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<v Speaker 1>You are now listening to the Someone's Favorite Productions podcast Network.

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<v Speaker 2>Whoa whoa, whoa whoa?

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<v Speaker 3>Ohoa, Okay, okay, okay, okay, I'm ready. I'm ready.

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<v Speaker 2>Welcome to Split Your Head, a biweekly podcast hosted by

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<v Speaker 2>me Bob that covers the gamut of all things horror, exploitation, cult, underground, experimental, transgressive, bizarre,

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<v Speaker 2>and indie. I've been fortunate enough to connect with some

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<v Speaker 2>of the most groundbreaking and upcoming filmmakers, writers.

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<v Speaker 3>And artists.

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<v Speaker 2>Don't expect a typical interview. I love shooting the shoot

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<v Speaker 2>with my guests and stumbling on surprising topics that literally

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<v Speaker 2>split our heads. From spider comedies to nihilistic sleeves, a

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<v Speaker 2>comfortable art house to genre classics forgets my brain buzzing

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<v Speaker 2>and cracking wide open like a watermelon full of blood

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<v Speaker 2>that I would like to share with your emails now

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<v Speaker 2>part of the Someone's Favorite Productions Podcast Network.

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<v Speaker 1>Hi Mom, Hello there, and welcome back.

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<v Speaker 3>What is this place that's connected?

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<v Speaker 1>It's connected, that's corrected.

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<v Speaker 4>I've reached the number that has been disconnected.

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<v Speaker 1>Hello there, everyone, and welcome back to the disc Connected.

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<v Speaker 1>You won't know this, but this is actually take two

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<v Speaker 1>of a conversation with mister Mike Dennis and Sam Furstenberg. Gentlemen,

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<v Speaker 1>thanks so much for doing this again.

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<v Speaker 3>Oh qu sure, wonderful. We love to be on your show.

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<v Speaker 1>It's wonder We are here to talk about a movie

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<v Speaker 1>that I've been anticipating for a long time, and that

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<v Speaker 1>is Riverband. Sam, you are the director of Riverband. Can

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<v Speaker 1>you tell us what Riverband is?

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<v Speaker 3>Correct? Riverband is a very very unique, interesting movie. I

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<v Speaker 3>wouldn't say it's a provocative subject. It deals with the

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<v Speaker 3>racial injustice in the segregated South in the nineteen sixties

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<v Speaker 3>during the height of the civil rights movements, so it's controversial,

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<v Speaker 3>it's different. It has a twist and turns in it

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<v Speaker 3>which are I don't want to to get your older spoilers,

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<v Speaker 3>and fantastic ending, really unexpected ending. The star of the

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<v Speaker 3>movie is Steve James that I worked with him in

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<v Speaker 3>American Ninja one and American Ninja two, also in another movie,

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<v Speaker 3>Avenging Force, and the co star is Margaret Avery, the

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<v Speaker 3>leading lady Margaret Avery from the color Purple and so overall,

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<v Speaker 3>and there is some other great great actors, great performances,

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<v Speaker 3>interesting subject and more or less it tells the story

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<v Speaker 3>of three soldiers, three black soldiers who are coming back

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<v Speaker 3>from Vietnam to the South, to the Deep South. They

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<v Speaker 3>are not from the South, they are from Chicago, from California,

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<v Speaker 3>and they witness the injustice. They see what's happening in

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<v Speaker 3>a small town which is called Riverbend, and and they

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<v Speaker 3>want to correct. They decide to correct the situation, the

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<v Speaker 3>bigotry which is going on in the town, and the

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<v Speaker 3>way they know to do it is a military way,

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<v Speaker 3>the way they they learned in being in the military

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<v Speaker 3>in Vietnam. And the rest of the story is the

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<v Speaker 3>unrevealing the evolution of what has happened in this little town,

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<v Speaker 3>which they take the lead in helping the locals to

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<v Speaker 3>resolve the problem. That's as much as I can reveal

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<v Speaker 3>for now.

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<v Speaker 1>Well, on that note, Mike, can you share why you're

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<v Speaker 1>here and you got stuck with the project for one

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<v Speaker 1>that you've been working on for years, stuck in a

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<v Speaker 1>way that it's a it's a mission and that you've

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<v Speaker 1>been longing to accomplish for a very long time.

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<v Speaker 4>I think it chose it chose me somehow. The serendipity

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<v Speaker 4>is incredible and that's what's been keeping us going but

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<v Speaker 4>basically Riverbend. It was a movie that you know, I

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<v Speaker 4>was dangerously It was never exploited on any physical media

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<v Speaker 4>outside of VHS, right. It never played on cable TV,

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<v Speaker 4>it never made it to laser disc, it didn't make

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<v Speaker 4>it to DVD. So during the pandemic, or a little

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<v Speaker 4>bit before I started, I had a brick and mortar

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<v Speaker 4>screening series I ran for sixteen years in Philadelphia, and

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<v Speaker 4>we never ran Riverbend there. But I after I closed

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<v Speaker 4>shopped there, I decided I'd start putting rarities from my

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<v Speaker 4>collection on YouTube, and one of them happened to be Riverbend.

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<v Speaker 4>And maybe about three months later, I got an email

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<v Speaker 4>from Sam First and and I'm thinking, oh, this is

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<v Speaker 4>gonna be a cease and desist, you know, he says,

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<v Speaker 4>I said, because the subject line was I'm Sam Personverg,

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<v Speaker 4>director of Riverbend. And I opened it up and said, no,

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<v Speaker 4>you're doing the movie a great service. Thank you for

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<v Speaker 4>putting it up and sharing it. It was independently produced

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<v Speaker 4>and it needs to be seen by as many people

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<v Speaker 4>as possible.

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<v Speaker 1>Right.

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<v Speaker 4>So, and what Sam didn't mention is that this film

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<v Speaker 4>is unique in the sense that it shows black people

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<v Speaker 4>teaching one another, how to stand up against their oppressor, right,

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<v Speaker 4>So that automatically interests me. My YouTube channel is all

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<v Speaker 4>about black empowerment, and I was just curious about how

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<v Speaker 4>the film got made, so we started setting interviews with

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<v Speaker 4>Sam Me and Charles Woods, who actually turned me onto

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<v Speaker 4>the film in the first place. And in the process,

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<v Speaker 4>while we were talking, a thirty five millimeter print of

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<v Speaker 4>the film shows up on eBay and I didn't know what.

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<v Speaker 4>I didn't know what to do, but I knew it

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<v Speaker 4>was a rare circumstance or instance, so I put a

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<v Speaker 4>bit on it won it. It was in South Africa,

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<v Speaker 4>of all places, and it literally took about three or

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<v Speaker 4>four months for it to show up at my house.

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<v Speaker 4>It was packed in a cardboard box with all kinds

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<v Speaker 4>of tape on it and everything, and it sat under

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<v Speaker 4>my desk for a good six or eight months, and

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<v Speaker 4>then I decided I should get the scanned and see

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<v Speaker 4>see what the quality is, you know, and maybe we

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<v Speaker 4>can show it around. And we did that and the

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<v Speaker 4>scan was it was The print was horrible. I mean,

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<v Speaker 4>Sam can take it from there, you know.

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<v Speaker 3>But yeah, it was a print that was thirty five

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<v Speaker 3>millimeter print. The way we used to see movies, and

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<v Speaker 3>maybe it was to run through screening machines hundreds of time.

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<v Speaker 3>You know, not all projectors are good. Some projectors scratches.

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<v Speaker 3>It was heavily scratch and dirt. You know, when there

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<v Speaker 3>is dirt on the print, it shows immediately in the

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<v Speaker 3>in the digitized copy. But there is a process of cleaning.

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<v Speaker 3>Mike Michael found somebody who who knows the technology of cleaning,

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<v Speaker 3>and the digital copy was cleaned from all the scratches

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<v Speaker 3>and from all the spots, the dirt spots, which was amazing.

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<v Speaker 3>But to our disappointment, we found out that six scenes

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<v Speaker 3>were cut out of the print, either to make it

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<v Speaker 3>short for any other reason that we don't understand, probably

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<v Speaker 3>to make it it's longer than ninety minutes. And you

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<v Speaker 3>know in theaters the best, the best movies for timing

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<v Speaker 3>is ninety minutes. So six scenes were missing, and we

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<v Speaker 3>couldn't scan that. The quality of the VHS that existed

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<v Speaker 3>is very very i can say, very poor quality, very

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<v Speaker 3>poor visual quality. So we tried, Michael tried to transfer

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<v Speaker 3>from the vhs, but it looked terrible. It was very

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<v Speaker 3>poor compared with the with the fantastic at the time,

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<v Speaker 3>it was two K resolution of the transfer to dig

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<v Speaker 3>the digit digital transfer and suddenly those scenes. So this

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<v Speaker 3>was the fate of this and we went Michael Wright.

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<v Speaker 3>We went to few festivals with this digital premiere.

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<v Speaker 4>That's a serendipity. So Craig Rogers everybody watching those you know,

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<v Speaker 4>who was part of Deaf Crocodile Video label. He did

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<v Speaker 4>the initial restoration of the thirty five minuilimeter release print

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<v Speaker 4>that was cut, and we premiered that in Denton, Texas

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<v Speaker 4>in January of twenty twenty four, right so at the

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<v Speaker 4>Denton Black Film Festival. And it was there that we

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<v Speaker 4>met Valerie Van who was one of the original producers

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<v Speaker 4>and her nephew Marcus, who plays the Sun in the movie.

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<v Speaker 4>And if it wasn't for them, we would not be

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<v Speaker 4>here talking about a Blu ray release or anything like

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<v Speaker 4>that because they helped us secure the rights and access

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<v Speaker 4>the original interpositive and internegative and original thirty five million

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<v Speaker 4>sound elements as well. So what we have now that's

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<v Speaker 4>gonna premiere in February around in theaters around the country,

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<v Speaker 4>starting in New York and Philadelphia, is a pristine six

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<v Speaker 4>K restoration done by Austin Squittieri of Real Revival. Wow.

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<v Speaker 3>Out of the four original producers, which one of them

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<v Speaker 3>was the writer Sam Vince wrote the script to this movie,

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<v Speaker 3>only one is still involved with us is Hillary Vance.

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<v Speaker 3>She was one of the producer. She helped the wife

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<v Speaker 3>of Advance, and she helped him in writing I remember

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<v Speaker 3>at the time, and thankfully she's still here. We still

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<v Speaker 3>you know, even for the screening in Texas, we managed

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<v Speaker 3>to found we found the stunt coordinator of the movie.

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<v Speaker 3>He lives in Texas, Mike, Mike Shank. He came to

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<v Speaker 3>the screening later on. For later screening we got some

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<v Speaker 3>of the cast members. Michael will tell you about it.

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<v Speaker 3>So there are pretty still many people. We found the

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<v Speaker 3>original composer of the music, he's from Texas. So still

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<v Speaker 3>pretty many people who are involved in making this movie

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<v Speaker 3>are still around. And as we advance, we find and

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<v Speaker 3>we make connection with more and more of them. So

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<v Speaker 3>this is very nice. Just sadly enough, the writer, the

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<v Speaker 3>brain behind the story, he is not with us anymore.

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<v Speaker 3>He passed away.

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<v Speaker 4>Steve of course also Simmons.

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<v Speaker 1>I don't think we went into the serendipity there as

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<v Speaker 1>much as we probably could have. What what happened in

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<v Speaker 1>Denton because it sounded like I was just playing for

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<v Speaker 1>us to meet up with Valerie. But that's not exactly

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<v Speaker 1>how it went. Right.

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<v Speaker 4>Well, I mean we started to thank God for YouTube again, right,

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<v Speaker 4>So we started doing like little promo pieces to advertise

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<v Speaker 4>the Denton screening, and Marcus Coleman happened to see one

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<v Speaker 4>of them and told his aunt Valerie, Hey, they're bringing

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<v Speaker 4>Riverband back to Texas. You know you want to go?

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<v Speaker 4>And the and Harry and and Linda Edie at the

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<v Speaker 4>Denton Black Film as well. They were so gracious they

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<v Speaker 4>provided accommodations for them to come to Texas and be

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<v Speaker 4>with us on very short notice. But we hit it

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<v Speaker 4>off right away, So that that was the serendipity.

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<v Speaker 3>Yeah, because we will For a long time, we were

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<v Speaker 3>looking more Wiz was more Michael. He was looking for

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<v Speaker 3>the event says for all the producers and could not

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<v Speaker 3>find they just disappeared. Eventually he made contact with the

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<v Speaker 3>other two producers not with Valor Events, and one day

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<v Speaker 3>I'm getting an email from Valeri Events. So she found

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<v Speaker 3>us eventually, after a long process. Michael really put a

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<v Speaker 3>lot of energy into trying to find her, but couldn't,

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<v Speaker 3>and because he moved a few addresses and telephone different

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<v Speaker 3>telephone numbers, and suddenly she found us. So that's how,

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<v Speaker 3>And it was only a few days before the screening

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<v Speaker 3>in the festival.

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<v Speaker 4>But Ryan, get this one though, This is even more

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<v Speaker 4>incredible how things connect, right. I mean, I really believe

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<v Speaker 4>in what they said the power of the universe and

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<v Speaker 4>when you start to like take a step forward, things

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<v Speaker 4>that happen. So after Denton and there was a premiere

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<v Speaker 4>screening of a movie called Naked Acts, which was going

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<v Speaker 4>to be at the Lightbox Film Center, and I teach

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<v Speaker 4>it as a black film that I was very much

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<v Speaker 4>aware of, and so I made an extra credit assignment

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<v Speaker 4>for my students at Temple University to attend, and we

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<v Speaker 4>got free tickets to go, and you know, the majority

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<v Speaker 4>of the class came and I filmed the Q and A,

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<v Speaker 4>which is on the YouTube channel. But what happened. I

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<v Speaker 4>happened to be sitting next to Dennis Doros of Milestone Films,

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<v Speaker 4>and at the end of the screening, I happened to

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<v Speaker 4>tell him about Riverbend and the fact that we just

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<v Speaker 4>did a premiere but we had a release print. We

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<v Speaker 4>couldn't find the negative, and there was you know, we

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<v Speaker 4>couldn't go any further. And he said, well, you know

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<v Speaker 4>I have this organization Missing Movies dot org. Let me

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<v Speaker 4>make a few phone calls. And this was on a

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<v Speaker 4>Wednesday night, I think by Friday said, I found the negative.

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<v Speaker 4>It's a photo kem.

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<v Speaker 3>The original negative.

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<v Speaker 4>Yeah. So we had to go through some legal maneuverings

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<v Speaker 4>to be able to access the negative and all the

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<v Speaker 4>thirty five millimeters elements. But again, you know, if I

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<v Speaker 4>didn't bring my students to the screening and happened to

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<v Speaker 4>talk to Dennis, we wouldn't be here today.

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<v Speaker 1>So Milestone is a company that has put out some

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<v Speaker 1>incredible underseen black cinema already. So it's literally just people

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<v Speaker 1>lifting each other up through this entire process. And I

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<v Speaker 1>love to hear that Milestone is one of those companies

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<v Speaker 1>that I feel like people are still sleeping on in

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<v Speaker 1>many different ways that they'll mention, hey, this movie's never

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<v Speaker 1>gotten attention. Then you find out Milestone put out that

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<v Speaker 1>one and five others from the same director, and you're like, well,

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<v Speaker 1>come on, they're out there.

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<v Speaker 4>They have all the Charles Burnettes.

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<v Speaker 1>Yeah exactly. Yeah, Sam, you are somebody that is known

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<v Speaker 1>for a lot of different movies. You're known for, of course,

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<v Speaker 1>Break In Two, known for the Ninja films, known for

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<v Speaker 1>a lot of very different style movies than this one.

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<v Speaker 1>So what originally got you into Riverbend?

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<v Speaker 3>In a way, luck, I was, as you mentioned, I

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<v Speaker 3>was involved. I kind of my career led me into

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<v Speaker 3>action and especially especially martial art action movies Revenge of

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<v Speaker 3>the Ninja and Ninja Tree American Ninja. But in between

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<v Speaker 3>I made some other movies like Breaking to Electric Google

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<v Speaker 3>and later on others. And I directed another action movie

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<v Speaker 3>which was not martial art, which is called Avenging Force

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<v Speaker 3>with Steve James and Michael Dudikov, the two stars of

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<v Speaker 3>American Ninja. So by now I already made three movies.

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<v Speaker 3>I had a chance to work to direct Steve James

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<v Speaker 3>in three movies, and one day I was approached. My

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<v Speaker 3>agent told me that someone is interested in me as

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<v Speaker 3>a director and they will send the script. And this

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<v Speaker 3>script arrived. It was called at the time, it was

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<v Speaker 3>called Night of the Eagles, not the Riverbend, and yeah,

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<v Speaker 3>they had a different name. So I read the script

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<v Speaker 3>and wow, I was so excited that that's really interested.

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<v Speaker 3>You know, social issues and historical in the South in

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<v Speaker 3>the sixties. And you know, even I grew up with

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<v Speaker 3>these kind of movies to kill American Heat of the

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<v Speaker 3>Night and those kind of movies that I grew up

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<v Speaker 3>with those movies. I I got very excited, so apparently,

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<v Speaker 3>I think, and not strangely but untypical. This movie was

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<v Speaker 3>privately financed. It was not a company that financed the movie.

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<v Speaker 3>It was private money that financed the movie. So they

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<v Speaker 3>approached me through the agent they looked for me, I guess,

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<v Speaker 3>those four producers and they approached me to an agent

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<v Speaker 3>that I had at the time. Apparently probably, I would say,

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<v Speaker 3>because I worked with Steve James for the three times

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<v Speaker 3>and they were interested in Steve James. So I think

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<v Speaker 3>that's how Destiny My Path and the Path of Riverband

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<v Speaker 3>crossed and each other and and and got together. I

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<v Speaker 3>was very excited when I read this script, really interesting.

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<v Speaker 3>I really wanted to direct it. Eventually they liked me.

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<v Speaker 3>I like them very much, the producers. They want me

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<v Speaker 3>to help in bringing Steve James into this project. I

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<v Speaker 3>knew it's not going to be any problem to bring

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<v Speaker 3>Steve James. He would love this project. Because I read

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<v Speaker 3>the script and I knew you, but this was a

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<v Speaker 3>matter of luck. But I knew that he would like

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<v Speaker 3>There was no question leader military Steve, Steve, how he

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<v Speaker 3>wanted to his image to be and and what what

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<v Speaker 3>Mike is alluding to. It was okay. When we made

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<v Speaker 3>the movie Avenging Force, Steve plays a black politician in

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<v Speaker 3>New Orleans who is running for office and there is

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<v Speaker 3>some white supremacy group, but they don't like the idea.

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<v Speaker 3>Eventually they assassinate him, and Steve really didn't like the

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<v Speaker 3>idea that he dies in the middle of a movie.

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<v Speaker 3>I read everything with Chuck Norris. Jack Norris never made

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<v Speaker 3>any movies that he will die.

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<v Speaker 5>But Steve really didn't like the idea that he but

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<v Speaker 5>but this was the story, you know, the whole premise,

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<v Speaker 5>the whole idea, who the stories that they assassinate this politician,

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<v Speaker 5>they don't want him.

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<v Speaker 3>And he always told me, you owe me. I'm doing

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<v Speaker 3>it for you. I'm doing it for you because I

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<v Speaker 3>know we made American, but you owe me. And so

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<v Speaker 3>it happened that the chance came that I could repay Steve.

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<v Speaker 3>I have something for you. You know, I owe you.

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<v Speaker 3>You always mad, but when you read the script, he

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<v Speaker 3>will accept it. That's it. I don't owe you anymore

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<v Speaker 3>after this movie. So, so everything came together perfect. It's

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<v Speaker 3>not going to say some universal powers bring everything together.

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<v Speaker 3>We don't know how.

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<v Speaker 1>Mike Steve is Steve's icon obviously in a lot of

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<v Speaker 1>different ways. Can you can you share who Steve was?

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<v Speaker 1>For everybody that has never seen a Steve James film.

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<v Speaker 4>Well, I mean, you know, my first introduction to Steve

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<v Speaker 4>James was not in American Ninja or neither Martial Arts

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<v Speaker 4>or action cannon films. It was first Hollywood Shuffle and

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<v Speaker 4>then later I'm going to Get You Sucker, where he

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<v Speaker 4>plays Kung Fu Joe and I you know, but he's

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<v Speaker 4>he was a very versatile actor who got to start

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<v Speaker 4>going all the way back to education at Sony Carson.

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<v Speaker 4>He has a very small appearance there in nineteen seventy four,

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<v Speaker 4>I believe it was, And he worked until nineteen ninety

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<v Speaker 4>three when he died at a very young age of

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<v Speaker 4>pancreatic cancer at age forty one, I believe. But he's

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<v Speaker 4>probably best known for his collaborations with Sam Furstenberg and

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<v Speaker 4>you know, but you'll see him pop up in small

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<v Speaker 4>parts in lots of movies like Brother from Another Planet,

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<v Speaker 4>to Live and Die in La He worked with William

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<v Speaker 4>Freakin quite a bit as well as Sam and Weekend

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<v Speaker 4>at bernice'e two. He has a memorable little scene or

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<v Speaker 4>two in there, so you know, just gone too soon.

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<v Speaker 4>A lot of people feel like, a he should have

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<v Speaker 4>been the next American Ninja when Michael Dudkoff left a

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<v Speaker 4>lot of people believe that he would have he should

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<v Speaker 4>have taken over the franchise.

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<v Speaker 3>And or its the next American Action hero in a

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<v Speaker 3>way outside the the Ninja franchise.

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<v Speaker 4>Yeah, or or that he would have been the next

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<v Speaker 4>person to be the black action star, which Snapsen eventually

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<v Speaker 4>became Michael dry White eventually became all those people that

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<v Speaker 4>we recognize now. Will Smith even stand on the shoulders

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<v Speaker 4>of Steve James.

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<v Speaker 3>I heard, Mike and Ryan I heard I heard two

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<v Speaker 3>weeks ago. Very interesting story. I didn't know. We had

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<v Speaker 3>a screening of American Ninja in Atlanta two weeks ago,

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<v Speaker 3>and the reason we did it because the producer of

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<v Speaker 3>the movie American Ninja, Gideon Amir, lives in Atlanta and

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<v Speaker 3>works in Atlanta, so we decided to do for the

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<v Speaker 3>anniversary screening and while I was talking with him, and

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<v Speaker 3>we were talking, and he reminded me that he suggested

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<v Speaker 3>Steve James for the part because he saw him in

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<v Speaker 3>the movie The Mask. M hm, he said, he told me, Gideon,

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<v Speaker 3>the producer, said the minute I saw we were either

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<v Speaker 3>in the middle of writing it or whatever. And he

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<v Speaker 3>said he told me that the minute he saw him

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<v Speaker 3>on the screen in the movie The Mask, he knew

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<v Speaker 3>that he would be Jackson in America Ninja. He's the

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<v Speaker 3>right guy to be Jazing. So I didn't remember that

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<v Speaker 3>Steve was in The Mask.

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<v Speaker 1>All right. So Riverband has been making a name for itself,

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<v Speaker 1>mostly because of Mike pushing it out there for everybody.

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<v Speaker 1>But over this last six months or so, it's really

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<v Speaker 1>getting a name. And the big thing is you just

355
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<v Speaker 1>had the like West Coast premiere in LA for the

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<v Speaker 1>first time. Tell us about the event, because when we

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<v Speaker 1>first heard this was happening, I never expected to hear

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<v Speaker 1>by all the Davis involved.

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<v Speaker 3>Neither, But listen, we found out the story. There is

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<v Speaker 3>a whole story how the negative was found, detective story.

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00:22:59.240 --> 00:23:02.599
<v Speaker 3>Mike just him about it, but that's a that's a

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<v Speaker 3>technical And then there was another little operation to somehow

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<v Speaker 3>to get the rights because the people who owned the

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00:23:12.079 --> 00:23:16.720
<v Speaker 3>rights the company went bankrupt. The owners of the company

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<v Speaker 3>all passed away and the rights. It's a complicated issue,

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<v Speaker 3>but the rights were lingering in the earth, the rights

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<v Speaker 3>to the movie neither here nor other. You cannot show

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<v Speaker 3>the movie without permits. No theater will show a movie

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<v Speaker 3>without permits. And there was nowhere to bring the permits from.

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<v Speaker 3>But anyway, Michael had a lawyer and they untangled it

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<v Speaker 3>and eventually we got the right. And then then parallel,

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<v Speaker 3>we found out that the movie never had a screening

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<v Speaker 3>in the West Coast. It had few screening in the

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<v Speaker 3>East Coast, but never any screening in the in the

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<v Speaker 3>West Coast. So Michael purred out. We purred out together

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<v Speaker 3>with the American Cinema Tech, and we decided, together with

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<v Speaker 3>the American Cinematic to present the first premier, the West

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<v Speaker 3>Coast premiere that never happened four years ago, to do

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<v Speaker 3>it now four years later. So this was the premiere.

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<v Speaker 3>And luckily enough, three of the actors lives in Los

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<v Speaker 3>Angeles and the representative of Steve James's daughter, So let's

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<v Speaker 3>say four actors are living in the Los Angeles area.

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<v Speaker 3>Of course Margaret Avery, the lead, Alex Alex and the

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<v Speaker 3>two co stars of SI and Debbie James, the daughter

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<v Speaker 3>of Steve James. So Michael made it most of the

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<v Speaker 3>connection to all of them, and they all came to

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<v Speaker 3>the screening and Michael tell us the surprise the actors

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<v Speaker 3>who came, and the surprise we had the.

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<v Speaker 4>Serah deputy again, you know, so I mean the other

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<v Speaker 4>was Alex Morris and Julius Tennant were the two other

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<v Speaker 4>soldiers that along with Steve James in the movie. And

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<v Speaker 4>by coincidence, you know, Julius Tennant happens to be married

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<v Speaker 4>to Violet Davis. And we knew we're going to do

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<v Speaker 4>this premiere and I said, well, we have to give

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<v Speaker 4>Margaret Avery her flowers, right, And I had somebody else

396
00:25:25.759 --> 00:25:31.480
<v Speaker 4>in mine to like another actor woman actor to present

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00:25:31.519 --> 00:25:34.920
<v Speaker 4>the flowers, but they were not available. So I went

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<v Speaker 4>to my friend, you know, chat GPT, and I literally

399
00:25:39.799 --> 00:25:43.720
<v Speaker 4>typed in. I said, of all the talented black actors

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<v Speaker 4>in America, who has most followed in the footsteps of

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<v Speaker 4>Margaret Avery? And the very first answer was Violet Davis.

402
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<v Speaker 4>So I said, you know, what are the odds of that?

403
00:25:57.400 --> 00:25:59.359
<v Speaker 4>You know? And Julius happens to be married to her,

404
00:25:59.839 --> 00:26:03.519
<v Speaker 4>so you know not there was a very little coaching involved,

405
00:26:04.000 --> 00:26:06.839
<v Speaker 4>but she she came, she saw the movie, loved it,

406
00:26:06.920 --> 00:26:12.079
<v Speaker 4>gave it a great endorsement, and then before that she

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<v Speaker 4>she gave Margaret a bouquet of flowers and some very

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<v Speaker 4>kind words that I hope you'll share on this podcast.

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<v Speaker 6>Everyone please give a very warm welcome to Egot winner

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<v Speaker 6>Viola Davis.

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<v Speaker 7>Oh, I love her.

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<v Speaker 3>Yeah, we've spent some time together, Margaret. What are we

413
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<v Speaker 3>supposed to do?

414
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<v Speaker 8>They just asked me to say some words to you,

415
00:26:56.680 --> 00:27:00.640
<v Speaker 8>and you know, I love you, sis, and and you

416
00:27:00.680 --> 00:27:06.880
<v Speaker 8>know I admire you. You one of the beacons, one

417
00:27:06.920 --> 00:27:10.400
<v Speaker 8>of the acting beacons out there. Thank you, you know,

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00:27:11.240 --> 00:27:15.680
<v Speaker 8>and you absolutely inspired me when I was on the

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<v Speaker 8>periphery just looking for a way in and I saw you.

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<v Speaker 8>You're always a beacon of truth and vulnerability and soft

421
00:27:25.920 --> 00:27:32.880
<v Speaker 8>power and always memorable. And you need to hear that

422
00:27:33.400 --> 00:27:39.559
<v Speaker 8>because we don't often hear that. And so I want

423
00:27:39.599 --> 00:27:43.559
<v Speaker 8>to honor you. And I want to do a double

424
00:27:43.559 --> 00:27:44.920
<v Speaker 8>whammy here because I.

425
00:27:44.880 --> 00:27:46.240
<v Speaker 3>Don't I don't want to go on and on.

426
00:27:46.839 --> 00:27:50.759
<v Speaker 8>Okay, but you happen to be in the center of

427
00:27:50.799 --> 00:27:55.200
<v Speaker 8>a movie that still resonates today. I was totally in it.

428
00:27:55.200 --> 00:27:59.200
<v Speaker 8>It's amazing that this movie where it's a town where

429
00:27:59.240 --> 00:28:03.559
<v Speaker 8>we've been raped and pillaged and killed in damaged, and

430
00:28:03.599 --> 00:28:09.559
<v Speaker 8>we still have to fight to be heard. And it's

431
00:28:09.640 --> 00:28:13.960
<v Speaker 8>always great to see that female power and energy in there,

432
00:28:15.079 --> 00:28:20.799
<v Speaker 8>that energy of love, of a reminder of our humanity,

433
00:28:22.519 --> 00:28:28.319
<v Speaker 8>you know, and cry. So I'm going to honor you,

434
00:28:28.519 --> 00:28:32.799
<v Speaker 8>honor this movie which still you know, we need this

435
00:28:33.640 --> 00:28:38.519
<v Speaker 8>right now, We need something that reminds us that we

436
00:28:38.799 --> 00:28:45.640
<v Speaker 8>still have the power to fight back. Okay, but I

437
00:28:45.720 --> 00:28:47.160
<v Speaker 8>love you, Margaret.

438
00:28:47.400 --> 00:28:53.119
<v Speaker 6>I love you back and that woman king Lord, and

439
00:28:53.200 --> 00:28:53.920
<v Speaker 6>I bow to you.

440
00:28:53.920 --> 00:28:57.559
<v Speaker 3>You were buffed. Thank you.

441
00:28:57.880 --> 00:29:01.279
<v Speaker 7>Oh my goodness, this will it's so wonderful.

442
00:29:01.359 --> 00:29:05.480
<v Speaker 3>I mean, you inspire me. Thank you.

443
00:29:06.319 --> 00:29:07.240
<v Speaker 4>Here you go, Queen.

444
00:29:12.240 --> 00:29:16.319
<v Speaker 7>What can I say by all of Davis honoring me?

445
00:29:19.279 --> 00:29:21.799
<v Speaker 3>And she's a few words of the decay. She talked

446
00:29:21.799 --> 00:29:26.359
<v Speaker 3>about the you know, the legacy of Margaret Avery.

447
00:29:26.160 --> 00:29:30.759
<v Speaker 4>And big ups to Amani Davis and the whole crew

448
00:29:30.920 --> 00:29:34.240
<v Speaker 4>at at the American Cinema Tech. They they could not

449
00:29:34.400 --> 00:29:37.319
<v Speaker 4>we could not have been treated better. It was fantastic

450
00:29:37.400 --> 00:29:41.400
<v Speaker 4>thirty five years in the making. Los Angeles premiere on

451
00:29:41.799 --> 00:29:46.240
<v Speaker 4>September fourteenth, twenty twenty four October and Ryan.

452
00:29:46.119 --> 00:29:48.759
<v Speaker 3>We didn't we didn't mention that what we screened. It

453
00:29:48.839 --> 00:29:52.480
<v Speaker 3>was in Santa Monica, California, in a big theater, and

454
00:29:52.519 --> 00:29:56.680
<v Speaker 3>what we screened was an original thirty five minimeter copy

455
00:29:56.720 --> 00:30:01.440
<v Speaker 3>that we found sitting alongside the Negati when I when

456
00:30:01.480 --> 00:30:07.279
<v Speaker 3>I went out there to some warehouse out there at

457
00:30:07.319 --> 00:30:10.920
<v Speaker 3>the end of Berberg, I picked up the boxes and suddenly,

458
00:30:11.720 --> 00:30:15.480
<v Speaker 3>alongside the elements, the original elements there were there was

459
00:30:15.519 --> 00:30:21.000
<v Speaker 3>a print, a screening print, thirty five millimeter, original, beautiful screen,

460
00:30:21.519 --> 00:30:24.039
<v Speaker 3>a print that was never screened before. And that's what

461
00:30:24.160 --> 00:30:26.160
<v Speaker 3>we used for the American Cinematics screen.

462
00:30:26.359 --> 00:30:30.319
<v Speaker 4>Very nice, very nice print. And you know, and and

463
00:30:30.359 --> 00:30:33.640
<v Speaker 4>then now for people missed that screening, we're opening it

464
00:30:33.759 --> 00:30:36.480
<v Speaker 4>up in February, beginning of February. From February until the

465
00:30:36.559 --> 00:30:39.799
<v Speaker 4>end of the year, we'll be doing spot dates around

466
00:30:39.799 --> 00:30:44.839
<v Speaker 4>the country with the six K restoration. We're booking dates

467
00:30:45.480 --> 00:30:47.960
<v Speaker 4>after that. So if you're in a town and you

468
00:30:48.000 --> 00:30:50.559
<v Speaker 4>want to see Riverbend and you you feel like there's

469
00:30:50.599 --> 00:30:53.720
<v Speaker 4>a sizeable audience for it, will make the calls and

470
00:30:53.759 --> 00:30:56.200
<v Speaker 4>we'll make it happen incredible.

471
00:30:57.000 --> 00:30:59.319
<v Speaker 1>The reception in the in the premiere, how how to go?

472
00:30:59.359 --> 00:31:01.799
<v Speaker 1>How many people up? Was it a major event?

473
00:31:03.440 --> 00:31:06.559
<v Speaker 4>I would say so. I mean this was a big theater.

474
00:31:07.759 --> 00:31:10.400
<v Speaker 3>More than half of the theater was full, like seventy

475
00:31:10.480 --> 00:31:14.319
<v Speaker 3>percent of the theater was full. Not advertising nothing, People

476
00:31:14.640 --> 00:31:18.519
<v Speaker 3>just you know, the world of mouth, in the Internet,

477
00:31:18.680 --> 00:31:23.799
<v Speaker 3>in the Instagram, all the you know, Facebook, all of them,

478
00:31:24.160 --> 00:31:27.240
<v Speaker 3>and just people showed up. Some of them were connected

479
00:31:27.279 --> 00:31:30.640
<v Speaker 3>to the restoration, of course, but people just knew about

480
00:31:30.680 --> 00:31:34.680
<v Speaker 3>it and learn about it and they came. It was

481
00:31:34.839 --> 00:31:41.160
<v Speaker 3>very exciting. It's a it's a you know, Ryan, This

482
00:31:41.279 --> 00:31:44.640
<v Speaker 3>movie was done in the end of the eighties, eight

483
00:31:45.000 --> 00:31:48.680
<v Speaker 3>let's say, nineteen ninety, and it came out the story

484
00:31:48.839 --> 00:31:54.880
<v Speaker 3>is ninety sixty five before, so there wasn't There was

485
00:31:54.960 --> 00:31:58.359
<v Speaker 3>already implication there is something to learn from the sixties

486
00:31:58.720 --> 00:32:02.480
<v Speaker 3>in the development of the African American experience in America

487
00:32:03.319 --> 00:32:06.960
<v Speaker 3>from the sixties to the eighties. But nowadays, when you

488
00:32:07.000 --> 00:32:12.279
<v Speaker 3>see the movie, it has even bigger and amplified meaning

489
00:32:12.680 --> 00:32:16.240
<v Speaker 3>or different meaning than it had in the eighties because

490
00:32:16.279 --> 00:32:19.920
<v Speaker 3>we went through a lot of things happened in America

491
00:32:20.039 --> 00:32:25.720
<v Speaker 3>in this field of the African American experience in America.

492
00:32:26.519 --> 00:32:31.319
<v Speaker 3>So now the movie has little even more interesting implication

493
00:32:31.440 --> 00:32:33.680
<v Speaker 3>when you see it audience, and we saw it also

494
00:32:33.720 --> 00:32:36.960
<v Speaker 3>Michael and me with young audience with students, and they

495
00:32:37.000 --> 00:32:39.079
<v Speaker 3>were like, I don't want to say they were shocked,

496
00:32:39.119 --> 00:32:40.839
<v Speaker 3>but they were very.

497
00:32:41.440 --> 00:32:46.119
<v Speaker 4>It stays relevant, still relevant to this day. I mean

498
00:32:46.799 --> 00:32:50.160
<v Speaker 4>the movie centers on a bigoted sheriff and a small

499
00:32:50.240 --> 00:32:54.440
<v Speaker 4>town who terrorizes the local black community. I mean, where

500
00:32:54.440 --> 00:32:58.400
<v Speaker 4>have we heard that before? And the vances we're telling

501
00:32:58.440 --> 00:33:04.240
<v Speaker 4>the story thirty five five years ago, so so you know,

502
00:33:04.480 --> 00:33:07.799
<v Speaker 4>it's uh to see that. You know, art was used

503
00:33:07.799 --> 00:33:13.279
<v Speaker 4>to communicate a solution back then. Can only help but

504
00:33:13.480 --> 00:33:17.200
<v Speaker 4>inspire or invigreat audiences that have been denied that image

505
00:33:17.519 --> 00:33:20.279
<v Speaker 4>of themselves, you know. And then also it's a very

506
00:33:20.359 --> 00:33:23.480
<v Speaker 4>entertaining film. I mean people were like applauding in the

507
00:33:23.519 --> 00:33:26.359
<v Speaker 4>right places. I mean it was a sizeable enough crowd

508
00:33:26.440 --> 00:33:31.920
<v Speaker 4>that there was a visceral reaction. And I think while David,

509
00:33:31.960 --> 00:33:34.680
<v Speaker 4>she really captured the spirit of the night for us

510
00:33:35.000 --> 00:33:35.960
<v Speaker 4>in her testimony.

511
00:33:36.119 --> 00:33:41.279
<v Speaker 3>So so yeah, to make the point, it's not a

512
00:33:41.319 --> 00:33:46.400
<v Speaker 3>pretty movie. It's not it's not the PBS movie.

513
00:33:47.920 --> 00:33:48.480
<v Speaker 4>No, there's.

514
00:33:50.200 --> 00:33:54.680
<v Speaker 3>It's still a story with the good guys.

515
00:33:54.960 --> 00:33:56.680
<v Speaker 4>And you know, we've been used to showing it at

516
00:33:56.759 --> 00:34:01.279
<v Speaker 4>black film festivals, so it's it's a different reaction then

517
00:34:01.319 --> 00:34:04.799
<v Speaker 4>showing it in Santa Monica, which is a more mixed crowd,

518
00:34:05.079 --> 00:34:08.199
<v Speaker 4>and they still got it, you know. And you know,

519
00:34:08.280 --> 00:34:12.679
<v Speaker 4>one of the the biggest quotes that we got was

520
00:34:12.719 --> 00:34:17.960
<v Speaker 4>in Denton, the gentleman from Cinema Force. He came out,

521
00:34:18.760 --> 00:34:22.800
<v Speaker 4>he lives in Texas and he said, never in a

522
00:34:22.840 --> 00:34:24.920
<v Speaker 4>million years would I think that I would have an

523
00:34:24.960 --> 00:34:28.760
<v Speaker 4>opportunity to see a movie directed by Sam Ferston, work

524
00:34:29.159 --> 00:34:33.800
<v Speaker 4>starring Steve James that I've never even heard of in

525
00:34:34.039 --> 00:34:37.559
<v Speaker 4>twenty twenty five, twenty twenty six. So it's such a

526
00:34:37.639 --> 00:34:40.599
<v Speaker 4>treat for action fans and and a lot of your

527
00:34:40.719 --> 00:34:42.960
<v Speaker 4>viewers as well have jumped on board with the pre

528
00:34:43.039 --> 00:34:46.159
<v Speaker 4>sales of the Blu rays, so I think people know

529
00:34:46.199 --> 00:34:47.400
<v Speaker 4>how much of a gem this is.

530
00:34:48.719 --> 00:34:51.119
<v Speaker 3>Michael. Also the reaction in Boston. We were in the

531
00:34:51.239 --> 00:34:57.280
<v Speaker 3>Roxbury Film Festival in Boston. Yeah, it was also they

532
00:34:57.320 --> 00:34:59.840
<v Speaker 3>didn't know that most of the Londons didn't even expect

533
00:34:59.880 --> 00:35:01.239
<v Speaker 3>the They didn't know what they're coming to see.

534
00:35:01.280 --> 00:35:03.400
<v Speaker 4>Yea, it was interesting because we were in a smaller room,

535
00:35:03.599 --> 00:35:06.920
<v Speaker 4>so it's a little tighter. The energy was the same,

536
00:35:07.639 --> 00:35:09.000
<v Speaker 4>you know, I.

537
00:35:08.920 --> 00:35:09.480
<v Speaker 3>Agree with you.

538
00:35:10.000 --> 00:35:15.039
<v Speaker 4>They thought it was made for them, like wow, you know,

539
00:35:15.159 --> 00:35:19.440
<v Speaker 4>and and the fact that it's it was basically suppressed.

540
00:35:21.000 --> 00:35:23.079
<v Speaker 4>Like I said, it never played cable. I mean, how

541
00:35:23.079 --> 00:35:27.079
<v Speaker 4>many movies from the nineties or eighties can you say

542
00:35:27.119 --> 00:35:30.559
<v Speaker 4>never made it to cable? You know. So there's there

543
00:35:30.599 --> 00:35:33.639
<v Speaker 4>there's some conspiracy theories about why that might be.

544
00:35:37.159 --> 00:35:40.000
<v Speaker 1>Yes, And what's crazy is so many of these movies.

545
00:35:40.119 --> 00:35:42.760
<v Speaker 1>You know, you use the word exploited earlier, and obviously

546
00:35:43.119 --> 00:35:46.360
<v Speaker 1>blaxploitation is a very common phrase that has used for

547
00:35:46.719 --> 00:35:50.159
<v Speaker 1>a few different definitions, will say, but in the eighties

548
00:35:50.159 --> 00:35:53.119
<v Speaker 1>and nineties a lot of these got more popular. And

549
00:35:53.159 --> 00:35:55.119
<v Speaker 1>it's still amazing to me when you find one like

550
00:35:55.159 --> 00:36:00.800
<v Speaker 1>this with names attached to it that was not allowed

551
00:36:01.119 --> 00:36:02.920
<v Speaker 1>to happen like that. I mean, especially when it came

552
00:36:02.920 --> 00:36:05.679
<v Speaker 1>out in like ninety essentially, and then you had all

553
00:36:05.679 --> 00:36:08.000
<v Speaker 1>these things happen in the nineteen nineties that would have

554
00:36:08.119 --> 00:36:10.840
<v Speaker 1>given rise to popularity in something like this. You'd imagine,

555
00:36:10.880 --> 00:36:13.000
<v Speaker 1>like in the wake of the Rodney King stuff, that

556
00:36:13.039 --> 00:36:15.679
<v Speaker 1>this would have been something that people would have wanted

557
00:36:15.719 --> 00:36:17.840
<v Speaker 1>to see, like genuinely had a hunger to see it,

558
00:36:17.880 --> 00:36:20.400
<v Speaker 1>And so yeah, I guess there's some stories behind why

559
00:36:20.400 --> 00:36:21.320
<v Speaker 1>this may have been held back.

560
00:36:22.719 --> 00:36:26.199
<v Speaker 4>Yeah, yeah, there's a lot of beliefs, right Sam.

561
00:36:27.679 --> 00:36:32.360
<v Speaker 3>It did not fit into the exploitation slot, definitely. You

562
00:36:32.400 --> 00:36:35.679
<v Speaker 3>know it did not because suddenly you start with the movie,

563
00:36:36.000 --> 00:36:38.840
<v Speaker 3>oh yeah, actually you see soldier, but suddenly it takes

564
00:36:38.840 --> 00:36:42.280
<v Speaker 3>a serious turn, totally serious turn. So it doesn't fit.

565
00:36:42.360 --> 00:36:46.320
<v Speaker 3>So it's out of the exploration immediately of the exploitation field.

566
00:36:46.760 --> 00:36:52.320
<v Speaker 3>And anyway, the subject is provocative, it's a radical subject.

567
00:36:53.159 --> 00:36:57.719
<v Speaker 3>But at the same time, Mississippi Burning also came out,

568
00:36:57.800 --> 00:37:04.960
<v Speaker 3>which is eighties kind of similar. Somebody I just read

569
00:37:05.000 --> 00:37:11.280
<v Speaker 3>a review that somebody compared it to Mississippi Burning Mississippi.

570
00:37:11.679 --> 00:37:17.440
<v Speaker 3>This movie. When it was finished, the producer sold it

571
00:37:17.480 --> 00:37:21.639
<v Speaker 3>to a small company I R released, and they sold

572
00:37:21.639 --> 00:37:24.840
<v Speaker 3>it or gave the right or sold the right to Paramount,

573
00:37:24.840 --> 00:37:29.400
<v Speaker 3>which is a huge company. So suddenly suddenly something here

574
00:37:29.480 --> 00:37:34.440
<v Speaker 3>is suspicious. How come big company will like Paramount will

575
00:37:34.440 --> 00:37:41.039
<v Speaker 3>take a small movie, tiny budget movie. But orian there

576
00:37:41.119 --> 00:37:46.519
<v Speaker 3>was a company Orion, which was affiliated with Paramount.

577
00:37:47.119 --> 00:37:50.400
<v Speaker 4>They released a prism.

578
00:37:49.920 --> 00:37:53.800
<v Speaker 3>No No, No, no Orion released Mississippi Burning.

579
00:37:54.119 --> 00:37:57.199
<v Speaker 4>Oh yeah, well Ryan ends up with Riverband down the Road.

580
00:37:57.239 --> 00:38:00.360
<v Speaker 3>That's what confused me because Orion was the subsist theory

581
00:38:00.440 --> 00:38:05.400
<v Speaker 3>of Paramont. Paramount and Ryan or reconnected. So maybe maybe

582
00:38:05.440 --> 00:38:10.719
<v Speaker 3>perhaps they did. Paramount purchased the movie in order to

583
00:38:10.840 --> 00:38:14.280
<v Speaker 3>stop a competition to Mississippi Burning. I don't think it's

584
00:38:14.280 --> 00:38:17.559
<v Speaker 3>a big competition because Mississippi Burning was big names, you know,

585
00:38:17.639 --> 00:38:21.480
<v Speaker 3>big stars, Gin Eickman and other big stars. So I

586
00:38:21.559 --> 00:38:24.360
<v Speaker 3>don't feel that it was a competition. But for them,

587
00:38:24.840 --> 00:38:28.440
<v Speaker 3>for music companies, for film companies to throw a million

588
00:38:28.559 --> 00:38:31.480
<v Speaker 3>dollars to buy some movie just to stop it from

589
00:38:31.840 --> 00:38:36.039
<v Speaker 3>competing with another music artist or another movie. For them,

590
00:38:36.079 --> 00:38:40.519
<v Speaker 3>it's nothing. It's part of the So they released it.

591
00:38:40.639 --> 00:38:45.280
<v Speaker 3>Paramount released it on VHS cassette. It was just and

592
00:38:47.320 --> 00:38:52.519
<v Speaker 3>very few, small amount of copies, very small amount of copies,

593
00:38:52.840 --> 00:38:58.440
<v Speaker 3>and I must say, very poor visual quality, very poor

594
00:38:58.559 --> 00:39:02.679
<v Speaker 3>quality the cassette. The VHISCA said that they they released

595
00:39:02.679 --> 00:39:07.039
<v Speaker 3>were of a poor quality and very limited number. Yeah,

596
00:39:07.280 --> 00:39:09.440
<v Speaker 3>and as I say, they only premiered it in the

597
00:39:09.679 --> 00:39:11.519
<v Speaker 3>East Coast, not here.

598
00:39:12.320 --> 00:39:14.199
<v Speaker 4>Yeah. I worked at a store at the time and

599
00:39:14.239 --> 00:39:18.000
<v Speaker 4>we carried it and I never w Yeah, I never

600
00:39:18.039 --> 00:39:20.639
<v Speaker 4>watched it. The poster did not appeal to me, the

601
00:39:20.679 --> 00:39:23.480
<v Speaker 4>cover did not appeal to me. No one, and I

602
00:39:23.480 --> 00:39:25.800
<v Speaker 4>guess not enough people rented it to say that it

603
00:39:25.880 --> 00:39:30.079
<v Speaker 4>was good. But it wasn't until years later when when

604
00:39:30.119 --> 00:39:33.159
<v Speaker 4>I got reacquainted with Charles Woods, who ran a store

605
00:39:33.199 --> 00:39:36.000
<v Speaker 4>in New York called the forty third Chamber, and we're

606
00:39:36.039 --> 00:39:40.719
<v Speaker 4>going through his collection. He literally had five used copies

607
00:39:40.760 --> 00:39:44.119
<v Speaker 4>of this thing, like picking them up from like swapping

608
00:39:45.320 --> 00:39:47.960
<v Speaker 4>in New York. And he said, I said, why do

609
00:39:47.960 --> 00:39:49.559
<v Speaker 4>you have five of these? And he's like, you have

610
00:39:49.599 --> 00:39:52.559
<v Speaker 4>to watch this, And that's that's what turned me on

611
00:39:52.639 --> 00:39:55.440
<v Speaker 4>to it. I was like, oh wow, this is this

612
00:39:55.519 --> 00:40:01.079
<v Speaker 4>is revolutionary. What's being said in this movie really does

613
00:40:01.119 --> 00:40:04.920
<v Speaker 4>not get seen in any kind of American film, mainstream

614
00:40:05.159 --> 00:40:08.039
<v Speaker 4>or otherwise. There's only one other movie like this, in

615
00:40:08.159 --> 00:40:12.360
<v Speaker 4>my estimation, in the whole history of cinema, and that's

616
00:40:12.719 --> 00:40:15.360
<v Speaker 4>The Spooker Sat by the Door, which is another movie

617
00:40:15.719 --> 00:40:18.880
<v Speaker 4>that came and went. It literally played for about two

618
00:40:18.920 --> 00:40:26.079
<v Speaker 4>weeks and disappeared for decades. It's just now getting re released, Michael.

619
00:40:26.079 --> 00:40:28.360
<v Speaker 3>But it makes sense. Even if you go to a

620
00:40:28.480 --> 00:40:31.480
<v Speaker 3>video store, you rent the cassette, you take it home

621
00:40:31.519 --> 00:40:36.480
<v Speaker 3>and it has this murky grammy quality you're almost going

622
00:40:36.519 --> 00:40:41.800
<v Speaker 3>to recommend it. It was a very poor quality physically.

623
00:40:42.280 --> 00:40:45.800
<v Speaker 4>So, you know, but you know, it's it's kind of

624
00:40:45.840 --> 00:40:49.920
<v Speaker 4>interesting to me that I avoided watching it until Charles

625
00:40:49.960 --> 00:40:55.440
<v Speaker 4>told me about it because I love black cinema and

626
00:40:55.480 --> 00:40:58.000
<v Speaker 4>I'm a fan of Steve James. I you know, but

627
00:40:58.320 --> 00:41:02.639
<v Speaker 4>maybe the fact that it was considered a straight the video,

628
00:41:03.320 --> 00:41:06.960
<v Speaker 4>you know, might might have also been even though played

629
00:41:07.039 --> 00:41:11.360
<v Speaker 4>theatrically and it had pedigree, you know, the whole Cannon

630
00:41:11.440 --> 00:41:16.159
<v Speaker 4>Films thing. You know, maybe that's what kept people away

631
00:41:16.199 --> 00:41:18.599
<v Speaker 4>as well. You know, this whole strait of the front

632
00:41:18.639 --> 00:41:22.559
<v Speaker 4>of video action was very big at the time, and

633
00:41:22.639 --> 00:41:24.440
<v Speaker 4>I guess this movie wouldn't have been made at all

634
00:41:24.519 --> 00:41:27.840
<v Speaker 4>if not for the market of home video. It was

635
00:41:28.400 --> 00:41:28.920
<v Speaker 4>very little.

636
00:41:29.320 --> 00:41:32.920
<v Speaker 3>So listen, you walk into a store and you see

637
00:41:33.079 --> 00:41:37.559
<v Speaker 3>twenty copies of Star Wars, six copies of Mississippi Burning,

638
00:41:37.599 --> 00:41:40.760
<v Speaker 3>and one copy of So it makes impression on the

639
00:41:41.119 --> 00:41:43.880
<v Speaker 3>whoever walks into the rental store. And this was the

640
00:41:43.880 --> 00:41:46.639
<v Speaker 3>only way to see this movie. And I guess there

641
00:41:46.639 --> 00:41:49.360
<v Speaker 3>were not on every rental store. You know, you would

642
00:41:49.360 --> 00:41:52.840
<v Speaker 3>have Mississippi Burning was in every rental store. I don't

643
00:41:52.880 --> 00:41:55.440
<v Speaker 3>think that River Bend was in every rental store in

644
00:41:55.440 --> 00:41:55.880
<v Speaker 3>the country.

645
00:41:55.960 --> 00:41:59.199
<v Speaker 4>Definitely not copies of Dried Up Now, I have not

646
00:41:59.320 --> 00:42:02.320
<v Speaker 4>seen any show up on eBay in probably a year.

647
00:42:03.000 --> 00:42:06.159
<v Speaker 3>Yeah, because there are very few consists around, very few

648
00:42:06.280 --> 00:42:08.280
<v Speaker 3>visions the landfill.

649
00:42:08.400 --> 00:42:11.840
<v Speaker 4>So that's another reason it's never looked better. I mean,

650
00:42:12.239 --> 00:42:15.159
<v Speaker 4>you know, I don't know if you're going to show

651
00:42:15.199 --> 00:42:20.039
<v Speaker 4>clips of the restoration, but it's never looked better. We're

652
00:42:20.039 --> 00:42:24.440
<v Speaker 4>going right from the interpositive of the of the film,

653
00:42:24.440 --> 00:42:27.760
<v Speaker 4>which is the step right after the original camera negative.

654
00:42:27.920 --> 00:42:31.960
<v Speaker 4>So it's color timed and it's the first generation from

655
00:42:32.199 --> 00:42:36.199
<v Speaker 4>the camera negative. So and it's been supervised by Sam

656
00:42:36.519 --> 00:42:39.920
<v Speaker 4>and it's immaculate. It looks, it.

657
00:42:40.280 --> 00:42:44.519
<v Speaker 3>Looks the cinematography is really good in this movie. Kenny

658
00:42:44.559 --> 00:42:47.199
<v Speaker 3>Lemkin was a local. You know, the movie was shut

659
00:42:47.679 --> 00:42:54.000
<v Speaker 3>was filmed in Texas, not in Atlanta, not in Mississippi,

660
00:42:54.519 --> 00:42:58.119
<v Speaker 3>but in Texas because the money came from Texas and

661
00:42:58.159 --> 00:43:01.480
<v Speaker 3>the people who invested they insist that we filmed the

662
00:43:01.519 --> 00:43:04.480
<v Speaker 3>movie in Texas, that we should in Texas. But you know,

663
00:43:04.679 --> 00:43:07.559
<v Speaker 3>the area that we were in had the same look

664
00:43:07.599 --> 00:43:10.519
<v Speaker 3>of the South it's called the Waxahachie area in Texas,

665
00:43:10.519 --> 00:43:13.920
<v Speaker 3>south of Dallas, so it has the look. So the

666
00:43:14.000 --> 00:43:18.000
<v Speaker 3>movie was all and and and all the actions, even

667
00:43:19.199 --> 00:43:22.440
<v Speaker 3>the actors who came to the screening except Margaret Avery.

668
00:43:22.840 --> 00:43:24.719
<v Speaker 3>They had a chance to see the movie in the

669
00:43:24.760 --> 00:43:29.079
<v Speaker 3>premiere in Texas. Oh yeah, there was a There was

670
00:43:29.119 --> 00:43:33.199
<v Speaker 3>a premiere in They told us Houston, Austin or Houston,

671
00:43:33.440 --> 00:43:37.760
<v Speaker 3>I don't remember. And so Alex and and and they

672
00:43:37.800 --> 00:43:39.480
<v Speaker 3>saw it. They saw the movie in.

673
00:43:39.400 --> 00:43:43.480
<v Speaker 4>Texas, played played a few markets before it disappeared. Because

674
00:43:43.679 --> 00:43:45.639
<v Speaker 4>Valerie had a print of the film as well. In

675
00:43:45.719 --> 00:43:49.000
<v Speaker 4>the print, so they may I mean from from our discovery.

676
00:43:50.840 --> 00:43:55.039
<v Speaker 4>There were there's one print that's in the Library of Congress,

677
00:43:56.239 --> 00:43:58.159
<v Speaker 4>which you can't take out. You can go there and

678
00:43:58.239 --> 00:44:01.519
<v Speaker 4>view it. And then the print I got from South Africa.

679
00:44:02.280 --> 00:44:05.639
<v Speaker 4>Then Valerie's print which got mold damaged, you know, so

680
00:44:05.679 --> 00:44:09.159
<v Speaker 4>that's unplayable. And then the two prints that were discovered

681
00:44:09.280 --> 00:44:15.360
<v Speaker 4>in MGM's vaults. So that's literally the only film prints

682
00:44:15.400 --> 00:44:19.119
<v Speaker 4>of that exists of the film. And like I said,

683
00:44:19.239 --> 00:44:21.400
<v Speaker 4>I think the one that I got from South Africa

684
00:44:21.599 --> 00:44:25.519
<v Speaker 4>probably was the one that played the theatrical circuit around

685
00:44:25.559 --> 00:44:28.719
<v Speaker 4>the around the world, you know. So we know it

686
00:44:28.800 --> 00:44:32.400
<v Speaker 4>played in Times Square, we know it played in Florida, Texas,

687
00:44:32.639 --> 00:44:36.360
<v Speaker 4>and then Valerie's Print played a few festivals in Chicago

688
00:44:36.440 --> 00:44:40.920
<v Speaker 4>and Texas as well. So it was very, very very

689
00:44:41.039 --> 00:44:44.159
<v Speaker 4>rare to be able to see this on a big screen.

690
00:44:45.480 --> 00:44:49.320
<v Speaker 4>So another reason why people should log in and check

691
00:44:49.320 --> 00:44:52.719
<v Speaker 4>out the website for dates or send an email and say, hey,

692
00:44:52.760 --> 00:44:54.519
<v Speaker 4>we want to play this where we live.

693
00:44:54.800 --> 00:44:58.840
<v Speaker 1>So, Sam, I would love to hear your take on

694
00:44:58.880 --> 00:45:01.639
<v Speaker 1>the fact that Sam for Urstenberg is getting a lot

695
00:45:01.639 --> 00:45:04.760
<v Speaker 1>of love right now. I mean, we've got Ninja the Domination,

696
00:45:04.880 --> 00:45:08.239
<v Speaker 1>We've got Revenge to Ninja, We've got American Ninja. We've

697
00:45:08.280 --> 00:45:11.639
<v Speaker 1>got all these movies getting like these immaculate four K

698
00:45:11.760 --> 00:45:15.760
<v Speaker 1>restorations in twenty twenty five, and everybody rabbit to see

699
00:45:15.800 --> 00:45:17.920
<v Speaker 1>them still, you know, almost forty years later. How does

700
00:45:17.920 --> 00:45:18.639
<v Speaker 1>that make you feel?

701
00:45:18.880 --> 00:45:23.320
<v Speaker 3>A Ryan? This is the magic of the world of cinema.

702
00:45:24.039 --> 00:45:27.880
<v Speaker 3>I don't have an explanation or formula. I cannot break

703
00:45:27.960 --> 00:45:32.079
<v Speaker 3>it down. Revenge of the Ninja was made more than

704
00:45:32.159 --> 00:45:35.880
<v Speaker 3>forty years ago. By now, it's like forty three years ago.

705
00:45:36.000 --> 00:45:39.000
<v Speaker 3>And this was the first martial art movie I directed,

706
00:45:39.360 --> 00:45:43.559
<v Speaker 3>Ninja three. The domination then came American and those movies

707
00:45:44.559 --> 00:45:48.400
<v Speaker 3>they got discent release. MGM picked them up from the

708
00:45:48.480 --> 00:45:52.360
<v Speaker 3>company that produced them was Kenon Canon Film, which also

709
00:45:52.440 --> 00:45:56.280
<v Speaker 3>became there's a big revival about Kenon Film. But anyway,

710
00:45:56.760 --> 00:45:59.280
<v Speaker 3>those movies were picked up by MGM, so they had

711
00:45:59.280 --> 00:46:03.679
<v Speaker 3>a descent descent release for a low budget independent type

712
00:46:03.679 --> 00:46:08.039
<v Speaker 3>of movies, and then they kind of subsided, they died,

713
00:46:09.360 --> 00:46:13.519
<v Speaker 3>you know, it went down. And this was our prediction.

714
00:46:13.639 --> 00:46:16.320
<v Speaker 3>We always thought that, Okay, we're making a movie that

715
00:46:16.440 --> 00:46:20.239
<v Speaker 3>will go into video stores for five years, four years

716
00:46:20.280 --> 00:46:23.400
<v Speaker 3>people will see and then they will disappear in what

717
00:46:23.480 --> 00:46:27.599
<v Speaker 3>I call a piece of time. They will disappear in

718
00:46:27.599 --> 00:46:30.519
<v Speaker 3>the cave over the cave of time, a base of time.

719
00:46:30.840 --> 00:46:35.199
<v Speaker 3>And so it was for the first ten years after

720
00:46:35.280 --> 00:46:38.440
<v Speaker 3>making them, I didn't hear a lot about them. There

721
00:46:38.480 --> 00:46:41.239
<v Speaker 3>was a lot of influence. There was the Ninja Turtle

722
00:46:41.760 --> 00:46:48.599
<v Speaker 3>and then Killed Bill by Tarantino, so there was the

723
00:46:48.679 --> 00:46:51.800
<v Speaker 3>legacy kept on, but the movies themselves, the Ninja movies

724
00:46:51.920 --> 00:46:57.440
<v Speaker 3>kind of and even breaking to Electric Google and then

725
00:46:58.360 --> 00:47:00.920
<v Speaker 3>at the beginning of the two thousands and suddenly I

726
00:47:01.159 --> 00:47:04.880
<v Speaker 3>start to get a call can reinterview you would you

727
00:47:05.039 --> 00:47:07.880
<v Speaker 3>like it? Are you willing to do an interview? At

728
00:47:07.880 --> 00:47:10.599
<v Speaker 3>the beginning, it was all pressed, it was all written

729
00:47:10.639 --> 00:47:18.559
<v Speaker 3>interview slowly, slowly, people like you more video, and it's

730
00:47:18.719 --> 00:47:24.119
<v Speaker 3>just growing and growing. And you're right. Especially five movies

731
00:47:24.159 --> 00:47:26.719
<v Speaker 3>out of the many movies that Ei di rected, twenty

732
00:47:26.760 --> 00:47:32.920
<v Speaker 3>five movies, but five of them Ranger, the Ninja, Ninja three,

733
00:47:32.960 --> 00:47:36.719
<v Speaker 3>The Domination, which became totally cult movie, real cult movie,

734
00:47:37.760 --> 00:47:41.960
<v Speaker 3>Breaking to Electric Boogalo, which became an iconic symbol of

735
00:47:42.000 --> 00:47:47.159
<v Speaker 3>the sick of the eighties, and of course America Ninja,

736
00:47:47.199 --> 00:47:53.599
<v Speaker 3>which completely went bananas all over the world became so popular.

737
00:47:54.280 --> 00:47:58.159
<v Speaker 3>But maybe maybe again, I said, there is no way

738
00:47:58.199 --> 00:48:01.960
<v Speaker 3>that I can explain it rationally to tell you why.

739
00:48:02.400 --> 00:48:04.800
<v Speaker 3>You know, this is what the audience like, that's what

740
00:48:04.840 --> 00:48:09.400
<v Speaker 3>people like. But perhaps maybe in those movies which are

741
00:48:09.440 --> 00:48:13.079
<v Speaker 3>action movies or a dance movie, it was a low

742
00:48:13.119 --> 00:48:19.000
<v Speaker 3>budget outfit. Low budget movies, medium budget. Everything that we

743
00:48:19.199 --> 00:48:24.559
<v Speaker 3>have created on the screen is physically performed. We didn't

744
00:48:24.559 --> 00:48:33.719
<v Speaker 3>have no screen, yellow, green screen, blue screen, cables, digital effects, nothing, everything.

745
00:48:34.760 --> 00:48:37.000
<v Speaker 3>Nineteen nine percent of the things that you see on

746
00:48:37.039 --> 00:48:43.559
<v Speaker 3>the screen are physically performed. Even shrimp. Michael shrimp dancing

747
00:48:43.679 --> 00:48:48.079
<v Speaker 3>on the ceiling was physically performed, no optical gimmicks, no

748
00:48:48.159 --> 00:48:53.280
<v Speaker 3>optical effects. So and all the action, every fall, every hit,

749
00:48:53.599 --> 00:49:00.440
<v Speaker 3>every dragging stunt, people behind cars, it was all perform

750
00:49:00.960 --> 00:49:04.280
<v Speaker 3>And perhaps maybe when people are watching it today and

751
00:49:04.320 --> 00:49:08.920
<v Speaker 3>they are used to see the Fast and the Furious, Okay, Superhero,

752
00:49:08.960 --> 00:49:13.599
<v Speaker 3>which the action is spectacular, but you know, your brain

753
00:49:13.679 --> 00:49:17.719
<v Speaker 3>is telling you it's not real. A car is flying

754
00:49:17.760 --> 00:49:21.480
<v Speaker 3>from one building to another building. Your brain is telling

755
00:49:21.559 --> 00:49:26.400
<v Speaker 3>you nothing like this can happen. And suddenly they see

756
00:49:26.440 --> 00:49:29.280
<v Speaker 3>those movies, and those movies have a raw feeling, has

757
00:49:29.320 --> 00:49:33.000
<v Speaker 3>a feeling that wow you, even if you're not conscious

758
00:49:33.039 --> 00:49:36.480
<v Speaker 3>as an audience, as a viewer, you're not consciously sitting

759
00:49:36.559 --> 00:49:40.840
<v Speaker 3>there and analyzing it, but still subconsciously you feel something

760
00:49:40.840 --> 00:49:44.400
<v Speaker 3>here is real, something here is there is something here,

761
00:49:44.920 --> 00:49:50.159
<v Speaker 3>And perhaps maybe that's part of the attraction and the

762
00:49:51.079 --> 00:49:55.199
<v Speaker 3>reason for the growing popularities of those group of movies.

763
00:49:55.400 --> 00:49:57.639
<v Speaker 3>Of course, there are other directors in this group who

764
00:49:57.639 --> 00:50:00.159
<v Speaker 3>did the you know Sheldon Ladys who did the all

765
00:50:00.199 --> 00:50:07.480
<v Speaker 3>the Bandam movies, and you know Toby Hooper and others.

766
00:50:09.320 --> 00:50:11.119
<v Speaker 4>Yeah, well you're a legend.

767
00:50:11.239 --> 00:50:13.920
<v Speaker 3>So maybe maybe this is the answer I don't know.

768
00:50:15.199 --> 00:50:18.000
<v Speaker 4>Yes, no, I didn't know at the time how legendary

769
00:50:18.039 --> 00:50:22.719
<v Speaker 4>Sam was. I mean people literally travel for miles, hundreds

770
00:50:22.760 --> 00:50:26.320
<v Speaker 4>of miles to meet Sam and share their stories about

771
00:50:26.719 --> 00:50:30.480
<v Speaker 4>growing up watching his films, you know. So it's been

772
00:50:30.519 --> 00:50:34.880
<v Speaker 4>a treat this last twelve thirteen months, just being on

773
00:50:34.920 --> 00:50:38.199
<v Speaker 4>the road with Sam and hanging out, recording audio commentaries

774
00:50:38.239 --> 00:50:39.119
<v Speaker 4>and hearing the stories.

775
00:50:39.159 --> 00:50:43.000
<v Speaker 1>So speaking about your go ahead, Sam.

776
00:50:43.360 --> 00:50:47.239
<v Speaker 3>Excluding Breaking to Electric Buglo, all the other movies are

777
00:50:47.280 --> 00:50:51.880
<v Speaker 3>like for Men, for Boy, for the boys. So the

778
00:50:51.960 --> 00:50:55.480
<v Speaker 3>original crowd, they were teenagers when they saw it, of course,

779
00:50:55.519 --> 00:51:01.320
<v Speaker 3>you know, they were twelve, ten, fourteen, fifteen. They show

780
00:51:01.360 --> 00:51:04.880
<v Speaker 3>it to their sons, to the sun and they come

781
00:51:04.920 --> 00:51:07.840
<v Speaker 3>to the screening. The screening in Atlanta, a guy came

782
00:51:07.880 --> 00:51:10.400
<v Speaker 3>with his son. He was now forty five, and his

783
00:51:10.519 --> 00:51:14.280
<v Speaker 3>son is like, let's say eleven, and they came together

784
00:51:15.159 --> 00:51:17.639
<v Speaker 3>to get the autograph and to meet me to just

785
00:51:18.559 --> 00:51:22.119
<v Speaker 3>and you know, and the father was so proud and

786
00:51:22.159 --> 00:51:24.679
<v Speaker 3>he said, I saw it, and now I saw it

787
00:51:24.719 --> 00:51:32.480
<v Speaker 3>together with my son. So it keeps it keeps playing,

788
00:51:33.000 --> 00:51:34.639
<v Speaker 3>It Keepsody work.

789
00:51:34.679 --> 00:51:36.719
<v Speaker 4>I mean even I didn't I had never seen the

790
00:51:36.800 --> 00:51:40.880
<v Speaker 4>quote the Tarantino gave about American Ninja until recently, so

791
00:51:41.800 --> 00:51:44.519
<v Speaker 4>he's a huge fan and and you know, our biggest

792
00:51:44.559 --> 00:51:47.159
<v Speaker 4>hope is that he'll endorsed the product as well.

793
00:51:47.280 --> 00:51:50.679
<v Speaker 3>So absolutely, we really, we really.

794
00:51:50.320 --> 00:51:56.840
<v Speaker 4>Really hope that we're close. So if anybody watching actually

795
00:51:56.880 --> 00:52:00.400
<v Speaker 4>knows Tarantino directly, have him reach out, get him a

796
00:52:00.400 --> 00:52:02.800
<v Speaker 4>screener so we can have something to put on the

797
00:52:02.840 --> 00:52:08.320
<v Speaker 4>box cover. But yeah, I mean, amazing global influence and

798
00:52:08.440 --> 00:52:13.360
<v Speaker 4>impact the work of Sam Furstenburg, so it's great.

799
00:52:13.880 --> 00:52:15.920
<v Speaker 1>Well, the box cover, we get to talk about the

800
00:52:15.920 --> 00:52:18.320
<v Speaker 1>Blu ray. That's one of the main reasons we're here.

801
00:52:18.400 --> 00:52:20.960
<v Speaker 1>Tell me about the physical media that we are producing

802
00:52:21.000 --> 00:52:21.679
<v Speaker 1>for Riverbend.

803
00:52:21.679 --> 00:52:24.719
<v Speaker 4>Mike, Well, this is the mock up, which is changing,

804
00:52:25.320 --> 00:52:29.840
<v Speaker 4>you know, so, but and done done by Samurai Guinea

805
00:52:29.880 --> 00:52:35.280
<v Speaker 4>pig Alan Pyrie overseas he and the artwork itself was

806
00:52:35.360 --> 00:52:42.519
<v Speaker 4>illustrated by Aaron Kai, so it's hand painted artwork. We

807
00:52:42.639 --> 00:52:46.119
<v Speaker 4>had to make some revisions. At the time, we were

808
00:52:46.480 --> 00:52:51.679
<v Speaker 4>trying to court controversy, but as time progresses we realized

809
00:52:51.760 --> 00:52:55.559
<v Speaker 4>that it's probably safer to go all Americans. So this

810
00:52:55.639 --> 00:52:59.599
<v Speaker 4>is the all American one sheet. If you have the

811
00:52:59.719 --> 00:53:04.079
<v Speaker 4>orig mugs and posters, those are Collector's Items now, but

812
00:53:06.400 --> 00:53:08.760
<v Speaker 4>is done by Aaron Kai. What do you think, Ryan,

813
00:53:09.119 --> 00:53:10.239
<v Speaker 4>I'm just curious.

814
00:53:10.519 --> 00:53:13.840
<v Speaker 1>I mean, it's just it's iconic already. It's so freaking great.

815
00:53:13.880 --> 00:53:15.400
<v Speaker 1>It's a strong posters.

816
00:53:16.559 --> 00:53:19.320
<v Speaker 3>We really wanted to create the feeling of the posters

817
00:53:19.320 --> 00:53:23.480
<v Speaker 3>of the eighties. Yeah, this was intentionally so in our

818
00:53:23.559 --> 00:53:28.079
<v Speaker 3>conversations with Aaron the artist, this is hand painted poster

819
00:53:28.199 --> 00:53:31.320
<v Speaker 3>that you saw hand painted, and and when in our

820
00:53:31.400 --> 00:53:34.480
<v Speaker 3>conversations with him before he started to work on it,

821
00:53:34.920 --> 00:53:38.079
<v Speaker 3>we expressed our feeling that we would like to really

822
00:53:38.119 --> 00:53:40.800
<v Speaker 3>have something that will remind us of the eighties. So

823
00:53:40.800 --> 00:53:50.840
<v Speaker 3>so you know, Schwarzenegger salon this kind of uh, this

824
00:53:51.000 --> 00:53:55.719
<v Speaker 3>kind of younorius. So he really encapsulated this feeling of

825
00:53:55.760 --> 00:53:57.960
<v Speaker 3>the posters of the eighties in this poster.

826
00:53:58.679 --> 00:54:02.559
<v Speaker 4>Well, one of the themes the movie is is it revenge

827
00:54:02.639 --> 00:54:06.119
<v Speaker 4>or is it justice? Right, And we always felt, all

828
00:54:06.159 --> 00:54:10.239
<v Speaker 4>of us felt that Steve James was denied the justice

829
00:54:10.280 --> 00:54:13.719
<v Speaker 4>of being the star of his own Cannon movie, you know,

830
00:54:13.920 --> 00:54:17.239
<v Speaker 4>and Riverbend is very close to that with the DNA

831
00:54:17.320 --> 00:54:20.559
<v Speaker 4>of Sam Furstenburg and the amount of action that's in

832
00:54:20.599 --> 00:54:24.719
<v Speaker 4>the story. So we said, what if Steve James was

833
00:54:24.760 --> 00:54:27.639
<v Speaker 4>the star of a Cannon film from nineteen eighty nine.

834
00:54:28.199 --> 00:54:30.960
<v Speaker 4>What would that poster look like? And that's what Aaron

835
00:54:31.039 --> 00:54:34.559
<v Speaker 4>came up with. I mean, in collaboration with Sam and myself.

836
00:54:34.639 --> 00:54:37.280
<v Speaker 4>But you know, when you're right, you fight.

837
00:54:39.199 --> 00:54:42.320
<v Speaker 3>So it's really this poster encapsulates the feeling of the

838
00:54:42.320 --> 00:54:46.519
<v Speaker 3>movies of the those movies of the eighties, the superheroes

839
00:54:46.599 --> 00:54:47.360
<v Speaker 3>of the eighties.

840
00:54:47.639 --> 00:54:49.719
<v Speaker 1>Yeah, and it feels like that for sure.

841
00:54:50.000 --> 00:54:50.320
<v Speaker 3>It is.

842
00:54:51.159 --> 00:54:54.360
<v Speaker 1>Genuinely it's one that I am just easier to have

843
00:54:54.400 --> 00:54:57.280
<v Speaker 1>on the shelf. I was stoked to be able to

844
00:54:57.280 --> 00:54:59.639
<v Speaker 1>back it. And now we got it coming sometime mid

845
00:54:59.679 --> 00:55:00.960
<v Speaker 1>twenty twenty six ish.

846
00:55:00.920 --> 00:55:06.519
<v Speaker 4>Correct juneteenth, twenty twenty sixth June nineteenth, twenty twenty six,

847
00:55:07.280 --> 00:55:09.519
<v Speaker 4>the Blu Ray will be available. It would be in

848
00:55:09.519 --> 00:55:15.079
<v Speaker 4>people's hands on juneteenth, and before that we'll have opportunity

849
00:55:15.079 --> 00:55:17.039
<v Speaker 4>to see it on the big screen, like it's a

850
00:55:17.119 --> 00:55:20.559
<v Speaker 4>beginning in February in New York and Philadelphia, and we're

851
00:55:20.559 --> 00:55:24.320
<v Speaker 4>looking for other dates as we speak. Also, if you

852
00:55:24.400 --> 00:55:27.239
<v Speaker 4>haven't pre order or you're like, hey, I don't really

853
00:55:27.320 --> 00:55:29.119
<v Speaker 4>want the Blu Ray, but I want to see the

854
00:55:29.159 --> 00:55:32.679
<v Speaker 4>movie like streaming or whatever, we're going to do our

855
00:55:32.800 --> 00:55:37.599
<v Speaker 4>Kickstarter campaign beginning in February to get the final funds

856
00:55:37.599 --> 00:55:40.480
<v Speaker 4>that we need to make sure that this happens for everybody.

857
00:55:41.000 --> 00:55:43.519
<v Speaker 4>So you know, the best way to keep track of

858
00:55:43.519 --> 00:55:47.000
<v Speaker 4>that is just to go to riverbend restored dot com,

859
00:55:47.119 --> 00:55:50.760
<v Speaker 4>riverbend restored dot com.

860
00:55:52.159 --> 00:55:54.320
<v Speaker 3>Yeah, we have a feeling that we'll have another screening

861
00:55:54.360 --> 00:55:58.079
<v Speaker 3>in Texas, and we'll probably have conta in the South

862
00:55:58.280 --> 00:55:59.239
<v Speaker 3>screening in the South.

863
00:55:59.760 --> 00:56:03.119
<v Speaker 4>We'll workers there's a there's a there's a cadre of

864
00:56:03.840 --> 00:56:07.920
<v Speaker 4>theaters around the country that do restorations and and and

865
00:56:08.039 --> 00:56:12.519
<v Speaker 4>re represent repertory work, you know, so uh, and then

866
00:56:12.599 --> 00:56:15.440
<v Speaker 4>ultimately we'll also be taking the thirty five millimeter Prentice

867
00:56:15.480 --> 00:56:20.000
<v Speaker 4>specific places that only show thirty five So that's that's

868
00:56:20.039 --> 00:56:23.559
<v Speaker 4>an option as well. But with the digital format, we

869
00:56:23.599 --> 00:56:26.480
<v Speaker 4>can go to as many cities as possible, not just

870
00:56:26.519 --> 00:56:29.199
<v Speaker 4>in the United States, but around the world with it,

871
00:56:29.280 --> 00:56:32.840
<v Speaker 4>so you know, have have hard drive, will travel.

872
00:56:35.000 --> 00:56:37.360
<v Speaker 3>You know, it's interesting. There is a lot of interest

873
00:56:37.760 --> 00:56:40.920
<v Speaker 3>from Germany for some reason. We already got a couple

874
00:56:40.960 --> 00:56:44.079
<v Speaker 3>of people who contacted us can they represent the movie

875
00:56:44.079 --> 00:56:46.920
<v Speaker 3>in Germany if they can, asking.

876
00:56:46.960 --> 00:56:48.639
<v Speaker 4>If they can, Oh, yeah, the Blu is going to

877
00:56:48.719 --> 00:56:51.840
<v Speaker 4>have subtitles too. I went through a whole thing. I

878
00:56:51.880 --> 00:56:55.280
<v Speaker 4>thought that because the movie came out in Germany and

879
00:56:55.440 --> 00:57:01.000
<v Speaker 4>in Greece, it came out in France and Canada, so

880
00:57:01.079 --> 00:57:04.559
<v Speaker 4>it was in French as well and in Spanish, I

881
00:57:05.079 --> 00:57:10.119
<v Speaker 4>thought I needed to transcribe the dubbing of those VHS

882
00:57:10.159 --> 00:57:14.760
<v Speaker 4>tapes to create subtitles. But actually it's what's simpler is

883
00:57:14.800 --> 00:57:19.440
<v Speaker 4>to take the American captions and translate them automatically. So

884
00:57:19.480 --> 00:57:26.320
<v Speaker 4>we're going to have at least four different languages English subtitles, Spanish, French, German.

885
00:57:27.280 --> 00:57:30.960
<v Speaker 4>So so people, and it's a region free disc. You know,

886
00:57:31.039 --> 00:57:33.280
<v Speaker 4>you just have to cover the shipping. But in order

887
00:57:33.280 --> 00:57:35.800
<v Speaker 4>you can pre order the disc now at River been

888
00:57:35.880 --> 00:57:38.239
<v Speaker 4>restored as well, and it's going to be a ton

889
00:57:39.159 --> 00:57:45.360
<v Speaker 4>of extras, you know, interviews, demonstrations for the restoration, demonstrations

890
00:57:45.360 --> 00:57:49.840
<v Speaker 4>of how the poster was created, audio commentary with Debbie

891
00:57:49.920 --> 00:57:54.000
<v Speaker 4>James and Sam Furstenburg, as well as a cast commentary

892
00:57:54.039 --> 00:57:56.679
<v Speaker 4>with as Sam that we recorded at Sam's house.

893
00:57:58.039 --> 00:58:02.239
<v Speaker 3>Julius, Alex, Margaret and you have an album.

894
00:58:03.239 --> 00:58:07.280
<v Speaker 4>Yeah, we have. We will have a limited run of

895
00:58:08.199 --> 00:58:10.599
<v Speaker 4>compact discs of the soundtrack as well.

896
00:58:10.679 --> 00:58:11.199
<v Speaker 1>That's cool.

897
00:58:12.239 --> 00:58:14.679
<v Speaker 4>Yeah, that was That was the beauty of getting the

898
00:58:14.800 --> 00:58:19.480
<v Speaker 4>original elements from MGM, who was basically paying rent for

899
00:58:19.519 --> 00:58:22.280
<v Speaker 4>them for thirty five years and couldn't do anything, so

900
00:58:22.320 --> 00:58:26.000
<v Speaker 4>they were having I mean, they literally unloaded them on

901
00:58:26.239 --> 00:58:30.599
<v Speaker 4>SAMs that day. I don't know if you, I think

902
00:58:30.679 --> 00:58:33.519
<v Speaker 4>you were slightly overwhelmed with the amount of material that

903
00:58:33.559 --> 00:58:34.840
<v Speaker 4>they had held onto.

904
00:58:34.639 --> 00:58:38.519
<v Speaker 3>When I went there with a van with my SUV

905
00:58:38.639 --> 00:58:44.079
<v Speaker 3>and suddenly there's so many books is coming up, so surprised.

906
00:58:44.800 --> 00:58:45.960
<v Speaker 4>So the beauty of it was.

907
00:58:46.960 --> 00:58:49.079
<v Speaker 3>Negative sound, the original sound.

908
00:58:49.880 --> 00:58:54.320
<v Speaker 4>We had twenty four boxes, twenty four track, one inch

909
00:58:54.480 --> 00:59:01.639
<v Speaker 4>real magnetic tape prem old big things still and our

910
00:59:01.679 --> 00:59:06.800
<v Speaker 4>friends at Drexley University helped us, and Love Philly Records

911
00:59:07.320 --> 00:59:11.760
<v Speaker 4>coordinated that for us to transfer the audio and create

912
00:59:11.800 --> 00:59:15.119
<v Speaker 4>a new soundtrack CD, so you know, and we're looking

913
00:59:15.280 --> 00:59:17.880
<v Speaker 4>we're trying to give the album cover sort of a

914
00:59:17.920 --> 00:59:21.199
<v Speaker 4>retro look so people have something else that they can

915
00:59:21.239 --> 00:59:24.960
<v Speaker 4>collect them feel like they're experiencing it again for the

916
00:59:24.960 --> 00:59:25.599
<v Speaker 4>first time.

917
00:59:25.760 --> 00:59:29.440
<v Speaker 1>So well, one thing I do want to highlight before

918
00:59:29.480 --> 00:59:32.920
<v Speaker 1>we call this, there are so many people that are

919
00:59:32.920 --> 00:59:35.400
<v Speaker 1>out there working in this industry, so many companies putting

920
00:59:35.400 --> 00:59:39.000
<v Speaker 1>out films nowadays, it's expensive, it's hard to get the

921
00:59:39.039 --> 00:59:41.519
<v Speaker 1>certain things that you want. I really want to point

922
00:59:41.519 --> 00:59:43.960
<v Speaker 1>out for a moment how important it is to support

923
00:59:44.000 --> 00:59:48.559
<v Speaker 1>small things like this, specifically because other companies are putting

924
00:59:48.559 --> 00:59:51.719
<v Speaker 1>out certain movies that have seen eighty five releases literally

925
00:59:51.800 --> 00:59:55.039
<v Speaker 1>on home video. And that's not exaggerating. Riverbend has not

926
00:59:55.199 --> 00:59:58.480
<v Speaker 1>had a good release ever, It's not had a proper

927
00:59:58.519 --> 01:00:01.960
<v Speaker 1>release in decades. It's not had a backed release like

928
01:00:02.079 --> 01:00:05.440
<v Speaker 1>this ever. But beyond that, it is coming from a

929
01:00:05.480 --> 01:00:07.840
<v Speaker 1>group that clearly has a passion for the film. It

930
01:00:07.920 --> 01:00:09.920
<v Speaker 1>is coming from a group that saw this and said

931
01:00:10.280 --> 01:00:12.480
<v Speaker 1>we can make something with this, We can bring this

932
01:00:12.559 --> 01:00:14.000
<v Speaker 1>back to the world in a way that is more

933
01:00:14.000 --> 01:00:17.480
<v Speaker 1>relevant than ever, and it has already affected people. I mean,

934
01:00:17.480 --> 01:00:20.119
<v Speaker 1>I've got people in my discord that pre ordered the

935
01:00:20.159 --> 01:00:24.039
<v Speaker 1>movie pretty much day one that got personalized thank you

936
01:00:24.159 --> 01:00:27.320
<v Speaker 1>videos from you saying thank you for pre ordering this,

937
01:00:27.519 --> 01:00:31.880
<v Speaker 1>and everybody was just genuinely touched that a company out

938
01:00:31.880 --> 01:00:33.920
<v Speaker 1>there cares so much that they will do that, and

939
01:00:34.000 --> 01:00:36.119
<v Speaker 1>so just on behalf of everybody, because I'm sure you

940
01:00:36.119 --> 01:00:38.360
<v Speaker 1>don't hear it that often, thank you for putting that

941
01:00:38.400 --> 01:00:41.599
<v Speaker 1>sort of like a personal touch on it. That's so rare.

942
01:00:42.519 --> 01:00:46.400
<v Speaker 3>No, thank you, I must tell you since I know Michael,

943
01:00:46.440 --> 01:00:49.199
<v Speaker 3>I know him now for four years, three or four years.

944
01:00:49.920 --> 01:00:54.519
<v Speaker 3>Michael and Real Black together are dedicated, really dedicated to

945
01:00:54.599 --> 01:00:58.840
<v Speaker 3>this one purpose of recovery and restoration of black cinema

946
01:00:59.400 --> 01:01:04.039
<v Speaker 3>hundred you know. And that's like a nonprofit organization. Like

947
01:01:04.079 --> 01:01:05.639
<v Speaker 3>I said, they don't make they don't make it to

948
01:01:05.760 --> 01:01:09.960
<v Speaker 3>be rich, to become rich. They believe. He really really

949
01:01:10.000 --> 01:01:13.519
<v Speaker 3>believes in his mission. Maybe you see this your mission

950
01:01:13.519 --> 01:01:18.800
<v Speaker 3>in life to restore, to recover, to discover, recover and

951
01:01:18.840 --> 01:01:22.519
<v Speaker 3>restore black cinema too. We're supposed to be. By the

952
01:01:22.559 --> 01:01:27.360
<v Speaker 3>way I told Michael before that. Steve James was also

953
01:01:27.440 --> 01:01:31.000
<v Speaker 3>an avid collector of black cinema. I had many many

954
01:01:31.079 --> 01:01:35.639
<v Speaker 3>at the time. It was all dhs, the other type

955
01:01:35.679 --> 01:01:39.360
<v Speaker 3>of cassettes and laser discs of black cinema, going all

956
01:01:39.400 --> 01:01:43.719
<v Speaker 3>the way back to silent cinema, Black silent cinema. Steve

957
01:01:43.800 --> 01:01:46.199
<v Speaker 3>James said, A big collection, huge collection.

958
01:01:47.880 --> 01:01:50.440
<v Speaker 4>Yeah, it's been a dream of mine to have a label.

959
01:01:51.559 --> 01:01:53.360
<v Speaker 4>But there's not a lot. There's not a lot out

960
01:01:53.400 --> 01:01:58.239
<v Speaker 4>there that's accessible. So when it's happened, I jumped at it,

961
01:01:59.480 --> 01:02:01.599
<v Speaker 4>and it's been a lot of work to get to

962
01:02:01.679 --> 01:02:04.639
<v Speaker 4>get us to this moment where we can say that

963
01:02:04.719 --> 01:02:09.280
<v Speaker 4>we're in theaters and we're coming to Blu Ray and

964
01:02:09.320 --> 01:02:12.079
<v Speaker 4>we wouldn't. And I just have to thank you for

965
01:02:12.079 --> 01:02:18.480
<v Speaker 4>for your support, Ryan, of giving your platform, your bullhorn,

966
01:02:19.840 --> 01:02:23.760
<v Speaker 4>the attention that this movie deserves. I think, and I think,

967
01:02:23.960 --> 01:02:27.000
<v Speaker 4>and you've seen it, so you know it's it's not

968
01:02:28.320 --> 01:02:30.719
<v Speaker 4>you know, it's it's a gem. It's really something that

969
01:02:31.079 --> 01:02:33.840
<v Speaker 4>people need to see and will and we'll appreciate in

970
01:02:33.880 --> 01:02:36.719
<v Speaker 4>their collection. I've seen it probably more than any person

971
01:02:36.760 --> 01:02:43.639
<v Speaker 4>on Earth at this point, at least four dozen times.

972
01:02:44.599 --> 01:02:47.440
<v Speaker 4>But I don't get tired of it, I really and

973
01:02:47.480 --> 01:02:49.000
<v Speaker 4>I see new things in it every time, and I

974
01:02:49.079 --> 01:02:52.800
<v Speaker 4>can't wait to share it with more people. So I appreciate,

975
01:02:53.119 --> 01:02:57.199
<v Speaker 4>I appreciate your support Ryan and Sam, and I wouldn't

976
01:02:57.239 --> 01:02:59.280
<v Speaker 4>be doing this if not for Sam. Like if Sam

977
01:02:59.360 --> 01:03:02.400
<v Speaker 4>was a complete sure, forget about it, you know, but

978
01:03:03.159 --> 01:03:08.400
<v Speaker 4>together we are. He's one of the best people on

979
01:03:08.440 --> 01:03:12.559
<v Speaker 4>the planet. And and he you know, he supervised the

980
01:03:12.679 --> 01:03:16.360
<v Speaker 4>entire project, you know, and he does it with not

981
01:03:16.480 --> 01:03:19.400
<v Speaker 4>kid gloves. He he knows what he wants, he knows

982
01:03:19.400 --> 01:03:22.159
<v Speaker 4>what works and and you. And as I watched his

983
01:03:22.239 --> 01:03:27.119
<v Speaker 4>other films, I see his spirit in those films. It's

984
01:03:27.159 --> 01:03:29.880
<v Speaker 4>it's amazing like he you know, if you if you

985
01:03:29.920 --> 01:03:33.679
<v Speaker 4>spent the hour with us, you know Sam spirit is

986
01:03:34.199 --> 01:03:39.280
<v Speaker 4>one of of not laid back but but just positivity,

987
01:03:39.559 --> 01:03:41.920
<v Speaker 4>you know. And I think there have been some days

988
01:03:42.320 --> 01:03:44.400
<v Speaker 4>where I didn't want to continue to do this and

989
01:03:44.400 --> 01:03:46.559
<v Speaker 4>and I would have cut the ties from it. But

990
01:03:47.239 --> 01:03:49.199
<v Speaker 4>like I said, if Sam Dipitty is the theme of

991
01:03:49.239 --> 01:03:52.599
<v Speaker 4>this conversation, it's just I can't wait for the next

992
01:03:52.599 --> 01:03:54.880
<v Speaker 4>one to happen. You know what, what the next moment

993
01:03:54.920 --> 01:03:58.039
<v Speaker 4>will be that that amplifies and say, yes, this is

994
01:03:58.079 --> 01:03:59.440
<v Speaker 4>the time for Riverban.

995
01:04:01.239 --> 01:04:04.719
<v Speaker 1>Incredible. Well, I wish you both nothing but the best.

996
01:04:05.079 --> 01:04:08.440
<v Speaker 1>I sincerely hope the theatrical run is incredible, and I

997
01:04:08.480 --> 01:04:11.039
<v Speaker 1>hope we can make a screening in Kansas City here work,

998
01:04:11.079 --> 01:04:13.000
<v Speaker 1>I gotta we'll have to talk about that. We get

999
01:04:13.000 --> 01:04:15.920
<v Speaker 1>a theater that just literally this last week finalized their

1000
01:04:15.960 --> 01:04:19.480
<v Speaker 1>insul of a thirty five millimeter projector so yeah, awesome.

1001
01:04:19.800 --> 01:04:22.519
<v Speaker 4>Well, I mean, the DCP is the way to go.

1002
01:04:23.440 --> 01:04:27.519
<v Speaker 4>But what would be fantastic is for this to be

1003
01:04:27.559 --> 01:04:30.440
<v Speaker 4>a success and we can continue to rescue more films.

1004
01:04:31.119 --> 01:04:33.239
<v Speaker 4>This is not the only one that's out there, and

1005
01:04:33.800 --> 01:04:36.039
<v Speaker 4>we have our finger on the pulse of a few titles.

1006
01:04:36.840 --> 01:04:40.119
<v Speaker 4>I learned my lesson not to announce too early, but

1007
01:04:41.440 --> 01:04:44.039
<v Speaker 4>twenty twenty six will have at least one other release

1008
01:04:45.159 --> 01:04:47.079
<v Speaker 4>come away, so incredible.

1009
01:04:47.320 --> 01:04:49.719
<v Speaker 1>Love to hear that. All right, Well, thank you gentlemen.

1010
01:04:49.760 --> 01:04:51.559
<v Speaker 1>Hope you have a good night and stay safe and

1011
01:04:52.199 --> 01:04:52.880
<v Speaker 1>we'll talk soon.

1012
01:04:52.920 --> 01:04:58.320
<v Speaker 3>I'm sure, thank you too. The one movie that Steve

1013
01:04:58.480 --> 01:05:02.679
<v Speaker 3>James was really the main star. We have here an

1014
01:05:02.719 --> 01:05:06.159
<v Speaker 3>opportunity to bring you big to life. Hey boy, I

1015
01:05:06.159 --> 01:05:07.760
<v Speaker 3>want to talk to you.

1016
01:05:08.719 --> 01:05:12.079
<v Speaker 4>So this is my answer.

1017
01:05:12.159 --> 01:05:16.840
<v Speaker 9>When I saw it, I said, holy cow, this is

1018
01:05:16.960 --> 01:05:18.199
<v Speaker 9>a filmic anomaly.

1019
01:05:19.840 --> 01:05:20.599
<v Speaker 3>I love this film.

1020
01:05:21.000 --> 01:05:23.000
<v Speaker 4>Hi. I'm Michael J. Dennis and I'm the founder of

1021
01:05:23.079 --> 01:05:26.679
<v Speaker 4>Real Black Riverband, starring Steve James and Margaret Davey, tells

1022
01:05:26.719 --> 01:05:31.440
<v Speaker 4>a story of three black Vietnam soldiers who teach a

1023
01:05:31.480 --> 01:05:34.000
<v Speaker 4>small town how to stand up to an oppressive share.

1024
01:05:34.440 --> 01:05:40.079
<v Speaker 7>Maybe you could stay in, help us protect ourself, well,

1025
01:05:40.119 --> 01:05:41.480
<v Speaker 7>show us how to do it.

1026
01:05:41.519 --> 01:05:45.079
<v Speaker 3>The River Bend is an underwatched, overlooked classic.

1027
01:05:45.360 --> 01:05:49.079
<v Speaker 4>What I found was a forgotten chapter in black cinema history,

1028
01:05:49.480 --> 01:05:52.079
<v Speaker 4>A film that should have been part of the conversation.

1029
01:05:51.760 --> 01:05:58.159
<v Speaker 6>But wasn't bought Just to be berry, sure, I would

1030
01:05:58.239 --> 01:05:58.679
<v Speaker 6>say yes.

1031
01:05:59.559 --> 01:06:01.639
<v Speaker 4>I don't ever ever.

1032
01:06:02.920 --> 01:06:07.239
<v Speaker 3>Want to hear the words boy or colored used again.

1033
01:06:07.719 --> 01:06:11.320
<v Speaker 8>It was healing. It was an elixir from my soul.

1034
01:06:12.119 --> 01:06:16.679
<v Speaker 8>With everything that's happening in the zeitgeist today, I think

1035
01:06:16.719 --> 01:06:17.800
<v Speaker 8>that we need this movie.

1036
01:06:18.360 --> 01:06:22.119
<v Speaker 4>After two years of legal hurdles, we secured the original

1037
01:06:22.159 --> 01:06:26.280
<v Speaker 4>elements from the Amazon MGM vault and restored the film

1038
01:06:26.280 --> 01:06:27.679
<v Speaker 4>in stunning six k.

1039
01:06:27.719 --> 01:06:31.079
<v Speaker 8>I think it would be so happy that this movie

1040
01:06:31.199 --> 01:06:33.760
<v Speaker 8>is coming back to life, and.

1041
01:06:33.679 --> 01:06:36.400
<v Speaker 4>Now we invite you to be part of this journey.

1042
01:06:36.639 --> 01:06:39.360
<v Speaker 8>I think this is a film, so I think it's

1043
01:06:39.360 --> 01:06:42.079
<v Speaker 8>worth the money, and I think it's worth the time

1044
01:06:42.159 --> 01:06:44.840
<v Speaker 8>to sit in that theater for two hours and watch

1045
01:06:44.880 --> 01:06:47.199
<v Speaker 8>it and let it be the healing bomb.

1046
01:06:47.599 --> 01:06:50.840
<v Speaker 4>If this work matters to you, join us. Make a

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<v Speaker 4>pledge today.

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01:06:58.440 --> 01:07:01.119
<v Speaker 3>You want to get better if we all just stand up,

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01:07:01.159 --> 01:07:01.760
<v Speaker 3>stand out.

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01:07:03.320 --> 01:07:06.199
<v Speaker 1>Thank you for listening to the Disconnected podcast. There's one

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01:07:06.199 --> 01:07:08.000
<v Speaker 1>big thing that you could do to help the show,

1052
01:07:08.039 --> 01:07:09.920
<v Speaker 1>and that is to leave a rating and review on

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01:07:09.960 --> 01:07:12.199
<v Speaker 1>the podcast service of your choice. Thank you.

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<v Speaker 9>Hello, this is Chris Askell from They Live by Film

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01:07:46.679 --> 01:07:48.960
<v Speaker 9>For those that don't know us, Adam Zach and I.

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01:07:49.000 --> 01:07:51.519
<v Speaker 9>We built the podcast over the last two years. That's

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<v Speaker 9>a combination of film discussion from three very different perspectives,

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<v Speaker 9>as well as industry interviews with the leaders in Boutique,

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<v Speaker 9>Blu Ray, and four K community. We started with dev Crocodile,

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<v Speaker 9>but over time we've been lucky enough to speak with

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<v Speaker 9>Aero Video, Severn, Manda Macabre, Vinegar Syndrome, Radiant Syndicator, most

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<v Speaker 9>of the OCN partner labels. It's been a blast. You

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<v Speaker 9>can find us wherever you podcast and also actually recently

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<v Speaker 9>as part of someone's favorite production podcast network. We hope

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<v Speaker 9>to see you online.

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<v Speaker 10>Hey, this is Jason Kleeberg from the Force five podcast,

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01:08:26.359 --> 01:08:28.119
<v Speaker 10>a show that forces a guest to come up with

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01:08:28.159 --> 01:08:30.680
<v Speaker 10>a movie themed top five list topic and then we

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01:08:30.760 --> 01:08:34.039
<v Speaker 10>reveal our picks on air. Top five heist Films, top

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01:08:34.079 --> 01:08:37.560
<v Speaker 10>five Tier Jerkers, Top five movie Dogs. Every show you'll

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<v Speaker 10>be asking yourself what would be on my list. Guests

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<v Speaker 10>include directors, screenwriters, actors, podcasters, musicians, authors, and even a

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<v Speaker 10>professional wrestler. Subscribe to the Force five podcast and you

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<v Speaker 10>won't just be a listener, you'll be a listen nerd.

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<v Speaker 10>The Force five podcast available wherever you are listening now.

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<v Speaker 3>Thank you for listening.

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01:09:02.239 --> 01:09:05.880
<v Speaker 1>To hear more shows from the Someone's Favorite Productions podcast network,

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<v Speaker 1>Please select the link in the description
