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Speaker 1: We're all owned by the Syndicate, body and soul, or

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should I just say bunny?

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Speaker 2: Hello, Filthy movie lovers, something weirdos and anti Criterion Bros

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To the thirty first episode of The Sins Syndicate, where

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every night's a thunderstorm and we never forget to bring

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our mother's diaphragm. My name is Gentry Austen, writer and researcher,

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and I'm here with my co host, adult film historian

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Casey Scott, and today we will be taking a trip

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to skid Row for a look at an underseen softcore

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drama about four couples behind four doors in a rat

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infested hotel. Joining us for this episode is a special guest,

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the Breaker of Bricks, the temple of Schlockmeister writer and

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exploitation film expert Chris Poggialdi. In a moment, Chris will

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be joining us to talk about secret Places, Secret Things,

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a mysterious nineteen seventy one directorial debut from actors stuntman

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Gary Kent. But first a few quick news updates by

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our friend Dakota and Chris over at two in the

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Pink ou let us know just recently that the standard

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edition of the Connie releasing double feature Pink cut in

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top Stripper is back in stock at Vineger Syndrome that

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was out of stock for well. Yeah, but they are

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big fans of these, and they are two colorful nineteen

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eighties Nikatu Roman pornos that you know from the way

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they have described them. They sound really fun and like

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a good intro to the Roman porno if you have

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if you're unfamiliar. So I'm excited about those. I just

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ordered those when I saw that they were back in stock.

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I haven't checked what they're at now, but those might

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not be around for long, so grab yeah if you

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want them.

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Speaker 3: Yep, they might be gone by the time this episode

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comes out exactly, we'll see, Yeah, I don't know.

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Speaker 2: The other thing is the Bunny Yeger documentary Naked Ambition

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that is out now on Blu Ray and DVD from

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Music Box Films. It's also available on demand if you'd

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like to do it that way. But I haven't seen

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it yet, but I am going to. But Casey has

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seen it and you've said good things.

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Speaker 3: Yeah, it's really good and it's on Blu ray ANDVD

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and it has extras which is great, including deleted like

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outtakes from the interviews they did, because they interviewed a

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lot of people.

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Speaker 2: So yeah, thanks for noting that, because yeah, if you

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look at some of the details for it, it doesn't

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note that there are extras, but they are on there. Yep. There,

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I think there's an interview with the directors, right.

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Speaker 3: Yeah, and then yeah, then the big thing for me

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is the outtakes. I want to see who they know,

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what the what was cut from the movie.

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Speaker 2: Yeah at that point, yeah, tell us about this. You

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cannot stop talking about the amazing transplant.

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Speaker 3: No, apparently not well, because I met I think I

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mentioned on our Q and A episode that that was

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kind of wasn't really a hot take, but it still

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sticks in my craw that this film is beloved by

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a lot of people, even in its edited version, and I,

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I don't know, I didn't want to be alone in

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my rage about it, so I misspoke and said that

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it was between seven to ten minutes that was cut.

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Brus Holijack reviewed this on Modern Digital and it is

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almost exactly seven minutes. It's a footage that is missing,

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So it's not just little little idy bits and pieces here,

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it's substantial footage missing from this movie, and I'm not

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going to go over at all. I'm just going to

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it will be in our show notes. And it's also

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if you go to Mono Digital and and go to

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Nathaniel Thompson's reviews of The Door Swishman's Blu ray sets.

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He actually has a link to Bruce's review where he

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goes into detail about what exactly is missing, and it's

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not great. It's very disappointing. So yeah, that's my only update.

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So I will continue to poke the bear as far.

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Speaker 2: As Hey, maybe down the road we can get a

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re release of with this intact.

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Speaker 3: Actually, you know what AGFA has done that they reissued

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that Pussy and something else with longer versions. So this

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in double ah seventy three both have footage that needs

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to be reinstated.

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Speaker 4: Yeah.

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Speaker 2: Anyways, yeah, we can't stop talking about Mono Digital. Thank

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you Nathaniel for the nice review of The Girl the

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Body of the Pill. Oh yes, check that out.

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Speaker 3: Yeah, that was good to see. I mean, yeah, it's

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always good when he reviewed something that I worked on,

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because a lot of it is hardcore that he doesn't

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necessarily cover. It's always nice when it's like oh yeah,

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so yeah.

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Speaker 2: Yep, I joked around. Yeah, it's nice to see my

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name on my favorite website. But yeah, lastly, if you're

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listening to this now, you should have already seen that

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we have uploaded Secret Places, Secret Things to our patreons,

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so the file is there for you to view. So

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I don't know, this is something we're trying out, you know,

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especially with this one, because you know, this film is

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so hard to find and I know there's a lot

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of people that don't like I've heard from certain people

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that don't like to listen to our episodes until they've

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seen the moves. So we'll try this out. You know,

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we're putting that up there for people to before they

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listen or you know, I guess you can watch it after.

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You can watch it after as well. But yep, that's

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up on our Patreon again. That's our plug. I guess.

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It's only three dollars a month, and it's just you know,

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it's less about making money for us than just being

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able to share sometimes mature content, you know, in the

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one place that we're allowed to do it these days,

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I guess. So yeah, check it out. We'll have that

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in the show notes.

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Speaker 3: I'm also going to be uploading an issue of Adam

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Film World with interviews with Naolograph and Kathy Hilton, who

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we're both going to be discussing very very good roles

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in this movie that they did not really get in

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the industry. But the interviews are done by William Rossler,

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who they were both very close to, and so they're

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really in depth. You get to learn a lot about them.

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And so I'm going to upload that to the Patreon

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as well, just so. And there's other interviews with Ushi Digart,

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Donna Stanley, Cindy Hopkins. So it's really just a really great,

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all encompassing interview magazine. And they're not they're not fake

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interviews either. They're they're real interviews, like they're Yeah, a

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lot of the facts and that is said that are

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said in those interviews can be confirmed. So yeah, yeah,

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it's not like a lot of other interviews that Adam

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did with with that were fabricated, and these were actually

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real because they were all very close to Rottler, all

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the girls in that magazine.

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Speaker 5: Yeah great, the pictures in that too.

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Speaker 6: Where are you going?

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Speaker 2: Well, so you guys have met before, right, yeah?

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Speaker 3: Times?

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Speaker 4: Yeah, yeah, I have meetings and you know, we used

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to communicate on the message boards years ago and when

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things things could get really fiery.

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Speaker 3: So yes, exactly, I don't I don't miss the message

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words that much. Redd It has replaced those now and

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they're they're not it's not that much fun over there either.

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Speaker 2: Well, I'm curious. This was your pick. We gave you

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like carte Blanche on this, so tell us why you

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picked this movie.

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Speaker 4: Well, I wanted to do something that I well, first

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of all, that fit the sin syndicate, that that would

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be something within within the realm of interest for your

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listeners and for you and Casey, something that I figured

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you had seen or you would be able to get

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a hold of if you hadn't seen it, but something

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that not a lot of people have seen because it

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was unavailable for a long time. And I honestly, I'm

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not sure exactly where this copy came from, although I

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think it may have originated in an overseas video release

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that Charles Devlin found. I think I think he was

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the source for it. I don't even remember where I

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got my copy, but it was I believe, either right

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before COVID or in twenty twenty during COVID. I'm not sure,

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but it was. It was probably like six years ago

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at least. It may have come actually the I believe

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the source was Charles Devlin, but I got my copy

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from somebody who knows or knew Gary Kent. Somebody in

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Austin I believed sent me a copy of it, and

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I forgot who. I forgot the person's name. But at

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one point they had asked me to scan the press book,

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because I have the press book and I had uploaded

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it to Temple of Shlock years ago as an right

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there it is yep, So I had either scanned it

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or I had re scanned, or I'd just sent this

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person the scans that I had done for the blog post.

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And then they wrote back to be said, I got

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we got a copy from somewhere. It might be cut

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because it's only an hour long or whatever, sixty two minutes.

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It appears to be somewhat cut, but it's the only

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game in town. Would you like a copy? I said, sure, yeah, so,

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but I think I heard later on that the source

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may have come from overseas. Okay, but I you know,

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I haven't watched too many of the sexploitation movies that

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that have come out recently, just in the last few years.

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I've just been so busy with you know, the martial arts,

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you know, with the books that that I co wrote

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with Grady, and then the audio commentaries that I've done,

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you know, a lot of Japanese movies, some Hong Kong movies.

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But I I did manage to get down to the

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Library of Congress a couple of years ago and see

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the Leef Frost movie The Coming of Seymour, which that's

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the only the only copy in existence, so that that

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was that was one of the movies. But you know, I,

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I know, I'm one of the few people was actually

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seen that movie, so that wouldn't work. And and then

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there was a John Hayes movie that was recently found again,

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it was another Endangered List title. On my blog and

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Alpha Blue Archives I think had put that out recently,

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but I'm not sure, Casey, I don't think you had

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a copy of that one.

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Speaker 3: Which one is that? Is that the property, this property condemned.

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Speaker 4: The Actually that's that's the title it's taking off on. Yeah,

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it's uh yeah, no, it's these these these sins condemned.

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Speaker 3: I think, oh, yes, yeah, I think that's it. Yes,

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John in something like that, Marcia George Comedy Mode, Yes, exactly.

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Speaker 2: Comedy John Hayes is not usually very good.

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Speaker 3: It's not my favorite.

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Speaker 4: Yeah, uh, but yeah, I I had gotten a copy that.

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But there were very few things that I'd seen recently.

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But I remember this one, and I like this one

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a lot. And I also I like the sort of

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remake Pink Hotel. Okay is a lot of fun.

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Speaker 2: Well, I'm happy you picked it because I hadn't seen

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it and I think it's Yeah, I think it's amazing.

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And you also, I think had a special interest in

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Gary Kent. Was that do you have what's your interest there?

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Speaker 4: Well? I knew Gary Kent, not as well as I

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knew Edward Blessington. I used to talk a lot to

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ed Blessington on the phone the last couple of years

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of his life. Around twenty twelve, twenty thirteen, he reached

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out to me because another movie on my blog that

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was an endangered List title was found, The Blue Hour.

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Oh yeah, but he contacted me before that had been

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found and was asking me if I knew where to

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get a copy. I said no, So I noticed, you

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know you have some information about this movie. He said,

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he really liked making it so so he was on

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the lookout for. And he was also looking for Tom

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Jones Rides again right the Albert Zuggsmith movie, and he's

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the lead in that as well. And I think this

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was right around the time Caged Men aka Cage Men

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plus One Woman and I'm Gonna Get You Elliott Boy,

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I think was the original title the Canadian Mavie that

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he made with Ed Forsyth. This was right before that

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started to come out, and because that that had been

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hard to find for a while, and there was a

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print that was shown in La on one of my trips,

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so he had been asking about that as well. So

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there are like at least three movies that he was

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curious about that were at the time when he first

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contacted me were lost, and then Caged Men and then

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Blue Hour were found and he was able to see

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them again. In fact, we were hoping to get him

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to do something for the Blue Hour DVD from the Syndrome,

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and I'm not sure why that didn't happen, but they

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sent him a copy of the disc when when it

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came out, or I think maybe they couldn't get or

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he didn't want to appear on camera. I don't remember

238
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what he was but or else he was hard to

239
00:14:31,120 --> 00:14:35,080
get hold of. And then because he would travel around

240
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the world, he was quite the traveling man. And he

241
00:14:40,320 --> 00:14:42,919
may have been out of the country and we couldn't

242
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couldn't get hold of him. But then when the DVD

243
00:14:45,720 --> 00:14:47,799
came out, I know they sent him a copy of it.

244
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Speaker 2: Let's talk about him again a little bit later. But

245
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I think Casey had a question about your He wanted

246
00:14:55,759 --> 00:14:57,399
to talk more about your endangered list.

247
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Speaker 3: I did because you know that, well, because I think,

248
00:15:02,240 --> 00:15:05,519
I know I'm not the only one. I think because well,

249
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first of all, Temple of Schlock amazing, incredible and that

250
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I mean, it's it's such a great reference source that

251
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I constantly go back to over and over and over.

252
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But it's it's interesting because I know multiple boutique labels

253
00:15:19,679 --> 00:15:22,000
have used that as kind of like not a like

254
00:15:22,039 --> 00:15:25,639
a want list, like Okay, this is endangered because Chris

255
00:15:25,679 --> 00:15:28,200
posted on Temple of Slock, let's let's find this because

256
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I know the Code red boys, did I know Joe

257
00:15:30,159 --> 00:15:34,879
Rubin has, I know AGFA has Yeah, so, And I

258
00:15:34,919 --> 00:15:38,519
guess I I guess I'm interested in how that started

259
00:15:38,600 --> 00:15:41,399
with the endangered list and was you know it seems

260
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like there wasn't any kind of like it wasn't like

261
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a regularly scheduled thing. It's kind of seemed like you

262
00:15:47,600 --> 00:15:50,519
would just find newspaper ads or press books and and

263
00:15:50,600 --> 00:15:53,440
would be like, oh, this has disappeared completely. And then

264
00:15:53,440 --> 00:15:55,320
you try to capture as much info as you could

265
00:15:56,080 --> 00:15:58,440
in the blog to kind of offer some clues as

266
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to where these movies went.

267
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Speaker 4: Right. Yeah, I had brought the you know, Temple of

268
00:16:04,960 --> 00:16:07,559
Shocks started off in the eighties as a fanzine that

269
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I did in high school with a friend of mine,

270
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and then my friend bailed on it after a couple

271
00:16:15,200 --> 00:16:18,120
of years, and then so I did it until the

272
00:16:18,200 --> 00:16:20,919
early nineties, like maybe it was like ninety one or

273
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ninety two, and then you know, in the mid mid

274
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to late nineties, I started writing for magazines I Shock

275
00:16:28,120 --> 00:16:33,759
Cinema and Fangoria and Badass MOFO and some other indie zines,

276
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and I when I got on the internet, you know,

277
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after I after I stopped fighting everybody on the message

278
00:16:42,320 --> 00:16:47,000
boards for a couple of years there, I decided to

279
00:16:47,000 --> 00:16:50,279
bring back Temple of Schlock. And because I saw a

280
00:16:50,279 --> 00:16:54,480
lot of blogs, blogs were becoming really popular, and like

281
00:16:54,600 --> 00:16:57,559
Richard Harlan Smith, who's a friend of mine. He he

282
00:16:57,679 --> 00:17:01,559
was doing a blog for a long time under pseudonym,

283
00:17:01,799 --> 00:17:04,599
and I I knew who he was and a few

284
00:17:04,640 --> 00:17:07,359
other people, but but it was a really popular blog.

285
00:17:07,960 --> 00:17:11,559
And they used to do these things called blogathons where

286
00:17:11,920 --> 00:17:14,440
blogs would cross over, like they'd say, oh, you know,

287
00:17:14,599 --> 00:17:19,079
we're gonna do James Hong week, so ten different blogs

288
00:17:19,079 --> 00:17:23,599
would review movies or do something about James Hong. So

289
00:17:24,200 --> 00:17:27,200
I got into that for a while. But my whole

290
00:17:27,240 --> 00:17:31,240
thing is that i'm and I've gotten faster. I've gotten

291
00:17:31,240 --> 00:17:33,720
a lot faster. But I used to be a really

292
00:17:33,799 --> 00:17:36,440
slow writer. It would take me a long time to

293
00:17:36,480 --> 00:17:42,400
write reviews of movies, and I just wanted to have content.

294
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I wanted to have regular content on the blog, be

295
00:17:45,160 --> 00:17:48,480
able to put something up every couple of days. And

296
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I had these press books. So I decided a lot

297
00:17:53,920 --> 00:17:55,799
of the press books I had were for movies that

298
00:17:55,839 --> 00:17:58,319
were lost, like The Coming of Seymour. I had a

299
00:17:58,319 --> 00:18:00,960
press book for it under one of its re released titles,

300
00:18:01,039 --> 00:18:05,480
The Boobtube Strikes Again. I had some other some other

301
00:18:05,519 --> 00:18:08,559
press books for like lost movies and Miss Leslie's Dolls

302
00:18:08,680 --> 00:18:12,319
is another one I just decided, well, why why don't

303
00:18:12,359 --> 00:18:16,599
I have a regular feature where I just spotlight these

304
00:18:16,640 --> 00:18:21,319
movies that are nowhere to be found. I've never seen them.

305
00:18:21,440 --> 00:18:26,000
I've tried to talk to people, you know, and you know,

306
00:18:26,039 --> 00:18:29,279
get a lead on, you know, where these movies are.

307
00:18:30,400 --> 00:18:33,799
So it just seemed like an easy way to have

308
00:18:33,880 --> 00:18:36,480
content up, To put something up like once a week

309
00:18:36,519 --> 00:18:39,359
I could do. I could put a movie up in

310
00:18:39,400 --> 00:18:42,200
the endangered list. It was originally it was called lost

311
00:18:42,279 --> 00:18:45,960
and still not found. But I kept getting emails from

312
00:18:46,039 --> 00:18:47,480
people who were saying.

313
00:18:47,599 --> 00:18:48,440
Speaker 2: That's not lost.

314
00:18:48,519 --> 00:18:50,319
Speaker 4: I know, I know somebody has a print of it.

315
00:18:50,680 --> 00:18:53,359
Like one of the movies I put up was a

316
00:18:53,400 --> 00:18:57,480
skit comedy from the seventies called sixty nine Minutes just

317
00:18:57,519 --> 00:18:59,920
you know, it's like a groove tube or Kentucky for

318
00:19:00,240 --> 00:19:05,960
movie type of film, and Aunt Timson wrote to me,

319
00:19:06,079 --> 00:19:08,759
He's like, I have a print of it. I was like, well,

320
00:19:09,039 --> 00:19:12,319
you know, it's not it's not readily available at you know.

321
00:19:12,960 --> 00:19:14,200
Speaker 2: Yeah, That's what I was going to ask you. I

322
00:19:14,319 --> 00:19:16,640
was like, how would you confirm that they were lost

323
00:19:16,759 --> 00:19:16,960
or not?

324
00:19:17,599 --> 00:19:21,079
Speaker 4: Right? Exactly? So I said, you know what, I should

325
00:19:21,160 --> 00:19:26,119
just eliminate the word lost from this because it lost.

326
00:19:26,240 --> 00:19:34,039
It's not London after Midnight, right, right, it's it's just nobody.

327
00:19:35,039 --> 00:19:35,240
Speaker 2: Yeah.

328
00:19:35,519 --> 00:19:38,079
Speaker 4: Yeah, there's like one print and it's in Australia.

329
00:19:38,480 --> 00:19:38,680
Speaker 5: Yeah.

330
00:19:39,000 --> 00:19:41,599
Speaker 2: We've we've had that discussion too on our podcast with

331
00:19:41,640 --> 00:19:44,000
our friend Alex as well, like how do we describe

332
00:19:44,000 --> 00:19:47,240
these films that are we know there's prints or a

333
00:19:47,400 --> 00:19:51,920
print somewhere, but but it's impossible for you know, most

334
00:19:51,920 --> 00:19:54,799
people to see. So I mean, is it it's not

335
00:19:54,880 --> 00:19:58,680
really lost, it's endangered. That's a perfect word. Right.

336
00:19:58,920 --> 00:20:02,680
Speaker 4: There was another one that that has been you know,

337
00:20:02,759 --> 00:20:06,039
found and put out on DVD called Dirty Dolls with

338
00:20:06,240 --> 00:20:06,920
John Alderman.

339
00:20:07,079 --> 00:20:09,720
Speaker 3: Yeah, and yeah Sharon Kelly yep.

340
00:20:10,160 --> 00:20:14,720
Speaker 4: And there was I think there was a print, but

341
00:20:14,759 --> 00:20:16,759
there were like two reels of it or something that

342
00:20:16,799 --> 00:20:20,480
were in the window of a pawn shop and Joe

343
00:20:20,559 --> 00:20:22,559
Rubin would tell me about it. I think it was

344
00:20:22,559 --> 00:20:25,440
a pawn shop in like La or Chicago, I'm not

345
00:20:25,480 --> 00:20:28,880
sure where, but he he said that that like this

346
00:20:29,279 --> 00:20:32,279
store had like a reel or two of the Dirty

347
00:20:32,319 --> 00:20:34,720
Dolls in the window and he was trying to get

348
00:20:35,039 --> 00:20:39,200
and then there was like a massive collection of prints

349
00:20:39,240 --> 00:20:42,559
that were found at the well. They were they were

350
00:20:42,559 --> 00:20:46,640
being stored at the Kinsey Institute. And these are all

351
00:20:46,720 --> 00:20:49,160
things that had come from forty second Street in the

352
00:20:49,240 --> 00:20:52,319
late eighties and had been shipped to Kinsey because some

353
00:20:52,359 --> 00:20:55,119
of them were sex movies. I mean, there were some

354
00:20:55,200 --> 00:20:57,920
There were a lot of hardcore films in there and

355
00:20:58,160 --> 00:21:00,839
some softcore films, and then there are other things like

356
00:21:01,160 --> 00:21:05,000
Warrior of the Lost World and Fred Williams and movies

357
00:21:05,039 --> 00:21:07,680
like Fox Trap and everything. So it was this massive

358
00:21:07,720 --> 00:21:11,519
thing and it ended up all going to the Alamo

359
00:21:11,880 --> 00:21:15,559
tag Tham and there was an episode of Storage Wars

360
00:21:15,599 --> 00:21:19,920
in which that palette of these films all went over

361
00:21:20,759 --> 00:21:26,480
to Austin and among those was a print of Dirty Dolls.

362
00:21:26,640 --> 00:21:29,640
So that's what we showed at the Endangered Fest in

363
00:21:29,680 --> 00:21:33,279
twenty thirteen. We showed that print of the Dirty Dolls,

364
00:21:33,359 --> 00:21:37,680
so you know, Joe Rubin didn't have to crawl and

365
00:21:37,960 --> 00:21:43,279
three a reel of the film from this paund right right.

366
00:21:44,359 --> 00:21:47,119
But that's that's where it came That's how it came about.

367
00:21:47,319 --> 00:21:47,880
Was Yeah.

368
00:21:48,079 --> 00:21:50,440
Speaker 3: Yeah, I think it's still used as kind of like

369
00:21:50,680 --> 00:21:53,119
a go to lists because I think you know there

370
00:21:53,160 --> 00:21:56,680
because it's I think and you've you've kept adding to

371
00:21:56,759 --> 00:21:58,960
it as well. I mean, and then I think there

372
00:21:58,960 --> 00:22:01,880
are some that you've marked us found. It doesn't mean

373
00:22:01,920 --> 00:22:06,119
they are available, it just means they're there. If somebody

374
00:22:06,160 --> 00:22:09,880
wants to try to reissue this, maybe let's get on it. Yeah.

375
00:22:10,119 --> 00:22:13,279
Speaker 4: Yeah, yeah, because people will tell me, you know, like

376
00:22:13,440 --> 00:22:16,480
Joe will let me know about things that are available

377
00:22:16,759 --> 00:22:21,720
or yea like something something will turn up, but it'll

378
00:22:21,720 --> 00:22:24,359
be a VHS transfer, Yeah, you know, I mean, they

379
00:22:24,359 --> 00:22:27,519
can't do anything with it, but he'll he'll send me

380
00:22:27,559 --> 00:22:29,599
a copy of it and I'll get to watch it. Like,

381
00:22:29,799 --> 00:22:31,799
I mean, that's that's pretty much what happened with this

382
00:22:31,920 --> 00:22:34,079
movie with Secret Things.

383
00:22:34,920 --> 00:22:37,200
Speaker 3: Yeah, I think you sent it to me actually, because

384
00:22:37,240 --> 00:22:39,640
I mean or Charles, one of them did It might

385
00:22:39,640 --> 00:22:42,839
have been Charles. Yeah, And I remember, I guess just

386
00:22:43,039 --> 00:22:45,079
how to get back into the nitty gritty about this

387
00:22:45,160 --> 00:22:49,400
amazing movie. I remember that I watched it and I

388
00:22:49,599 --> 00:22:52,680
was really pretty blown away. I mean, you know, even

389
00:22:52,680 --> 00:22:56,519
for a sixty minute movie, there is such great texture

390
00:22:57,039 --> 00:23:00,119
and there's such great attention to character and perform or

391
00:23:00,200 --> 00:23:02,880
means and creating it. It feels like a bunch of

392
00:23:02,880 --> 00:23:06,279
one act plays that are kind of you know, edited

393
00:23:06,279 --> 00:23:10,839
together and I immediately was. I think I messaged Joe

394
00:23:10,839 --> 00:23:12,279
when I was like, please tell me that you have

395
00:23:12,319 --> 00:23:16,200
some kind of film elements for this, and he was like, no, no,

396
00:23:16,319 --> 00:23:19,240
I don't. I was just like, Okay, well, this is

397
00:23:19,440 --> 00:23:22,680
just going to be this little buried secret. I guess

398
00:23:22,799 --> 00:23:24,880
that I'm hoping more people get to see because it

399
00:23:24,920 --> 00:23:27,519
really is. The operative word I use when I describe

400
00:23:27,559 --> 00:23:30,759
to people is special. There's just something very special about it.

401
00:23:30,759 --> 00:23:34,599
It's especially nineteen seventy one when a lot of cheap

402
00:23:34,640 --> 00:23:38,640
sixteen milimeter stuff in storefront theaters and the hardcore coming around,

403
00:23:38,680 --> 00:23:41,559
like it is such an anomaly for nineteen seventy one.

404
00:23:41,920 --> 00:23:43,680
Speaker 2: Yeah, I think that's what I When I first saw it,

405
00:23:43,759 --> 00:23:47,319
I was telling Casey just like, this is just it's

406
00:23:47,359 --> 00:23:50,279
painful to watch this because I know this is never

407
00:23:50,359 --> 00:23:52,559
going to get restored. We're never going to see like

408
00:23:52,599 --> 00:23:54,839
a clean version of this, and this is all we have.

409
00:23:55,599 --> 00:23:58,279
But you know, it is still great that it exists,

410
00:23:58,359 --> 00:24:02,720
because yeah, it's it's a it's such a strange film

411
00:24:02,759 --> 00:24:06,039
because it almost feels like it shouldn't exist. There's something weird,

412
00:24:06,119 --> 00:24:08,680
kind of like haunting about it. Do you know what

413
00:24:08,720 --> 00:24:12,640
I'm saying? Yeah, you know, there's the rain, and you know,

414
00:24:12,839 --> 00:24:15,559
just these stories of these people that just sort of drift.

415
00:24:15,960 --> 00:24:17,839
The movie just kind of drifts away at the end.

416
00:24:17,839 --> 00:24:19,119
It never really closes.

417
00:24:21,440 --> 00:24:24,519
Speaker 4: It appears well, it does say the end, so the

418
00:24:24,960 --> 00:24:28,200
ending is there. But I'm wondering if there is some

419
00:24:28,400 --> 00:24:33,720
because it's probably ran seventy minutes. I'm guessing it probably

420
00:24:33,799 --> 00:24:37,839
wasn't sixty two minutes originally, and it does have obvious

421
00:24:37,920 --> 00:24:42,039
things missing, like you know, there are there are some

422
00:24:42,039 --> 00:24:47,200
some edits that probably print damage. I don't although there is.

423
00:24:47,480 --> 00:24:50,720
It seems like there are some edits done for nudity,

424
00:24:51,079 --> 00:24:53,799
like trimming, trimming some of the nudity, and maybe the

425
00:24:53,839 --> 00:24:57,039
sex scenes also we're trimmed a little bit. But I'm

426
00:24:57,079 --> 00:25:01,759
guessing it probably probably ran seventy minutes. Like, I don't

427
00:25:01,799 --> 00:25:04,359
think there's a running time listed in the press book.

428
00:25:04,400 --> 00:25:06,880
I would have put it on the on the blog post.

429
00:25:07,160 --> 00:25:07,839
I think there is.

430
00:25:07,880 --> 00:25:09,880
Speaker 3: I think it says sixty seven. I think it says

431
00:25:09,920 --> 00:25:10,960
sixty seven minutes.

432
00:25:11,599 --> 00:25:13,880
Speaker 4: Okay, I could be wrong, or or that could.

433
00:25:13,720 --> 00:25:16,799
Speaker 3: Be something that I'm just like, No, I thought it

434
00:25:16,839 --> 00:25:19,920
says sixty seven. Oh yeah, Secret Places, Secret Things, runtime

435
00:25:20,000 --> 00:25:21,079
sixty seven minutes.

436
00:25:21,359 --> 00:25:22,039
Speaker 4: It's on the key.

437
00:25:22,279 --> 00:25:25,279
Speaker 3: It's not they hit it in the key, right. I

438
00:25:25,359 --> 00:25:27,039
was like, oh, I never noticed that before when I

439
00:25:27,079 --> 00:25:33,039
looked at it. Yeah, so that's roughly said, roughly seventy minutes. Yeah,

440
00:25:33,079 --> 00:25:35,000
I think that's fair. Yeah.

441
00:25:35,160 --> 00:25:38,559
Speaker 4: So there's there's like five or six minutes missing from

442
00:25:38,759 --> 00:25:42,119
from this, which is is not bad. I mean, you know,

443
00:25:42,480 --> 00:25:45,240
the only version of the sers we have is you know,

444
00:25:45,720 --> 00:25:50,119
missing a whole reel. It seems there are other movies

445
00:25:50,160 --> 00:25:52,720
where that just exists as fragments. I think some of

446
00:25:52,720 --> 00:25:55,680
the at least one of the Reviver titles that Vinegar

447
00:25:55,759 --> 00:25:59,279
Symbromes working on, I think is missing missing a reel

448
00:25:59,319 --> 00:26:02,759
because it was just damaged so much they can't do it.

449
00:26:03,559 --> 00:26:05,799
Speaker 3: Yeah, we'll take what we can get. I mean, at

450
00:26:05,799 --> 00:26:08,720
this point these when it comes to lost films, I

451
00:26:08,759 --> 00:26:12,079
think within the community of those of us who want

452
00:26:12,119 --> 00:26:14,920
to see these films, we will absolutely take what we

453
00:26:14,960 --> 00:26:17,200
can get. It's just it is what it is, and

454
00:26:17,279 --> 00:26:21,200
it helps when you understand the distribution woes and the

455
00:26:21,240 --> 00:26:24,440
preservation woes, and it's just you know, that's kind of

456
00:26:24,480 --> 00:26:26,480
like the Milligan stuff that we're getting in like foreign

457
00:26:26,559 --> 00:26:29,359
language prints and cut for content, it's like this is

458
00:26:29,680 --> 00:26:30,200
this is it?

459
00:26:30,599 --> 00:26:30,839
Speaker 6: You know?

460
00:26:31,240 --> 00:26:33,680
Speaker 3: I would rather have that than nothing, And in this

461
00:26:33,799 --> 00:26:36,599
case of this movie, it's like, I don't know, you

462
00:26:36,680 --> 00:26:39,160
definitely noticed that stuff is cut, but it doesn't it doesn't.

463
00:26:39,519 --> 00:26:41,519
It still organically flows really well.

464
00:26:41,640 --> 00:26:46,960
Speaker 4: Yeah, yeah, yeah, And I'm trying to think of where

465
00:26:47,079 --> 00:26:51,839
I I must have first heard about this movie in

466
00:26:51,880 --> 00:26:56,079
the Psychotronic video interview with Gary Kent, where it was

467
00:26:56,279 --> 00:26:59,599
mentioned that he had directed it, but he mentioned that

468
00:27:00,920 --> 00:27:02,960
it was mentioned in the article, don't. I don't think

469
00:27:03,000 --> 00:27:06,400
he said it, but or he must have told them

470
00:27:06,480 --> 00:27:09,119
that he directed it and so that they put it

471
00:27:09,160 --> 00:27:11,680
in the article, because I don't know where else they

472
00:27:11,680 --> 00:27:14,680
would have gotten that from except maybe he mentioned that

473
00:27:14,720 --> 00:27:19,039
he had directed it. But in his book he says

474
00:27:19,079 --> 00:27:19,799
that he wrote it.

475
00:27:20,079 --> 00:27:20,400
Speaker 1: I know.

476
00:27:21,319 --> 00:27:24,519
Speaker 3: I'll let me tell you. I ordered that book and

477
00:27:24,599 --> 00:27:28,039
when I got here read through the whole thing, I

478
00:27:28,200 --> 00:27:31,200
was so mad. I was just like, Gary, what is

479
00:27:31,240 --> 00:27:34,039
going on? Because you know I didn't. I spoke to

480
00:27:34,119 --> 00:27:36,200
him briefly about it, and he said, yeah, when he

481
00:27:36,240 --> 00:27:40,559
told me he co directed it, and so yeah, just

482
00:27:40,599 --> 00:27:42,759
to have the two mentions in the book where he

483
00:27:42,799 --> 00:27:45,200
only mentions that he wrote a script called Secret Places

484
00:27:45,599 --> 00:27:47,200
and then he says, yeah, I made this movie with

485
00:27:47,240 --> 00:27:50,279
Mike McFarlane, this exploitation movie, and that's it, and that's

486
00:27:50,359 --> 00:27:52,799
It's kind of I don't know if it's because maybe

487
00:27:53,440 --> 00:27:55,240
at the time he was writing those what two thousand

488
00:27:55,240 --> 00:27:58,960
and nine, well before anything surface of this, So maybe

489
00:27:58,960 --> 00:28:00,920
it was just kind of like, well, you know, not

490
00:28:01,000 --> 00:28:02,599
we're talking about because I was gonna be able to

491
00:28:02,640 --> 00:28:02,960
see it.

492
00:28:03,480 --> 00:28:06,319
Speaker 2: Yeah, we've been debating this. What do you think, Chris, Like,

493
00:28:06,319 --> 00:28:09,440
what's what's the deal with Gary Kent in this movie?

494
00:28:09,519 --> 00:28:11,480
He doesn't seem to talk about it very much.

495
00:28:13,119 --> 00:28:17,079
Speaker 4: I I don't know. I mean, he didn't deny right

496
00:28:17,559 --> 00:28:19,920
making it, because I think I asked him about it

497
00:28:19,920 --> 00:28:24,440
at one point, and I may have even mentioned that

498
00:28:24,519 --> 00:28:27,200
I had a copy of it, or somebody down in Austin.

499
00:28:27,279 --> 00:28:30,160
I guess that that gave me the copy had given

500
00:28:30,240 --> 00:28:34,319
it to him. Yeah. I just think that at that

501
00:28:34,480 --> 00:28:38,920
time these movies were were I mean, he was probably

502
00:28:39,039 --> 00:28:41,519
Screen Actors Guild at that point, or he was in

503
00:28:41,519 --> 00:28:47,000
some guild. And you know, like Ed Blessington used to

504
00:28:47,119 --> 00:28:53,160
use the name Mark Edwards get right, Yeah, and you

505
00:28:53,200 --> 00:28:56,960
know when he made The Bang Bang Gang. But there

506
00:28:57,000 --> 00:29:00,640
was more money on that film than some of the

507
00:29:00,680 --> 00:29:04,480
other ones, and it was screened for the Hollywood Reporter

508
00:29:04,799 --> 00:29:07,240
and he got a really good review in that. So

509
00:29:07,319 --> 00:29:10,640
he even though he had done it as Mark Edwards,

510
00:29:11,720 --> 00:29:13,960
it had been screened for the Hollywood Reporter and they

511
00:29:14,000 --> 00:29:17,200
asked who was that actor and ed ForSight, Oh, that's

512
00:29:17,279 --> 00:29:20,759
Edward Blessington. So his real name went into the Hollywood Reporter.

513
00:29:22,799 --> 00:29:27,480
And so he actually got an agent briefly based on that.

514
00:29:27,720 --> 00:29:30,000
And then when it was re released, I think when

515
00:29:30,000 --> 00:29:32,119
it was re released as The Gun Girls, because they

516
00:29:32,240 --> 00:29:35,880
edited it to get an R rating and Crown International

517
00:29:35,920 --> 00:29:39,000
put it out, he asked for his real name to

518
00:29:39,039 --> 00:29:43,599
be put on it. At that points risk the Screen

519
00:29:43,640 --> 00:29:47,799
Actors Guild. Yeah, that's interesting, So I think that may

520
00:29:47,839 --> 00:29:50,920
have had something to do with why why Gary Kent?

521
00:29:51,000 --> 00:29:55,440
Maybe because all those guys like Gary Graver had a

522
00:29:55,519 --> 00:29:58,920
long career making hardware films.

523
00:29:59,599 --> 00:30:03,000
Speaker 3: Which he until literally the day he died. Yeah, someone

524
00:30:03,079 --> 00:30:05,880
contacted him the day before he died and he said no,

525
00:30:06,119 --> 00:30:08,759
and then all of a sudden gone, yeah. He was like, nope,

526
00:30:08,839 --> 00:30:11,079
I'm taking this to the grave not and I am

527
00:30:11,119 --> 00:30:15,440
not admitting to one one inch of truth about this.

528
00:30:18,799 --> 00:30:24,480
Speaker 6: Yeah, that's a hotel chick, my grandma, how do you

529
00:30:24,519 --> 00:30:25,519
want me to sign the register?

530
00:30:25,640 --> 00:30:26,240
Speaker 4: Man and wife?

531
00:30:27,440 --> 00:30:30,799
Speaker 6: Funny he laid on that desk and they'll let you

532
00:30:30,839 --> 00:30:31,519
sign a nister.

533
00:30:32,039 --> 00:30:34,880
Speaker 2: When he got a hut on, Well, where did I

534
00:30:34,920 --> 00:30:37,240
hear that this was made for Pussycat theaters?

535
00:30:37,839 --> 00:30:41,640
Speaker 3: That was Gary? Gary said that, yeah.

536
00:30:41,319 --> 00:30:43,039
Speaker 2: Yeah, so that was kind of what I had assumed that.

537
00:30:43,160 --> 00:30:45,240
You know, he just considered it. You know, it's just

538
00:30:45,279 --> 00:30:47,920
like a throwaway movie he made for the Pussycat theaters.

539
00:30:48,000 --> 00:30:50,759
He didn't really think that much about it. But I

540
00:30:50,799 --> 00:30:52,759
don't know, I think he captured like kind of magic

541
00:30:52,799 --> 00:30:54,599
in a bottle here. I don't even know if he

542
00:30:54,640 --> 00:30:58,400
intended to, but it just something happened on with this

543
00:30:58,640 --> 00:31:02,839
cast and and you know this crew. It just yeah,

544
00:31:03,200 --> 00:31:04,400
then they hit something.

545
00:31:04,559 --> 00:31:08,680
Speaker 4: Yeah, and he had Lewis Horvath shooting shooting the movie.

546
00:31:08,839 --> 00:31:11,599
And you know, Lewis horr Bath shot a lot of

547
00:31:11,640 --> 00:31:14,599
the lot of the al Adamson movies, you know, the

548
00:31:14,960 --> 00:31:19,119
ones that Gary Graver didn't shoot Orvill Mosk didn't. It

549
00:31:19,160 --> 00:31:21,480
was Lewis Horvath, you know. It was also he was

550
00:31:21,519 --> 00:31:24,759
one of the one of the Hungarian cinematographers.

551
00:31:25,039 --> 00:31:25,359
Speaker 2: He was.

552
00:31:25,519 --> 00:31:27,599
Speaker 4: He was the one who didn't go on to win

553
00:31:27,680 --> 00:31:34,240
Oscars and oh yeah. But you could see especially that

554
00:31:34,359 --> 00:31:37,920
shot with with Eric Stern where he's in the foreground

555
00:31:38,240 --> 00:31:42,880
and the prostitutes in the background and Horvath keeps pulling

556
00:31:42,920 --> 00:31:47,000
focus between them. I mean, that's totally vill Mos Sigmund

557
00:31:47,000 --> 00:31:50,119
and Richard Rush, who Gary Kent was working with, you know,

558
00:31:50,559 --> 00:31:54,119
two or three movies prior to this, Savage Seven and

559
00:31:55,279 --> 00:31:58,079
psych Out and Hell's Angels on Wheels. Yeah, I mean,

560
00:31:58,079 --> 00:32:00,599
that's that's what they were. That's what they were doing

561
00:32:00,599 --> 00:32:04,680
there was that there's much less distance between the two

562
00:32:04,720 --> 00:32:09,200
subjects that you had then than the Savage seven for example,

563
00:32:09,240 --> 00:32:13,000
where you know, he's got like people I don't know

564
00:32:13,039 --> 00:32:17,279
how far away, and there's racking focus between Adam Rourke

565
00:32:17,400 --> 00:32:20,400
and some motor cycle that's some half a mile down

566
00:32:20,440 --> 00:32:23,720
the road or whatever. So it's it's to a much

567
00:32:23,839 --> 00:32:27,519
lesser degree, but still that's that influence. So you can

568
00:32:27,599 --> 00:32:31,039
see that influence of working with Richard Rush and Vilmo

569
00:32:31,119 --> 00:32:35,079
Zigmund that that must have been Gary Kent, you know, saying,

570
00:32:35,160 --> 00:32:38,720
you know, why don't we do what they do with

571
00:32:37,839 --> 00:32:40,039
the rack focus.

572
00:32:40,400 --> 00:32:43,200
Speaker 3: And That's why I guess that is part of that texture,

573
00:32:43,599 --> 00:32:46,440
is that for something that probably was shot very quickly,

574
00:32:46,799 --> 00:32:50,799
very cheaply, it's not phoned in technically like you know

575
00:32:50,880 --> 00:32:52,920
it obviously scenes like that, it's kind of like, oh,

576
00:32:53,079 --> 00:32:56,440
they're creating, creating depth of field in this little room

577
00:32:56,839 --> 00:33:00,359
with in like a sex film. They don't need to

578
00:33:00,400 --> 00:33:03,160
do that, but clearly there is like, no, we want,

579
00:33:03,200 --> 00:33:05,559
we want this to be good. They care about the product,

580
00:33:05,720 --> 00:33:08,799
which is you know, again nineteen seventy one, not a

581
00:33:08,799 --> 00:33:12,079
lot of people doing that, you know for this particular audience,

582
00:33:12,160 --> 00:33:14,200
you know, sure, yeah, And.

583
00:33:14,519 --> 00:33:18,160
Speaker 4: It's because because they were working on you know, semi

584
00:33:19,079 --> 00:33:22,079
you know, American international productions let's say, you know, Dick

585
00:33:22,119 --> 00:33:28,119
Clark Productions and more more legit you know, drive in

586
00:33:28,240 --> 00:33:34,599
movies let's call them, and yeah yeah, and also dolly shots.

587
00:33:34,640 --> 00:33:37,160
There's like a nice DOLLI shot in the in the

588
00:33:37,200 --> 00:33:41,000
office of the hotel of the motel. Yeah, what's a hotel?

589
00:33:41,480 --> 00:33:45,240
And or and even in the writing, in the writing

590
00:33:45,240 --> 00:33:48,079
of the script, like why why would why would you

591
00:33:48,160 --> 00:33:52,240
include you know, if you're just knocking off an exploitation,

592
00:33:52,640 --> 00:33:56,880
softcore film for Vince Miranda, why would you include the

593
00:33:56,880 --> 00:34:01,480
scene where the hotel manager or owner, uh you know,

594
00:34:01,759 --> 00:34:04,599
gives the dollar back to that couple for breakfast. So

595
00:34:04,720 --> 00:34:06,920
do do you have any money for breakfast? Here? Yeah,

596
00:34:07,119 --> 00:34:09,360
it's a it's a really nice thing. Or any of

597
00:34:09,400 --> 00:34:12,840
those scenes between the owner of the hotel and the

598
00:34:13,199 --> 00:34:13,960
bell boy.

599
00:34:14,199 --> 00:34:17,559
Speaker 3: Right yes, the guy with the harmonica, right yeah, and

600
00:34:17,559 --> 00:34:20,480
that and that music ads good adds that really nice

601
00:34:20,519 --> 00:34:23,960
atmosphere too. It really it feels like a real, honest

602
00:34:24,000 --> 00:34:26,800
to god hotel with real people in it.

603
00:34:26,960 --> 00:34:29,079
Speaker 4: Yeah, it's like they it's it's.

604
00:34:28,960 --> 00:34:31,119
Speaker 3: Really astonishing the care that was put into this. And

605
00:34:31,159 --> 00:34:33,599
I will just say before in preparation for this, I

606
00:34:33,679 --> 00:34:36,159
was working on the notes over the weekend and this

607
00:34:36,559 --> 00:34:39,280
was one that I was watching on on file on

608
00:34:39,320 --> 00:34:42,000
my computer and I just once it finished, I just

609
00:34:42,039 --> 00:34:44,480
press play again, like I I think I had it

610
00:34:44,519 --> 00:34:46,599
on a loop like four times because I was just

611
00:34:46,679 --> 00:34:50,119
kind of I just it's it's a very comforting film

612
00:34:50,440 --> 00:34:52,760
all you know, all things considered, it's just yeah, like

613
00:34:52,760 --> 00:34:54,760
like Gentry said, there's just it's just a lightning in

614
00:34:54,800 --> 00:34:55,719
the bottle kind.

615
00:34:55,559 --> 00:34:58,679
Speaker 2: Of Yeah, it's it's very watchable. There's something that's very

616
00:34:58,719 --> 00:35:02,880
watchable about it. Yeah, I know, exactly what you mean, Come.

617
00:35:02,679 --> 00:35:08,159
Speaker 4: On, because this is bad. I'll tell you what. Why

618
00:35:08,159 --> 00:35:11,000
don't we turn out the nights getting bad?

619
00:35:12,599 --> 00:35:13,480
Speaker 6: You think it's the hill?

620
00:35:16,960 --> 00:35:17,400
Speaker 4: All right?

621
00:35:18,119 --> 00:35:21,519
Speaker 6: What's the routine? Do I strip now? Or your faith first?

622
00:35:21,599 --> 00:35:21,760
Or what?

623
00:35:22,719 --> 00:35:23,039
Speaker 4: I mean?

624
00:35:23,559 --> 00:35:25,320
Speaker 6: All your class overwhelms a girl?

625
00:35:25,599 --> 00:35:29,519
Speaker 2: But you mentioned Gary Graver and we're talking about sort

626
00:35:29,559 --> 00:35:33,119
of the production here. Uh, there's no editor that we

627
00:35:33,199 --> 00:35:36,840
know of listed for this, correct, right, So I don't know.

628
00:35:36,920 --> 00:35:39,440
I was watching Sandra The Making of a Woman the

629
00:35:39,440 --> 00:35:42,800
other day, and after I watched this, and I noticed

630
00:35:42,840 --> 00:35:47,199
some similarities in editing style. So I I was asking Casey, like,

631
00:35:47,760 --> 00:35:50,000
do you think Gary Graver edited this? I mean they

632
00:35:50,039 --> 00:35:52,159
were friends, him and Ken, and I mean he was

633
00:35:52,159 --> 00:35:55,159
in this circle. So I don't know. That's that's my

634
00:35:56,400 --> 00:35:58,719
I know we don't like to do like suppositions here,

635
00:35:58,719 --> 00:36:01,639
but I don't know, does kind of look like Gary

636
00:36:01,679 --> 00:36:02,320
Graver's style?

637
00:36:02,440 --> 00:36:02,679
Speaker 4: Editing?

638
00:36:02,800 --> 00:36:05,679
Speaker 3: Connections are there also because of the grads Core connection.

639
00:36:05,920 --> 00:36:09,320
I mean, it's it's interesting to note the connections. I

640
00:36:09,320 --> 00:36:12,079
mean it started in The Hard Road, which Gary was

641
00:36:12,159 --> 00:36:15,199
in for Graver directing, and then Jay Feinberg is in that,

642
00:36:15,320 --> 00:36:19,599
and Jay Feinberg was the owner of Grads officially and

643
00:36:19,639 --> 00:36:24,960
then Sandra Making a Woman is Grads directed by Gary Graver,

644
00:36:25,280 --> 00:36:29,000
production managed by Gary Kent. And so it's kind of

645
00:36:29,199 --> 00:36:31,880
I feel like it's not too much out of the

646
00:36:31,920 --> 00:36:35,360
realm of possibility that Gary would have helped his friend

647
00:36:35,400 --> 00:36:37,639
out with this little movie, especially because he already knew

648
00:36:37,639 --> 00:36:42,400
the Grads people, and so yeah, maybe, yeah.

649
00:36:42,119 --> 00:36:46,920
Speaker 4: Yeah, it's it's interesting the way it'll cut, It'll cut

650
00:36:46,960 --> 00:36:50,440
to the other room like splitzack.

651
00:36:50,760 --> 00:36:52,760
Speaker 2: Yeah, but does the same thing in Sandra like it

652
00:36:53,039 --> 00:36:56,039
cut like the flash forward cuts and the flash back cuts.

653
00:36:56,039 --> 00:36:58,880
It does that just like not, it's not, it's just

654
00:36:58,920 --> 00:37:01,840
like totally non leaning. You're at random times, you know.

655
00:37:02,519 --> 00:37:05,480
Speaker 4: Yeah, well, you know they they all ran in the

656
00:37:05,480 --> 00:37:09,880
same circle. You know, Paul Lewis who had produced Easy Rider,

657
00:37:11,320 --> 00:37:16,800
and you know, the the cinematographers and and and the

658
00:37:16,920 --> 00:37:21,800
editors and producers and everything. They were all you know,

659
00:37:21,840 --> 00:37:24,440
working on each other's films at that time. So yeah,

660
00:37:24,679 --> 00:37:27,599
it by all means it could have been for a

661
00:37:27,639 --> 00:37:29,880
couple of days. How long did it take to edit

662
00:37:29,960 --> 00:37:33,719
the movie? Really? You know, it could could have been

663
00:37:33,760 --> 00:37:36,079
Gary Graver for a couple of days or you know,

664
00:37:36,119 --> 00:37:38,639
an afternoon or something he could have worked on a

665
00:37:38,679 --> 00:37:41,519
few different scenes and then passed it on to somebody

666
00:37:41,519 --> 00:37:46,000
else that whole that that style like an easy rider

667
00:37:46,400 --> 00:37:51,159
where they would flash between the two scenes. Yeah, I

668
00:37:51,159 --> 00:37:54,239
mean that was done because there wasn't enough coverage and

669
00:37:54,360 --> 00:37:57,679
they didn't know what to do in this one sequence.

670
00:37:58,920 --> 00:38:03,559
And right next door was Jack Starrett who was working

671
00:38:03,559 --> 00:38:08,320
on Run Angel Run, And so Dennis Hopper knew knew

672
00:38:08,440 --> 00:38:11,199
Jack Starret because Jack Starrett had almost been an easy

673
00:38:11,320 --> 00:38:14,599
rider playing the Jack Nicholson role. So he went next

674
00:38:14,639 --> 00:38:18,239
door and was watching the editing of Run Angel Run,

675
00:38:18,559 --> 00:38:20,840
and they were doing that. They were bouncing back and

676
00:38:20,840 --> 00:38:24,320
forth between scenes because they didn't have enough coverage. And

677
00:38:24,440 --> 00:38:27,559
so Dennis Hopper was like, man, that's great, I would

678
00:38:27,679 --> 00:38:30,559
do you mind if I do that? So he went

679
00:38:30,639 --> 00:38:34,239
next door and did that. So sometimes that that was

680
00:38:34,320 --> 00:38:37,079
done because of that. For that reason, they just didn't

681
00:38:37,079 --> 00:38:40,800
have enough coverage. There was just jarring cuts from one

682
00:38:40,840 --> 00:38:43,679
scene to the next. YEP.

683
00:38:44,599 --> 00:38:47,000
Speaker 2: So I know what Casey thinks about the music in

684
00:38:47,079 --> 00:38:48,760
this movie. I want to ask.

685
00:38:48,559 --> 00:38:52,440
Speaker 3: You, don't get me started. Don't get me started. My

686
00:38:52,519 --> 00:38:55,599
holy grail, my holy grail of library music.

687
00:38:56,079 --> 00:38:58,719
Speaker 2: It's a key part of the film, I think, would

688
00:38:58,719 --> 00:39:02,519
you agree, yeah, yeah, making it kind of all work together.

689
00:39:02,719 --> 00:39:05,760
That that theme that made I think it's called Loveland. Yeah,

690
00:39:05,840 --> 00:39:08,199
Casey you said there's a yeah.

691
00:39:07,800 --> 00:39:08,719
Speaker 3: The vocals jet.

692
00:39:08,800 --> 00:39:10,440
Speaker 2: The vocal version is called land.

693
00:39:10,760 --> 00:39:14,079
Speaker 3: Yes, well, it was done in two versions because the

694
00:39:14,719 --> 00:39:17,639
kind of the I guess the source of this is

695
00:39:17,719 --> 00:39:20,840
ride the Hot Wind, because that's where the music is

696
00:39:20,880 --> 00:39:23,719
at least credited to Jack Milman and the woman who

697
00:39:23,760 --> 00:39:25,920
sang Loveland I think co wrote it. But that's where

698
00:39:25,920 --> 00:39:28,079
you hear a lot of this music. And there's a

699
00:39:28,119 --> 00:39:30,079
sitar piece in this that's also in that.

700
00:39:31,679 --> 00:39:33,159
Speaker 2: It did wind come out before this?

701
00:39:34,039 --> 00:39:38,119
Speaker 3: How wind was seventy one? But but it's but Jack

702
00:39:38,119 --> 00:39:40,480
Milman was it was music industry is a library guy.

703
00:39:40,519 --> 00:39:43,480
So it's possible that this was this was done in

704
00:39:43,559 --> 00:39:46,719
nineteen seventy and then wasn't put into a movie and

705
00:39:46,760 --> 00:39:51,800
credited until seventy one. Possibly, But it shows up in everything.

706
00:39:51,960 --> 00:39:55,719
It's it's it's always Californian stuff too. It's always you know,

707
00:39:55,760 --> 00:40:02,000
it's it's exploitation. Hardcore stuff in like seventy between seventy

708
00:40:02,039 --> 00:40:05,079
one and like seventy five shows up in this stuff.

709
00:40:05,840 --> 00:40:07,559
Speaker 2: You're talking about Millman stuff in particular.

710
00:40:07,679 --> 00:40:08,960
Speaker 3: Yeah, the moment stuff.

711
00:40:09,039 --> 00:40:11,920
Speaker 2: Yeah, the music was he toy Box too.

712
00:40:12,440 --> 00:40:14,440
Speaker 3: This is up here in Toy Box. Yeah, Like the

713
00:40:14,440 --> 00:40:17,119
Cizar piece is in the Ushi DiGard scene where she's

714
00:40:17,119 --> 00:40:19,960
felt up by the by the sheets, and then the

715
00:40:20,280 --> 00:40:24,159
instrumental version of Loveland is in the picnic scene. So yeah,

716
00:40:24,199 --> 00:40:28,320
it shows up everywhere. It really shows up everywhere. There's

717
00:40:28,320 --> 00:40:30,840
no rhyme or reason to it. I tried tracing it

718
00:40:30,920 --> 00:40:34,280
to distributors and then tried tracing it to like library

719
00:40:34,360 --> 00:40:36,800
musical piece. It's just it's very difficult to trace.

720
00:40:37,920 --> 00:40:42,440
Speaker 4: Well, there was. It was a ego Cantor used to do.

721
00:40:43,519 --> 00:40:46,599
He used to that. That was one of his jobs,

722
00:40:46,800 --> 00:40:51,599
was doing music editing or music supervision, which meant he

723
00:40:51,719 --> 00:40:55,119
had a stack of library records and we would just

724
00:40:55,400 --> 00:40:58,519
pick out pieces to use in the in the movies.

725
00:41:00,000 --> 00:41:03,039
One of the funniest ones is Ali Kat, you know

726
00:41:03,119 --> 00:41:07,199
the movie from the eighties and the martial Arts one. Yeah,

727
00:41:08,119 --> 00:41:10,960
I was watching that. I mean I'd seen it years ago,

728
00:41:11,039 --> 00:41:13,280
but someone was showing a print of it at the

729
00:41:13,320 --> 00:41:18,039
Alamo draft House and this elevation and that's like nineteen

730
00:41:18,079 --> 00:41:20,159
eighty three. I think that was made and it says,

731
00:41:20,159 --> 00:41:23,400
you know, Ego can tour music supervision and there's some

732
00:41:23,480 --> 00:41:26,480
library track from a decade earlier that pops up into

733
00:41:26,480 --> 00:41:29,119
that movie. It was like I used to hear in

734
00:41:29,159 --> 00:41:34,440
Filipino movies. But yeah, it's probably somebody like Ego Cantor

735
00:41:34,519 --> 00:41:39,400
worked on this movie just would use those records or

736
00:41:39,960 --> 00:41:43,400
wherever they got the tracks from. I know, Joe Solomon

737
00:41:43,719 --> 00:41:46,760
getting back to you know, Run Angel Run and The

738
00:41:46,800 --> 00:41:51,760
Losers and those movies he sold, he made a deal

739
00:41:51,880 --> 00:41:55,239
with Stu Phillips to sell some of that music. So

740
00:41:55,360 --> 00:42:00,159
you hear tracks from Hell's Angels on Wheels in or

741
00:42:00,199 --> 00:42:04,760
a Run Angel Run in like the Manson Massacre. Yeah, yeah,

742
00:42:04,880 --> 00:42:08,199
there's Phillips music from that. And then the one that

743
00:42:08,239 --> 00:42:10,480
I saw down at the Library of Congress, the Coming

744
00:42:10,480 --> 00:42:13,639
of Seymour, there's music from Hell's Angels on Wheels and

745
00:42:13,639 --> 00:42:18,559
that because he just sold it as library cues.

746
00:42:19,280 --> 00:42:23,360
Speaker 3: Yeah, that's well, and that reminds me of and I

747
00:42:23,360 --> 00:42:25,360
asked you about this and he didn't have a clue.

748
00:42:25,599 --> 00:42:29,280
So the Just Franco movie Venus and Furs has to

749
00:42:29,440 --> 00:42:31,559
Phillips music from the name of the Game is kill

750
00:42:32,000 --> 00:42:35,800
in it and he had no idea why this movie,

751
00:42:35,880 --> 00:42:39,880
this Harry Allen Towers movie would have his American music

752
00:42:40,000 --> 00:42:42,960
in this international co production. And I said, yeah, it

753
00:42:43,000 --> 00:42:44,519
was the year after Name of the Game Is Killed

754
00:42:44,519 --> 00:42:46,159
came out and all of a sudden, your music is

755
00:42:46,199 --> 00:42:49,159
in this movie. And he said, I couldn't tell you.

756
00:42:49,440 --> 00:42:51,360
I don't know. I have no idea how that got

757
00:42:51,400 --> 00:42:54,360
in there. Oh yeah, it's weird.

758
00:42:55,119 --> 00:42:57,760
Speaker 4: It was. Yeah. I have an article I think out

759
00:42:57,760 --> 00:43:00,880
of Box Office, a variety where Joe Solomon had made

760
00:43:00,920 --> 00:43:06,480
a deal to sell music from his films as library music,

761
00:43:07,119 --> 00:43:08,719
and so wild.

762
00:43:10,000 --> 00:43:14,719
Speaker 2: That you're in the martial arts like world. You're dealing

763
00:43:14,760 --> 00:43:16,599
with stolen.

764
00:43:16,320 --> 00:43:19,559
Speaker 3: Library every day.

765
00:43:18,519 --> 00:43:25,760
Speaker 4: Yes, you know. Getting back to the movie we're talking about,

766
00:43:26,079 --> 00:43:30,920
Eric Stern was quite the martial artist. Oh really yeah, yeah.

767
00:43:31,079 --> 00:43:33,159
Ed Blessington told me that. And then it was that

768
00:43:33,480 --> 00:43:37,320
it's actually in his obituary. Like Ed, Ed had worked,

769
00:43:37,400 --> 00:43:40,639
had had studied with him. I think karate. I think

770
00:43:40,679 --> 00:43:45,599
they just did like some form of karate together. And

771
00:43:45,920 --> 00:43:50,079
Ed could not remember their sense's name, but he said

772
00:43:50,079 --> 00:43:52,719
he looked just like Frank Sinatra. And he had a

773
00:43:52,760 --> 00:43:57,719
little tiny Japanese girlfriend who taught with him, and so so.

774
00:43:58,159 --> 00:44:00,440
Ed and Eric Stern used to go to this guy

775
00:44:00,599 --> 00:44:04,159
for karate, and Eric Stern actually had a black belt

776
00:44:04,199 --> 00:44:08,239
in karate, judo, jiu jitsu, and aikdo, And yeah, he

777
00:44:08,400 --> 00:44:11,960
was a He was really into physical fitness. He had

778
00:44:11,960 --> 00:44:15,719
played half a season with the Minnesota Vikings and then

779
00:44:15,760 --> 00:44:18,480
he blew out his knee and was no longer. This

780
00:44:18,599 --> 00:44:20,639
was like nineteen sixty or sixty one.

781
00:44:20,719 --> 00:44:23,119
Speaker 2: I think I wonder if he knew John Saxon. Maybe

782
00:44:23,159 --> 00:44:24,800
they had the same sense I.

783
00:44:26,400 --> 00:44:28,960
Speaker 3: That's interesting. Well, Eric Stern because he plays the oldest

784
00:44:28,960 --> 00:44:32,119
college student in the world in this movie, but he

785
00:44:32,199 --> 00:44:35,719
is in great shape. I mean, yeah, he looks a

786
00:44:35,719 --> 00:44:37,199
lot younger than he was.

787
00:44:37,480 --> 00:44:40,480
Speaker 2: Well, now I'm I'm thinking back to the Love Butcher

788
00:44:40,559 --> 00:44:42,559
that he was in. If he did any like action

789
00:44:42,760 --> 00:44:44,519
stuff in there, I can't remember.

790
00:44:45,039 --> 00:44:45,840
Speaker 3: I don't remember.

791
00:44:46,639 --> 00:44:49,039
Speaker 2: Yeah, keep an eye on it next time I rewatched that.

792
00:44:49,199 --> 00:44:50,840
See if he does any kicks and punches.

793
00:44:52,800 --> 00:44:55,519
Speaker 4: Well, he was in a Charles Bronson movie right in

794
00:44:55,559 --> 00:44:58,400
the eighties. He was in Assassination. I think he's the

795
00:44:58,480 --> 00:44:59,159
villain in that.

796
00:44:59,480 --> 00:45:02,880
Speaker 3: Oh oh yeah, that's right. I forgot about them with

797
00:45:02,960 --> 00:45:06,599
Jill Ireland being oh yeah, of course, Jill Ireland, right.

798
00:45:07,519 --> 00:45:11,360
Speaker 2: Yeah, yeah, his online credits are so messed up because

799
00:45:11,400 --> 00:45:13,519
of his pseudonyms that he used.

800
00:45:13,760 --> 00:45:18,880
Speaker 4: Yeah, he he's he's an interesting guy. Ed ed knew

801
00:45:18,960 --> 00:45:22,360
him as as James Lamp. He said, he said that

802
00:45:22,480 --> 00:45:26,760
was his name was was James Lamp, but his actual

803
00:45:26,880 --> 00:45:31,280
name was Bernard Lewis Lamp the third. Oh really, Yeah,

804
00:45:31,480 --> 00:45:35,239
that's what. And it's it's funny because that's the name

805
00:45:35,320 --> 00:45:38,320
in the obituary and then it says also known as

806
00:45:38,440 --> 00:45:43,079
Eric Stern and James Lamp. But that that information, like

807
00:45:43,159 --> 00:45:45,280
his birthdate and his death date made it to the

808
00:45:45,320 --> 00:45:48,880
I m dB, but his his real name didn't. Yeah,

809
00:45:49,599 --> 00:45:52,119
but but that's yeah, that was his name. He was

810
00:45:52,159 --> 00:45:57,719
from Boise, Idaho, and his uh, his family, his family

811
00:45:57,800 --> 00:46:01,840
is like famous in boys, the Lemp family, because his

812
00:46:01,960 --> 00:46:06,480
great great grandfather is is like credited as the person

813
00:46:06,519 --> 00:46:10,400
who brought German beer to Idaho and he was like

814
00:46:10,480 --> 00:46:13,719
the beer bag of Idaho. And there's been like a

815
00:46:13,719 --> 00:46:17,599
couple of books written about that family. And you know,

816
00:46:17,760 --> 00:46:21,559
he went back. Eric Stern went back to Idaho, I

817
00:46:21,599 --> 00:46:23,719
think in the early nineties to live there, and I

818
00:46:23,719 --> 00:46:27,519
think he did like acting acting classes and maybe martial

819
00:46:27,639 --> 00:46:31,719
arts classes also until he passed away. But yeah, it

820
00:46:31,760 --> 00:46:37,800
was a really wealthy German family. In fact, when he

821
00:46:37,920 --> 00:46:42,239
chose the name Eric Stern for his Hollywood name, Eric

822
00:46:42,280 --> 00:46:45,719
and German is king or eternal ruler, I think is

823
00:46:45,760 --> 00:46:49,760
the actual translation of it, but it's you know, it's

824
00:46:49,800 --> 00:46:54,360
basically king and then Stern is star. So he he

825
00:46:54,599 --> 00:46:59,000
thought he'd call himself King of the Stars, basically Eric Stern.

826
00:47:00,840 --> 00:47:01,599
Speaker 2: Lice. I like that.

827
00:47:02,239 --> 00:47:05,079
Speaker 4: But it was beer money, yeah, they were. It was,

828
00:47:05,280 --> 00:47:08,920
you know, a millionaire, millionaire family, very very wealthy family.

829
00:47:09,159 --> 00:47:12,039
Speaker 2: What was how long was he around before he went

830
00:47:12,079 --> 00:47:16,320
back to like he basically stopped acting in Hollywood movies.

831
00:47:16,440 --> 00:47:18,400
What was Was there a reason why or.

832
00:47:19,199 --> 00:47:22,840
Speaker 4: I'm not sure. I think I think like in the

833
00:47:22,960 --> 00:47:25,320
in the late eighties, but he did a lot of

834
00:47:25,360 --> 00:47:30,199
TV work in the eighties and and then you know

835
00:47:30,480 --> 00:47:33,719
a few movies like The Bronze and One, and then

836
00:47:34,159 --> 00:47:37,159
I'm not sure. I'm not sure why he went back

837
00:47:37,239 --> 00:47:41,639
to Boise. It may have been like a family thing

838
00:47:41,719 --> 00:47:45,079
because I found like a legal notice, you know how,

839
00:47:45,400 --> 00:47:49,280
you don't really see it too much now because there

840
00:47:49,320 --> 00:47:52,159
really aren't that many newspapers anymore, but it used to

841
00:47:52,159 --> 00:47:54,400
be you would have to put a legal notice in

842
00:47:54,400 --> 00:47:57,440
the newspaper for different things, like let's say you were

843
00:47:57,480 --> 00:47:59,880
closing out in the state, you had to put the

844
00:48:00,079 --> 00:48:02,800
post something for a certain period of time to make

845
00:48:02,840 --> 00:48:05,880
sure that all the predators who were owed money were

846
00:48:05,960 --> 00:48:10,199
notified that somebody passed away something I saw a legal

847
00:48:10,280 --> 00:48:13,559
notice about about like what must have been his ex wife,

848
00:48:13,960 --> 00:48:17,960
like him saying basically he has no more debt or

849
00:48:18,000 --> 00:48:22,440
something to to to somebody who had the same last

850
00:48:22,519 --> 00:48:25,760
name or both. It was like Lamp and Stern. It was,

851
00:48:25,800 --> 00:48:29,400
you know, Susie Stern aka Susie Lamp. I no longer

852
00:48:29,639 --> 00:48:33,519
owe any money to something like that I saw, so,

853
00:48:33,760 --> 00:48:36,079
you know, it may it may have been for who

854
00:48:36,119 --> 00:48:37,079
knows what reason.

855
00:48:40,320 --> 00:48:46,719
Speaker 2: Oh right, Oh seven is a lucky number, he said.

856
00:48:48,079 --> 00:48:50,639
Speaker 3: I did want to talk about Mike McFarland just because

857
00:48:50,880 --> 00:48:53,519
it's interesting that he decided to remake this movie. But

858
00:48:54,480 --> 00:48:58,360
I guess kind of abandon the drama, the dramatic thrust

859
00:48:58,440 --> 00:49:02,480
of the original so with comedy. Yeah, I mean, because

860
00:49:02,519 --> 00:49:05,159
this one, I mean, this one is what it has,

861
00:49:05,400 --> 00:49:08,039
you know, light humor, but I think it's more interested

862
00:49:08,119 --> 00:49:11,599
in like moments of not even really drama. It's just

863
00:49:11,679 --> 00:49:13,719
it's like a slice of life movie, so it's like

864
00:49:14,039 --> 00:49:16,639
it's it's warm humor, but it's not like, you know,

865
00:49:17,000 --> 00:49:18,360
overt humor like Pink wte.

866
00:49:18,760 --> 00:49:21,079
Speaker 2: You kind of compared it to like an Altman movie,

867
00:49:21,039 --> 00:49:21,760
didn't you, Casey.

868
00:49:22,360 --> 00:49:24,639
Speaker 3: It feels like an Almond movie, and not in the

869
00:49:24,679 --> 00:49:27,920
way that Altman's like the dialogue overlaps and that kind

870
00:49:27,960 --> 00:49:30,119
of thing, but just the cutting back and forth between people.

871
00:49:30,800 --> 00:49:34,000
A lot of people centered around one location and they

872
00:49:34,000 --> 00:49:37,559
don't ever encounter each other, which is really interesting. It's

873
00:49:37,679 --> 00:49:38,719
very self contained.

874
00:49:39,239 --> 00:49:41,239
Speaker 2: I was kind of waiting for them to I was

875
00:49:41,280 --> 00:49:42,920
waiting for the movie to do that at the end,

876
00:49:43,000 --> 00:49:44,800
and I was kind of surprised it didn't. I thought

877
00:49:44,840 --> 00:49:47,239
there's gonna be like some connection at the end. But no,

878
00:49:47,639 --> 00:49:49,280
I wasn't disappointed in that way.

879
00:49:49,320 --> 00:49:53,679
Speaker 3: I'm saying, yeah, right, we would have made them do

880
00:49:53,719 --> 00:49:55,679
an orgy or something that they would have closed it

881
00:49:55,679 --> 00:49:57,880
out with an orgy, and that's just that's not the

882
00:49:57,960 --> 00:49:59,199
name of the game here, right.

883
00:49:59,400 --> 00:50:01,880
Speaker 4: Yeah, it's not Tale of the Dean's Wife, even though

884
00:50:01,880 --> 00:50:05,079
it is half cast. I love that, but yeah, no,

885
00:50:05,199 --> 00:50:12,079
this is not Yeah I know, yeah, it's yeah, I

886
00:50:12,239 --> 00:50:15,000
like it. Yeah, that's one of the reasons is it

887
00:50:15,119 --> 00:50:19,760
just avoids contrivance. Yeah, like yeah, I mean really, the

888
00:50:19,800 --> 00:50:22,599
only connection you have is the scene where the old

889
00:50:22,679 --> 00:50:26,800
older man who's visiting Malta has that interaction in the

890
00:50:26,800 --> 00:50:28,920
hallway with the bell hop with the bell hops, like,

891
00:50:29,000 --> 00:50:30,800
you know, that guy gave me twenty five cents, I

892
00:50:30,800 --> 00:50:35,840
went over and got a bottle of whatever. Yeah, right,

893
00:50:36,639 --> 00:50:37,079
I love that.

894
00:50:37,639 --> 00:50:40,280
Speaker 2: Well, I haven't seen Pink Motel. Have you seen it?

895
00:50:40,559 --> 00:50:41,280
Speaker 3: I haven't either.

896
00:50:41,760 --> 00:50:44,280
Speaker 2: We just have a lot of friends. To our friend

897
00:50:44,280 --> 00:50:47,119
that recently rewatched it and he didn't love it.

898
00:50:47,199 --> 00:50:50,280
Speaker 4: But oh yeah, no, I I like it.

899
00:50:50,360 --> 00:50:53,519
Speaker 2: But it's not not secret place of secret things.

900
00:50:53,920 --> 00:50:57,360
Speaker 4: No, it's not. But what they basically did was they

901
00:50:57,400 --> 00:51:01,239
took three of the four stories and then they did

902
00:51:01,320 --> 00:51:05,760
not use the Malta story, which is that's probably the

903
00:51:05,800 --> 00:51:08,519
most dramatic one. I mean, that's the one, and it's

904
00:51:08,559 --> 00:51:13,840
also it's it's really not clear, like what what's going on.

905
00:51:14,000 --> 00:51:15,880
I don't know if it was meant, if it was

906
00:51:15,920 --> 00:51:19,079
written that way, or or if it was you know,

907
00:51:19,679 --> 00:51:23,800
obscured by print damage or something. I don't know. I mean,

908
00:51:23,840 --> 00:51:27,599
what was she was? She like she worked for him,

909
00:51:27,800 --> 00:51:30,320
for his family. I mean, that's that's what I gathered,

910
00:51:30,440 --> 00:51:33,960
is that she yea and they were having there or something,

911
00:51:34,039 --> 00:51:36,000
or she ran away. I don't know, it's not.

912
00:51:36,280 --> 00:51:38,480
Speaker 2: Yeah, that's the one part of the movie that was

913
00:51:38,480 --> 00:51:40,639
a little unclear for me. But I read in your

914
00:51:40,920 --> 00:51:43,239
when you originally reviewed it, Chris, I think that's what

915
00:51:43,280 --> 00:51:46,639
you had said, that she was like a babysitter to them.

916
00:51:46,920 --> 00:51:49,159
Speaker 3: Yeah, the press book says she the press book says

917
00:51:49,159 --> 00:51:51,280
she is. Yeah, and I think and that's why it's

918
00:51:51,320 --> 00:51:52,679
kind of like, we haven't seen you in a while.

919
00:51:52,840 --> 00:51:55,239
And then he asked when school starts, so you had

920
00:51:55,239 --> 00:51:57,280
to If you don't have access to the press book,

921
00:51:57,559 --> 00:51:59,960
you don't know that she's a college student that's moonlight

922
00:52:00,360 --> 00:52:03,039
to make money for college. So she's, you know, a

923
00:52:03,159 --> 00:52:07,400
prostitute and a babysitter for the suburban family. And yeah,

924
00:52:07,480 --> 00:52:08,880
you kind of you kind of have to put that

925
00:52:08,920 --> 00:52:10,760
together from the press book because the film isn't going

926
00:52:10,840 --> 00:52:11,719
to tell you.

927
00:52:12,039 --> 00:52:17,079
Speaker 4: Yeah. Yeah, So they they left that out of Pink Motel,

928
00:52:17,159 --> 00:52:20,119
and then they came up with this really silly story.

929
00:52:20,159 --> 00:52:23,599
I mean, it's it's funny, but it's it's silly. It's

930
00:52:23,639 --> 00:52:26,800
these two guys who pick up these two women, one's

931
00:52:26,880 --> 00:52:31,519
Charlene and one's Marlene, and and they the only room

932
00:52:31,559 --> 00:52:34,280
that they can get at the Pink Motel is it's

933
00:52:34,360 --> 00:52:38,239
one room with two beds. So there's all sorts of

934
00:52:38,400 --> 00:52:41,039
you know, low comedy about them, like trying to build

935
00:52:41,079 --> 00:52:44,199
a wall between the beds so they could you get

936
00:52:44,199 --> 00:52:47,880
it on with these two girls, And you know it's silly,

937
00:52:48,000 --> 00:52:52,159
but in doing that and replacing that story that it

938
00:52:52,679 --> 00:52:58,440
lost all drama. Really yeah. And then the story that

939
00:52:58,719 --> 00:53:03,400
Kathy Hilton and Ed bless Or in where there where

940
00:53:03,440 --> 00:53:06,159
he's an office. I guess he runs an office and

941
00:53:06,199 --> 00:53:11,000
she's his secretary. They change it to two attorneys, like

942
00:53:11,039 --> 00:53:16,159
one's a prosecutor, one's a defender, and it's squire for Dell,

943
00:53:16,840 --> 00:53:20,360
who you might remember from the old salad dressing commercials

944
00:53:20,360 --> 00:53:26,320
in the eighties. And I don't remember what else. Maybe

945
00:53:26,360 --> 00:53:29,480
he was a stage actor. And then Andrea Howard is

946
00:53:30,199 --> 00:53:32,519
the other you know, the one that he's having an

947
00:53:32,519 --> 00:53:36,559
affair with. But it's the same thing she ends up,

948
00:53:36,559 --> 00:53:40,440
although in Pink Motel, instead of writing a message to

949
00:53:40,480 --> 00:53:43,719
the wife under the collar, she just writes and lipstick

950
00:53:43,760 --> 00:53:46,079
on the back of his shirt. I just had an

951
00:53:46,119 --> 00:53:49,199
affair or something like that, and then he turns around,

952
00:53:49,320 --> 00:53:52,119
puts his jacket on and you see it that way,

953
00:53:52,360 --> 00:53:55,440
and then the football player and the prostitute that's in

954
00:53:55,480 --> 00:53:58,760
there also, and yeah, so it's three of the four.

955
00:53:59,000 --> 00:54:00,559
Three of the four stories made it in.

956
00:54:01,000 --> 00:54:02,440
Speaker 2: And then Gary Kent credited.

957
00:54:02,800 --> 00:54:07,440
Speaker 4: No, no, he's not, uh, maybe under pseudonym because I

958
00:54:07,519 --> 00:54:09,840
think I think there are a couple of writers. Jim

959
00:54:09,920 --> 00:54:12,599
Calf is the one who who did them, because I

960
00:54:12,599 --> 00:54:18,199
think I think Mike, uh, Mike McFarland gets story credit

961
00:54:18,280 --> 00:54:22,800
maybe uh. And then Jim Calf is the main screenwriter.

962
00:54:22,960 --> 00:54:25,800
And this was this was when he was writing like

963
00:54:25,800 --> 00:54:30,360
like without warning, and I think he wrote The Buggins also.

964
00:54:30,920 --> 00:54:31,079
Speaker 3: Uh.

965
00:54:31,199 --> 00:54:34,400
Speaker 4: Yeah, he was writing like these these little b movies

966
00:54:34,440 --> 00:54:37,840
before he became you know, Stay Out and and you

967
00:54:37,880 --> 00:54:42,920
know the bigger movies that he became known for. So

968
00:54:43,159 --> 00:54:47,360
see he's yeah, he's credited with the screenplay, but he brought,

969
00:54:47,599 --> 00:54:49,840
he brought, well, they made they made a lot of

970
00:54:49,920 --> 00:54:53,519
changes to it, but it's the same basic and it's

971
00:54:53,519 --> 00:54:56,800
a motel rather than a hotel. And instead of the

972
00:54:57,239 --> 00:55:01,199
older the older owner and and the younger bell hop,

973
00:55:01,599 --> 00:55:04,679
they made it a married couple. It's slim pickens.

974
00:55:04,280 --> 00:55:05,239
Speaker 2: And the.

975
00:55:07,880 --> 00:55:11,840
Speaker 4: Right right right, and you know, and they probably shot

976
00:55:11,960 --> 00:55:15,880
like two days. They yeah, they probably probably had enough

977
00:55:15,880 --> 00:55:19,360
money to get them for like two days. What's funny

978
00:55:19,400 --> 00:55:22,599
is they're they're wearing a uniform, like a pink uniform

979
00:55:22,639 --> 00:55:27,119
to go with the pink motel, you know motif and uh,

980
00:55:27,159 --> 00:55:29,360
Phyllis Diller when she got on the set, she's like,

981
00:55:29,400 --> 00:55:31,840
I feel like I'm working in a bottle of pepto bismo.

982
00:55:32,239 --> 00:55:35,320
So she she kept referring to it as the Pepto

983
00:55:35,360 --> 00:55:38,639
Bismal Hotel and everything. So they they actually worked a

984
00:55:38,679 --> 00:55:41,880
line of dialogue and for her where she said, you know,

985
00:55:41,920 --> 00:55:44,360
I feel like I'm working in a bottle of pepto bismo.

986
00:55:45,199 --> 00:55:45,840
Speaker 2: That's funny.

987
00:55:47,519 --> 00:55:49,519
Speaker 4: It's not a bad movie. I like it.

988
00:55:49,519 --> 00:55:52,199
Speaker 3: It's it's Yeah, I do need to see it, just

989
00:55:52,239 --> 00:55:54,840
because I want to see how it was translated like

990
00:55:54,920 --> 00:55:58,119
a decade later. But I must say, even the change

991
00:55:58,199 --> 00:56:00,760
from like the under the collar it's just writing it

992
00:56:00,800 --> 00:56:03,960
on the shirt. I love the collar moment in the

993
00:56:04,000 --> 00:56:08,440
original because it's just so like it's letting this guy

994
00:56:08,679 --> 00:56:11,719
walk away thinking that he he got what he wanted.

995
00:56:11,800 --> 00:56:18,039
And yeah, it's like, well, yeah, I mean, yeah, it's yeah, anyway.

996
00:56:18,239 --> 00:56:21,840
Speaker 4: It's it's subtlety, you know, secret Place, the Secret Things

997
00:56:21,920 --> 00:56:25,880
is subtle, and Pink Motel is not. It's right, you know,

998
00:56:25,960 --> 00:56:29,639
it's post Animal House and and Caddy Shack and everything,

999
00:56:29,679 --> 00:56:35,360
so it wants to be that and not necessarily you know,

1000
00:56:35,559 --> 00:56:41,360
a kind of moody, atmospheric exploitation movie from a decade earlier.

1001
00:56:42,119 --> 00:56:43,599
Speaker 2: Right, right, sounds like.

1002
00:56:43,880 --> 00:56:46,400
Speaker 4: But he stayed you know, he stayed friends with Gary

1003
00:56:46,480 --> 00:56:49,320
Kent because he put up a lot of the money here.

1004
00:56:49,320 --> 00:56:51,480
He raised a lot of the money for Gary's movie

1005
00:56:51,599 --> 00:56:56,239
The Pyramid. Yeah, and you know, and he did go

1006
00:56:56,320 --> 00:56:58,719
on to other things and he didn't just do Pink Motel.

1007
00:56:58,760 --> 00:57:02,920
He made Goodbye Franklin High, which you know, and he

1008
00:57:02,960 --> 00:57:06,920
did that movie with Deborah Raffin. I think it was

1009
00:57:07,840 --> 00:57:12,320
Wishing on a Star. It was like a musical musical film.

1010
00:57:12,480 --> 00:57:14,920
I never saw it, but yeah, yeah, he did. He

1011
00:57:14,960 --> 00:57:17,639
did some other things. He was a business I think

1012
00:57:17,679 --> 00:57:22,760
it was a Stanford Stanford University business school student who

1013
00:57:23,559 --> 00:57:25,519
he wanted to be an actor, but he couldn't act.

1014
00:57:25,559 --> 00:57:28,760
That's what Gary Kent his book and he said, so,

1015
00:57:28,920 --> 00:57:30,920
you know, he figured he had the business degree, he

1016
00:57:30,920 --> 00:57:33,199
would become a producer. But he didn't want to be

1017
00:57:33,320 --> 00:57:37,280
like a you know, a stuffy suit producer. He wanted

1018
00:57:37,320 --> 00:57:39,920
to be like in there, you know, with with everybody,

1019
00:57:39,960 --> 00:57:42,400
and you know, one of the guys. So so he

1020
00:57:42,480 --> 00:57:44,360
seemed like a seems like a cool guy.

1021
00:57:44,840 --> 00:57:49,440
Speaker 3: Yeah. The other thing that when I and I I

1022
00:57:49,519 --> 00:57:51,679
once I once I read the book, once I finally

1023
00:57:51,679 --> 00:57:54,880
got Gary's book, was reading through it, I immediately regretted

1024
00:57:55,039 --> 00:57:58,960
not badgering Gary Moore for information about this movie, because

1025
00:57:59,000 --> 00:58:01,920
now we're not gonna get it. But you know, I

1026
00:58:01,920 --> 00:58:03,800
do remember that he said he co directed it, and

1027
00:58:03,880 --> 00:58:06,840
I always wondered about that. I I stupidly never asked

1028
00:58:06,840 --> 00:58:11,039
who it was. But so Naola Graf's resume lists the

1029
00:58:11,079 --> 00:58:14,920
movie as main Street and says it was directed by

1030
00:58:15,039 --> 00:58:19,480
Ron Nicholas, who was the acting president of Grad's Corps

1031
00:58:20,199 --> 00:58:23,760
Grad's Corps. And I don't know if that's even accurate.

1032
00:58:23,840 --> 00:58:26,000
I don't know if that's if she maybe put him

1033
00:58:26,000 --> 00:58:28,400
as the director because he was the producer because it

1034
00:58:28,440 --> 00:58:33,159
was Grad's Corp. But yeah, I it's it's interesting because

1035
00:58:33,159 --> 00:58:36,119
there's never any co director credit on this. It's on

1036
00:58:36,159 --> 00:58:38,360
the press book or on the movie, and so it

1037
00:58:38,440 --> 00:58:40,840
just made me wonder, like, who was the other person

1038
00:58:40,920 --> 00:58:43,039
if not Ron Nicholas.

1039
00:58:42,960 --> 00:58:46,800
Speaker 4: M h Yeah, I don't it could have been. It

1040
00:58:46,800 --> 00:58:48,599
could have been McFarland.

1041
00:58:48,840 --> 00:58:50,360
Speaker 2: Yeah, that's what I was thinking as well.

1042
00:58:50,480 --> 00:58:51,199
Speaker 3: That's true too.

1043
00:58:51,719 --> 00:58:55,760
Speaker 4: Yeah, that's true if he was producing it. But and

1044
00:58:55,800 --> 00:59:01,199
that but the money came from Miranda for Uzycat so great. Yeah,

1045
00:59:01,239 --> 00:59:04,920
and you know, I wonder if McFarlane made any others,

1046
00:59:05,519 --> 00:59:06,760
if he made any other at all.

1047
00:59:07,800 --> 00:59:09,800
Speaker 3: Right, there are so many movies from this era that

1048
00:59:09,880 --> 00:59:12,440
have no credits, and so it really does kind of

1049
00:59:12,440 --> 00:59:14,679
make you wonder, well, who really did this, and especially

1050
00:59:14,679 --> 00:59:18,039
when you have some that are shockingly technically well done,

1051
00:59:18,119 --> 00:59:21,760
and it's like, Okay, somebody was moonlighting in the genre

1052
00:59:22,159 --> 00:59:25,719
and couldn't and couldn't just deliver a cheap movie because

1053
00:59:25,760 --> 00:59:28,679
it was beneath them. They wanted to do something special,

1054
00:59:28,719 --> 00:59:30,079
even if their name wasn't on it.

1055
00:59:30,760 --> 00:59:30,960
Speaker 4: Right.

1056
00:59:31,280 --> 00:59:34,519
Speaker 2: Well, now that you mentioned credits again, I'm wondering if

1057
00:59:34,800 --> 00:59:38,000
some of the missing footage was the credits, because it

1058
00:59:38,119 --> 00:59:39,719
is pretty weird that there's no credit.

1059
00:59:39,599 --> 00:59:44,639
Speaker 3: Wonder right, Yeah, it just starts. I don't know, there's

1060
00:59:44,639 --> 00:59:48,119
no end credits either, but and yeah, because we have

1061
00:59:48,159 --> 00:59:50,960
no credits, I mean we kind of have to go

1062
00:59:51,320 --> 00:59:53,760
by recognizing the cast to know who's in it.

1063
00:59:54,079 --> 01:00:00,199
Speaker 2: So and in this shabby print too, you know, yes, yeah,

1064
01:00:00,440 --> 01:00:00,719
I mean.

1065
01:00:02,119 --> 01:00:05,280
Speaker 3: Unless you're a sexpotation person, then you would be like, oh, okay,

1066
01:00:05,400 --> 01:00:10,119
I know Malta and Naolograph, I know Kathy Hilton. Actually,

1067
01:00:10,159 --> 01:00:12,400
Kathy Hilton wasn't. I think I just added her to

1068
01:00:12,440 --> 01:00:16,880
IMDb because she was not on there. Yeah, because she's

1069
01:00:17,000 --> 01:00:19,480
very obscure. Kathy Hilton is very obscure. She did a

1070
01:00:19,480 --> 01:00:22,320
lot of movies, but she this is her most substantial role.

1071
01:00:22,559 --> 01:00:25,519
Like and same with Malta. They didn't get roles where

1072
01:00:25,559 --> 01:00:28,679
they were acting, and Malta was in SAG so you know,

1073
01:00:29,559 --> 01:00:33,360
you know, Kathy wasn't necessarily an actor. But yeah, all

1074
01:00:33,400 --> 01:00:35,480
three of the women in this, and unfortunately we don't

1075
01:00:35,480 --> 01:00:37,400
know who the black woman was who played the prostitute

1076
01:00:37,400 --> 01:00:39,840
because I haven't seen her in anything else. But all

1077
01:00:39,880 --> 01:00:43,199
of like Debbie Osbourne, Naolograph, and Kathy Hilton are all

1078
01:00:43,199 --> 01:00:47,400
great in this. I mean it's really it's very impressive,

1079
01:00:47,480 --> 01:00:51,000
especially considering the two of those never asked to act.

1080
01:00:51,079 --> 01:00:53,519
They're usually just nude walk ons or sex roles, and

1081
01:00:53,599 --> 01:00:57,400
so they're actually having to play characters that have motive

1082
01:00:57,679 --> 01:00:59,920
and have really good dialogue, and they're able to dive

1083
01:01:00,119 --> 01:01:04,360
up his characters really really well. Very surprising.

1084
01:01:04,800 --> 01:01:07,920
Speaker 4: Yeah. Yeah, and you know that the two actors in

1085
01:01:07,960 --> 01:01:12,960
the office, the owner of the hotel and the bell hop. Yes,

1086
01:01:13,280 --> 01:01:16,760
I want to I've seen them before. I just I

1087
01:01:16,880 --> 01:01:19,119
have no idea where I know.

1088
01:01:19,320 --> 01:01:22,280
Speaker 3: Yeah, it's frustrating. It's like it's with that's kind of

1089
01:01:22,960 --> 01:01:26,320
that's the curse of character acting at this time. It's

1090
01:01:26,320 --> 01:01:28,800
like you're going to show up everywhere, but you're gonna

1091
01:01:28,840 --> 01:01:31,920
have to hope that somebody remembers your name. But I

1092
01:01:32,000 --> 01:01:35,000
know I've seen them before, and I feel like maybe

1093
01:01:35,039 --> 01:01:37,800
the older guy at the front desk, the owner, I

1094
01:01:37,880 --> 01:01:40,039
feel like I saw him in maybe a Graver movie.

1095
01:01:40,559 --> 01:01:41,920
Speaker 2: Yeah, that's what I want to say.

1096
01:01:42,079 --> 01:01:45,599
Speaker 3: Maybe I've seen him in something and it's again surprising.

1097
01:01:45,800 --> 01:01:46,440
Speaker 2: Yeah.

1098
01:01:46,840 --> 01:01:49,360
Speaker 3: Yeah, you didn't see him in Sandra, did you gentry

1099
01:01:49,360 --> 01:01:50,320
when you were rewatching?

1100
01:01:50,760 --> 01:01:53,960
Speaker 2: No, I don't remember him in Sandra. Okay, but yeah

1101
01:01:54,079 --> 01:01:57,760
he's not. He also like he feels like he's giving

1102
01:01:58,199 --> 01:02:01,119
like a good performance, Like he definitely is an actor.

1103
01:02:01,199 --> 01:02:04,079
He's not just some guy they you know, pulled off,

1104
01:02:05,320 --> 01:02:07,800
like even the girls, like they were not known for acting.

1105
01:02:07,840 --> 01:02:12,760
But everybody's just like delivering. I don't know what happened

1106
01:02:12,800 --> 01:02:15,400
on the set that this magic happened with everybody. Is

1107
01:02:15,400 --> 01:02:17,159
it the script? Maybe it's just the script.

1108
01:02:17,519 --> 01:02:19,280
Speaker 3: I mean it's feelings direction too.

1109
01:02:19,480 --> 01:02:24,440
Speaker 4: Probably, Yeah, I think it's the script, the direction, and

1110
01:02:24,519 --> 01:02:29,920
also the atmosphere. It's just yeah, like you mentioned the

1111
01:02:30,440 --> 01:02:35,280
rain and yeah, it's just just a nice kind of

1112
01:02:35,440 --> 01:02:36,400
hangout movie.

1113
01:02:36,800 --> 01:02:40,000
Speaker 3: Yeah. Yeah, and it goes by really quick. It actually

1114
01:02:40,079 --> 01:02:44,239
feels much more substantial than it is. I mean it's

1115
01:02:44,280 --> 01:02:47,480
really on paper, it's very slight. Like if you were

1116
01:02:47,519 --> 01:02:49,679
just to describe with this movie, I'm like, well, yeah,

1117
01:02:49,719 --> 01:02:52,239
this couple comes to the hotel and they have sex

1118
01:02:52,239 --> 01:02:54,639
with the first time, and yeah, this babysitter has sex

1119
01:02:54,679 --> 01:02:58,320
with it. It sounds very boilerplate. It really isn't about

1120
01:02:58,480 --> 01:03:02,039
the execution and and how everyone is really bringing their

1121
01:03:02,039 --> 01:03:04,400
a game to this little movie for the Pussycat Chain

1122
01:03:04,719 --> 01:03:08,280
that really didn't need to be this good. But you know,

1123
01:03:08,880 --> 01:03:11,920
you know, everyone involved obviously had pride in the work

1124
01:03:11,960 --> 01:03:14,559
regardless of what the genre was, which is that's what

1125
01:03:14,599 --> 01:03:18,760
you want in exploitation to make something good that is enduring.

1126
01:03:19,320 --> 01:03:22,199
Speaker 2: Yeah, I don't think i've heard Malta like speak this

1127
01:03:22,400 --> 01:03:26,559
have a speaking role with more than no, like three lines.

1128
01:03:29,360 --> 01:03:31,960
Speaker 3: And that's what's disappointing. It's like, so her entire career

1129
01:03:32,039 --> 01:03:34,719
is like nude walk ons for like in Rochler movies.

1130
01:03:34,800 --> 01:03:37,400
And and I think she's in the Dirt Gang with

1131
01:03:37,519 --> 01:03:41,679
Ushi and a few other people. And yeah, so this movie,

1132
01:03:42,000 --> 01:03:45,440
if it hadn't resurfaced, we would have no idea how good,

1133
01:03:45,599 --> 01:03:48,039
how good she is, I mean, you know it is

1134
01:03:48,119 --> 01:03:51,599
there is nothing really left of her career otherwise that

1135
01:03:51,719 --> 01:03:54,880
is gives any indication that she could handle a character

1136
01:03:54,960 --> 01:03:57,800
with dialogue, right, And Kathy Hilton, same thing. Kathy Hilton

1137
01:03:58,000 --> 01:04:00,960
was in so much garbage. So it's really nice that

1138
01:04:01,039 --> 01:04:04,880
she's playing this character that like has ranged and has

1139
01:04:05,119 --> 01:04:08,119
has a character arc, you know. It's yeah, And I

1140
01:04:08,159 --> 01:04:10,039
think that's another reason why I love it so much, because,

1141
01:04:10,079 --> 01:04:12,119
as you know, I'm obsessed with a lot of the

1142
01:04:12,159 --> 01:04:16,719
women in these movies. So getting to see these these

1143
01:04:16,840 --> 01:04:19,559
actresses given a chance to do something more substantial than

1144
01:04:19,599 --> 01:04:21,519
to show up and take their clothes off is always

1145
01:04:21,639 --> 01:04:25,280
very rewarding. Even fifty years later. It's just, you know,

1146
01:04:25,360 --> 01:04:28,679
it's like, Okay, they were able to do something. It

1147
01:04:28,760 --> 01:04:31,679
wasn't just you know, show up, take her clothes off

1148
01:04:31,679 --> 01:04:34,199
and leave. They were able to do something special. And

1149
01:04:34,239 --> 01:04:36,000
so it's you know, it's.

1150
01:04:35,880 --> 01:04:39,320
Speaker 2: Almost like somebody should ask Malta about this part, don't

1151
01:04:39,360 --> 01:04:40,079
you think, Casey?

1152
01:04:40,920 --> 01:04:49,360
Speaker 3: I want to. So she's around. She is, She's in Hawaii.

1153
01:04:49,519 --> 01:04:53,239
She's very very active in the arts. She's an activist.

1154
01:04:53,280 --> 01:04:56,920
She's very involved with water rights and the land back

1155
01:04:57,000 --> 01:05:01,320
movement of the Native Hawaiians. Yeah, really fascinating woman. And

1156
01:05:01,760 --> 01:05:04,239
I would like to maybe reach out to her maybe

1157
01:05:04,400 --> 01:05:07,400
because if she had a chance to see this, she

1158
01:05:07,519 --> 01:05:10,239
might be more receptive to walking down memory Lane, you

1159
01:05:10,280 --> 01:05:12,519
know and be like, well, yeah, I mean it was

1160
01:05:12,559 --> 01:05:15,159
on her resume. It was on her sad resume, which

1161
01:05:15,199 --> 01:05:16,800
is really crazy when you think about it.

1162
01:05:17,239 --> 01:05:18,280
Speaker 4: You know, she was.

1163
01:05:18,320 --> 01:05:20,920
Speaker 3: Obviously proud of it at some point, because she plays

1164
01:05:20,960 --> 01:05:23,840
a character with a name, which is very uncommon for her.

1165
01:05:24,079 --> 01:05:31,400
Speaker 6: Yeah, christ big Man, who are you looking for? Huber?

1166
01:05:31,960 --> 01:05:33,880
Speaker 4: I just don't trust these coming hotels.

1167
01:05:34,880 --> 01:05:38,039
Speaker 6: I don't like the idea having some freak watching me. Honey,

1168
01:05:38,760 --> 01:05:41,280
olid he was going to see you is as alla Ilbo.

1169
01:05:42,840 --> 01:05:46,239
Speaker 4: I'm wondering if there's some kind of I'll probably look

1170
01:05:46,280 --> 01:05:49,119
into this. I didn't get a chance to do it

1171
01:05:49,360 --> 01:05:53,480
this week, but in the office, I don't know if

1172
01:05:53,519 --> 01:05:57,280
you noticed there were show posters because I guess there

1173
01:05:57,320 --> 01:06:00,559
was an LA production of Rosenkrantz and Guildens under Dead,

1174
01:06:00,960 --> 01:06:05,519
like hanging up there, and I mean, for no other reason,

1175
01:06:05,559 --> 01:06:08,119
it might be worth looking through the LA Times to

1176
01:06:08,159 --> 01:06:11,000
see get an idea of when this movie was shot,

1177
01:06:11,400 --> 01:06:14,199
you know, based on you know, if if that show

1178
01:06:14,360 --> 01:06:17,119
was or if that was something maybe that McFarland was

1179
01:06:17,159 --> 01:06:22,360
involved in, because you know, before he made sexploitation movies,

1180
01:06:23,400 --> 01:06:27,239
Edward Blessington just did stage. I mean, he didn't have

1181
01:06:27,320 --> 01:06:31,199
any walk ons and small in bigger films or anything

1182
01:06:31,320 --> 01:06:34,760
like that. It wasn't like John Alderman or Adam or

1183
01:06:35,360 --> 01:06:38,199
you know these other actors that that had had these

1184
01:06:38,280 --> 01:06:42,199
walk on roles and then just went into sexploitation. He

1185
01:06:42,679 --> 01:06:47,360
just went right into it. And I think that's the

1186
01:06:47,400 --> 01:06:50,719
way a lot of the actresses, certainly the actors. But

1187
01:06:50,760 --> 01:06:53,320
he told me that that's how it happened, was that

1188
01:06:53,880 --> 01:06:56,400
they were friendly, they knew each other, and then they

1189
01:06:56,400 --> 01:06:59,679
would bring each other into for jobs. Like he got

1190
01:06:59,679 --> 01:07:02,679
The Blue Hour based on Gary Kent being the production

1191
01:07:02,840 --> 01:07:06,559
manager on the film, so he brought it on for

1192
01:07:06,639 --> 01:07:10,039
that and auditioned and got the lead on The Blue Hour.

1193
01:07:10,760 --> 01:07:15,639
But they you know, Eric Stern, Marlon Procter, Ed didn't

1194
01:07:15,639 --> 01:07:18,960
really know John Alderman, but he knew people who knew him,

1195
01:07:19,039 --> 01:07:21,960
so they were all connected. And they all knew Charles Napier,

1196
01:07:22,360 --> 01:07:25,320
and they were all like, they were friendly with Charles Napier,

1197
01:07:25,639 --> 01:07:30,199
but they were Ed said that they were really really

1198
01:07:30,360 --> 01:07:32,960
jealous of you know, they would hang out with him

1199
01:07:33,000 --> 01:07:36,199
and everything, but they were over at his place. One

1200
01:07:36,280 --> 01:07:39,199
day he got a check from russ Meyer that was

1201
01:07:39,239 --> 01:07:42,239
like like one hundred and eighty five thousand dollars or

1202
01:07:42,280 --> 01:07:46,280
something like that, and they're like, we're making you know,

1203
01:07:46,480 --> 01:07:50,000
fifty dollars a day or whatever on these films.

1204
01:07:50,039 --> 01:07:55,400
Speaker 2: Well, and he earned probably every cent of that.

1205
01:07:55,400 --> 01:07:59,159
Speaker 3: That's true. Actually, yes, And I think Charles did nudity.

1206
01:07:59,239 --> 01:08:01,000
I don't know if I would have. I don't think

1207
01:08:01,039 --> 01:08:03,119
I did nudity. Did he Is he nude in this?

1208
01:08:03,280 --> 01:08:04,039
I don't recall.

1209
01:08:04,400 --> 01:08:09,800
Speaker 4: Yeah, yeah, he did remember Duddy in this, And and.

1210
01:08:09,320 --> 01:08:11,360
Speaker 2: I think he's nude in Sandra the making.

1211
01:08:11,159 --> 01:08:13,400
Speaker 3: Of Oh Okay, because some of these actors like they

1212
01:08:13,880 --> 01:08:16,439
are in them, but they don't actually do nudity. I'm

1213
01:08:16,439 --> 01:08:18,359
trying to think of a few other examples.

1214
01:08:18,359 --> 01:08:21,199
Speaker 4: But yeah he did, Yeah, he did duty and in

1215
01:08:22,800 --> 01:08:26,520
most of these. Yeah, but yeah, he he said, you know,

1216
01:08:26,560 --> 01:08:30,279
based on Cherry Harry and Raquel Napier got an agent

1217
01:08:30,359 --> 01:08:34,720
who I think also represented Lee Marvin. So yeah, yeah,

1218
01:08:34,760 --> 01:08:37,319
so he he really loved the big time with that,

1219
01:08:39,079 --> 01:08:43,279
with that film. But this is a funny story. Actually,

1220
01:08:43,279 --> 01:08:47,560
I just remembered. It's the Marsha Jordan movie that John

1221
01:08:47,600 --> 01:08:50,520
Hayes directed, These Pleasures, Condemned.

1222
01:08:51,119 --> 01:08:54,960
Speaker 3: That's it. Yes, that's Condemned. It's so ridiculous.

1223
01:08:55,119 --> 01:09:01,760
Speaker 2: Yeah, John Hayes move this, Yeah, yeah, it was.

1224
01:09:01,840 --> 01:09:04,279
Speaker 3: It's a late period. It's a late period John Hayes

1225
01:09:04,399 --> 01:09:06,079
and late period Marcia Jordan too.

1226
01:09:06,399 --> 01:09:09,520
Speaker 4: Yeah, it's like seventy two. I think you're seventy seventy two.

1227
01:09:09,960 --> 01:09:13,279
Speaker 3: Is that the one with is Michael Pataki? Michael, Yeah,

1228
01:09:13,319 --> 01:09:14,319
Michael Pataki's in that.

1229
01:09:14,960 --> 01:09:15,640
Speaker 4: I think he's in it.

1230
01:09:15,760 --> 01:09:17,640
Speaker 3: Yeah, I think he's in it. Yeah. And there's another

1231
01:09:17,680 --> 01:09:20,319
one around the same time called I think No not

1232
01:09:20,399 --> 01:09:24,079
hypno Erotica. Yeah, there's another one, but yeah.

1233
01:09:23,880 --> 01:09:26,439
Speaker 4: That she's in that, That Marcia Jordan's.

1234
01:09:26,119 --> 01:09:30,960
Speaker 3: Man, that Pataki's in for John Hayes. Oh okay, yeah yeah,

1235
01:09:30,960 --> 01:09:35,840
because well Pataki was, he was in a few others,

1236
01:09:35,880 --> 01:09:37,800
in a lot of those. Yeah, there's one that he's

1237
01:09:37,840 --> 01:09:41,359
in where he's fully nude and he got a sunburn

1238
01:09:41,520 --> 01:09:43,520
and he has to be slathered down his whole body

1239
01:09:43,560 --> 01:09:47,479
with like alo So it's him fully nude running around

1240
01:09:47,479 --> 01:09:50,760
with like this white gunk all over him. I yeah,

1241
01:09:51,239 --> 01:09:55,479
Michael must have had a blast doing these, but you know,

1242
01:09:56,039 --> 01:09:57,640
I don't know, mister.

1243
01:09:58,279 --> 01:10:01,319
Speaker 2: Yeah, I remember that. Yeah, that movie is interesting.

1244
01:10:01,560 --> 01:10:03,680
Speaker 3: Yeah, I don't care for it. Becky Sharp is really

1245
01:10:03,680 --> 01:10:05,479
good in it, but it's otherwise not very good.

1246
01:10:05,720 --> 01:10:08,800
Speaker 2: Well yeah, I know we're like pooh pooing John Hayes's comedy,

1247
01:10:08,800 --> 01:10:12,239
but I'll watch a John Days's comedy if Marsha Jordan's

1248
01:10:12,239 --> 01:10:12,439
in it.

1249
01:10:12,560 --> 01:10:14,560
Speaker 4: Yeah, yes, so you should see it.

1250
01:10:14,720 --> 01:10:20,920
Speaker 3: She plays like a very uptight moral majority type. Yeah.

1251
01:10:21,119 --> 01:10:25,239
Speaker 4: Ed told me a funny story when when he got

1252
01:10:25,439 --> 01:10:27,840
I think it was the first movie he made was

1253
01:10:28,640 --> 01:10:30,199
Marsha the Erotic Housewife.

1254
01:10:30,720 --> 01:10:31,920
Speaker 3: Yeah, the Don Davis movie.

1255
01:10:32,000 --> 01:10:36,159
Speaker 4: Yeah, yeah, he got to the set and you know,

1256
01:10:36,239 --> 01:10:39,920
he's hanging out there again, and he said, oh, there's

1257
01:10:39,640 --> 01:10:44,359
this really beautiful blonde. She looks kind of familiar, he said.

1258
01:10:44,359 --> 01:10:49,119
So I started talking with her and finally realized that

1259
01:10:49,840 --> 01:10:53,159
I had known her when I was like fourteen years old.

1260
01:10:53,840 --> 01:10:57,880
And what happened was he he had gone to an

1261
01:10:57,960 --> 01:11:02,640
all boys school in Alabama, and a couple miles away

1262
01:11:02,640 --> 01:11:06,000
there was a girls school. So one of his friends

1263
01:11:06,560 --> 01:11:09,720
at the boys' school, this guy, George, who's from Tennessee,

1264
01:11:10,199 --> 01:11:13,640
had a girlfriend from at the girls school, and he

1265
01:11:14,039 --> 01:11:15,840
used to bring her, you know, she would come around

1266
01:11:15,920 --> 01:11:18,560
and so ED got to know her a little bit

1267
01:11:19,079 --> 01:11:23,479
and it was Marcia Jordan's is crazy like fourteen year

1268
01:11:23,560 --> 01:11:27,680
old Marsha Jordan. So he's like, you know, years later,

1269
01:11:27,800 --> 01:11:30,079
he's on the sete and he said, they like went

1270
01:11:30,119 --> 01:11:33,279
to a payphone and he called George. He's like, hey,

1271
01:11:33,279 --> 01:11:37,359
you're never gonna believe who's but that's crazy.

1272
01:11:37,640 --> 01:11:39,560
Speaker 3: Well, yeah, oh my god.

1273
01:11:40,680 --> 01:11:43,600
Speaker 2: For some reason, I picture I picture like fifteen year

1274
01:11:43,600 --> 01:11:47,439
old Marsha looking exactly the same as like thirty five

1275
01:11:47,520 --> 01:11:48,840
year old Marsha.

1276
01:11:48,960 --> 01:11:51,880
Speaker 3: Yeah, he said, maybe not his big hair, but yeah, right,

1277
01:11:52,680 --> 01:11:54,239
I know I know.

1278
01:11:54,319 --> 01:11:59,920
Speaker 4: Her from somewhere. They start talking. He's like, yeah, George's.

1279
01:11:59,479 --> 01:12:03,319
Speaker 3: Wild from Alabama to Hollywood, California. That's great.

1280
01:12:04,680 --> 01:12:08,479
Speaker 2: Well, didn't you say, Casey she went back to was

1281
01:12:08,520 --> 01:12:10,880
it Alabama? At the when she was done her career?

1282
01:12:11,119 --> 01:12:15,840
Speaker 3: She went to like Rancho Cucamonga or something something, some California.

1283
01:12:16,000 --> 01:12:19,880
Is she somewhere in California with rings? I don't remember. Yeah,

1284
01:12:19,960 --> 01:12:21,760
because she got married and had a bunch of kids.

1285
01:12:21,960 --> 01:12:22,720
Speaker 2: I believe.

1286
01:12:24,159 --> 01:12:28,479
Speaker 6: They just got running water. Bob, I've got something to

1287
01:12:28,520 --> 01:12:31,920
tell you. But I know you're going to get mad.

1288
01:12:32,000 --> 01:12:34,760
Yes you will. I know you're gonna get mad. Which

1289
01:12:34,760 --> 01:12:40,920
is the Well I promise you won't get mad. Sure, promise.

1290
01:12:43,119 --> 01:12:47,479
I couldn't get the diaphragm. Oh shit, I damn will

1291
01:12:47,640 --> 01:12:49,560
soon up a bit to do it.

1292
01:12:50,319 --> 01:12:50,560
Speaker 4: Well.

1293
01:12:51,079 --> 01:12:52,800
Speaker 2: I wanted to ask you, Chris, what do you think?

1294
01:12:53,159 --> 01:12:54,920
Are you a Debbie Osborne fan?

1295
01:12:56,000 --> 01:12:56,479
Speaker 1: Yeah?

1296
01:12:56,680 --> 01:12:59,439
Speaker 4: Yeah, I like her. She's she's fun than this and

1297
01:12:59,600 --> 01:13:03,840
you know she's cute. Yeah, I always I really like her. Yeah,

1298
01:13:02,880 --> 01:13:07,840
it's what she was in Cindy and Dama and uh

1299
01:13:07,920 --> 01:13:12,159
the Manton massacre or the cult? Yeah? Yeah, what else

1300
01:13:12,199 --> 01:13:12,680
did she do?

1301
01:13:13,880 --> 01:13:17,920
Speaker 7: She did all those all the bucalos yeah, all the

1302
01:13:17,960 --> 01:13:25,319
Bucaloos and yes, tobacco root yeah boy.

1303
01:13:25,319 --> 01:13:27,680
Speaker 3: Yeah yeah yeah, all those things.

1304
01:13:27,920 --> 01:13:30,319
Speaker 4: Yeah, that's right. She's one of the women in the

1305
01:13:30,439 --> 01:13:31,079
night blow boy.

1306
01:13:31,159 --> 01:13:36,920
Speaker 3: Yeah yeah. Well, actually related to that, we did an

1307
01:13:36,960 --> 01:13:42,800
episode on Pete Perry and you're you're revealing that you

1308
01:13:42,880 --> 01:13:46,319
spoke to Pete Perry. Was like a bombshell to me.

1309
01:13:46,840 --> 01:13:49,359
So because someone found you you quoted that he said,

1310
01:13:49,399 --> 01:13:50,760
no Bucaloo was a real person.

1311
01:13:51,119 --> 01:13:51,319
Speaker 4: Yeah.

1312
01:13:51,439 --> 01:13:53,560
Speaker 3: I was like, oh my god, Pete Perry spoke. I

1313
01:13:53,600 --> 01:13:55,640
had no idea that I thought he was, you know,

1314
01:13:55,880 --> 01:13:57,920
radio silence forever. So what was that like?

1315
01:13:58,640 --> 01:14:03,840
Speaker 4: He He was not. He was really not very nice.

1316
01:14:04,720 --> 01:14:08,720
I've talked to him for I think I called him

1317
01:14:08,880 --> 01:14:14,680
at least twice and had conversations with him one At

1318
01:14:14,720 --> 01:14:18,720
one point his wife picked up I guess Sue was that.

1319
01:14:18,840 --> 01:14:20,439
Speaker 3: Superperent, super.

1320
01:14:21,720 --> 01:14:23,920
Speaker 4: She She picked up the phone one time and she

1321
01:14:24,039 --> 01:14:25,840
was like, oh you know that's that guy again.

1322
01:14:26,840 --> 01:14:27,600
Speaker 2: Oh god.

1323
01:14:27,399 --> 01:14:31,600
Speaker 4: And yeah he talked to me. I did an interview

1324
01:14:31,640 --> 01:14:35,439
with him about Mondo Mod and and he was he

1325
01:14:35,560 --> 01:14:38,640
was nice. He was really nice talking about Mondo Mod.

1326
01:14:38,760 --> 01:14:43,000
But then another time I called and asked him about

1327
01:14:43,359 --> 01:14:45,439
so I think it was the young cycle girls, and

1328
01:14:45,600 --> 01:14:48,960
and he he wasn't too cool about that. And then

1329
01:14:49,119 --> 01:14:52,560
I started asking him about, you know, be Al Bucaloo

1330
01:14:52,680 --> 01:14:55,840
and and telling him, you know that I had seen

1331
01:14:55,920 --> 01:14:59,840
in some places that he that they credited the same you,

1332
01:15:00,399 --> 01:15:02,920
that it was the same person, that Bethel Buccaloo was

1333
01:15:02,920 --> 01:15:05,680
a was a pseudonym. He's like, no, no, no, that

1334
01:15:06,119 --> 01:15:09,399
there there was, there was a There was a Bethel Bucaloo.

1335
01:15:10,439 --> 01:15:14,319
I was not I was not him. But yeah, at

1336
01:15:14,439 --> 01:15:18,479
least twice I remember calling him and but yeah, the

1337
01:15:18,560 --> 01:15:23,239
longest I spoke to him was maybe forty five minutes. Uh,

1338
01:15:23,479 --> 01:15:27,039
and that was mostly about Mondo mode. And then whenever

1339
01:15:27,079 --> 01:15:30,359
I would try to steer it in other directions, yeah,

1340
01:15:30,439 --> 01:15:33,840
he wouldn't. He wouldn't be really cool about that.

1341
01:15:34,079 --> 01:15:37,319
Speaker 3: Interesting, why do you think that was?

1342
01:15:38,680 --> 01:15:39,119
Speaker 2: I don't know.

1343
01:15:39,239 --> 01:15:42,399
Speaker 4: I mean, I should go back and listen to the recordings,

1344
01:15:42,399 --> 01:15:46,039
because I recorded. I recorded that interview, I know, and

1345
01:15:46,399 --> 01:15:49,279
I may have I may have recorded the other one. Yeah,

1346
01:15:49,319 --> 01:15:53,439
maybe I'm just misremembering it, but I I know he was.

1347
01:15:53,640 --> 01:15:56,960
He was pretty gruff and and I didn't get much

1348
01:15:57,039 --> 01:16:01,359
information out of him about other movies. A lot of

1349
01:16:01,359 --> 01:16:03,560
it was. It was just it was like pulling teeth

1350
01:16:04,039 --> 01:16:09,640
getting info out of him, and not because he was

1351
01:16:10,119 --> 01:16:12,560
in a hurry or he was busy or anything. I

1352
01:16:12,640 --> 01:16:16,720
just don't think he liked talking about it. I think

1353
01:16:16,760 --> 01:16:19,600
with some of these people, like same with Lee Frost.

1354
01:16:20,000 --> 01:16:24,199
Sometimes sometimes Lee would talk to me in great detail

1355
01:16:24,239 --> 01:16:26,399
about things, and then other times he would I don't

1356
01:16:26,439 --> 01:16:29,880
know if he was drunk or hungover or what, but uh,

1357
01:16:29,920 --> 01:16:34,279
he would just get really abusive also, you know, verbally abusive.

1358
01:16:34,439 --> 01:16:38,359
And then yeah, I think I think some of these

1359
01:16:38,439 --> 01:16:42,079
filmmakers they were they felt like they should have been

1360
01:16:42,319 --> 01:16:46,399
they should have gone on to bigger things and yeah, yeah,

1361
01:16:46,880 --> 01:16:50,359
and they're they're bitter, and yeah, I I agree. I

1362
01:16:50,359 --> 01:16:54,760
mean there was no reason except maybe, you know, because

1363
01:16:54,760 --> 01:16:58,840
I've I've heard Lee Frost had a really bad drinking problem.

1364
01:16:59,520 --> 01:17:02,279
He should of he should have done movies through the

1365
01:17:02,319 --> 01:17:05,399
eighties and the nineties. He should have done all those

1366
01:17:05,680 --> 01:17:08,680
erotic thrillers that you know Frerol and Ray Jim wayne

1367
01:17:08,760 --> 01:17:11,880
Orski used to do. I mean he made one, he

1368
01:17:11,960 --> 01:17:17,279
made that one with Michael Christian, which seems like exactly

1369
01:17:17,319 --> 01:17:20,479
what Lee Frost would make as an eighties erotic thriller

1370
01:17:20,560 --> 01:17:24,439
early nineties. I mean, that's that has him all over it,

1371
01:17:25,199 --> 01:17:27,239
But yeah, he should have done a lot more. And

1372
01:17:27,760 --> 01:17:30,159
you know Peter Parry there's I don't know what his

1373
01:17:30,279 --> 01:17:34,199
thing was, but he wasn't a bad filmmaker. I like

1374
01:17:34,600 --> 01:17:37,680
I like young cycle girls, I like mag Wheels and

1375
01:17:38,479 --> 01:17:42,840
even that was that my boys are good boys or

1376
01:17:42,880 --> 01:17:45,520
something that's not it's not terrible, it's.

1377
01:17:45,479 --> 01:17:48,520
Speaker 2: Yeah, yeah, that's a buckaloo. I think he was involved

1378
01:17:48,560 --> 01:17:48,800
with that.

1379
01:17:48,920 --> 01:17:52,000
Speaker 4: Right, Yeah, yeah, I mean maybe he just he just

1380
01:17:52,079 --> 01:17:56,800
produced that one. But still, you know, they you know,

1381
01:17:56,880 --> 01:18:00,479
they should have done they should have done more. You

1382
01:18:00,479 --> 01:18:02,600
know a lot of these filmmakers. I mean John Hayes

1383
01:18:02,680 --> 01:18:05,159
was was pretty pretty talented guy.

1384
01:18:05,359 --> 01:18:11,159
Speaker 3: Yeah, that's another one. Absolutely well, Actually you I knew.

1385
01:18:11,199 --> 01:18:15,600
I remember that, Lee Frost, you wrote a box copy

1386
01:18:15,640 --> 01:18:19,199
for Ride Hard, Ride Wild for something Weird, and that

1387
01:18:19,439 --> 01:18:21,560
was one of those movies with like a Dutch or

1388
01:18:21,560 --> 01:18:25,600
a Swedish pseudonym on it, and you document like, well, Lee,

1389
01:18:25,720 --> 01:18:27,760
this really looks like one of your movies, but it

1390
01:18:27,800 --> 01:18:30,159
has this weird name on it. And I vividly remember

1391
01:18:30,199 --> 01:18:31,840
he said, what do you want me to do? Bleed

1392
01:18:31,880 --> 01:18:34,600
for you here, just leave it alone. And I'm just

1393
01:18:34,640 --> 01:18:38,159
like I can picture that that just because that just

1394
01:18:38,520 --> 01:18:41,680
that dialogue in my head, I was like, oh my god, Chris,

1395
01:18:41,720 --> 01:18:44,159
I don't know how you do it, because I would

1396
01:18:44,520 --> 01:18:48,199
I would cry. I would you know, I would be Yeah,

1397
01:18:48,720 --> 01:18:50,319
I would, I would burst his tears.

1398
01:18:51,039 --> 01:18:51,319
Speaker 2: Yeah.

1399
01:18:51,359 --> 01:18:56,760
Speaker 4: He and and like Lisa Petrucci cut that because I

1400
01:18:57,199 --> 01:19:00,920
had more of the interaction between us. Oh yeah, he

1401
01:19:01,720 --> 01:19:04,479
really angry because he said it was it's a it's a.

1402
01:19:04,439 --> 01:19:05,560
Speaker 2: Piece of toilet ship.

1403
01:19:05,960 --> 01:19:07,319
Speaker 4: Leave it at that.

1404
01:19:07,760 --> 01:19:11,479
Speaker 3: Damn damn. I still haven't seen it. I just have

1405
01:19:11,560 --> 01:19:13,880
the I just have the DVD R just like this

1406
01:19:13,920 --> 01:19:16,760
can't live up to this this quote. I can't live

1407
01:19:16,840 --> 01:19:18,199
up to what I think it's going to be. But

1408
01:19:18,760 --> 01:19:20,159
because that was one of those that he did with

1409
01:19:20,199 --> 01:19:22,520
like zero Win in Scream, right, because I was kind

1410
01:19:22,560 --> 01:19:26,359
of it was like Phoenix was Phoenix International, right, Yeah?

1411
01:19:26,520 --> 01:19:30,760
Speaker 4: It was a company, yeah yeah, Armonditamian's company, right yeah,

1412
01:19:31,239 --> 01:19:34,800
which he ran out of the poster service that he

1413
01:19:34,880 --> 01:19:39,159
ran right like right next door to Dave Friedman's office

1414
01:19:39,399 --> 01:19:43,279
on Cordona Street, because he printed up all of the

1415
01:19:43,319 --> 01:19:47,560
posters and the stills and everything for for Dave Friedman's company,

1416
01:19:47,720 --> 01:19:51,119
and also I think Bob Cressey, you know, for Olympic International,

1417
01:19:51,439 --> 01:19:54,760
a lot of the lower budgeted companies, not just exploitation.

1418
01:19:54,880 --> 01:19:57,920
I think some of the some of the lower budgeted companies,

1419
01:19:57,960 --> 01:20:02,199
I like maybe Dimension Pictures or you know, companies like that.

1420
01:20:02,520 --> 01:20:07,720
He also printed up their their materials. But he he

1421
01:20:07,760 --> 01:20:10,840
would pick up films or produce movies on the side.

1422
01:20:10,920 --> 01:20:15,920
And yeah, so he was partners with Lee on Phoenix International.

1423
01:20:16,520 --> 01:20:19,039
They were they were the two partners, and then he

1424
01:20:19,199 --> 01:20:24,640
ended up partnering with uh was it Dick Aldridge. Yeah,

1425
01:20:24,760 --> 01:20:28,319
because we were at both at that screening, right, there

1426
01:20:28,319 --> 01:20:30,800
was a screening of like one of his hardcore films.

1427
01:20:31,760 --> 01:20:34,520
Speaker 3: Yeah, that was the screening I put on. Yeah, yeah, yeah, yeah,

1428
01:20:34,520 --> 01:20:38,560
because during the Connecticut Yes, that's right, Chris, Yeah, I

1429
01:20:38,560 --> 01:20:39,640
do remember that now.

1430
01:20:39,560 --> 01:20:42,560
Speaker 4: Yeah, yeah, because I asked him about Bob Gressey. I said,

1431
01:20:42,600 --> 01:20:46,399
can you can you talk about Lee and Bob and yeah,

1432
01:20:46,439 --> 01:20:48,800
and that became Freeway Films, I.

1433
01:20:48,760 --> 01:20:51,399
Speaker 3: Think, which was Armand and then Julius Saint Vincent after

1434
01:20:51,520 --> 01:20:52,079
Armand died.

1435
01:20:52,199 --> 01:20:53,840
Speaker 4: Yeah, yeah, yeah.

1436
01:20:54,319 --> 01:20:57,600
Speaker 3: And I remember Vinegar Syndrome bought that library and I

1437
01:20:57,640 --> 01:21:01,000
remember asking him, do you have anything from pre Freeway

1438
01:21:01,079 --> 01:21:04,359
stuff that Armond did, and he was like, no, no,

1439
01:21:04,439 --> 01:21:07,359
I don't. It's like, oh great, okay, because I was

1440
01:21:07,359 --> 01:21:09,640
really open for a nice like Zero one in Scream Restoration.

1441
01:21:09,720 --> 01:21:10,920
I really liked that movie a lot.

1442
01:21:11,199 --> 01:21:14,880
Speaker 4: Yeah, there was some was it zero on and Scream Ride,

1443
01:21:14,920 --> 01:21:17,479
Hard Ride Wild the Captives Slaves and.

1444
01:21:17,520 --> 01:21:19,760
Speaker 3: Cages, Slaves and Cages. Yeah.

1445
01:21:19,840 --> 01:21:23,399
Speaker 4: Yeah, there's just that one really dismal copy of that

1446
01:21:23,399 --> 01:21:28,399
that's been floating around for years. Sleezy Rider was one, oh.

1447
01:21:28,239 --> 01:21:30,800
Speaker 3: Yes, which was directed by an actor was.

1448
01:21:30,800 --> 01:21:33,439
Speaker 4: It was Roger Roger Gentry.

1449
01:21:33,119 --> 01:21:35,720
Speaker 3: Roger Gentry right, ye, Jim Gentry right.

1450
01:21:35,800 --> 01:21:38,439
Speaker 4: But it has you know, West Bishop is in it,

1451
01:21:38,560 --> 01:21:41,880
and and there's there's a lot of leaf Frost connections

1452
01:21:41,920 --> 01:21:45,119
in that movie. He was involved, so well, it was

1453
01:21:45,239 --> 01:21:48,079
it was Phoenix International, so yeah, so it was definitely

1454
01:21:48,600 --> 01:21:52,840
leaf Frost connection movie. The Mermaid that was another.

1455
01:21:54,399 --> 01:22:00,479
Speaker 3: Yeah, that's right, Rene Bond. So yeah, I just know

1456
01:22:00,520 --> 01:22:02,159
that I know the poster in my hand because it's

1457
01:22:02,199 --> 01:22:04,760
the same guy to the posters for the Tobolina stuff.

1458
01:22:05,399 --> 01:22:08,079
Speaker 4: Right and some of the yea, some of the Friedman

1459
01:22:08,199 --> 01:22:08,960
posters too.

1460
01:22:09,239 --> 01:22:09,439
Speaker 2: Yeah.

1461
01:22:09,479 --> 01:22:13,920
Speaker 4: I think yeah, like well, I think that came from

1462
01:22:14,279 --> 01:22:16,880
that came from Friedman. I think Friedman just thought it

1463
01:22:16,920 --> 01:22:18,399
was the worst thing he'd ever seen.

1464
01:22:19,039 --> 01:22:21,000
Speaker 3: And oh, didn't he lose it at like a poker

1465
01:22:21,039 --> 01:22:21,760
game or something?

1466
01:22:21,880 --> 01:22:24,880
Speaker 4: I think so, Yeah, it was one of those tricked

1467
01:22:24,920 --> 01:22:27,319
someone into winning it in a poker game and he's like, great,

1468
01:22:28,640 --> 01:22:29,760
it's off my hands now.

1469
01:22:29,840 --> 01:22:32,319
Speaker 3: Yeah. I think I recall that on one of those commentaries.

1470
01:22:33,399 --> 01:22:36,000
Speaker 4: Yeah. Yeah, And so he gave it to arm and

1471
01:22:36,159 --> 01:22:38,920
to Amy and because he thought it was unreleasable. And

1472
01:22:38,960 --> 01:22:41,159
then there was a hardcore one also that he lost

1473
01:22:41,199 --> 01:22:42,199
called the Nibblers.

1474
01:22:42,319 --> 01:22:46,960
Speaker 3: I think, oh, terrible French import. Yeah that's bad. Yeah,

1475
01:22:46,960 --> 01:22:47,800
that's very bad.

1476
01:22:48,600 --> 01:22:52,279
Speaker 4: But one of the one of the Phoenix ones that

1477
01:22:52,399 --> 01:22:55,479
ended up going out through Freeway was it was Gary

1478
01:22:55,520 --> 01:22:58,520
Graver movie There was a Little Girl.

1479
01:22:58,760 --> 01:23:02,079
Speaker 3: I love that movie. Yes, yeah, yeah, I love that movie.

1480
01:23:02,199 --> 01:23:06,239
Sorry as to a priest's wife, Lyla Terrena. Yeah and

1481
01:23:06,800 --> 01:23:10,119
John Alferman, yeah, we love yeah, great movie.

1482
01:23:10,800 --> 01:23:14,119
Speaker 2: Was that under another title and when she was.

1483
01:23:14,119 --> 01:23:18,479
Speaker 4: Bad that was the private screenings video, Yes, and then

1484
01:23:18,479 --> 01:23:22,880
he remade it as doll Face in hardcore, same plot.

1485
01:23:23,399 --> 01:23:26,399
Speaker 3: Yeah, he couldn't let go of that plot of a

1486
01:23:26,479 --> 01:23:31,159
girl corrupting her her stepdad or whatever. Yeah, it's good,

1487
01:23:31,199 --> 01:23:33,399
good exploitation plot. You know.

1488
01:23:33,479 --> 01:23:35,880
Speaker 2: Well, listen, John Hayes did the same thing right with

1489
01:23:35,960 --> 01:23:40,159
Baby Rosemary. It's kind of a remake of Uh Dream

1490
01:23:40,199 --> 01:23:40,680
No Evil.

1491
01:23:41,239 --> 01:23:47,159
Speaker 3: Yes, yes, a little bit. Yes, John Hayes likes his

1492
01:23:47,279 --> 01:23:50,640
family issues in his movies a lot.

1493
01:23:51,119 --> 01:23:51,479
Speaker 4: Yeah.

1494
01:23:51,960 --> 01:23:54,000
Speaker 2: Well, I want to talk about Kathy Hilton, but first

1495
01:23:54,000 --> 01:23:57,680
I just want to talk about Debbie. Last thing about Debbie.

1496
01:23:57,880 --> 01:23:58,920
Speaker 3: It's your favorite.

1497
01:23:59,560 --> 01:24:01,920
Speaker 2: I think she's the only one that we don't know

1498
01:24:02,079 --> 01:24:05,359
what where she is or if she's even alive or not,

1499
01:24:05,600 --> 01:24:10,359
because her name is so common it's hard. Yeah, So

1500
01:24:10,600 --> 01:24:13,000
listeners out there, or you, Chris, if you ever run

1501
01:24:13,039 --> 01:24:16,079
across anything on Debbie Osbourne, let us know.

1502
01:24:17,039 --> 01:24:19,920
Speaker 3: That is why I'd like to raid the Novak offices,

1503
01:24:19,960 --> 01:24:22,840
because if he has talent release forms, that's what I

1504
01:24:22,880 --> 01:24:26,319
need more than anything, because I need to know real names,

1505
01:24:26,399 --> 01:24:30,439
dates of birth, possible solid security numbers, and even if

1506
01:24:30,439 --> 01:24:32,760
it's an old address or phone number, public records can

1507
01:24:32,880 --> 01:24:34,960
usually do good reverse searches on those, even from like

1508
01:24:34,960 --> 01:24:36,199
fifty years ago.

1509
01:24:36,680 --> 01:24:39,000
Speaker 2: Well you said, yeah, you found an art, Yeah, you

1510
01:24:39,000 --> 01:24:41,640
found a newspaper article mentioned that she was from Minneapolis,

1511
01:24:41,680 --> 01:24:43,159
so you know, I'm in Minneapolis.

1512
01:24:43,199 --> 01:24:45,520
Speaker 3: It was it was the Cindy and Donna press book.

1513
01:24:45,520 --> 01:24:47,600
It has a little blurb because that press book has

1514
01:24:47,600 --> 01:24:51,840
bios of everybody. Crown International really went hard promoting that movie,

1515
01:24:51,840 --> 01:24:54,119
and they wanted to make everyone stars, I guess, but yeah,

1516
01:24:54,159 --> 01:24:56,000
they gave her a little bio and they said the

1517
01:24:56,039 --> 01:24:57,920
mansa Ascar was her first movie.

1518
01:24:57,600 --> 01:24:59,439
Speaker 2: Because yeah, she might have come back. You know, she

1519
01:24:59,520 --> 01:25:01,239
might be back here. I don't know.

1520
01:25:01,319 --> 01:25:06,479
Speaker 3: Yeah, teaching your kids, she said, Yeah, could be teaching

1521
01:25:06,479 --> 01:25:10,039
your kids, just like Bank Sharry, you Bank is in Wisconsin.

1522
01:25:10,479 --> 01:25:12,279
Super Vixen is teaching kids.

1523
01:25:12,600 --> 01:25:20,840
Speaker 4: Yeah, a darling, you mean where your mouth is or

1524
01:25:20,840 --> 01:25:21,680
where your hand is?

1525
01:25:26,800 --> 01:25:29,920
Speaker 2: Yeah, Kathy, Yeah, you mentioned that you had added Kathy

1526
01:25:29,960 --> 01:25:33,640
to IMDb. I could see people not knowing who she

1527
01:25:33,960 --> 01:25:37,239
was because she's lit really dark in this movie, and

1528
01:25:37,239 --> 01:25:40,119
she already is kind of you know, she's half Indian, right,

1529
01:25:40,840 --> 01:25:43,840
so she is kind of darker ready. But yeah, another

1530
01:25:43,960 --> 01:25:45,760
great role for her. What did you have What did

1531
01:25:45,760 --> 01:25:47,520
you find out about her casey?

1532
01:25:47,880 --> 01:25:49,439
Speaker 3: Well, I think a lot of people thought she was

1533
01:25:49,479 --> 01:25:51,399
dead for years because, you know, it was reported in

1534
01:25:51,399 --> 01:25:54,399
the papers that she'd been shot in like a suicide pact,

1535
01:25:54,399 --> 01:25:57,159
which was not the case. She was just with a

1536
01:25:57,199 --> 01:26:00,720
really shitty guy who want to to kill her and

1537
01:26:00,840 --> 01:26:04,560
himself because of his mental health issues. She survived, but

1538
01:26:04,680 --> 01:26:07,239
they there was still there were bullet shrapnel left in

1539
01:26:07,279 --> 01:26:09,479
her head, so she had lifelong seizures for the rest

1540
01:26:09,520 --> 01:26:12,479
of her life and she had to be taken care

1541
01:26:12,520 --> 01:26:16,079
of by a frequent co star, Gerard Burriard, who was

1542
01:26:16,079 --> 01:26:19,479
like a French guy. But she passed away a couple

1543
01:26:19,520 --> 01:26:23,039
of years ago. But yeah, like that's why this movie

1544
01:26:23,079 --> 01:26:26,600
is so so interesting and special. In another way, it's

1545
01:26:26,680 --> 01:26:30,319
because when you look at her her list, like her CV,

1546
01:26:30,560 --> 01:26:34,520
basically it's a lot of no names like topless Girl,

1547
01:26:34,760 --> 01:26:37,840
harem girl. Like she didn't really play a character. She

1548
01:26:37,920 --> 01:26:40,079
wasn't given dialogue, she was pretty, and she took her

1549
01:26:40,079 --> 01:26:43,399
clothes off. So the fact that she yeah, she's I

1550
01:26:44,399 --> 01:26:46,279
was really impressed by her in this movie.

1551
01:26:46,600 --> 01:26:49,199
Speaker 2: Very understated. Yeah performance.

1552
01:26:49,600 --> 01:26:52,000
Speaker 3: Yeah, Yeah, she gets to show a lot of different emotion.

1553
01:26:52,399 --> 01:26:54,520
It's you know, it's not she's not stuck in one

1554
01:26:54,680 --> 01:26:57,079
mode the entire movie. Yeah, she's great.

1555
01:26:57,199 --> 01:27:01,520
Speaker 4: Yeah, It's it's interesting how my anaka gel could get

1556
01:27:01,600 --> 01:27:07,800
a couple of real showy like Sandra or Strawberries Need Rain.

1557
01:27:09,239 --> 01:27:12,399
Speaker 2: What's that? What's that Nashville movie she did.

1558
01:27:12,640 --> 01:27:17,239
Speaker 3: Nashville Girls Las Yeah, it was later, yeah, yeah.

1559
01:27:17,079 --> 01:27:19,199
Speaker 4: But she she did the a couple of you know,

1560
01:27:19,239 --> 01:27:21,640
at least two of them, the two I just named,

1561
01:27:21,640 --> 01:27:24,000
and maybe some other ones that she pops up in.

1562
01:27:24,920 --> 01:27:28,560
But she got those two leads, and you know, I

1563
01:27:28,640 --> 01:27:32,399
have to think that they helped get her Switchblade Sisters

1564
01:27:32,479 --> 01:27:37,520
and yeah, Midnight Auto Supply and Nashville Girl and some

1565
01:27:37,600 --> 01:27:42,359
of these other you know, step up definitely from from

1566
01:27:42,359 --> 01:27:47,319
this exploitation movies. And you know why why some of

1567
01:27:47,359 --> 01:27:51,600
these other actresses didn't, although you're seeing now, like Mary

1568
01:27:51,640 --> 01:27:56,560
mendem one of the movies in the Endangered List, Happily

1569
01:27:56,560 --> 01:27:58,279
ever After, I think it's called.

1570
01:27:58,039 --> 01:28:00,640
Speaker 3: Yes, yeah, I think it's ron Worthheim. Didn't he driven

1571
01:28:00,720 --> 01:28:01,640
mont Vine make that?

1572
01:28:02,039 --> 01:28:06,720
Speaker 4: I think so? Yeah, that was found. Yeah, I know

1573
01:28:06,800 --> 01:28:10,560
somebody who was a print of that out in Indianapolis.

1574
01:28:10,880 --> 01:28:13,359
He is a printed Happily ever After. But you know,

1575
01:28:13,399 --> 01:28:15,199
he did a few of you know, she did some

1576
01:28:15,279 --> 01:28:18,680
of those, and the Joe Sarno things, and and you know,

1577
01:28:18,760 --> 01:28:22,319
she never got to the to the level of of

1578
01:28:22,399 --> 01:28:26,880
even Monica Gale of making these you know, mainstream drive

1579
01:28:26,920 --> 01:28:27,960
in movies.

1580
01:28:28,760 --> 01:28:31,680
Speaker 3: Right, Yeah, Well it's interesting Monica Gail. I think, well,

1581
01:28:31,720 --> 01:28:33,800
Manica Gail is like Nail La graph and that she

1582
01:28:34,239 --> 01:28:37,000
did took the best of my recollections. She did not

1583
01:28:37,159 --> 01:28:40,640
do hardcore, so I imagine that made it easier to

1584
01:28:40,680 --> 01:28:42,600
make that transition. I mean you have people like Rene

1585
01:28:42,600 --> 01:28:45,800
Bond that show up in like a TV movie with

1586
01:28:46,119 --> 01:28:51,359
you know, Tricia Sterling, Sterling getting actual credit as waitress,

1587
01:28:51,359 --> 01:28:55,159
which is unheard of. But I think the hardcore probably

1588
01:28:55,279 --> 01:28:58,439
kept her back. I think, you know, casting agents are

1589
01:28:58,520 --> 01:29:01,720
probably perverts too. They how won't we recognize people, you

1590
01:29:01,760 --> 01:29:03,960
know when they come in, like oh I just saw

1591
01:29:04,039 --> 01:29:07,079
you in teenage fantasies like last week in the theater.

1592
01:29:08,640 --> 01:29:12,279
Imagine I was a stumbling block someone like Monica. I think, uh,

1593
01:29:12,319 --> 01:29:15,119
there was kind of a break between that those points

1594
01:29:15,119 --> 01:29:17,239
in her career too, because I feel like she took

1595
01:29:17,279 --> 01:29:19,800
a break after seventy one seventy two, and then all

1596
01:29:19,840 --> 01:29:23,960
of a sudden re emerged as the smiling Cobra switch

1597
01:29:24,039 --> 01:29:26,680
Play Sisters, which is such a different role for her.

1598
01:29:26,760 --> 01:29:28,840
It's yeah, it's like you forget that she was in

1599
01:29:28,880 --> 01:29:32,600
like yeah, like Southern comforts for Novak and yeah, all

1600
01:29:32,600 --> 01:29:35,359
these other little Pinocchio or ronic message of Pinocchio. She's

1601
01:29:35,399 --> 01:29:36,479
in two, which.

1602
01:29:36,359 --> 01:29:37,039
Speaker 2: She's pretty good in.

1603
01:29:37,159 --> 01:29:41,039
Speaker 4: Yeah, she made one Psycho everything there's she's in a

1604
01:29:41,159 --> 01:29:45,600
lost movie that she made for Marcius Selen and Joon DeAnda.

1605
01:29:45,920 --> 01:29:49,760
That the trailer exists because it's been as I see

1606
01:29:49,800 --> 01:29:52,880
it on some of the something Weird DVDs. It's called

1607
01:29:53,000 --> 01:29:55,560
psychotherapy or something like that.

1608
01:29:56,079 --> 01:29:57,439
Speaker 3: Oh was it psychodrama?

1609
01:29:57,760 --> 01:29:59,960
Speaker 4: Psychodrama? That's yeah, psychodrama.

1610
01:30:00,159 --> 01:30:02,039
Speaker 3: Yeah, I can see the title card in my head.

1611
01:30:02,439 --> 01:30:06,319
Speaker 4: Yeah, but it's it's it's like some sort of group

1612
01:30:06,399 --> 01:30:09,960
therapy sex film that they made.

1613
01:30:10,439 --> 01:30:14,640
Speaker 2: It must have been they made any of those, Yeah.

1614
01:30:14,039 --> 01:30:17,159
Speaker 3: They really did. Yeah, seventy it was like seventy seventy one.

1615
01:30:17,399 --> 01:30:20,319
That was the time when you went to group their

1616
01:30:20,520 --> 01:30:21,960
encounter groups and things like that.

1617
01:30:22,159 --> 01:30:22,520
Speaker 4: Yeah.

1618
01:30:23,359 --> 01:30:25,600
Speaker 2: I think I think Malta is in that too. I've

1619
01:30:25,600 --> 01:30:26,760
seen her credited on that.

1620
01:30:26,960 --> 01:30:29,239
Speaker 3: Yeah, as possible. I think in a lot of these

1621
01:30:29,279 --> 01:30:31,800
women they had the same agents. It was either Halgathu

1622
01:30:31,920 --> 01:30:35,399
or Dick James or Rebswitz. And I know I think

1623
01:30:35,520 --> 01:30:38,800
Naola was with well, how was more reliable if you

1624
01:30:38,840 --> 01:30:40,439
were just wanted to stick to soft core. You stayed

1625
01:30:40,439 --> 01:30:43,600
with Hal because he didn't ever cast hardcore. Dick James

1626
01:30:43,640 --> 01:30:48,079
would cast both, and so I think that by this

1627
01:30:48,159 --> 01:30:50,640
time Naola was with Dick James. So I feel like

1628
01:30:50,640 --> 01:30:52,800
all the women in this were courtesy of Dick James.

1629
01:30:52,800 --> 01:30:55,439
Pretty girl in the National his company. And then you

1630
01:30:55,520 --> 01:30:58,239
see like Naolo Graph and Kathy Hilton are both in Pinocchio,

1631
01:30:58,359 --> 01:31:02,159
which is probably also Dick James, and that's Monica Gale.

1632
01:31:02,640 --> 01:31:05,079
So Yes, it's kind of interesting to try to trace

1633
01:31:05,199 --> 01:31:07,960
the who was the casting agent here because they never

1634
01:31:08,079 --> 01:31:10,279
credit them. You just gonna have to know based on

1635
01:31:10,319 --> 01:31:12,640
what they've said in interviews at what time they were

1636
01:31:12,640 --> 01:31:14,439
with Hal and when they were with Dick James.

1637
01:31:14,479 --> 01:31:18,840
Speaker 4: But yeah, wasn't the Tally Cochran late she was later,

1638
01:31:18,960 --> 01:31:22,439
I guess she was. She was later a casting director too.

1639
01:31:22,960 --> 01:31:26,880
Speaker 3: Yeah, she was very involved in Yes, she started in

1640
01:31:26,920 --> 01:31:29,840
New York and then she was doing she was doing

1641
01:31:29,880 --> 01:31:33,800
soft and hard in New York till like seventy one,

1642
01:31:34,039 --> 01:31:36,800
seventy two maybe, and then they went out and that

1643
01:31:36,880 --> 01:31:38,600
was around the time she was in like Fugitive Girls

1644
01:31:38,680 --> 01:31:42,760
and uh Girls for Rent, which she and Georgina are in,

1645
01:31:42,960 --> 01:31:45,279
which is crazy because they knew each other in New

1646
01:31:45,359 --> 01:31:46,600
York and all of a sudden they're out in the

1647
01:31:46,640 --> 01:31:51,359
desert and she's getting killed by Georgina's Selvin. Uh. Yeah,

1648
01:31:51,439 --> 01:31:53,560
I think that's also how Barbara Bourbon got involved with

1649
01:31:53,600 --> 01:31:58,199
that too, was Tali Cochran? Yeah, interesting woman. I miss her.

1650
01:31:58,359 --> 01:31:59,880
Speaker 2: Yeah, you talked to her. Yeah, I've heard some of

1651
01:31:59,920 --> 01:32:01,760
it here with her.

1652
01:32:02,000 --> 01:32:04,359
Speaker 3: Yeah, she's she was great, you know, put in touch

1653
01:32:04,359 --> 01:32:07,119
with her by the Code Red boys for better, for

1654
01:32:07,199 --> 01:32:07,880
better or worse.

1655
01:32:08,680 --> 01:32:11,720
Speaker 4: You know. I didn't talk to her, but my friend

1656
01:32:11,760 --> 01:32:16,319
Bob plant uh used to love Bob. Yeah, he talked

1657
01:32:16,359 --> 01:32:19,920
to her a lot about Jack Starrett because m I

1658
01:32:19,920 --> 01:32:22,720
guess she had cast that movie Fright Mayre and she

1659
01:32:22,840 --> 01:32:25,920
she had cast Jennifer Starrett for the part that.

1660
01:32:26,239 --> 01:32:29,199
Speaker 3: Yeah, right, I think she's in that. Oh no, maybe

1661
01:32:29,199 --> 01:32:31,119
she's not in that. Me Patrick is in it. I

1662
01:32:31,159 --> 01:32:33,279
feel like Patrick has a tiny part in that. Maybe

1663
01:32:33,279 --> 01:32:35,880
he has like a cop baby because he always showed

1664
01:32:35,960 --> 01:32:42,319
up as cops randomly and like yeah, yeah, just perfect copy, yes,

1665
01:32:42,680 --> 01:32:44,000
exactly one of those things.

1666
01:32:44,000 --> 01:32:46,600
Speaker 2: But here's a perfect build for a cop. Is that

1667
01:32:46,640 --> 01:32:47,119
what she said?

1668
01:32:47,359 --> 01:32:49,359
Speaker 3: He's like a beefy guy. Like you know, he's not

1669
01:32:49,560 --> 01:32:51,239
he's not in great shape. So he's kind of like

1670
01:32:51,239 --> 01:32:55,159
a schlubby cop that has failed a physical, like you know,

1671
01:32:55,640 --> 01:32:58,479
you know, just dreading a physical to go back into

1672
01:32:58,800 --> 01:33:01,960
on the duty. But you know, you've brought up Jack

1673
01:33:01,960 --> 01:33:04,800
Starrett and I remember a while ago you're working on

1674
01:33:04,800 --> 01:33:07,159
a Jack Starrett book, and I don't know what the

1675
01:33:07,159 --> 01:33:07,960
status is of.

1676
01:33:07,960 --> 01:33:12,079
Speaker 4: That with Bob. Yeah, I mean, Bob has been working

1677
01:33:12,079 --> 01:33:15,199
on another book for years and it might actually be

1678
01:33:15,279 --> 01:33:18,960
two books. But we you know, we we did so

1679
01:33:19,039 --> 01:33:22,239
many interviews years ago, and you know, every so often

1680
01:33:22,239 --> 01:33:24,680
I'll still collect an interview. I'll pick up an interview

1681
01:33:24,720 --> 01:33:28,279
here or there for the book. There there are just

1682
01:33:28,520 --> 01:33:33,720
you know, so few people left. But yeah, it'll it'll

1683
01:33:33,720 --> 01:33:37,720
get done at some point, you know, it'll it'll, it'll

1684
01:33:37,760 --> 01:33:40,600
come out. We'll finish it. I'm working on a book

1685
01:33:40,640 --> 01:33:45,560
about Race with the Devil right now because there there's

1686
01:33:45,680 --> 01:33:50,039
I have so much information just about that that would

1687
01:33:50,239 --> 01:33:53,079
it could be its own book, whereas in the in

1688
01:33:53,159 --> 01:33:55,800
the Jack Starrett book it would a lot of it

1689
01:33:56,800 --> 01:34:00,760
wouldn't need to be in there. So so that'll come

1690
01:34:00,800 --> 01:34:03,039
out first. That'll hopefully be out by the end of

1691
01:34:03,079 --> 01:34:06,800
the year. But you know, there are still a couple

1692
01:34:06,800 --> 01:34:10,039
of interviews I still need to do. Like I have

1693
01:34:10,239 --> 01:34:15,399
almost interviewed Susan George several times and I just haven't

1694
01:34:15,439 --> 01:34:18,520
gotten to it. So that's one of the that's that's

1695
01:34:18,520 --> 01:34:20,640
one of the big interviews I want to do this year.

1696
01:34:20,640 --> 01:34:23,439
I want to finally interview Susan George because she was

1697
01:34:23,479 --> 01:34:24,720
in three of his movies.

1698
01:34:25,439 --> 01:34:28,920
Speaker 3: So yeah, wow, well I'm manifesting that for you. I'm

1699
01:34:28,960 --> 01:34:31,359
hoping that happens for you this year. Yeah, the year

1700
01:34:31,439 --> 01:34:34,359
is young, so you know, hoping happens for the end

1701
01:34:34,359 --> 01:34:36,560
of the year. But I also you know, I have

1702
01:34:36,640 --> 01:34:37,920
to say, I think the last time I saw you

1703
01:34:38,079 --> 01:34:41,520
was went a book signing for these Fist Break Break Breaks,

1704
01:34:41,560 --> 01:34:44,560
which was it was You and Grady a Forbidden Planet, right,

1705
01:34:44,720 --> 01:34:47,520
And that book is still so great. You know, I

1706
01:34:48,479 --> 01:34:50,520
still check that book for a reference. I'm like, if

1707
01:34:50,560 --> 01:34:52,359
I see something on tub I'm like, I wonder if

1708
01:34:52,479 --> 01:34:54,279
I wonder if this is written about in that book,

1709
01:34:54,479 --> 01:34:56,279
and then I'll check it off the list. But you

1710
01:34:56,319 --> 01:34:58,439
also came out with this book about the Warriors, which

1711
01:34:58,520 --> 01:35:01,840
I completely I didn't even know you were working on it.

1712
01:35:01,880 --> 01:35:03,560
I was so excited because I know there are so

1713
01:35:03,560 --> 01:35:05,239
many great stories about this movie.

1714
01:35:05,600 --> 01:35:10,319
Speaker 4: Yeah. Yeah, well we actually that was the first. That

1715
01:35:10,399 --> 01:35:13,840
was the first book I wrote with Mike. With Mike Gingold,

1716
01:35:14,000 --> 01:35:18,720
we wrote most of it in twenty eighteen. I wrote

1717
01:35:19,279 --> 01:35:23,039
a chapter of it in twenty seventeen. And that came

1718
01:35:23,119 --> 01:35:26,880
about because Mike was hired by Arrow to write one

1719
01:35:26,920 --> 01:35:31,000
of those monographs when they were doing those monographs at

1720
01:35:31,000 --> 01:35:34,119
that time they did like the Hitcher and Blair Witch

1721
01:35:34,199 --> 01:35:38,039
Project and the films of Macocagy, and there are a

1722
01:35:38,119 --> 01:35:40,399
few others. So it was going to be one of those.

1723
01:35:40,600 --> 01:35:42,439
I think they had done eight or nine of them,

1724
01:35:43,000 --> 01:35:45,880
and so we wrote it, we turned it in, the

1725
01:35:46,039 --> 01:35:48,920
layout was done and everything, we had gone through proofing

1726
01:35:49,039 --> 01:35:50,840
and everything, and it was supposed to come out for

1727
01:35:50,920 --> 01:35:55,640
the fortieth anniversary in February twenty nineteen, and it just

1728
01:35:55,680 --> 01:35:59,159
never came out. They canceled that whole line. Yeah, don't

1729
01:35:59,159 --> 01:36:04,199
do those photographs. Yeah, and a couple of those. I

1730
01:36:04,520 --> 01:36:06,279
have a couple of them. They're really good. I have

1731
01:36:06,279 --> 01:36:10,159
the Lone Wolf and Cobb one. Yeah, they just discontinued it.

1732
01:36:10,520 --> 01:36:14,079
So after about two years of like telling them, well,

1733
01:36:14,359 --> 01:36:17,760
you know, giving them suggestions, for you know, what they

1734
01:36:17,760 --> 01:36:19,239
could do with the book, and then they had just

1735
01:36:19,319 --> 01:36:23,279
told us that they were discontinuing. Finally, you know, no

1736
01:36:23,399 --> 01:36:26,359
other books came out in two years. It's like, why

1737
01:36:26,359 --> 01:36:28,760
do you just tell us you were discontinuing the line?

1738
01:36:28,800 --> 01:36:31,439
We would have bought the book back, So we did that.

1739
01:36:32,840 --> 01:36:35,000
Two years later, we bought the book back and then

1740
01:36:35,119 --> 01:36:40,359
sold it to another publisher. And by that time, you know,

1741
01:36:40,520 --> 01:36:44,359
more more Warriors things had happened, and there's more things

1742
01:36:44,359 --> 01:36:46,880
to write about, so you know, we did some interviews

1743
01:36:47,000 --> 01:36:51,800
and and yeah, and we expanded the book greatly so

1744
01:36:51,840 --> 01:36:57,000
it was no longer a monograph and yeah, but during

1745
01:36:57,039 --> 01:37:00,800
that time, I wrote These Fists with Grady. So it

1746
01:37:01,239 --> 01:37:04,119
just so happened that last year I had two books

1747
01:37:04,119 --> 01:37:06,279
come out, because then we did Grady and I did

1748
01:37:06,279 --> 01:37:09,279
the second edition of These Fists. We added fifty pages

1749
01:37:09,319 --> 01:37:12,319
of new material to that, and we got picked up

1750
01:37:12,359 --> 01:37:15,880
by a different publisher. So then that came out in July,

1751
01:37:16,079 --> 01:37:18,680
and then three months later the Warriors book came out

1752
01:37:18,800 --> 01:37:21,399
Armies of the Night. So I've been doing a lot

1753
01:37:21,439 --> 01:37:25,479
of promoting for both books, right, and yeah, you know,

1754
01:37:25,560 --> 01:37:28,359
in addition to the DVD stuff, and you know, the

1755
01:37:28,960 --> 01:37:33,119
Blu Ray extras and all this other stuff. So I'm

1756
01:37:33,159 --> 01:37:35,800
going to be scaling that back this year. I'm not

1757
01:37:36,159 --> 01:37:41,079
really doing much much more of the the Blu Ray work.

1758
01:37:42,000 --> 01:37:44,119
They have two more commentaries I'm going to do this

1759
01:37:44,239 --> 01:37:46,439
month that I should have done like six months ago.

1760
01:37:46,479 --> 01:37:47,800
But I've been so busy.

1761
01:37:48,920 --> 01:37:50,920
Speaker 3: Well yeah, I mean, because I remember when I reached

1762
01:37:50,960 --> 01:37:52,239
out to you because I was like, I really want

1763
01:37:52,319 --> 01:37:54,600
Chris On here because Temple Schlock and all these lost

1764
01:37:54,640 --> 01:37:56,960
movies and things. And I remember you said, well, I'm

1765
01:37:57,000 --> 01:38:00,319
really busy with promo for my books, and I was like, enough, said,

1766
01:38:00,359 --> 01:38:03,319
I totally get it, Like whatever works for you, Like, well,

1767
01:38:03,399 --> 01:38:08,199
we'll plan ahead. So no, I'm so I'm so happy

1768
01:38:08,239 --> 01:38:10,680
for you. I love I love the books. I mean,

1769
01:38:11,039 --> 01:38:12,720
and every time I see you want to DVD extra,

1770
01:38:12,760 --> 01:38:15,319
I smile because I'm just like, oh, yes, because it

1771
01:38:15,359 --> 01:38:17,720
just reminds me of like how long you've been doing this,

1772
01:38:18,000 --> 01:38:20,680
and so I'm glad that you're still you're still doing

1773
01:38:20,680 --> 01:38:22,600
it because you know, there's there's people that have kind

1774
01:38:22,640 --> 01:38:24,720
of decided to move on and not do anything more

1775
01:38:24,720 --> 01:38:27,479
with film, but I think you're a really vital part

1776
01:38:27,560 --> 01:38:29,760
of this community. So I just had to tell you that.

1777
01:38:30,520 --> 01:38:33,720
Speaker 4: Yeah. Yeah, And I want to give a couple of

1778
01:38:33,720 --> 01:38:37,720
plugs I did. I wrote the liner notes for the

1779
01:38:37,760 --> 01:38:44,079
Palmer Rocky movie which is coming out from Grindhouse. Oh yes, yeah, yeah, okay, yeah,

1780
01:38:44,239 --> 01:38:48,319
which what I can't even remember what title they're using

1781
01:38:48,319 --> 01:38:52,279
because the movies had like eight different titles. But yeah,

1782
01:38:52,600 --> 01:38:55,720
Scarlett Warning six sixty six I think is the title

1783
01:38:55,760 --> 01:38:58,439
that they're using, even though that's not the title on

1784
01:38:58,479 --> 01:39:02,119
the print that they have. But yeah, so I wrote

1785
01:39:02,119 --> 01:39:07,279
those booklet notes two and a half years ago. But

1786
01:39:07,279 --> 01:39:10,239
but yeah, the movies will will be coming out shortly.

1787
01:39:10,279 --> 01:39:13,680
I mean they're taking pre orders now for that. So

1788
01:39:13,720 --> 01:39:16,600
that was exciting because that was an Endangered List title.

1789
01:39:17,479 --> 01:39:21,960
And and then there's another one which I can't unfortunately

1790
01:39:22,000 --> 01:39:25,760
I can't mention the title, but Vinegar Syndrome is putting

1791
01:39:25,760 --> 01:39:29,680
out another Endangered List title. They're going to do it

1792
01:39:29,840 --> 01:39:33,199
as their reviver for their Reviver series that they're doing.

1793
01:39:33,640 --> 01:39:36,560
Speaker 3: Well, the first one was an endangered title. Yeah, so

1794
01:39:36,600 --> 01:39:38,600
I like that they're going to keep doing the endangered

1795
01:39:39,479 --> 01:39:41,479
check those off the list please yeah yeh.

1796
01:39:41,520 --> 01:39:45,000
Speaker 4: Boot Boots in the Preacher was the first one. I

1797
01:39:45,039 --> 01:39:47,359
don't remember they told me what the second one is

1798
01:39:47,399 --> 01:39:50,520
going to be, and I have not byesing you. I

1799
01:39:50,560 --> 01:39:51,760
really honestly forgot it.

1800
01:39:51,880 --> 01:39:55,960
Speaker 3: Oh listen, they will have scorny to Syncrecy, and honestly,

1801
01:39:56,039 --> 01:39:59,079
I like, I want to be surprised. Okay, yeah, yeah,

1802
01:39:59,279 --> 01:40:01,359
I'm definitely I'm definitely ordering it. But good to know

1803
01:40:01,399 --> 01:40:04,720
you're involved, because yeah, like the third one, okay, awesome,

1804
01:40:04,800 --> 01:40:08,079
because Oscar had had reached out and was kind of like, well,

1805
01:40:08,079 --> 01:40:10,560
if we're doing anything s exploitation, then we'll reach out

1806
01:40:10,560 --> 01:40:13,319
to you and Gentry to do stuff. So yeah, the

1807
01:40:13,319 --> 01:40:16,640
first one, I guess was kind of like no historical stuff,

1808
01:40:16,680 --> 01:40:18,560
but now I'm glad that they're adding to that.

1809
01:40:19,439 --> 01:40:23,439
Speaker 4: Yeah, and it's not it's not a sexploitation movie. It

1810
01:40:23,800 --> 01:40:27,560
would have been maybe it should have been, but it's

1811
01:40:27,199 --> 01:40:31,520
it's it's not it's it's PG. It's a PG level movie.

1812
01:40:31,760 --> 01:40:37,159
It was never submitted for a rating, I don't think, so. Yeah,

1813
01:40:37,199 --> 01:40:40,239
it could very easily have been a sexploitation and like

1814
01:40:40,279 --> 01:40:42,520
I said, it probably should have it, but people would

1815
01:40:42,520 --> 01:40:45,640
have remembered it. Who wouldn't have just disappeared up the

1816
01:40:45,640 --> 01:40:48,239
face of the earth. But yeah, but that'll be the

1817
01:40:48,279 --> 01:40:48,960
Third Reviver.

1818
01:40:49,720 --> 01:40:50,159
Speaker 3: Awesome.

1819
01:40:50,439 --> 01:40:52,000
Speaker 2: I was kind of hoping you were going to say

1820
01:40:52,039 --> 01:40:54,640
you were writing a book on Leaf Frost or like

1821
01:40:54,760 --> 01:40:56,039
Mabel movies or something.

1822
01:40:57,520 --> 01:41:00,760
Speaker 4: Yeah, you know, there was just a book recently, I

1823
01:41:00,760 --> 01:41:02,520
think on Mondo movies. There have been a few.

1824
01:41:02,680 --> 01:41:05,399
Speaker 2: Yeah, because I loved your your pieces that were on

1825
01:41:05,479 --> 01:41:09,479
the Mondo Freud oh seven releases.

1826
01:41:09,560 --> 01:41:09,760
Speaker 4: Yeah.

1827
01:41:09,760 --> 01:41:11,399
Speaker 2: I was like, oh, I could listen to Chris talk

1828
01:41:11,439 --> 01:41:12,760
about Mondo movies forever.

1829
01:41:13,359 --> 01:41:17,720
Speaker 4: That's right. Yeah, Roots and Savages. Also, I wrote the

1830
01:41:18,199 --> 01:41:20,000
notes for that, right.

1831
01:41:20,560 --> 01:41:24,000
Speaker 3: I forgot that. I forgot when they came out. Yeah, yes,

1832
01:41:24,119 --> 01:41:26,239
the good old days. Yeah, I remember that.

1833
01:41:27,000 --> 01:41:30,800
Speaker 4: Well, I'm going to talk about the Witchcraft seventy in

1834
01:41:30,920 --> 01:41:33,319
the Race with the Devil book. Yeah, I'm gonna write

1835
01:41:33,319 --> 01:41:37,239
about that because that was that was a few years.

1836
01:41:37,279 --> 01:41:39,920
That was five years before Race with the Devil and

1837
01:41:39,960 --> 01:41:43,079
that was Lee Frost shooting new footage.

1838
01:41:43,159 --> 01:41:43,600
Speaker 3: I forgot.

1839
01:41:43,680 --> 01:41:46,159
Speaker 2: How does a print of that exist?

1840
01:41:46,399 --> 01:41:51,520
Speaker 4: What's Yeah, there's I don't know if it's in print form,

1841
01:41:51,600 --> 01:41:55,159
but there there is a transfer of it. Yeah, of both,

1842
01:41:55,279 --> 01:41:57,720
you can get both versions of that. I don't know

1843
01:41:57,800 --> 01:42:00,239
if it's shocking video, but what one of the not

1844
01:42:00,359 --> 01:42:04,720
chocking the videos or what one of the gray market dealers.

1845
01:42:04,760 --> 01:42:07,119
Maybe it's just for the hell of it they have.

1846
01:42:08,279 --> 01:42:12,239
You could buy a DVD R with both versions. The

1847
01:42:12,319 --> 01:42:15,159
Italian interest in Leaf Frosts.

1848
01:42:15,000 --> 01:42:18,039
Speaker 2: I just can't believe that has picked up by like

1849
01:42:18,079 --> 01:42:21,520
a Severn or a vinegar syndrome. Yeah, it's it's horror

1850
01:42:21,640 --> 01:42:25,439
ishue witchcraft, and you know what the deal is with.

1851
01:42:25,359 --> 01:42:29,079
Speaker 4: That, I don't know. In fact, I just like in

1852
01:42:29,119 --> 01:42:32,159
the last couple of years, got the leaf Frost version

1853
01:42:32,239 --> 01:42:35,800
of it because the only the only version that I

1854
01:42:35,920 --> 01:42:39,800
could find was the original Italian one, and then some

1855
01:42:39,800 --> 01:42:43,840
somebody came out with the gray market version of Lee.

1856
01:42:43,800 --> 01:42:47,760
Speaker 3: Frost because I think that was one that I confirmed

1857
01:42:47,760 --> 01:42:50,439
that MGM does not have, because there was there were

1858
01:42:50,520 --> 01:42:53,000
theories that because like they got the trans America Library

1859
01:42:53,000 --> 01:42:55,520
and the E. I P Library because I think another

1860
01:42:55,560 --> 01:42:58,199
one we were researching for that was Sadismo, which they

1861
01:42:58,239 --> 01:43:01,319
also don't have, and Spree they also don't have. And

1862
01:43:01,359 --> 01:43:03,439
so it's kind of like, okay, back to square one.

1863
01:43:04,199 --> 01:43:05,920
If MGM doesn't have it, they didn't get it in

1864
01:43:05,960 --> 01:43:07,600
their acquisition, then I don't know who would have.

1865
01:43:07,640 --> 01:43:09,560
Speaker 2: But if they had it, it would have been only

1866
01:43:09,600 --> 01:43:11,880
the Italian version, right, No, because.

1867
01:43:11,640 --> 01:43:13,520
Speaker 3: If they got it if because What'scroff seventy didn't come

1868
01:43:13,520 --> 01:43:14,439
out through AIP.

1869
01:43:14,920 --> 01:43:18,560
Speaker 4: Yeah, it was through their Trans American Oh right.

1870
01:43:18,279 --> 01:43:20,680
Speaker 3: So then that would have been that version. Yeah, it

1871
01:43:20,680 --> 01:43:23,000
would have been that version, but they don't have it.

1872
01:43:23,119 --> 01:43:25,640
Speaker 4: They also put it out trans Europe exp us right,

1873
01:43:25,720 --> 01:43:28,800
and I don't I don't think they put ye. I

1874
01:43:28,800 --> 01:43:30,399
don't think that went to MGM.

1875
01:43:30,720 --> 01:43:33,119
Speaker 3: No. No, But I'm always surprised with the stuff they have.

1876
01:43:33,159 --> 01:43:35,840
They have Day of the Nightmare, which is that like, yeah,

1877
01:43:35,920 --> 01:43:39,680
that thing, that weird sixty five movie. I was very

1878
01:43:39,720 --> 01:43:42,359
surprised it told me, oh, yeah, we own that worldwide

1879
01:43:42,399 --> 01:43:45,560
in perpetuity. I was like, oh, somebody should tell something weird.

1880
01:43:46,640 --> 01:43:49,359
I think they have the negative what do you have? Yeah?

1881
01:43:49,720 --> 01:43:50,439
Really interesting.

1882
01:43:51,119 --> 01:43:51,359
Speaker 6: Yeah.

1883
01:43:51,560 --> 01:43:53,359
Speaker 4: I think a lot of that stuff went back to

1884
01:43:53,399 --> 01:43:56,119
the producers because of the hook I'm not hooked generation.

1885
01:43:56,399 --> 01:44:00,119
It was a hallucination generation that was a American and

1886
01:44:00,159 --> 01:44:03,760
that way to the producer because I think Jesse Nelson

1887
01:44:03,880 --> 01:44:06,279
that zoomed to put that out on blue.

1888
01:44:06,119 --> 01:44:08,720
Speaker 3: Right, Yeah, and that's on tub now like you can

1889
01:44:08,800 --> 01:44:11,239
just see it, yeah, which is really crazy.

1890
01:44:11,359 --> 01:44:11,600
Speaker 6: Yeah.

1891
01:44:12,479 --> 01:44:13,439
Speaker 3: I do like that movie.

1892
01:44:13,560 --> 01:44:16,920
Speaker 2: That's a good one secret Places, Secret Things, which is

1893
01:44:16,960 --> 01:44:20,399
never going to show up anywhere, right, you never.

1894
01:44:20,239 --> 01:44:24,319
Speaker 4: Know that the print might show up. It's I'm always

1895
01:44:24,319 --> 01:44:26,800
amazed at the libraries.

1896
01:44:26,199 --> 01:44:29,279
Speaker 2: That never say never let you know.

1897
01:44:29,880 --> 01:44:32,560
Speaker 3: Yeah, the issue with it is Grad's Corp, I think,

1898
01:44:32,680 --> 01:44:34,479
and they were lucky at Blue Hour was also a

1899
01:44:34,520 --> 01:44:37,760
grads Corp. So it's kind of like Sandra was Grads Corp.

1900
01:44:37,800 --> 01:44:39,880
And that only exists in one print, and so it's

1901
01:44:39,960 --> 01:44:43,079
kind of you have to hope that there's something for

1902
01:44:43,159 --> 01:44:47,039
these somewhere, especially a secret place of Secret Things, because

1903
01:44:47,039 --> 01:44:49,119
I you know, I traced the distribution of it and

1904
01:44:49,119 --> 01:44:52,039
it played everywhere. I mean I think in La it

1905
01:44:52,119 --> 01:44:54,439
was playing five theaters at one time or something.

1906
01:44:54,479 --> 01:44:54,680
Speaker 4: It was.

1907
01:44:54,760 --> 01:44:57,640
Speaker 3: Yeah, it was like it was very it was very

1908
01:44:57,840 --> 01:45:00,560
present for like a year all over the country. So

1909
01:45:00,640 --> 01:45:02,359
you kind of just have to hope that the print

1910
01:45:02,399 --> 01:45:05,520
is somewhere. Yeah, maybe because that negative I think another

1911
01:45:05,560 --> 01:45:09,239
grad score materials are available anymore in terms of negatives

1912
01:45:09,239 --> 01:45:09,640
and stuff.

1913
01:45:10,319 --> 01:45:15,159
Speaker 4: Yeah, you know, I talk with Richard Ellman a few times,

1914
01:45:14,880 --> 01:45:19,279
and yeah, and I'll ask him sometimes and you know,

1915
01:45:19,359 --> 01:45:25,119
about certain movies and he put out like Ferouku a

1916
01:45:25,239 --> 01:45:28,319
ka co ed dorm, so you know something, Yeah, put

1917
01:45:28,359 --> 01:45:31,399
out a version of that, but but it's cut, you know,

1918
01:45:31,479 --> 01:45:35,479
it's heavily cut. And he put out bizarre devices and

1919
01:45:35,479 --> 01:45:37,640
and you know a lot of movies that are are

1920
01:45:37,840 --> 01:45:42,880
either lost or available just through something weird, like in

1921
01:45:43,520 --> 01:45:47,960
editing form. And he doesn't have any materials anymore, right, because.

1922
01:45:47,760 --> 01:45:50,800
Speaker 3: He did pan Aerna Blue too, didn't he? Yeah, right, yeah,

1923
01:45:51,039 --> 01:45:53,439
we might have that we see, Oh see, I would

1924
01:45:53,479 --> 01:45:56,720
because that version only on tape. It looks horrible because

1925
01:45:56,720 --> 01:45:59,560
it's obviously it's full screen. It was nice wide screen

1926
01:45:59,640 --> 01:46:03,199
with all the great you know, softcore sex superstars of

1927
01:46:03,239 --> 01:46:06,479
the seventies. I think I asked Vinegar Syndrome if they

1928
01:46:06,479 --> 01:46:08,159
were interested in that, and I think Joe said that

1929
01:46:08,239 --> 01:46:10,039
he had asked and he didn't have any elements. But

1930
01:46:10,079 --> 01:46:11,880
that was a couple of years ago. It's possible something's

1931
01:46:11,920 --> 01:46:12,359
turned up.

1932
01:46:12,800 --> 01:46:15,319
Speaker 4: Yeah, I don't know. That was seventy millimeter. Actually that

1933
01:46:15,439 --> 01:46:19,239
was the big that that was the advertising, you know,

1934
01:46:19,399 --> 01:46:24,800
the bally who was that. It was shot in seventy millimeter, right, Yeah.

1935
01:46:24,840 --> 01:46:27,199
The only version I've seen is that awful one that

1936
01:46:27,279 --> 01:46:28,640
I think Alpha Blue put out.

1937
01:46:29,239 --> 01:46:31,359
Speaker 3: Yeah, I think so, and I had the post. Yeah,

1938
01:46:31,359 --> 01:46:33,239
that's right, seventy millimeter. I had the poster for it,

1939
01:46:33,279 --> 01:46:36,880
and yeah, it's that that rollercoaster scene illustrated is right there.

1940
01:46:36,920 --> 01:46:40,079
It's yeah, it's not as effective in a full screen version,

1941
01:46:40,079 --> 01:46:44,560
but maybe on seventy millimeter that that back projection, the

1942
01:46:44,680 --> 01:46:46,600
real projection didn't look that bad. I don't know.

1943
01:46:47,000 --> 01:46:50,199
Speaker 4: Yeah, but that's a fun one. Yeah, I've asked him

1944
01:46:50,199 --> 01:46:52,840
about certain things, you know, I should I should ask

1945
01:46:52,880 --> 01:46:55,319
him again. And see, I did a big interview with

1946
01:46:55,399 --> 01:46:59,119
him about Panorama Blue, and you know that I talked

1947
01:46:59,119 --> 01:47:01,920
with him about fewless fighters for the for the book.

1948
01:47:02,760 --> 01:47:05,800
But yeah, I just got the impression that a lot

1949
01:47:05,840 --> 01:47:07,880
of the things that he had just kind of went

1950
01:47:07,920 --> 01:47:08,920
back to the producers.

1951
01:47:10,119 --> 01:47:13,520
Speaker 3: Okay, where did the Panorama Blue interview get published?

1952
01:47:13,880 --> 01:47:16,720
Speaker 4: I haven't done anything with it. I was thinking about

1953
01:47:17,720 --> 01:47:22,079
doing it like a magazine or maybe maybe like I

1954
01:47:22,119 --> 01:47:26,399
don't know, Yeah, I just I know that eventually all

1955
01:47:26,439 --> 01:47:29,000
the interviews that I've done with Richard will end up

1956
01:47:29,039 --> 01:47:31,399
in a book at some point. But we talked for

1957
01:47:31,439 --> 01:47:35,359
a while just about that movie, and I'm not sure why.

1958
01:47:36,840 --> 01:47:39,000
Maybe I thought I could do it, sell it to

1959
01:47:39,079 --> 01:47:42,520
a magazine, or maybe the Rialito Report would be interested

1960
01:47:42,560 --> 01:47:44,319
in it. I don't know what I was thinking.

1961
01:47:44,600 --> 01:47:46,479
Speaker 3: Yeah, all right, well that makes me think of this

1962
01:47:46,560 --> 01:47:49,920
Pete Perry interview too, because you know, there there are

1963
01:47:49,960 --> 01:47:51,640
a few Pete Perry's that are going to be coming

1964
01:47:51,680 --> 01:47:54,880
out over the next few years, so and they're going

1965
01:47:54,920 --> 01:47:56,960
to be his exploitation stuff. Whether he talked about that

1966
01:47:57,039 --> 01:47:59,560
with you or not, I think are the only person

1967
01:47:59,560 --> 01:48:03,039
that ever interviewed him. Like nobody else. Nobody else interviewed him.

1968
01:48:03,079 --> 01:48:05,119
That's why I was like jaw on the floor.

1969
01:48:05,640 --> 01:48:06,319
Speaker 4: I saw that.

1970
01:48:06,800 --> 01:48:08,600
Speaker 3: It was just like, oh my god, Chris spoke to

1971
01:48:08,640 --> 01:48:12,680
Pete Perry. I had no idea. So that might be

1972
01:48:12,720 --> 01:48:15,079
a good a good a good place for the Pete

1973
01:48:15,079 --> 01:48:17,119
Perry thing to end up, if you're if if it's

1974
01:48:17,159 --> 01:48:18,720
not going to be used in anything else.

1975
01:48:18,960 --> 01:48:21,800
Speaker 4: Yeah, Well, the Mando mad that I talked to him

1976
01:48:21,840 --> 01:48:24,479
because Jack Starrett had worked on that movie. I think

1977
01:48:24,479 --> 01:48:27,359
he was the editor. I think he and Richard Compton

1978
01:48:27,760 --> 01:48:31,720
were editors on that movie. So so that was I

1979
01:48:31,720 --> 01:48:35,319
wanted to get some information about that. That was that

1980
01:48:35,439 --> 01:48:37,520
was the impetus for that.

1981
01:48:37,640 --> 01:48:39,399
Speaker 3: Yeah, I think that's one of the only movies around

1982
01:48:39,439 --> 01:48:41,479
that time he used his real name on because that

1983
01:48:41,600 --> 01:48:43,600
was like right in the middle of his Stutesberry era

1984
01:48:44,199 --> 01:48:46,239
where yeah, he used his real name because it was

1985
01:48:46,279 --> 01:48:50,279
a general release movie. Yeah it wasn't you know, Romeo

1986
01:48:50,319 --> 01:48:52,680
and Juliet Secret sex size of Romeo and Juliet and

1987
01:48:53,319 --> 01:48:54,279
daughter of Fanny Hill.

1988
01:48:55,159 --> 01:48:56,880
Speaker 2: Hey, don't knock him, don't knock him.

1989
01:48:57,600 --> 01:48:59,840
Speaker 3: I don't like Fanny Hill. I love Romeo and Juliet though.

1990
01:48:59,920 --> 01:49:22,600
If you like that one a lot. Well, we've kept

1991
01:49:22,640 --> 01:49:25,439
you for almost two hours, sir, and I appreciate your time,

1992
01:49:25,520 --> 01:49:28,960
especially after a long work day. Did you was there

1993
01:49:28,960 --> 01:49:31,159
were there any final words you had to kind of

1994
01:49:31,720 --> 01:49:35,119
summarize secret places, secret things, and why people should be

1995
01:49:35,399 --> 01:49:36,680
really interested in seeing it.

1996
01:49:37,199 --> 01:49:44,039
Speaker 4: Uh, it's it's just a really unique almost I mean,

1997
01:49:44,079 --> 01:49:48,960
if if it wasn't a sexploitation movie, you could definitely

1998
01:49:48,960 --> 01:49:53,439
see it playing with the types of independent films that

1999
01:49:53,479 --> 01:49:56,119
were being made at the time. You know, it was

2000
01:49:56,399 --> 01:49:59,359
just for a different audience. You know, it was the

2001
01:49:59,399 --> 01:50:04,840
pussycat audience, but it was definitely the mind frame of

2002
01:50:05,319 --> 01:50:10,000
things like you know Drive he said, or other independent film.

2003
01:50:10,239 --> 01:50:12,600
You know, Drive he said, was rated acts at one point.

2004
01:50:13,159 --> 01:50:17,800
So yeah, yeah, it was just something born of that

2005
01:50:17,800 --> 01:50:21,720
that interesting outlaw Hollywood sort of you know, the Maverick

2006
01:50:21,920 --> 01:50:26,880
New the New Hollywood as they called it. And yeah,

2007
01:50:27,199 --> 01:50:31,079
it's a great opportunity to see people who didn't usually

2008
01:50:31,199 --> 01:50:35,960
get such meaty roles, you know, to have like we said,

2009
01:50:36,079 --> 01:50:40,039
you know, Malta and Kathy Hilton and then you know,

2010
01:50:40,079 --> 01:50:43,880
it's always great to see Eric Stern and Ed Blessington

2011
01:50:44,000 --> 01:50:47,960
and something. So yeah, it was a treat, you know.

2012
01:50:47,960 --> 01:50:52,720
And Gary Kent also, who was in everything. And it's

2013
01:50:51,800 --> 01:50:56,039
although he doesn't really talk about secret place of secret things,

2014
01:50:56,439 --> 01:51:00,199
I do really recommend his book. I like his book

2015
01:51:00,239 --> 01:51:04,039
a lot. It goes into great detail about working on

2016
01:51:04,439 --> 01:51:10,800
the Spawn Ranch movies and yeah, that's a great chapter. Yeah, yeah,

2017
01:51:10,800 --> 01:51:13,560
it's it's it's a really good book and more more

2018
01:51:13,600 --> 01:51:16,720
than you ever thought you'd learn about the Pyramid.

2019
01:51:18,359 --> 01:51:20,720
Speaker 3: Yes, there's more that's on that's more. That's there's more

2020
01:51:20,720 --> 01:51:22,199
in the book on the Pyramid. There is on the

2021
01:51:22,239 --> 01:51:25,159
DVD actually when he did that little featurette. Yeah, the

2022
01:51:25,159 --> 01:51:28,439
book is really essential, essential deep dive into that movie,

2023
01:51:28,479 --> 01:51:29,800
which I like quite a lot.

2024
01:51:30,000 --> 01:51:33,840
Speaker 4: Yeah. Yeah, I bought the book and Pyramid and Rainy

2025
01:51:33,920 --> 01:51:39,880
Day Friends through his website. Yeah, and Ed Blessington is

2026
01:51:39,880 --> 01:51:42,399
in that is that he's in Rainy Day Friends and

2027
01:51:42,439 --> 01:51:43,479
his mother isn't it?

2028
01:51:43,840 --> 01:51:47,960
Speaker 2: Wow, I did not remember what does he play much that?

2029
01:51:48,359 --> 01:51:53,600
Speaker 4: Yeah, I don't remember who he's He's in the supporting

2030
01:51:53,680 --> 01:51:57,640
cast though of it. Yeah, a lot of a lot

2031
01:51:57,640 --> 01:51:59,920
of Gary's friends were brought in on that.

2032
01:52:00,279 --> 01:52:05,399
Speaker 2: It's a very pro marijuana film. Yeah, you see.

2033
01:52:05,279 --> 01:52:08,960
Speaker 4: Yeah, and I guess his mother is in. It has

2034
01:52:09,000 --> 01:52:14,199
a couple of scenes with Carrie Snodgrass. Okay, so yeah,

2035
01:52:14,239 --> 01:52:17,319
but yeah, I I I hope that people will go

2036
01:52:17,439 --> 01:52:21,159
out and you know, seek out secret places, secret things,

2037
01:52:21,239 --> 01:52:25,439
and and then watch Pink Motel because just just to

2038
01:52:25,479 --> 01:52:30,720
see the similarities and the differences and and and they're

2039
01:52:30,800 --> 01:52:34,439
they're both hang out movies. And you know, like you said,

2040
01:52:34,720 --> 01:52:39,520
it's secret places doesn't really amount to much when when

2041
01:52:39,520 --> 01:52:40,239
it ends.

2042
01:52:40,239 --> 01:52:40,920
Speaker 2: In a good way.

2043
01:52:41,359 --> 01:52:44,880
Speaker 3: Yeah, right, it's right.

2044
01:52:45,159 --> 01:52:49,239
Speaker 4: It's it's not it's it's not a it's not a

2045
01:52:49,279 --> 01:52:55,239
Hollywood film. It's not your usual exploitation movie. It's just

2046
01:52:54,640 --> 01:52:59,279
a unique small indie.

2047
01:52:59,159 --> 01:53:02,000
Speaker 2: Yeah. It does just feel that way, very new Hollywood,

2048
01:53:02,079 --> 01:53:02,600
like you said.

2049
01:53:02,680 --> 01:53:06,119
Speaker 4: Yeah, yeah, and you know, Pig Motel goes on twenty

2050
01:53:06,199 --> 01:53:12,079
minutes longer and even less. It's even there's even less

2051
01:53:12,119 --> 01:53:15,399
there than in secret Places.

2052
01:53:16,079 --> 01:53:17,039
Speaker 3: But that's wild.

2053
01:53:17,640 --> 01:53:20,079
Speaker 4: Yeah, but I still like it, and I still I

2054
01:53:20,119 --> 01:53:23,199
still recommend it, especially if you see secret places you

2055
01:53:23,279 --> 01:53:24,439
gotta watch people hotel.

2056
01:53:25,640 --> 01:53:28,760
Speaker 3: Yeah, well that is something else about secret places that

2057
01:53:28,840 --> 01:53:30,720
I like. Yeah, like you said, it doesn't amount too much.

2058
01:53:30,720 --> 01:53:33,079
It really is just like, well, I've spent an hour

2059
01:53:33,199 --> 01:53:36,199
with these characters, and we're all now going to go

2060
01:53:36,279 --> 01:53:38,760
on with our lives. Like they're going back to their lives.

2061
01:53:39,239 --> 01:53:41,760
I'm going back to my life, and we're kind of

2062
01:53:41,800 --> 01:53:44,359
all the better for it, you know, I don't. It's

2063
01:53:44,359 --> 01:53:46,079
not a waste of your time that you kind of

2064
01:53:46,479 --> 01:53:49,560
come away from it like this was. This was very enjoyable.

2065
01:53:49,640 --> 01:53:50,560
This was a nice time.

2066
01:53:51,039 --> 01:53:53,840
Speaker 4: Oh yeah, yeah, because there are tons of there are

2067
01:53:53,880 --> 01:53:57,560
tons of movies from that period's exploitation things where it's

2068
01:53:57,600 --> 01:54:02,600
just like, you know, an hour feels like weeks because

2069
01:54:02,880 --> 01:54:06,600
nothing is going on, and there's a lot going on

2070
01:54:06,680 --> 01:54:09,920
in this it's just you know, it's it's just a

2071
01:54:10,000 --> 01:54:13,199
hangout movie. You know, there's there's no uh, there's no

2072
01:54:13,319 --> 01:54:18,199
plot line, there's no robbery, there's no murders or anything.

2073
01:54:18,439 --> 01:54:22,159
It's just a chill, a chill movie. We love that.

2074
01:54:22,319 --> 01:54:24,359
Speaker 2: Yeah, thanks again for bringing it to our attention. I

2075
01:54:24,399 --> 01:54:27,239
know Casey was like pretty hyped on it when when

2076
01:54:27,239 --> 01:54:29,520
you when you mentioned that that's the movie you wanted

2077
01:54:29,520 --> 01:54:31,920
to focus on. So he was always like, oh its

2078
01:54:31,960 --> 01:54:34,119
Gentry gonna like it, and yeah, I love it.

2079
01:54:34,159 --> 01:54:34,399
Speaker 6: I was.

2080
01:54:34,640 --> 01:54:37,239
Speaker 3: I'm always nervous because it's not your typical movie, so

2081
01:54:37,279 --> 01:54:39,520
it's people. I'm nervous that people will say, well, this

2082
01:54:39,640 --> 01:54:43,600
is boring, but then Gentry likes Joe Sarno and you

2083
01:54:43,600 --> 01:54:47,560
know films with like not languid pacing, but deliberate pacing

2084
01:54:47,600 --> 01:54:50,560
where it's like it doesn't nothing doesn't necessarily have to

2085
01:54:50,640 --> 01:54:55,520
have something happening, but the experiences is worth having.

2086
01:55:09,800 --> 01:55:11,199
Speaker 1: I know Land.

2087
01:55:12,600 --> 01:55:18,760
Speaker 4: I'll take you there, a land fortune let me can't share.

2088
01:55:23,600 --> 01:55:27,600
Speaker 2: And in this land I promise you.

2089
01:55:29,039 --> 01:55:35,760
Speaker 1: The dreams you dream will all come true.

2090
01:55:37,039 --> 01:55:37,760
Speaker 5: Love the.

2091
01:55:40,920 --> 01:55:49,600
Speaker 1: Just mot then your heart to me and you be

2092
01:55:51,000 --> 01:56:06,600
b This land has rain and sunshine too.

2093
01:56:08,119 --> 01:56:11,520
Speaker 2: They make you grow. It's up to you.

2094
01:56:16,560 --> 01:56:24,079
Speaker 4: There are no rules except to give. The more we do,

2095
01:56:24,359 --> 01:56:25,600
the more we need.

2096
01:56:30,439 --> 01:56:39,720
Speaker 1: Loveland the best place honor to be. Come with me.

2097
01:57:13,119 --> 01:57:13,800
Speaker 2: What do you want to do?

2098
01:57:18,800 --> 01:57:18,960
Speaker 1: Oh?

2099
01:57:19,000 --> 01:57:22,199
Speaker 6: You know what I want to do, Bobby, I want

2100
01:57:22,279 --> 01:57:22,960
you so much.

2101
01:57:24,920 --> 01:57:31,720
Speaker 4: Can we do Yeah, we could do it, just for

2102
01:57:31,760 --> 01:57:32,319
a little while.

2103
01:57:38,239 --> 01:57:41,119
Speaker 2: Thank you for listening. To hear more shows from the

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01:57:41,119 --> 01:57:44,960
Someone's Favorite Productions podcast network. Please select the link in

2105
01:57:45,000 --> 01:57:45,960
the description.

2106
01:58:00,000 --> 01:58:03,079
Speaker 8: Means Welcome to two in the pink Oo Podcast. Experience

2107
01:58:03,119 --> 01:58:07,159
a deep dive into softcore Japanese exploitation cinema from the

2108
01:58:07,199 --> 01:58:10,600
sixties up into the present, with an emphasis on sleeves

2109
01:58:10,760 --> 01:58:15,319
and seduction. We are monthly or bi weekly, and we're

2110
01:58:15,319 --> 01:58:20,479
not even by.

2111
01:58:19,279 --> 01:58:23,079
Speaker 2: Will pink Film Save our marriage? Find out on two

2112
01:58:23,159 --> 01:58:24,439
in the pink Ou Podcast