v Speaker 1>years ago. I think younger viewers today really want to

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<v Speaker 1>be challenged by films. I feel like Angels Egg is

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<v Speaker 1>like a real proving ground for that. Our big November

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<v Speaker 1>released this.

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<v Speaker 2>Yeah, that's another one I'm really excited to see. So

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<v Speaker 2>I'm stoked for that one too. Is there a good

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<v Speaker 2>place for people to keep up with what you guys

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<v Speaker 2>are doing out online?

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<v Speaker 1>Yeah? Our Instagram account is my favorite place to keep

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<v Speaker 1>up with the stuff. But I guess that reveals me

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<v Speaker 1>to be a peak millennial. But our Instagram handles gee

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<v Speaker 1>kids films, and I feel like it's my favorite place

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<v Speaker 1>to engage with our like the stills from the films, posters, trailers,

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<v Speaker 1>just because so much of what we handle so visual.

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<v Speaker 1>I guess that's true for any film company, but especially

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<v Speaker 1>like the types of films that we're handling have this

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<v Speaker 1>like strong aesthetic pool to them that people just really

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<v Speaker 1>love to get into the replies on and I love

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<v Speaker 1>our social team. I think they do a really great

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<v Speaker 1>job of curating looks from the wide variety of films

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<v Speaker 1>that we're handling, both I guess animated and live action

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<v Speaker 1>films as we start to incorporate those as well.

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<v Speaker 2>Chance, thank you so much for your time. This is

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<v Speaker 2>great talking with you, sir.

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<v Speaker 1>Yeah, no, anytime. It's been really nice.

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<v Speaker 3>Name me me da it's cusi nai shasi you usa

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<v Speaker 3>cusiza god goa lia is okuga.

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<v Speaker 1>It's give me off the.

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<v Speaker 3>Songkia song hioki sada say that men don't let me

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<v Speaker 3>me thank you Dory your name on yours.

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<v Speaker 1>Don't let me me.

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<v Speaker 2>Nanny yourn emo.

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<v Speaker 3>Me me that that saga, it's a give me all the.

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<v Speaker 1>Oh toking up?

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<v Speaker 3>Are you know? I shall he's donna to him all?

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<v Speaker 3>Oh he's donna to them or GB or.

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<v Speaker 1>Can't shoot them up?

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<v Speaker 3>Can I.

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<v Speaker 1>E g.

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<v Speaker 3>Bot You don't him to that? Is that?

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<v Speaker 1>The bad?

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<v Speaker 3>Is that.

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<v Speaker 1>In the me that that Inda?

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<v Speaker 2>No, that is that is that