Speaker 1: We're all owned by the Syndicate, body and soul or
should I just say bunny?
Speaker 2: Hello? Filthy movie lovers, Something Weirdos and anti Criterion Bros
To the thirty fifth episode of The Sins Syndicate, where
a vampire must always be a virgin and the dungeon
rough housing is invariably performed at the behest of the producer.
My name is Gentry Austen, writer and researcher, and I'm
here with my co host, adult film historian Casey Scott.
And in this episode, we are doing something we've never
done before. We are reaching our arms across the Atlantic
to discuss a spiced up sexploitation import direct from France,
a film that has gone by a number of different titles.
You may know it as Requiem for a Vampire, but
to us it'll always be Caged Versions.
Speaker 1: Take two devilish nymphets hiding from the police, put them
in a forest more ominous than death, and listen to
their screams, screams of horror when they learned what fate
awaits them as caged virgins.
Speaker 2: Joining us from the backwoods of Kentucky is our guest
this week, Jeremy Ritchie, the author of Sylvia Cristelle from
Emmanuel to Chabrol and frequent contributor to the recent slate
of UHD releases of genre Lon's filmography, which have been
put out by Indicator Studio in the UK. So we
will be bringing Jeremy on in a few moments, but
first let's check in with the Sexploitation News desk. I've
got Casey here and he's on mute. I'm gonna talk
for a minute here. This is our I'm gonna call
it our official one year anniversary. We're pretty close, so
let me just say, if you're listening right now, thank
you so much. You know, we've been doing this pretty
consistently for the last twelve months, and as I've told
Casey probably one hundred times, this thing wouldn't exist without him,
and so I'm glad he decided to jump into the
fire with me on this project. And we can't not
thank Alex DeSanto, our sort of third member, and he's
also an integral part of this project. So I again, yeah,
I can't say enough thanks for him for his insight
and his youthful enthusiasm. But of course we also have
to thank all our listeners who have joined us on
this journey, and many of you have helped us in research,
or you've thrown us a few bucks over at Patreon,
or simply sent us nice messages. It really does mean
a lot. I think I can speak for both of us.
I'm just really proud of the work that this whole
community has been doing, and we're just a little piece
of it. Casey, what are your thoughts after a year
of working together with with me?
Speaker 1: Uh?
Speaker 3: Well, when you put this in the show notes, I
was like, wait, it's been a year we have we
have been going pretty NonStop. I mean, now, I guess
the listeners should know. We typically are going we're going
by a two week on, one week off schedule. Well,
for a while there, we didn't have weeks off. We
just kept going because we were so invested in doing
something that we wanted to talk and we wanted to
you know, build the quote unquote brand. I guess I
will also say I've said this before. I'm really glad
that I started this, and I've told you analyx this
a lot. Is that my previous relationship with research and
my previous you know, ex relationships with other researchers has
really contributed to me not trusting a lot of people.
So when you reached out to me, and I think
we had only spoken a few times, I was like, well,
let's see how far this goes. So I immediately it
was suspicious of everybody, including full disclosure, our guest today,
our guest today, who I love. We had a little
bit of a thing because of other researchers in my
trust issues. So I'm glad that we'll talk about that
more probably, but yeah, no, I'm And the thing that
has been the best about this is of course working
with you and Alex. But yeah, like you mentioned, we
have really developed a nice little community here of people
who are watching these film for the first time, revisiting them,
collaborating on research. Lisa has listened and enjoyed and connected
us to other people. So now we're doing commentaries. I mean,
right now we've done We've done five commentaries together and
we have more down the line. So it's really crazy.
It's only been a year, but I think it has
let such a great fire under my ass again. The
passion is back, and it had been gone for a long,
long long time, just specifically because it wasn't fun to do,
because of the way that other researchers were behaving. So
it's an it's been a great it's been a great
reminder that it's a big community out there and we're
all trying to we're all just trying to do this
together and show love and support for these films the
best we can together. So I like the collaborative nature
of this podcast and our little community of of of collaborators. Yeah,
are members of the syn Syndicate if you will, ye, So,
I and I do need to start making pins, I think,
uh so that we can all have a fit that'll
be our official membership card. Well, we'll have some pins
maybe that we can start shipping out to people.
Speaker 2: Yeah, yeah, I know. Alex has said the same thing
where you know he was kind of ready to throw
in the towel for a little bit there on sexploitation research,
and you know, until this whole thing started and you know,
we're all just excited again and doing exciting things. So
you know, you can you guys can all just thank
me later.
Speaker 3: Really, Gentry was yeah, Gentry was the was the This
was all Genter's idea. So I'm glad that it succeeded
for your sake to gentry. Otherwise you never live this now, No,
I know, yes, I think it did. No, I think
it did. And you know, and I I'm very at
this point, I'm very protective of you as a friend
and and uh and and a co host. So so yeah,
and I ride or die for my for my friends,
especially in this in this realm.
Speaker 2: So yeah, yeah, yeah, I won't go behind the scenes
too much. But yeah, it's been a lot of work,
but it's also been very fulfilling I think for all
of us, absolutely, And yeah, I think that there are
people listening that have let's just say certain uh sway
and what's being put out, so hopefully that you know,
I hope that we're our podcast is maybe slightly influential
in that regard, and you know, we'll see what happens.
Speaker 3: But so I've seen the it's very least seen the
number of views and reviews of some of the films
we've covered go up on letterbox, and that I will
say that, honestly has it has to help knowing that
there are at least people who have seen it and
there's an audience there for potential reissues.
Speaker 2: I think that's important, right, Yeah, as I've talked to
Dakota as well about you know, our letterboxed usage. It's
just like, yeah, you know, sometimes we go overboard and
it's kind of cringe how seriously we take it. But
at the same time, you know, people are reading it
and they're looking at reviews and they're seeing, you know,
what's what's getting good reviews, what's getting bad reviews. But anyways,
speaking of home video releases, Reviver too nice to see
that sellout so pretty quick. Uh well, I don't yeah,
I mean not.
Speaker 3: As quick as the first one, but it just yeah,
I think I wonder if people are nervous now because
of the fact that the first one got mixed reviews.
I loved it and so I bought it side unseen
and I actually I texted Oscar about something else last
week and I said, I'm avoiding any clues, any theories,
any any suggestions of what this could be because Reviver
one was spoiled for me, which is fine, but when
this shows up in my mailbox, I want to pop
it in and be completely surprised from the jump, like
I want to experience that Reviver experience.
Speaker 2: Yeah, you know, well, don't talk to Charles Devlin then nope, I.
Speaker 3: Won't not talking to anybody about it, Dino told me.
If Dino even was like, if you know anybody who
hasn't bought this yet, tell them to buy it. I'm like,
everyone I know has bought it because everyone's in. Everyone's
all in on this.
Speaker 2: I blame Dino as well for me rushing to buy
it when there was like twelve copies left, thanks a
lot of Dino yep.
Speaker 3: Listen, Yeah, I did it too. It can't popped up.
I bought it immediate h and I spent more money
because I wanted that free shipping, so I got more stuff. Yeah,
in that order, which is the goal I guess for the.
Speaker 2: Yeah, as I think Dino's hinted a little bit to me,
just you know where it was kind of coming from,
and the sort of about the production. But yeah, I'm
not even bothering to try to figure it out because
I don't think I will. For one and two, you know,
I don't want to. I don't want to figure it out.
Speaker 3: I don't want to. I want to be fully surprised.
And yeah, Oscar was like, oh good, I like hearing this.
I was like, come on, Oscar, you know me enough
at this point. I like being surprised. I'm I'm in it.
I'm full on in so well.
Speaker 2: And what I didn't also realize with this whole line
when it came out was that it's not just one film.
There's a bunch of stuff on each release.
Speaker 3: Yes, because there's little shorts, there's like homemade movies are
a little like in industrial films. It's a mix of stuff.
So I don't want to know what any of it is.
I want to pop it in and just experience it
for the first time, especially because I think the only
thing I know about these two films is I feel
like they may not even have been released ever before,
which is even a bigger deal because then it's like,
I'm going to be one of the first people who
ever pre ordered this, who is ever seeing these films ever, So,
so how would I not order that? Are you kidding?
You know? I mean, it's not about bragging rights, it's
about film love. Like I love film, So I want
to be able to devour that and experience that and
put myself in that position of seeing a film for
the first time ever as its first audience.
Speaker 2: Yeah, and now we already know that Chris Poggiali is
going to be on Reviver three. He's involved with that,
so it's like, well, okay, there's another instant purchase.
Speaker 3: Right Yeah, And he said it was one of the
endangered films, but that's a lot. It could be any
of them. So I'm not even going to look at
the list. I'm just like, whatever it is, I know
I'm gonna love it, so I'm just buying it. A
minute it pops up, not even questioning it.
Speaker 2: All right, Oscar, give us a call, well, figure out
a s exploitation release for Reviver five or six.
Speaker 3: I've already dropped a bunch of suggestions to him.
Speaker 2: But let's talk Francy's updates. What have we got here?
Sean provided a bunch of locations. I don't know if
you guys have seen that. They are up on our
Patreon now some then and now that he took I
believe it was twenty twenty three, he said when he
was in the area. So check those out. I think
they are pretty great. How closely he lined up each shot,
you can tell he really puts some care into it.
Speaker 3: So yeah, those I love Sean, Yeah, I love him.
I love listening back to that episode too, because and Sean,
I will just say, next time you're in New York,
I'm clearing my friggin schedule. Just tell me God feel terrible.
I haven't met him yet, and yeah, so, and that'll
be basically have to clear the whole day. It'll be
another bow In situation where wherever we go, we're probably
gonna shut the place down. I'll probably be there for
the entire day because we have so much to talk about.
So I'm looking but I haven't done that in a
long time with someone, So I'd probably do the same.
If you game to New York, we wouldn't we shut
someplace down? Yeah?
Speaker 2: Yes, you would take me to all your haunts. That'd
be a good time.
Speaker 3: Yeah haunts, Yes, I would, Yes, we would. It would
be fun.
Speaker 2: What else we got we got? I guess we can
announce Yeah, nude camera Nude Las Vegas. Quino called Keno
Lauriber our second involvement with them. Great team over there.
Brett Wood is doing amazing work on these restorations. You know,
he really cares. You can tell about restoring these as
best as he can. And now I see that he's
going to be doing a little commentary over some of
the deleted or what is he calling it deleted footage?
Speaker 3: How it takes bically. Yeah, they were on this, They
were on a Twisted Sex volume, and I wasn't sure
if they were going to include those or if they
still existed on film. I still don't know whether they're
going to be read transferred from film. I think they
are though, because he sent us some screenshots and they
looked great, so I was like, okay, Yeah, so it's
forty five minutes of outtakes, which is which is almost
the full film. Crazy, So I thought the ratio was
one to one on these very Mahon movies, but apparently not.
Speaker 2: Wild Yeah, we saw some slates. Yeah, we saw some
more footage of Berry in his airplane. So yeah, he's
got forty five minutes of outtakes that he's going to
be doing a commentary on top of, which should be
very interesting. Of course, we've got commentaries on each of
those films. I will let it all be a surprise
how we formatted that, but it'll be a pretty fun time.
Speaker 3: Yeah, yeah, we did. I will say you did a
lot of amazing research, and I did a lot of research.
I will I will split it down the middle because
we really did, and you'll find out it's I mean,
I honestly am impressed at how much we covered in
those commentaries. Just not well again, not to not to
I always feel weird about saying positive things about myself
or our podcasts and the two of us, but I'm
really impressed with the work we did on this, I
really am. And I liked both movies better actually, well, no,
I liked I Think together as a project. I feel
like they fit so much better than Sex Bodhism Raw Love.
I don't think that releases great too, but these two
just go really well together, and so we were able
to bounce things off each other across the two commentaries,
which I think was really good.
Speaker 2: Yep. Absolutely, And I will say, speaking of the research
we did for those, I think that we'll probably put
up those notes on our Patreon as well when those
hit the probably on the street date of Nude Las
Vegas Nude Camera because they are packed so if you like,
if you like reading and learning more as you kind
of I mean, they would they would go really well
with our commentary. Either you could read them after or
read them as it's running.
Speaker 3: Whatever.
Speaker 2: But yeah, so another reason to check out our Patreon.
Speaker 3: Yeah, and related to those notes, actually I'm putting I
think I'm what I'm gonna do. I'm gonna put together
folders of articles that I found, especially about the whole
Lisa Winters thing, the star of Nude Camera. That was
a journey, that was a crazy journey, and I didn't
I only touched on in the notes, but actually reading
the actual articles. So I think I'm gonna do that too.
I'm gonna have articles on Bud. I'm gonna have separate
articles on Bunny and all these different people, the guy
who's who rented his house, whatever his name was.
Speaker 2: Yeah, Oh, maybe that's the way to go. Yeah, split
them up on the Patreon a bit that way.
Speaker 3: Do I wonder when when when our other one is
going to be announced too, by the way, with another
least coming out with my first solo commentary in your essay,
I'm not sure when that's coming out.
Speaker 2: Yeah, I'm really excited for that one, to see how
it's all true. It's yeah, how they put those together.
I think it'll probably be next month, hopefully.
Speaker 3: I hope. So. Oh, and that's something else I guess
related to this. I mean, we're not spoiling too much
because even the Kino announced it. But the film at
least one of the film's nude camera was restored from
like sixteen millimeters partially restorted from sixteen sixteen millimeter code
chrome originals, not just thirty five millimeters prints. So it
looks great. It's probably the it's well, yeah, I mean
it's shocking to have a color Barry Man on film
that's going to look that good. I mean, it goes
back and forth between thirty five and sixteen. But watching
that restoration, I was like, oh, actually this Yeah, I've
said it before. A restoration can really change your mind
on a movie. So yeah, I was more impressed with
that movie revisiting it that way for sure.
Speaker 1: Yeah.
Speaker 2: I pointed out right when we got our screener that
you can actually tell, like what the color of the
car is now seeing that code film print. Yeah. Ye.
Speaker 3: And Bunny's outfits pop.
Speaker 2: Yeah, it's yeah.
Speaker 3: I'm really excited about it. I mean, say what you
will about the films Bunny and Barry together, like it's yeah,
it's I'm really excited about it. I wasn't. If I
wasn't involved with it, I'd be buying it. I'd be excited.
Speaker 2: What's this Satan in High Heels update from Mike McCollum.
Speaker 3: God love Mike McCollum. Mike McCollums. So we were talking
about Cosmic Films and we're trying to figure out who
they were because they only distributed that one other film,
which was Nude in his pocket, I think the fifty
seven French films. So he found this article from Box
Office nineteen sixty two. So Cosmic Films, Inc. Will distribute
the independently made Vega production Satan and I Heels, according
to Arnold Jacob's Cosmic president. And then it discusses its
filmed in New York City by Leonard Burton, directed by
gerald In Trader, Starry, Meg Miles, blah blah. They just
described Meg Miles as nightclip singer, which I guess was true.
And then it says we'll open at the Forum Theater
March twenty third, nineteen sixty two. So we have a
name of the guy behind Cosmic Films. But Mike also
try to do some additional research on him, and it
was we didn't really find it. He didn't find any
other Arnold Jacobs associated with the film business outside of
this blurb for Cosmic Films. I'll check back with him
to see if he has any additional info on that,
But I think that might be it. It might just
have been. That's something I need to send to Alex too,
because and maybe the fet history guy might know who
Arnold Jacobs is. If he was related to Burton and
related to the whole magazine world, that's entirely possible.
Speaker 2: Yeah, yep, so yeah, there's definitely some research to be
done on Arnold Jacobs.
Speaker 3: I think he found an article that was an A Jacobs,
but then I think he determined it was a different
first name. It wasn't Arnold. But and I know that, Mike,
I love you. If I'm saying it wrong, I know
you will correct me and then then we will do
another correction. But this is what I work, This is
what I recall, this is what I recall. Our conversation was.
Speaker 2: So yeah, okay, good good. I think that's it.
Speaker 3: I think, so I said, I can't believe it's been
a year. Oh that is something else I wanted to mention.
So yeah, So I'm excited we're talking about these genre
law films, But even more exciting is that they are
not just being released by Indicator in the UK. They're
also being released in the US. They do they do
simultaneous US UK releases for these, which is great because
then you don't have to worry about paying import fees
or different regions. I mean you, when they're on sale
at Barnes and Noble, just go and buy them. Most
of them are out of print now, at least the
big super duper editions.
Speaker 2: Are, which they're re releasing as sort of standard editions.
Speaker 3: Ye. Yes, but I like those books because those books
have then have all the written all the written extras
from the Dutch versions which I've been trying to get rid.
Speaker 2: Of for a long time, and they've got newly translated
interviews sometimes in there as well.
Speaker 3: Yes, that's right, and so yeah, sometimes they're like re edited, yeah,
and they are the new subs are different too, Yeah yeah,
I uh will talk more about that with Jeremy obviously.
Speaker 1: Oh, Caged Virgins a journey into the unknown and a
study of the unspeakable things looking in the minds of beasts,
things which might also exist in the darkest shadows of us.
All Caged Virgins coming soon righted are.
Speaker 3: Oh my gosh, our first time meeting after how many years?
Speaker 4: Yeah, it has been so long. I was thinking about
that the other day. I mean I started moving the
gutter back in like the mid two thousand. It's belaly
like twenty years ago. It's been a long time.
Speaker 3: Yes, yes, it got it has been that long.
Speaker 4: Yeah. I interviewed you for my vlog back way way
long time ago. I don't even know if you were mine.
Speaker 3: I don't remember. I don't. That's I wonder what I said.
Speaker 4: A little email interview. Yeah, oh wait.
Speaker 3: A minute, I do remember that, Yes I do. I
was thinking, oh wait, I did an interview you over
the phone. I don't remember speaking. I totally remember. I
totally remember through email. Yes, that's right.
Speaker 2: What was it about this case?
Speaker 3: He's about live.
Speaker 4: Expectation, Yeah, yeah, all the stuff.
Speaker 3: I think. The only other one I did that was
written was Robin Boujie for Cinema Sewer and then he
like illustrated me, and that was and that's what I'm trying.
Speaker 4: I don't have his sounds, and.
Speaker 3: We're trying to get him on here, and I was
and I'm kind of like, well, once we have you on,
can you like do an illustration of Gentry and eyes,
so he can maybe change make an addition to the
podcast artwork or something. Yeah, I would love it.
Speaker 4: Yeah, it was driving me crazy that I couldn't find
my I had that original that's something we're a video
vhs changed visions years ago and I don't know, it's
just long gone. And I thought I had a digital
copy someplace and I was looking. I don't have it.
Speaker 2: But yeah, maybe I should ask uh Nathaniel again to
see if he remembers, like.
Speaker 3: What's the end of He's very good about his archiving.
He sent me all sorts of out of print something
weird stuff over the years, so he might still have it.
Speaker 4: Yeah. I even checked their website and yeah it doesn't.
Speaker 3: Yeah, it's oh yeah because Novak heard.
Speaker 4: Yeah everything changed.
Speaker 3: Yeah yeah, yeah, but that's also that's kind of what happens.
Like I guess we'll talk about the Home to Doo
history of this is that when you get like something
gorgeous restored from the original negative and the original French,
you're not going to look backwards to like the American
version that came in. It's like that's in the past.
And I think that's kind of like gentry you one
of your least favorite Jes Franco movies is either The
Blood Monster or The Bloody Judge. You can't see the
AIP version to know if that was any good or not.
Maybe it flowed better than whatever we have now that's
the Bloody Judge because they cut out some of the
extraneous garbage. So but I'm tempted to know because I know.
What I do know is that they're able to fit
it onto a double feature tape years ago. It wasn't
with Acts, it was maybe I don't think it was
with Axe. It was with something else because Novak released
two of those. So it was ATS and something else
and then Cage versions and something else, and they were
both movies were basically to fit onto one two hour tape.
Speaker 2: It wasn't behind Me cut down, dude.
Speaker 3: It might have been. It might have been. This is
where I wish my home video knowledge was better from then.
Yeah that I don't remember.
Speaker 4: Yeah, my memory and my memory is not great, but
I just remember it being I remember it being shorter
for sure, because I had seen the video search of
Miami tape before then. That's that's how I was introduced
to the film. I wish I still had that too,
but yeah, I remember it being shorter, and for some reason,
I remember it seems like the like the Dungeons sequences
had a little more footage, but that might just be
my imagination because the more lyrical stuff was kind of
cut down, so it seemed a little more. I don't
know the girl to the film, but yeah, that's all
I remember. I don't I don't remember a lot of
changes though, Yeah.
Speaker 3: Because I was thinking about, like, well, Novac likes pacing,
so I'm like, well, is the long run through the
field where they running towards the camera. I'm like, he
probably would have that favorite parties run, Yes, I love them.
I'm like, there's a difference between Barry may I letting
the camera run. There's having people walk for Roland knows
what he's doing when you're there's long walks, those long
there's long runs, those long takes. He knows what he's doing.
Speaker 4: So yeah, and I feel like when you when you
mess his pacing is so specific and editing. It's so
specific to him, and when you mess with it just slightly,
it just kind of it kind of throws everything off. Seeah,
I suspect that you're right that Novac probably cut a
lot of a lot of that early footage, which is Yeah,
to me, that's what that's actually I was thinking earlier.
I believe Requeen was the first Roland film that I
saw via that video search tape, because I would have
been in the mid nineties when I was discovering all
that stuff. And yeah, it was those early scenes that
just made me fall in love immediately with his filming.
I was just like, I don't know what this is.
I've never seen anything like this, but man, I I
love this. I want to find more of this stuff.
Speaker 2: So, yeah, that's a good intro for you, Jeremy, Like,
what's your you know, your history with Lan and and
maybe talk about how you got involved with these indicator releases.
Speaker 4: Sure, well, I discovered Relan when I was in my
guess early twenties and the mid nineties. It was right
in that period where that Book of Moral Tales had
come out and then Video Watchdog, you know, the early
video Watchdog days. That's where I discovered it. I started
reading my first and then I started collecting tapes and
video search of Miami and then Luminous and Midnight Video
and all those all those great companies, and yeah, I
remember it was like thirty it was nearly thirty books
for a tape for video Search of Miami, which was
big money back. I mean, it's still big money today
for for for me at.
Speaker 3: Least, but uh, yeah, did you have to pay the
membership fee first? Did that?
Speaker 4: I remember? Oh god, I forgot, Oh god, the membership fee.
I forgot about that. Yeah, yeah, pay that.
Speaker 3: Membership membership to even get the catalog from them.
Speaker 4: And then their tapes were yes, typically they're I mean
they had I mean that the time you would just
look at those catalogs and be like, I cannot believe
they have all these movies. I just can't comprehend it.
And then you get the tapes and they were just
like most horribly dubbed, I mean poorly for you know.
But yeah, but that's the period I discovered him, and
and so I I originally discovered him via those blurry,
you know, dubbed over tapes.
Speaker 2: And yeah, I can't remember which which commentary it was,
but you went into like detail about how you were
getting all these tapes, and I remember I was listening
to that and I was like, I think people forget
how difficult this was back in the day and it
was me I had.
Speaker 4: I had a buddy named David was into this stuff,
and we would like go half and half on these
tapes and then we would just dub a copy for
the other one, and we would have two copies, you know,
because I mean, I guess otherwise we wouldn't have been
able to afford I mean afford them, especially like videos
Search and I think mid and Night were both like
I mean, they were close to thirty bucks, and I
remember when the Rolan.
Speaker 3: Midnight I think it was twenty five each. I remember.
Speaker 4: Yeah, yeah, I mean that that was you know, that
was that was good. That was good money. And so yeah,
not even a pre record, yeah exactly. Yeah, yeah, I
remember when Video Search put out the Ralan, they had
like plam show boxes with these you know, the artwork
whe they were just photo copy artwork and put it
in and then you did those little introductions. Those were
like thirty two or something. So anyway, yeah, but my
buddy and I would would go in half and half
and and then you would inevitably find, you know, companies
that weren't expensive, like I think there was one like
Trash Palace or something like that.
Speaker 3: Remember Trash Palace video was also cheaper.
Speaker 4: Yeah, video screams and European trash cinema, so you know,
it was just a matter of like fine and stuff
and then going to video stores and looking in like
the old movie isles and trying to find like European
titles that had been you know, the American cuts of them.
And that's how the first time I saw like the
Edwitch Finetch Gallo movies were like those America and vhs,
and you know, you would just find them in the
store and you would just beholding them like, oh my god,
I cannot believe. You know, I'm gonna get to home
and go and watch this. And now you know, you're
on you online, you find you see a movie on
letter box or whatever you want to see it, and
then five minutes later on some website finding it and
you're good to go. So it's a very different, very
different world. But I'm very jealous of the people, like
younger people that get to experience these types of films
the first time via these HD releases, like oh, yeah,
I mean that's just that's that mind blowing.
Speaker 2: This film we're about to talk about, Yeah, this one
looks I think all the Indicator releases I've seen, well,
i've seen them all. Is I think this one benefits
the most from the restoration, like the gel lighting, and
this one really pops off. And I think it was
on the commentary for Requiema, Troy Howarth was talking about how, yeah,
those early VHS releases looked like, you know, it was faded,
you could hardly see any of the colors. So yeah, this,
this Indicator release looks pretty incredible.
Speaker 4: Yeah. And it's funny. I remember, like, you know, I
would get each one of those releases and each time
you would think, oh man, the film looks so good.
Now it's just the first of me, I'm like, I
can't believe it looks this good, and then it is
kind of now after the Indicator, it's like, oh okay, Yeah,
it really does.
Speaker 3: The brand new experience.
Speaker 4: Yeah.
Speaker 3: I mean, and I've said this before and not to
sound like old Ben yells a cloud, but like, yeah,
y'all don't know how hard it was to see these
in good quality. But also I think it's very telling.
That's one why I see people who are new to
these films, these specific roll on films, and they will
review them and be like that was all right, and I'm.
Speaker 2: Like, have some respect.
Speaker 3: Yeah, you don't know how hard it was to get
these looking this good. And that kind of speaks to
I think his cult following. Even when we were watching
them in some of the least appealing transfers, we still
knew that they were special and so that still came through.
My favorite, one of my favorites is still Night of
the Hunted, which people still I feel people still aren't
coming around on that, but like I cry at the
end of that movie.
Speaker 4: Yeah, that's actually my second or third favorite, that one.
It's right there with The Iron.
Speaker 3: Rose, another good one.
Speaker 4: I love that, but Night of the hunt it keeps
rising for me. I love that one. It's so good.
Speaker 3: Yeah, I mean I think, yeah, she's but to think
that that was just like I think it was just
it was like an experiment, like, well, I don't want
to make a sex movie. I'll make a movie with
these sex movie people, but just give them a chance
to do something and like everyone's good in it. It's
just and then that That's My favorite of his long walks, too,
is the walk away from the camera with these two
doomed people. It's just like it's so devastating, and I'm
glad that the reputation on that is is. I think
the reputation of that also is because it's one of
his only films that has like no real horror elements
to it. It's more of like a really weird dystopian
almost sci fi thing, and so I feel like people
were like, well, doesn't have zombies or vampires or anything
in it, but that's but neither does Iron Rose. Really,
Iron Rose is kind of like the disintegration of this
woman in One Night at the Cemetery, and she's amazing
in it too. So yeah, I think my favorites are
the ones that have these really incredible central women. Living
Dead Girl is kind of the same way. I think
French ones Bar is incredible in that. But yeah, yeah,
long detol, long detour into raving about well, what was.
Speaker 2: Your first casey? What was your first one that you said.
Speaker 3: My first, well, sacrilege, My first was this one. And
I was kind of like, this is it? Okay, this
is not what I was expecting because I think and
Neil and you might, yeah, you might agree with me.
Is that? I mean his name was the Roland name
was whispered about in like hushed tones like oh he's
a master, Oh he's great, and you know, whispered about
in the same breath as people like Ourgento and Bava
and fool cheap. Not at all like those people at all.
Like no, So I think going in, you're expecting like, well,
I love deep red and suspiria and like you know,
and blood and black lace and stuff, and then you
go in to see the workman for a vampires like okay,
well there's some vampires, and you know, it's like it's
it's much more of like an art piece, tone poem.
And so it wasn't until I saw Fascination and that
blew me away and I was like, okay, I need
to go back because I think I I think I
kind of get what Roland is trying to do and
what his films are. And then I rewatched it and
I was like, oh, okay, it clicked. It just it took.
It took like a couple of things, and that that
Engraves of Death also kind of was like, okay, he
can he can do something with you know, pacing and
more story, but I almost prefer the ones with no story.
Speaker 2: Really well, I don't think it helped that. You know
those Redemption releases, the way those were marketed towards the.
Speaker 3: Well with Eileen.
Speaker 2: Cover art and you know some of those in you
know what was that notorious like Salvation or Redemption intro
with like.
Speaker 4: Oh my god, the girls and you can go to
the main and then you had to sit there and
watch it and yeah, I remember that. It was just
like what is what is it? Yeah?
Speaker 3: That was that was again we had to deal with it.
It's kind of like yeah, kind of like kind of
like Gentry. I think Gentry was. There was something you
and Alex were watching. It was a Nick Millard movie
that media blasters or maybe after Hours put out and
they're like, oh, this has like new people on the cover.
I was like, yeah, that's how you get people in.
I mean in private screens. You do that too, with
like old seventies movies. They would slap contemporary models on
the VHS covers like come in, like come see this
new movie. Not at all, not at all. It's just
that that kind of hoodwinking is is a lost art form,
so to speak. You can't get away with that anymore.
Speaker 2: The whole Relawn journey has been really interesting for me
to watch because you know, I think so I heard
about Ron probably in the early aughts, and it was
through Do you guys remember Flicker, that website It was
like a photo website. Yeah, the Flicker was almost like
a pre Tumbler in a way, so people would upload
like screen shots that they took screen captures, and there
was kind of like a little movie community on there.
And I had seen a bunch of Roland stuff on
Flicker from this lady in New Orleans who was like
obsessed with him, and she was capturing all these screenshots.
So that's how I heard of him. And now I
feel like kids are seeing him on Criterion Channel.
Speaker 3: You know, it's a whole collection.
Speaker 2: Yeah, so it's wild.
Speaker 4: It is wild. Yeah. What was your first movie centry?
Do you remember that?
Speaker 3: Yeah?
Speaker 2: I think mine was Grapes of Death, which I still
have a special place in my heart that I love that. Yeah.
Speaker 3: Yeah, it's a good entry point and that kind of
the beginning of the brigitte Ye're where it's like, Okay,
he's found a new muse you can't forget. Then it's
also a nice reference to Barbara Steele with the Dogs sequence.
Speaker 4: It's just that's just it's just just yeah, it's just
jaw dpping, It's just what Yeah.
Speaker 2: Uh so how did you get involved with these indicators?
Speaker 4: Jeremy, Oh, I guess right before or for I guess
several months before they announced the project, they reached out
to me and just ask if I'd want to be involved,
and I'm like, I'm like, yeah, I mean I obviously
I you know, i'd done that the little blog about
Roland that I'd done for quite a while, and I
had never had got an invite, you know, to do
anything on a release that uh connected the Rowlance. I
was really thrilled, and yes, I've I got three commentaries,
uh thrilled Vampire's Fascination, and then I just did Grapes
of Death. So I was I'm just yeah, I'm yeah,
just so incredibly honored, you know, to be involved and
uh to have you know, my name on those releases,
that's that's just incredible. I really feel like, and I
know this is it's way on the leve but I
just feel like when you get to have the opportunity
and honor to be a part of any typit of
release like this, you've become part of that film's history.
I mean, it's you become part of that film. I
mean maybe way down the line, but you've become part
of that film's pross production history, and it's to me,
it's just really really special, Like I just really value
it a lot. And yeah, so yeah, I've done the
commentaries and I don't know, I honestly don't know what
I mean. I would love if they would do some
more of some more of his other morphs here films,
but I'm not sure if they're going too. But yeah,
it's incredible to do.
Speaker 2: So you don't have any you don't have anything, you
can any secrets drop on.
Speaker 3: Using the real reason we had you. We wanted to
ask you kill I will.
Speaker 4: I will give you a little behind the scenes story
though that this just happened recently that I was really
really impressed by, just to to show you how dedicated
Indicator is to these releases and making them right. As
on my Grops of Death commentary, I had made two
little minor mistakes where I had misidentified a French press
book as German, and I had misidentified the original German title,
something that most listeners would probably not even pick up
on or recognize, but they realized it and they contacted
me and they said, hey, realize you made these minor errors.
Do you want to like patch it up? And they
gave me that opportunity.
Speaker 2: Wait, you're saying that they actually reviewed your comments caught it.
Speaker 4: They caught I was so impressed because.
Speaker 2: They're not listening to them before they published them.
Speaker 4: Well, I've never had anything like that I've done. I
haven't done as many of these as you know a
lot of my peers, but but the ones I've done,
I've never had anybody. Yeah, I've done. I mean I've
done more than I've ever thought that i'd get a
chance to, for sure, But I've never had a company
reach out to me and say, hey, you messed up
here and you want to fix it. And I was
so appreciative. Not so much because I mean, it was
just it was just two little mistakes. It wasn't so
much that I would, you know, like run into the
woods hiding, but just that they caught it and their
thatad dedicated to making sure these releases are right. And
I really think you can see it in the booklets
that are with the dom editions. They're so detailed and sourced,
and I mean you can really tell this as a
company trying to get it right. So yeah, I've I've
had nothing to positive experiences with Indicator and yeah, and
they invited me back, which was awesome. Like typically I'll
work with a company and that I won't hear anything.
Speaker 3: Again, that's crazy to me.
Speaker 4: But yeah, but no, Indicator has been great. The Indicator
and Cult Epics of the two that keep reaching out.
Of course, Cult Epics publish my books, so that's a
whole different thing.
Speaker 3: Well, I keep waiting for a Lamarge with the Jeremy
Richie commentary.
Speaker 4: Honestly, that would because maybe that would that'll be my
that's actually my dream, like dream or to do anything videos,
I mean connected, the Lamarge would be Yeah, I mean,
I'm just I'm so glad that people are finally able
to see it, like the Criterion and the important you know.
I've contacted Daniel Bert Bird a few times, you know,
trying to see like if he's got an the info
on like a possible US release, but nothing as yet.
It seems to me it's like an ideal thing for Criterion.
But yeah, I don't I don't think, Yeah.
Speaker 3: I don't know if it's too erotic or something. I mean,
it's I think it's I had never seen it until
the criter in collection. I've had a DVDR copy for
years and I downloaded. But I finally was like, oh,
I'll watch this since it's here, and that was I
will admit I'm not the biggest Sylvia Cristell fan. I
was really blown away by her in that movie, and
I was like, this is what she was capable of,
Like I want to see more of like this level
of Sylvia Crystal and then I but then I got
mad because then I was like, why didn't people give
her more to do like this? But that happens a lot.
I get mad about people, about people not giving women
an ex exploitation work. We talk about that on the
pod all the time. I'm like, I'm so mad at
these people fifty years ago.
Speaker 4: Oh my god, I got a four. I mean, this
is totally unrelated to anything, but Casey, I wanted to
tell you that, like, amongst the recent home video releases
and really like of all time, the Roommate's box set
that finally came out, that you're all over with those
old features. I mean that to me one of the
most special things. I mean, I waited for years for
that and like to have it on. I mean to
have it an HD and I finally have your work
with Veronica and Kelly. I mean that. I just wanted
to say, I'm so happy that that's finally out. And man,
anytime I see your name on her release, anytime I
see your name on a release, I want to get
that release, because I mean, you were the man as
far as like adult history goes. And yeah, I mean
so I appreciate that.
Speaker 3: I try to get involved as much. And usually the
stuff that I get involved with is stuff that I
want to be involved with, So like if I'm involved
with it, it's typically a sign of quality. Like I'm not,
for example, I'm not on the Debuta's Dallas release. I
wonder why. So yeah, yeah, like there's stuff that I'm like,
i'll pass thanks, But that one that was one that
I wanted to get Samantha Fox for and unfortunately she
passed away. I still have voicemails from her when I
invited her to the screening where that Q and A
was and her New York accent to come back, and
I really wanted to include those on the release, just
so people knew that she was around and they knew
what she sounded like more recently before she passed away,
because it was really we played phone tag for years
after that screening. We just never got to talk and
never got to meet. But yeah, I appreciate incredible. Oh yeah,
that's great. I mean, I bet that's just an amazing
memory for you. I that's that screening.
Speaker 4: Uh yeah, that was that's really It's just great that
it was captured on tape and yeah that's preserved. So
sorry to interrupt everything. I just know I want to
let you know, and we congratulations you both on the
Bunny Yeager. I'm so excited about that. I'm absolutely going
to get that.
Speaker 2: So yeah, check it out. We're just asking about that
in our on our little intro that we did before
you came on, we kind of announced that to everybody.
So I'm stoked for it.
Speaker 4: I love her and uh yeah, I love that period
and I've never seen those, so yeah, I'm really excited about.
Speaker 3: They're fun for Barry Mahon movies, they're fun. I went
in and actually the restorations we mentioned the restorations of them.
The one nude camera completely changed my opinion on it.
I was like, I remember just being really boring, but
it's most of it is restored from a sixteen little
meter codochrome original camera original, so it like really pops
and so the color is good, and yeah it's I mean, yeah,
you get to see Bunny and Bud, which is great,
you know, and their relationship. So yeah, I'm really excited
about that release, just even if I wasn't involved to
be like, Okay, let's let's get the Bunny Aigger renaissance going,
because you know, the Doctor just came out.
Speaker 4: So yeah, no, that's great, It's fantastic. Yeah, I love it.
Speaker 1: Some places possess an evil of their own, where the
air is thick with the shrieks of tortured souls, where
the earth tries to swallow every trace of those foolish
mortals who dare trespass such a place. Is this forgotten chateau,
For it is the domain of monstrous creatures more dead
than alive, get craved, walking corpses that perish with the sun,
then rise again each night to ravish young maidens and
a lust of blood.
Speaker 2: Well, you know, we kind of talked about our favorites,
but where does this sit like nowadays? For you guys,
what do you think about Requiem, because let me just
go first, Like, personally, I didn't love it at first either,
but every time I watch it, I kind of liked
it a little bit more. I don't know if.
Speaker 4: Well for me, like I said, I think, if my
memory serves, it was the film that introduced me to
roll On. I think it was the first video search
tape that I ever got, and so it's always had
kind of a very special place to me. I have
to admit, though, like as the years have gone by,
films like nine to one hundred and Iron Rows and
Grapes of Death too. I Groups of Death is one
of my absolute favorites. I've those films have kind of
gone more to the top of the list. It's a
Requiem sort of fallen down. But I would say Requiem'
still top five, top six or so. I mean, it's
still one of my favorites for sure.
Speaker 2: Yeah.
Speaker 3: Yeah, I think it has aged really well because I
have been doing a long term lener box rewatching of
all the of all the something weird stuff, and so
I was in the Novak the Novaks yeah category of
the catalog, and so I was making my way through
and I think it's probably right now I think it's
like a top five release that he handled for me.
Speaker 2: I mean, I've seen your list of the Novak linking.
I always know I don't think you should even include it.
Speaker 3: Oh, I mean I definitely am because of anything that
he actually legitimately released, I will anything that he claims
he released is a little IFFI for me to include.
But he definitely handled this. I mean, you know he
handled it. As you've noted, well into the eighties, it
was getting theatrical play, which is crazy when you think
about how very seventies this film is. Yeah, there is nothing.
It's not like a period piece vampire film, where you
could see maybe that would something that feels a little
more timeless. This doesn't feel timeless. It feels very over time.
Speaker 4: Yeah. I really love. It's got that really post hippie
freak kind of feel about it. It's got that. I mean,
it is very specific to its time. And I was
reading your notes Centry and I didn't know it had
played up until the mid eighties in some spots, And
I mean that's crazy to me, Like I can't imagine
stumbling into a drive through yeah, and seeing that in
the mid eighties, just unexpectedly with.
Speaker 2: I'm sure there were kids that were like sick of
seeing this film at their drive in at some point,
or like I've seen this one and like five times.
Speaker 4: Get over. I uploaded a photo earlier to the docs
that I was because I was curious about where it
had played in Kentucky, and it actually played on a
couple of double bills with the Stars Born at a
theater in Glasgow, Kentucky, the nineteen seventy six version. There's
an ad at first star is Born and in the
corner it says, yeah, plus second screening caged virgins.
Speaker 3: So I could see Pony Castele and barbaras reisand on the.
Speaker 4: Same yeah, which to me is pretty epic.
Speaker 3: I mean, I prefer I prefer Pony, I love, but
give me Pony. I love the Castle Sisters. Yeah I
do too.
Speaker 2: Yeah.
Speaker 4: I think that was another thing too, that like the
cast of this I just in Pony Castele, I just
you know, even though it was just turned this one,
it was soon after that that I saw the two
of them and it was just they were just so
they're still so evocative and oh yeah fun, and I
like I was I was actually watching her Kliem this morning,
just as I was kind of reading some notes and
stuff and or had it on, and I just look
up and she just had the sweetest face, and just
there's just a real charm to those kind of early
erotic moments in the film. They're just so playful. And
I love the shot where she comes around the corner
to the like the food truck or whatever that looks like.
And I'm just I don't know, it's just so nobody
else been Roland would. It's just so bizarre perfect.
Speaker 2: I think that's why he liked them so much, the twins,
because they could be like, you know, innocent and sexual
at the same time.
Speaker 3: It was never really, yes, it was never. It doesn't
come off.
Speaker 2: As vulgar, and which totally doesn't. That's not Land's mode,
but which is also weird because then you know, if
you deep dive enough and you see hard you know
Verland's hardcore stuff, then you see her and it's like, wait,
what are you doing here, pony?
Speaker 3: You shouldn't be doing well. I just keep thinking about
how odd that must have been for him. After working
with them in softcore. I don't ever see Whelan having
like a fatherly attitude towards any of the women he
worked with. It really felt like more of like a
like I mean, like a protector vibe, you know, or
like he liked collaborating with them because he they understood
each other. I think Brigitte was like a big example
of that too. But also the same thing. He shot
Brigitte in Hardcore and then and then gave her opportunities
in his standard release films. But it is to just
make me wonder, like, what is that mindset where you're
gonna see these people that you've worked with and directed
in acting and now you have to kind of direct
quote unquote them while they're having sex on camera. I
don't know that transition.
Speaker 2: Yeah, you know, there's all these those stories that you know,
he didn't direct the hardcore scenes, so maybe those were
the scenes he walked away from and let someone else
take care of because he maybe couldn't do it emotionally.
Speaker 4: Yeah.
Speaker 3: Well he I mean he seemed like a very sensitive guy,
and you can kind of tell from the films. I
think there's a sensitivity there for him as a filmmaker,
and even in the interviews, I think he's pretty he's
a very sensitive person. So that that's what I think
about in terms of in terms of his work, where
it's like how he already kind of had issues making
these films just because they weren't what he wanted to
be doing, but then to be working with people that
he liked working with and collaborating on non hardcore stuff
and now he I mean, did he feel like they
were having to slum along with him? Like yeah, I
don't know if he ever want on record about that,
but it always made me wonder.
Speaker 4: Yeah, and I agree. There there's the sensitivity to his films,
and there's a there's a level of respect too that
I sense, like I really feel like he had a
respect for the people that he worked with. And uh, yeah,
I said, that's a good that's a good question. I
wonder too how it felt when they because he obviously,
you know, the hardcore films, what they weren't what he
really wanted to be doing at the time. You know,
they were more of a financial thing. And yeah, it's
I don't know. It must have been bizarre though, for
the people that he'd worked with previously to suddenly be like, Okay,
now we're we're doing this.
Speaker 2: I mean with Brigitte at least, like you know, she
started and she was doing hardcore before she met Jean,
so that's different. You know. I feel like, you know,
the Castell sisters, I don't think that they were as
far as I know, No.
Speaker 4: I don't believe so, so I think they were just models,
right yeah, yeah, yeah, I mean it was Yeah, it
was more towards the mid seven Yeah, a few years
after Recreem that I think they did.
Speaker 2: I think Tony had said like they had done like dancing,
you know, like you know, strip maybe some stripping and
stuff like that. But yeah, I don't think that they
had done like hardcore movies before.
Speaker 4: But I remember the first time that I saw one
of their hard some of their hardcore, and it was bizarre,
like it just really grew me, like kind of like
you said earlier, I was just like, wow, this feels
really like I'm I don't know, it was bizarre.
Speaker 3: It's still.
Speaker 4: I love them so much in these films and I
and not that I look obviously, and Casey knows this.
I would never I don't look down on people in
hardcorels about me. I love them dearly, but I it's
just so bizarre seeing that the Jets position is weird, right.
Speaker 3: Well, I think because when you think, I mean, I
think I think you and I are similar, and there
are other people that are similar. It's like, well, we
don't see women who make these films as porn stars.
We see them as women, and we see them as people,
and so it's like there's a story there of why
they did it, and so everyone's story is different. But
with the Castel sisters, it makes you wonder, like we
know that for one of them their life did not
end well, and then the other one they've actually both
kind of had hard lives, but one passed before the other,
and so it doesn't make you think, like I feel
like maybe they didn't want to be doing this and
they had to. It's very difficult from talking like Veronica Heart,
where it was an intentional decision. Oh sure, you know,
Kelly Nichols, Samantha Fox roommates intentional decisions, and the Castels,
of course an intentional decision, but also just kind of like,
but why.
Speaker 4: Yeah, it really is the reason you read about the
actresses in that period who stopped acting because they didn't
want to do it, you know, and some that I
worked to roll on early on, and yeah, it's yeah,
you wonder about the ramificage for the people that didn't
want to be signed on that just felt like to
keep working, which is really that's what I came down to.
It's changing up times in the industry.
Speaker 2: But right, yeah, the French, yeah, the French. Yeah, film
industry is just like moving. You know when when when
porn opened up for the theaters, Yeah, it was like
you got to get on board.
Speaker 4: Or I saw I saw some astounding I can't remember
where it was. Something I read the other like an
astounding statistic about how many adult films were made in
France in a certain period, and it was just like
this mind blowing number, and it's like, oh, I've got
a ways to go. I mean, there's a lot of
these films out there. You know. It's just wild how
much it was, how profitable it was.
Speaker 2: Yeah, until they yeah, until they started taxing it, and
it was like ghettoized and pretty much killed it. Yeah, yeah,
killed the industry.
Speaker 3: I focus on specific directors when it comes to the
French adult stuff, and so like Claude Mulo, who didn't
really make that many and then you realize, oh, there
are all these other directors who made tons of stuff
that I've never seen, and probably never will because they
just made it one after the other. American hardcore is
of some same way. It's like, you know, Doniano didn't
make that many compared to someone like Leonard Kurtman.
Speaker 4: And I'm sure, yeah, I'm sure this is your influence, Casey,
but I'm just I mean with directors, I'm the same way.
That's really how I start with, Like I'll find a
director and if I and then I want to like
work on that director, Like Mulah is a great example.
Like I've been trying to collect all those things. Yeah,
it's they're they're incredible. Yeah, I mean they're just so
beautifully photographed, and the act actors are amazing. And speaking
of there's a I don't know if you guys have
the films of Marilyn Jess's book from Pulse, but there's
a great chapter about her work with Ralan one of
the el films that he made in there that kind
of talks about his involvement on the set and and
what he was like on the set and uh yeah,
and it kind of felt like reading the descriptions, it
was the same as on the software sets as far
as like how protected he was and how kind and
just again the level of respect. It didn't really seem like, well,
I don't want to name any names, but there are
certain you know, there's certain male directors throughout the years
you haven't been you know, as respect.
Speaker 2: Yeah, Malon's getting some stuff put out. I know who
put out since Oh made Micabo put out since of
the Flesh, which I watched recently, and I think someone
we need.
Speaker 3: We need pussy talk, we need like sexecu par we
absolutely need made we avect blah blah blahs a Bourbon Street,
which I just that's another one. Distri Picks has that
and Bill Lustig has been begging them to put it
out for maybe a decade now we haven't.
Speaker 4: I just saw that movie for the time for years ago.
I mean it was like my favorite film that year
that I saw, Like I love that film that I
was totally blown away by it.
Speaker 3: It's just absolutely haunting. The whole movie centered around all
these women in a cemetery and their voices, the voices
like this is this is a hardcore film, like this
is this is made for sexually sexually these audiences, and
it's like and it ends with this haunting, this haunting
moans of these voices from the cemetery. I'm just like,
this is uh, this is something really special. This is
not this is not arousing in the least, but masterpiece.
And that's because it's muloh you know.
Speaker 4: Yeah, I didn't know Distribute Picks had that. That's incredible.
Speaker 3: Yeah, they have the original US negative. Stephen like, yeah,
because the version I've seen is the Alpha France version.
I think that's cut, so I haven't ever seen it.
I've only seen it with missing footage.
Speaker 4: And those Alpha France releases are so frustrating because they
they did the mess What they released is beautiful and restored,
but then they cut and I'm just like, why why
are you.
Speaker 3: It's not VHS. You don't have to fit it onto
a two hours.
Speaker 4: I don't get it.
Speaker 3: We have to a layer DVDs. Now you can. You
can do this.
Speaker 4: This is fun and people are interested in these films outside,
you know, I mean historians and I yeah, yeah, it's crazy.
I'm so grateful for all of the stuff that's coming out, though, like, uh,
on the messuline side, and I'm probably mist I'm sorry,
but I'm.
Speaker 2: Just like even Stephen mispronounces it. Don't worry.
Speaker 4: Yeah, everything but yeah, I mean it's every time there's
a new announcement on that side, immediate I'm just like,
oh my god, what's this going to be because they're
just I just never thought I would see these films
looking not like they came out of a garbage can
you know. I mean, that's just really it's just great.
It's just great, right.
Speaker 3: And then on the alternate on the alternate side, then
it's kind of like I basically I have a I
have a case of DVDs that are either VHS rips
or from old out of print DVDs, and I'm like, okay,
side of these titles still need to be restored, so
you want to look this way. I want everything to
look this gorgeous. It's just not going to happen. So yeah,
but it makes me very grateful for what we do have.
When it does happen, I'm like, Okay, good, now people
can see how good these movies are. Yeah.
Speaker 2: Sometimes we bitch on this podcast about stuff that's not me.
Speaker 3: Sometimes every day I was like, you're passionate about it.
We want and we want and you know what it is.
It's also we want more people to experience the joy
that we do and have access to these films because
if we love it this much, this makes us feel
this happy to experience it as film lovers, then you
will too if we could, just if you could have
access to it.
Speaker 4: Yeah, I get. I just get so excited about because
I right now, I'm like being introduced to so many
films that I've never seen before and new directors that
have not heard of, and I mean it's exciting. Like
I've been trying to, like, you know, watch from some
different countries that I'm just trying to branch out because
I'm getting more and more freaked out by like our
current political environment. And i just feel like eventually they're
going to start coming for art and you know, and
they already.
Speaker 3: Had someone tell us that, Yeah, who was it. I
think John Charles told us that. He was like, I
support everything because I'm afraid that it's going to go away,
and I want to support every release because I'm afraid
that it's something's gonna happen. I'm like, you're not wrong.
Speaker 4: I have the same fear. I'm really scared. Yeah, So
right now, I'm just like every time something gets restored,
I'm just like, Okay, yes, there's we've got that one,
you know, so let's just keep Yeah.
Speaker 3: Yeah, I think that's a healthier mindset. Gentry should probably
do that. That's way healthier than losing our minds that were.
Speaker 4: Like where is Where's Yeah, I do the same thing.
It gets me so, especially, I guess because Criterion is
supposed to be the the label of like important films
and just some I mean, I mean, I know not
all of the announcements are going to be personally for me,
but some of them, I'm just like, what what is
this for? Yeah? Who is this for? Why is the
major studio that released it? Not just putting it out?
Speaker 2: Why it's for it's for somebody that's gonna buy it
no matter what, just so that they can have all
the numbered spines on it. Yeah.
Speaker 3: Yeah, So I can't be like that anymore. I used
to be like that with something Weird and vinegar Syndrome,
and I was like, you know what, there's just too
much stuff. I'm never I'm not gonna like or ever
watch again. And Space is at a premium and I
have budget myself.
Speaker 1: Yeah.
Speaker 4: Yeah, it kind of drives me crazy those numbers because
I'm I'm not a collector, but I'm o c D.
So when I have, like I like my I've got
I can kind of see my Radiance releases from here,
and I can see that they're not They're not all there,
and it kind of crazy, but yeah, but it is
what it is. I'm broken. I don't have the money
for you.
Speaker 3: Know, well, the Indicator rollans are like that, Like I
like the numbers of the Indicator rows. There are still
something I need. Yeah, yeah, No, They're not all going
to be in the same order, but I can at
least put them together in that sequence of sequence.
Speaker 2: So yeah, I love those boxes.
Speaker 4: They're just so cool.
Speaker 3: Yeah, gorgeous, so great.
Speaker 2: Yeah, I can't remember which they were, but Jeremy, do
you have the first couple of boxes they put out
that are a little taller than the other ones? Uh,
do you know what I'm talking about?
Speaker 4: Yeah, I think I'm looking up at them right now.
I think actually my Thrill of the Vampires looks a
little taller up there. I don't know if that was
one of the first ones or not. Yeah, yeah, yeah,
that's funny.
Speaker 3: I think it was.
Speaker 2: Well, yeah, at the same time, so we were talking
about like I think we should just be I don't
know how these are selling. You know, I'm not in
tune with the Indicators marketing well, but yeah, we should
just be happy that they're putting this much like effort
and money and yeah, you know, I have a friend
that I talked to about Rolan as well, and she's
always complaining about how slow Indicator is to put these
things out, and I'm just like, yeah, sure they might
be funding each release based on the last release, because
that's just how they have to operate, but they'll just
be happy they're being put out.
Speaker 4: Yeah, yeah. I never I'm always mystified by what's going
on behind the scenes at these companies and how many
copies are actually selling and how they managed to keep going,
and it's just it's just a mystery to me, like
even I mean I've seen a little bit behind the scenes,
you know, with my publisher and so forth, but yeah,
it's just it's completely baffling to me, Like I'm so
grateful when they managed to keep going.
Speaker 3: Well, I'm also thinking about I don't know, because if
you're restoring these for UHD for four K, which honestly,
I never thought I would have relent on these because
it's been a thing for years that the elements aren't
in great shape. This is the best we're going to get.
So we really have seen it grow from these horrible
official they were official technically video starts of Miami teams
and then all the way to the UHD. So some
of us have been around for this entire this entire
period where we've been able to see this massive glow up.
But I can't imagine that getting those restorations to four
K are like quickly done. I don't imagine. I think
there's a lot of work that has to be done
for some of these, and there's some that we might
never get on four K. I think Sidewalks of Bangkok
is one that I'm as attempt to get excited about.
I'm dying to see it because I think Rolan has
raved about the Asian star of that, the actress in that,
and so I'm dying to see it because everything I've
read about it has been great. But yeah, the Redemption
things out of print, and I don't think it ever
came out.
Speaker 4: On Blu Ray, No, I don't think it is.
Speaker 3: So yeah, I love that. Yeah, so that makes me
nervous that there's nothing there to use, but or maybe
it is further down the line, because it is not
a like a Dynamite Rolant title that everyone knows it's.
It's kind of it's not a horror title.
Speaker 4: Yeah, I was thinking maybe they could group like that
one and Lost to New York some of those. Maybe
they could group a couple of those together just as
a just as a Blu ray release, maybe even if
they can't get a UHD out of it yet. I don't,
I mean Lost in New York I think was shot on.
I don't think we shot but I don't. I don't.
I don't see them getting that restored for any four K,
I don't.
Speaker 2: I don't think so.
Speaker 4: Right, So, but I really like those those weird eighties
films that he made, I mean, are really they're part
of his story too, you know, so I hope they
keep going.
Speaker 2: But I have no idea, right, Yeah, I agree? What
about Zombie Lake? Do you think Indicator is going to
put that out?
Speaker 3: I thought the rights are still with Image or Keino
on that, are they not?
Speaker 2: I don't know put that out ray?
Speaker 4: I remember I had a buddy uh he was actually
the cousin of my movie buddy Dave, and he just
loved Zombie Lake like he would just go on and on.
And I know Zombie Lake has like these fans, they
just they just love it. They just love that. And
I just, man, that's that's one film I've tried. I mean,
I've watched it and I'm just I just sit there like,
oh my god, I can't that. And there was another
one that company put out right around that time that
I've got the soundtracks and soundtracks are weird as all.
But but yeah, I don't know. Yeah, I just remember mine.
Speaker 2: I think they should. I bet it'll probably sell better
than all the others, you know, I probably will.
Speaker 3: Yeah, I don't hate Zombie Lake. I just I mean,
if you're gonna watch an underwater zombie movie, Shockwaves is
is just stick with Shockwaves. Shockwaves is a masterpiece compared
to this.
Speaker 2: Yeah, but the Shockwaves have Howard Vernon, I don't think so.
Speaker 3: Amazing. Yeah, and Peter Cushing, who's amazing.
Speaker 4: Oh yeah. People complain about Roland's films being slow, but
but Zombieke actually is to me, Zombie Lake is actually slow,
Like I mean, it's people complain about other Rollan's other films,
but they're not slow to me or Zombie Lake to
me is I just yeah, it feels it.
Speaker 2: There's lots of discussions in that like office room. I
remember in Zombie Lake there's just like lots of talking.
Speaker 4: I love the history behind I mean, I love the
idea that both Rolan and Franco worked on it in
some capacity and I mean that's that's wild.
Speaker 3: And yeah, I mean but such a different filmmakers.
Speaker 4: Yeah, oh my god.
Speaker 1: Yeah.
Speaker 4: Yeah, you mentioned like full She and Argento earlier. I
mean that's how it was like in the nineties when
we started. You know, there were these like directors that
would come up and you would start collecting these tapes
and then like like the Italians were similar, like you
could get a real vibe for them, like Argentina and
foul Chi and the music, and but then you discover
somebody like Rolan and then it would just be completely
something completely different and brit So you would have to
just yeah.
Speaker 2: Yeah, I think only recently people have figured out Lawn
Like for the longest time is like, wait, is he
a horror director?
Speaker 1: You know?
Speaker 2: Is he a vampire movie maker? He's not really any
of those, you know, Yeah.
Speaker 4: No, I never I never, like, I never described him
as a horror I mean I know he made I mean,
Grapes of Death is I mean pretty close. I mean
it's a it's a horror film and close.
Speaker 3: It's probably his most commercial esque film, right, I mean
it's not his least rolland esque whatever that means. I
keep hearing that a lot, but yeah, it feels more
commercial than his other stuff.
Speaker 4: Yeah, but but I yeah, I just his films are
just genre on films to me, Like I don't, I
don't know, it's just hard to yeah, kind of like
a Lane World Roulet, like his films, like you just
they're just so specific to him.
Speaker 3: Yeah, another Immoral Tales director.
Speaker 4: Yeah, No, I keep going back to that book. But
that book was just important to me to Yeah, it
just introduced every I mean every hear everybody mentioning that book.
I mean it was like just so important.
Speaker 3: Yeah, that was a LAS and that was my introduction
to that too. That's so it took years for me
to see Violation of Sin until Aero put it out
and I'd seen that that still for years. You know,
the woman, the woman and the horse and yeah, that
one's going to be crazy, right, And I watched it,
I was like, no, this is actually like this is
such a great It has such great tone to it
and such great Yeah, it's I love that movie.
Speaker 4: I hope I hope that young people discovering these films
still like I hope they still see stoles like that
that they like that they think, oh my god, what
is that? Is that an actual movie that was made?
And I need to you know, I mean, because I
remember that you would just see images and be like, wow,
that looks just like something that's not even possible that
was made. But there is the Beast, the brock checks
for the Beast. I remember singing this from that and
just being like Jesus Christ, what what is this?
Speaker 2: And yeah, I mean and sometimes it lives up to
it and sometimes it but that's part of the journey.
Speaker 3: Right well. I feel like Rolan has a lot of
films like that, where like you'll see one still and
be like, oh, I have to see this. We'll obviously
in fascination I think is one. I think that Fresois
Bouchard with her bloody fingers on the piano is another.
Speaker 2: Well, and from Mequham is the Muriel in the Doug
Gray of that image of her kind of splay out
like her.
Speaker 4: I like her a lot too. By the way, I
don't know about her, but she I think she's just
great in this film. And yeah, I really yeah, she's
just really charming too.
Speaker 2: She's the clown girl.
Speaker 3: Yeah, they're very well matched. They're very well matched. I
think the casting is really good. They really go well together. Yeah,
if it wasn't going to be the twins, I think
it's I think. And also that's something interesting I always
like about I like when he cast the twins. But
I still I like the idea of the two girls,
you know, I like, oh yeah, you know, and I
think that's age really well too. I think, you know,
in terms of viewing movies in like twenty twenty six,
where it's kind of like women supporting win. So it's
like there's always a girl there helping there's always two
women there together helping each other out, you know.
Speaker 4: No, yeah again, yeah, I agree, I agree.
Speaker 2: Well, you know, two orphan vampires. I've noticed, even since
I've been following Erlan that one is a big favorite
amongst a lot of young people that discover it. Yep.
I have seen it happen in my lifetime, like it's
been rediscovered, and I mean, if you look on letterbox
like people it's maybe their only relawan they've seen and
they love it. So yeah, I never know what's going
to connect with people.
Speaker 4: Yeah, yeah, yeah, that's yeah, Well that's wild. I mean
I think it's cool that there are different periods of
his career that are connecting people. I think that's great.
Speaker 1: Yeah.
Speaker 2: And that was actually one of the first ones that
Indicator put out too. That was kind of weird. I
was like, wait, this is one of the first ones
they're going to put out.
Speaker 3: Okay, sure, Yeah, might have been easier to restore. This
is more recent title. Yeah, do they put out Fiance
Dracula already?
Speaker 4: No, they've not put that one out. Yeah, more than
the Medusa that's another like right right, Yeah, I never
I've never really warmed up to two different vampires very much.
But maybe maybe I should get it another watch now.
Speaker 2: Very it's a very blue film, very blue.
Speaker 3: That four K restoration might might convince me that. Yeah,
I've said that multiple times. Sometimes the restoration can really
change your mind on stuff. It's just something if it's
done right and you're able to see everything, and it's
really nice. You can see the texture of things, and
I appreciate the lighting more and the framing. Yeah, maybe
I'll like it more.
Speaker 1: I don't know.
Speaker 3: I remember having an issue with the casting. I think
that's my I think it was because I love the
two girl trope and I just didn't like those two girls. Yeah,
I think it's the problem I had. But maybe revisiting
I like them. I don't know.
Speaker 4: Yeah, no, I agree. It seems like later he had
more I think trouble finding the exact perfect because like
early on, like I just like his films are so
perfectly cast, Like I don't know where he found some
of these people. I mean, they're just so perfectly strange
and awesomely weird. I just I just love his cast.
But later on it was like he couldn't quite find
the right people.
Speaker 2: Yeah, I think his circle he didn't have that circle
of people that yeah, yeah.
Speaker 4: Kind of like you know, if you watch like full
cheese stuff that he had to do in the late
eighties early nineties, to compare it to just ten years before,
and it's just not that I'm preparing well, I think
it was that.
Speaker 3: I think it was that Fabrizio D'angeli's connection. I think
he was better people with the Fabrizio. Yeah, yeah, I
think the Fabrizio did it all because a lot of
those people show up in his later stuff without Fulty too. Yeah, yeah,
it's yeah, but I think that's interesting, I think, And
that's something I feel like maybe not a lot of
people talk about with Roland because of the technical aspects
of it and you know, the thematic aspects of it.
I think it is important to note how well he
cast in a lot of his stuff, I mean, and again,
and it's but it's also interesting to note, like even
even in this where you know Pony Castel kind of
she doesn't necessarily at shine morel Darjen, but I think
she tends to get more attention. I think Fascination is similar,
where it's like, well we remember Brigitte, the other girl
maybe not so much because he gives he gives Brigitte
the sight scene and the other girl doesn't get that.
You know, it is interesting how sometimes it feels a
little lopsided, but they're all good. It's just kind of
it's interesting how that turns out that way sometimes with
the two girl Trope, Yeah, and Francois plus Chard, I
think people forget Marino Pero is in that. I mean,
she's great in it too.
Speaker 4: But which is wild because she was barop Check's you
know music you know at the time, and some of
the you know well established. But yeah, I agree lench
Shard in that film is she's my favorite part of
the Living Dead girl like her performance and that is
just devastating. Yeah, but yeah, he had a great eye
for casting and like he had a real sense of
like I think who the stars were in his films,
you know what I mean?
Speaker 3: Like the Rule?
Speaker 4: Yeah, yeah, I think really early something. Yeah.
Speaker 1: Although most prisons have bars, they can also hold their
captives by other meanings, they can come back to the chateau.
Some cages exist solely in the mind. They are often
the most escaped roof craps of all.
Speaker 4: Hey, Gentry, how did Annie Bell do you like in
your research? When she came and looks the blood? Like,
what did they do? You know anything about that?
Speaker 2: I mean, yeah, what's your question? Specifically?
Speaker 3: He's ready with his essay.
Speaker 4: Yeah, yeah, like, yeah, tell me everything, you know, Gentry,
But no, did she did they? I don't think I've
read much about there. Did they get along? Then?
Speaker 2: Did she they got along? But uh Lan was he?
I mean she was very young and so Ralan was
like I'm dealing with this, uh, this kind of immature girl.
You know, I loved working with her. She was a professional,
but she also was hard to wake up in the mornings.
Could she had been all night. She had been out
all night partying and going to clubs and doing young
girls stuff. You know. But yeah, they got along well yeah, No.
Speaker 4: I love that she got to appear or got to
be part of his filmography because I just think she's great.
Speaker 2: Yeh, She's an important part of his filmography, I think.
Speaker 4: Yeah, I agree. Yeah, to me, it looks the blood
is like it's not necessarily one of my favorites, but
it's like, to me, it's just one of the big ones.
It's one of like the the big Relian titles. I've
actually got the I don't know if you guys have
ever seen the Sucking Vampire alternate version of that.
Speaker 3: I have a DVD armament, but I haven't watched it.
Speaker 4: You probably got the same version I have. It looks,
I mean, it looks terrible. If you want to, like
take a strip back in time to the video search
of Miami days pop that in it looks really really rough.
But it's so bizarre watching something so like poetic and lyrical,
I know, like bastardized that of a ghetto wise, Yeah,
because it's not very I mean maybe part of its
the print I have, but yeah, it just it just
seems like kind of a downgrade to the film completely.
So it's bizarre.
Speaker 2: Oh yeah, yeah that one. Yeah, that that one feels
like it hurt Verlan that one. Oh, I'm sure to
have it to have such a person, I mean, Lips
of Blood has his son in it, and now you're
going to turn that into a pornal Like, yeah, it's.
Speaker 4: I mean, I I suspect and I tried to talk
about that some on the Grapes of Death commentary, like
just how disappointing it must have been for to see
Lips of Blood in the Iron Rose just completely discarded.
Speaker 2: And just bought. Well, they bombed at the box office.
Speaker 4: Yeah, and I just I'm still like I'll go back
and read, you know, like when I was writing my book.
I mean, I obviously some of those reviews were just
you go back in time and read reviews of things
and you're just like, how did you not see certain things?
And I think that about Rolan a lot, like the
critics and audience like how did you not see this?
Like what what was it that was blocking your your
vision to see was? It's just crazy to.
Speaker 3: Me do that with my own reviews sometimes, Oh, I'm
just like, what the hell was wrong with you?
Speaker 2: What? What?
Speaker 3: Who's shitting? You're weedies that morning?
Speaker 4: You know, I get I get so cranky on some
of my letterbox reviews about things. I'm sure if I
go back and why, I would be like, man, you
gotta yeah, what was do.
Speaker 3: Something one star recently? And I was like, oh, this
is I haven't seen Jeremy and like.
Speaker 4: Sometimes it's very rare.
Speaker 3: You usually don't do one stars.
Speaker 1: Yeah.
Speaker 4: I had to go see Weathering Heights with my mom recently,
and that just real it was that bugs me a lot, Like, yeah,
I don't do well. I've pretty much stopped. I just
don't watch a lot of I'm hardly watch any modern
American movies, and I've just turned my attention. I just
really wanted to discover more and more international films, and
especially like right now my feeling is towards America. So
it's it's just a hard time, you know. So I
really have been grateful to like just keep discovering more
and more films made outside of this culture and so forth.
Speaker 2: That mean, what did Michael Bowen tell us a couple
of weeks ago. He was like, yeah, I don't watch
a lot of new movies, but you know they'll find
me if they're good enough. One day, these new movies
will find me.
Speaker 3: I like that, right, we'll eventually make your way in
front of your eyeballs. That's very true. But we're international
center right now. Is like, I don't know who what
was I thinking about this recently? Oh, somebody was No.
I was watching some film from the seventies. Oh it
was Three Days of the Condor, which I hadn't seen ever,
and I remember, you know, America was really going through
a lot of turmoil in the seventies, and we had
people like Hukoula and It's in Pollock and like filmmakers
that were still working within the studio system that we're
still making films that were like daring and challenging. And
it's like and nobody working within the studio system, whatever
the fuck it is now, is doing that. It's all
about being commerce and appealing to the almighty dollar. And
it's like, you don't get a little little personal movies
like that, and so you know who's still doing that.
Directors in other countries, like you have those like Parasite
and no other Choice and like you know, and bring
films from Iran and you know, I mean, it's we
have so many good films that we're lucky come out
in this country at all. But then also is why
I keep going back to like Roland, you know, it's
it's very unlike anything made in America at that time,
and it still stands up really well too.
Speaker 4: Yeah. Now I've been I've been trying more and more
to find because I don't want to like lose complete
touch with modern cinema, like I really don't, like, I
don't want it to be the same complete hole in
my film knowledge. So I am trying to discover more
international films and filmmakers. So I really like, I love Letterbox,
like I really love hopping on there and seeing what
other people are watching and yeah, and the recommendations I
can get and yea, but yeah, I don't know what's
going on with American cinema right now, Like I don't,
And I have arguments with people about it and they're
like everything's fine. It's always I'm like I don't think
it is. I just know I don't think it's fine.
Speaker 3: No, I feel like and we don't have enough American
filmmakers that are we don't have enough American filmmakers violently
coming out against AI. We have way too long decency
with this. That's just one. That's just one example I
can think of, like, agree, not what we should be
doing right now, Yeah, meeting them, let's meet the moment please.
Speaker 4: I think about the directors that I loved when I
was younger, the American directors that when I was younger
in the nineties, and they're just not stepping up. Yeah,
I just I just hate it. I just want want
one of these guys to speak out and like be
I mean, they could there's so much there. There's there's
so many there's so much modern directors and filmmakers be
doing right now. They could be forming an alliance, they
could be making I mean, there's just so much they
could be and they're just not doing it at all.
And it's just that's it's disappointing. It's really I've lost
a lot of faith in a lot of people that
I used to like and you know, and admire, and yeah.
Speaker 2: It's like every single week there's like a new merger happening,
and it's just like movies aren't being made by individuals anymore.
They're being made by like a committee.
Speaker 3: Correct. Yeah, That's why I like I can continue to
find enriching moments with film by going backwards, which is,
you know, that's not necessarily what I want to be
doing all the time, though I'd like to be doing both.
I'd like to be you know, going back and looking
at and also we've talked about on this podcast where like, well,
going back and looking at sexploitation films from a certain era,
Like there's definitely it's it's there are certain elements of
obviously being problematic, but there's also moments where it's like,
oh wow, this is actually shockingly progressive and shockingly not
a problematic Like there's a lot of interesting creativity going
on here. And then you come back to twenty twenty
six and it's like, oh God, like people don't even
want to talk about sexual show sex and film or
show nudity, or they're fretting about, like intimacy coordinators like
if they're not doing it, if you're not doing it,
Intimacy corditators on every movie then you basically forced your
actors to have sex with each other and take their
clothes off, and it's like there's nuance is lost. I
think there's a lot of nuance and layer. Yeah.
Speaker 4: Yeah, I really miss like adult cinema, Like I just
I just miss it. I mean, like speaking of like
Weathering Heights is very much about kind of the director's
sexual interests, but it's so it's a film a lot
of about sex, but there's it's no nudity, there's no
like actual like human contact. I mean there's nothing, you know,
it's just all surface, all false, all fake. And I like, recently,
I I well, I got the first Mitchell Brothers releases.
Speaker 3: Yeah, you know, I was watching.
Speaker 4: Behind the Green Door, and I'm just like, god, damn,
this is just so unbelievably progressive and just so inclusive.
Speaker 3: It was.
Speaker 4: It was amazing, like I had forgotten just how like
representative presentative of so many different lifestyles that film, you know,
and it's just awesome to see. And I'm just like,
we have just gone so backwards, We've regressed so much. Yeah,
And I find like I really I find myself like
agreeing and lying aligning with younger people much more than
people my age and obviously older. But one thing I
really worry about. They've adopted a lot of light more
conservative mindsets about like nudity and sex and films, and
they don't realize that they're echoing these like backwards conservative,
hurtful things from years ago that they're going to get
people hurt, like if you like start banning sex work
and porn, and I mean, you're going to get people hurt.
And it's just it's upsetting, Like it's really depressing. I
know a lot of like my younger I'm sure they
see like some of my letterbox reviews and some of
the stuff I'm watching, and they're probably thinking of what
a freak for watching?
Speaker 2: That's what you know, director Sean Baker gets all the
time because you know, he's got a big fandom, and
they I've seen that under his comments all the time
watching he must be your sick, oh freak he's watching
all these old sexploitage movies, Like why are you watching this, Sean?
It's like, well, maybe because he watches a little bit
of everything, you know he does it really does because
that's what you should be doing when you're a director.
Speaker 4: It just it baffles me, like people have will say
nothing about modern American films where you see, you know,
a million rounds of gunfire just wiping out people with
no concept, and that nothing has ever said about that.
But the minute there is any sexual content in a
movie or nudity, right, I mean, now.
Speaker 2: It's just a very American.
Speaker 3: But Jeremy, those were the Those were arguments from the
from like Gloria Leonard, I know, the Antichrist. We were
hearing these arguments in the eighties, I know, yeah, And
I'm just like, why are we dealing with eighties Republicans again?
I know, why are we back in eighties Republican land?
And I've said that in the I listened. I hot
the comment sections after maybe one too many beers, and
I'll be like, maybe stop being an eighties Republican. When
you're watching your movies and thinking, oh sex, it's like
you're twenty two years old. Why are you are you upset?
Why are you offended about this? Yeah, there's well I
saw somebody post something about like, well, I don't want
I want to know if there's sexual nudity to movie
because I want to know if I can watch it
with my parents, and I'm like, I'm reminded, Oh right,
we're dealing with children. That's right, we're dealing with children.
Speaker 4: It kills me adults not wanting to or not adults questioning,
just other adults watching adult contact. I mean, it just
it absolutely drives me crazy, and it just makes me
more and more nervous about where we're heading in the
future and so forth.
Speaker 3: It's been a quick switch because I mean, I mean,
it wasn't that long ago when we had like something
weird stuff come out all the time, we had the
adult film renaissance where we were getting these restorations by
Vinegar Sen them and media blasters and stuff. People were
talking about them in more serious ways, and like something
happened where now it's a problem, and I think someone
trying to coincide it with like the me too movement,
which makes sense to me, I think, And yeah, I
think probably mister Gentry. Actually, yes, that's right, and it's
like that's that's true. But I feel like that was
the beginning of it and just ballooned, and it's tougher
to have conversations with people, and those people won't take
you seriously because you mentioned one thing sex positive, and
you are immediately a pervert, and you immediately can't be trusted,
and you immediately are biased and and and you hate women.
And I'm just like, yeah, anyway, I can't have this
conversation with you, and that if you can't get be
an adult and have a conversation about why sex and
nudity is perfectly fine with consensing adults and in a
narrative framework as long as everyone is concerning. I don't
know what the problem is.
Speaker 4: It's it's crazy to me, like I'll hear young people
like you said, Casey's making the same arguments that just
the super conservative people in the seventies, the Republican Reagan
error that the same exact things. And but they that
they don't realize that they're echoing that They think that
they're echoing something conservaed. They think that there's somehow or
another protecting people in these movies and that they're being
taken advantage of, and.
Speaker 3: They think they're being progressive and when when actually it's regressive.
It is exactly aggressive. It's very Andrea's work in stage feminism,
which is which needs to stay dead and buried because
it actually serves to harm women. Not these empower women.
Speaker 4: Yeah, women, it will get women killed. I mean, it
will get I mean, it's it's terrifying. Yeah, And they
just and you and you cannot have a conversation about it.
I love stuff like this where we consider in YouTube,
but you cannot have a conversation about it with people.
I mean I've I've heard like and you mentioned Sean Baker, Like,
I've seen some of those comments too. I remember when
they said that they didn't use an intimacy coordinator on
his last film, and just the blowback he got. And
I'm just like, these are two adults making decisions for themselves.
It's like, what is your issue?
Speaker 3: Oh no, they tried. They infantilized Mikey Madison and so
it was she's a young girl in the industry. She
doesn't know better. I'm like, so you're saying that she
is a grown adult can't make her own decisions. She
needs to have someone else make the decisions for her,
like a male agent needs to make the decision for her.
Like you need to hear yourself, You need to talk
these things through in your head before you say them.
That's crazy, you know, does it? It's really it really
is wild, because yeah, it was agreed upon between everybody,
the two actors and then the director, and they was
that's done. Doesn't need to Yeah, this was not the
last time you went Paris situation where you know the
director or the actor conspired against the actress to humiliate
her on camera.
Speaker 4: Yeah, yeah, yeah, I don't. I don't understand.
Speaker 2: So what we're seeing here is that there's no possibility
a movie called Caged Virgins could be released in twenty.
Speaker 3: Six not unless it's like shot on video, direct to
DVD or streaming on tub or something.
Speaker 2: But as we saw this, this thing played everywhere.
Speaker 3: Very says a vampires might still go over. Well, I
think you could probably get away with that. I think
the caged part makes it sound non consensual. Cage versions
makes it sound non condensal. That would be the issue.
But virsions of vampire let's say, its great, let's go.
Speaker 4: Yeah, yeah, it's funny. I when I go to I
used to go to the movies all the time. That
was I used to love one of the movies, and
I rarely go anymore. And it's because, I mean, it's
because of the cost, and also I just don't want
to see anything that's playing. I mean, if I lived
in a outside in New York or you know, a
place where I could go to repertoires and I was
to see older I would do that all the time.
But in Kentucky we don't have that option. But anyway,
when I when I do get to see a modern
movie that has any sort of nudity at all in it,
I mean, I'm just like wild. Even even if they
if they suck, I'm just still grateful that they at
least had something resembling, you know, the movies that I love.
And you know what I mean. I mean it's just
a I know, I don't see it for caged virgins.
Speaker 3: There is one out right now called Dreams, which is
grant It has released it, and that has Jessica Chastain
and she has an affair with this Mexican guy and
there are graphic sex scenes in this and I'm like,
you go Jessica Chastain, and she's like, and she she
doesn't sign on to this stuff willy nilly. She makes
informed decisions about the work she does and she's very
public about that. So she signed on through this kind
of erotic thriller sort of where she does nudity and
has sex scenes, including a scene where like she talks
really dirty to the guy. So a friend of mine
saw that double feature with Pillion, another very sexually graphic
film about a state an smm dom sub situation, but
it's a gay film. So like, we have little pockets
of films that are still there, but again they're only
shown in like filmtowns like New York, LA, Navy, Chicago,
and it gives me hope that there's a still coming out.
I think even those distributors are kind of like, well,
how do we promote this without really upsetting like the
woke mind hive like sex this is terrible.
Speaker 2: Yeah, it's interesting you said that about like where they're
coming out, because yeah, you know, as we are film
researchers here, we look at the history behind how these
films were distributed back in the you know, the seventies,
and they played everywhere. They played the little podunk towns,
they played every drive in they played anybody could see them.
You know, they were playing your Kentucky drive ins down there.
Speaker 4: Jeremy like, yeah, no, I mean I was looking at
those ads I found and it just kind of blew
my mind thinking that when I was a kid in
Kentucky just I could if my parents had wanted to,
they could have taken me to see Cage Virgins. Yeah right,
I mean yeah, they could have gone.
Speaker 3: A date night. Nowd you in the backseat just be
like lay down to S're gonna watch.
Speaker 4: Yeah, they did that for The Exorcists when I was
a little baby. My movie in a theater. Wow, But
could have.
Speaker 3: Been Cage Virgins. It was still playing in theaters in
seventy three.
Speaker 4: No, yeah, but no. I I remember like in the nineties,
even in Kentucky, I would be able to see like
I remember seeing as Akravett film in Kentucky at the
like one of his people up Down Fragile, that movie
you know in Kaslowski. I mean we had films like
that with the Oakland. Now that's all gone, Like we
just do not get that. We don't have any kind
of the one sort of art house theater we had
switched and they started showing mainstream films and then of
course they closed down. So now we just have the
major multiplexes and we just get whatever junk they send out.
Speaker 3: And it's even interesting to think about two because like
I think people forget that, like New World Pictures under
Corman was distributing like Cries and Whispers by Bergen, and
like other imports, Cannon was distributing like films.
Speaker 4: I mean, it's crazy.
Speaker 3: Yeah, it's very interesting to think about how like, yeah,
it didn't just just to be the coastal elites who
were getting these kind of films. They would be seen
by you could see them in all kinds of pockets
of the country. It wasn't it wasn't just relegated to
the film city.
Speaker 4: Yeah, yeah, yeah. I mean, like I've seen all of
al Moldovar films on the big screen just and that
was just living in Kentucky back in the day. But
you don't. It's just it's just everything's changed.
Speaker 3: So yeah, I don't know what's up with them now.
Speaker 4: Yeah, yeah, I used to look, yeah, I missed going
to the movies. But at the same time, I you know,
I went, I went saw Weathering. I'd bring in that
goddamn thing up. But the ticket it was a matinee
and the tickets were like eleven bucks. And I'm just like, man,
I could have got you like some blu ray of
a film that I love that I'll have, you know,
And I'm just it's just I don't know, it's just
all different. It's frustrating.
Speaker 2: Well, you know who exported and imported a lot of
these films, Harry Novak.
Speaker 3: Yeah, he didn't import anything like an Almodovar, something with
actually quality. But this is probably his Well, I mean
you said, I know, you said you wouldn't lose his
box office title. I do think this might have been
the like the classiest title that he brought over of
his imports and notorious concubines. Maybe that's terrible though, but
this there's a sense of class to this, honestly, compared
to like the Sinful Dwarf.
Speaker 4: Yeah, well it was true, Yes, yeah, I was reading
about his career, like in the prep for this, and
then I just the idea that he started working like
with r Ko yea. It rounded the twenties and thirties
and then ended up in the eighties doing a couple
of adult films under I forget the name, but it
was hilarious Harry.
Speaker 3: H Yes, it was like her something something. H Yes,
it was like, Yeah, it wasn't Harry Joseph. No, it
wasn't Joseph F. Sherman, M. Sherman. That was somebody else.
Speaker 4: It wasn't. I think the last name was hersh which
But anyway, I like Moments of Love in eighty three. Yeah,
the trajectory of working in early Hollywood and then you
know just how much he saw and yeah, it was
just a really wildlife and career and uh but yeah,
some of I was looking over the films that he
distributed and I'm like, man, these are these are some
pretty rough titles.
Speaker 3: But he also loved the sex and horror mix too,
because like he loved this Basically, if there was some
horror and some sex, those are the two most marketable
items I think for a lot of exploitation distributors.
Speaker 2: And Freedman Friedman didn't like really to mix those. So
maybe Harry was like, you know, Friedman's not covering in
this market, so I'm read to cover it.
Speaker 3: Well, I think, But I think Harry started that way anyway,
because kiss Me Quick with sex and horror, Like I
think he started off doing sex and horror. That was
always something that I think he personally liked, so like
the Toy Box, the Mad Uh, the Mad Butcher, Madison Lace, like, yeah,
I think he always liked to mix the sex and
horror stuff. I think that was kind of I think
that was a personal thing for no Back, I'm not sure,
but help that it was also a market thing.
Speaker 4: I've been I think that's such a the sixties. The
sixties like soft sex film, that's such an interesting period
for me. I mean it's there's so many of the
films and I like, I feel like I barely know
anything about that period. I probably know a lot more
than most, but I but I feel like I have
no very locals. There's just it's just dense to me,
like the figures.
Speaker 2: In it, and that's what we're trying to unravel at Yeah, yeah,
I mean.
Speaker 3: We still have people that we haven't covered somehow in
a year of episodes, there are still people that we
haven't even scratched the surface of. I mean, that's how
dense and it is. It is because there's just so
many people that we haven't even touched on.
Speaker 4: Yea, even like guys like Joe Sarno, who I've been
watching for years. I'll stumble across the film that he
directed and I'm like, I've never even heard of this,
Like it's just you know, and yeah, so there's just
so many So I've been trying to, like you know,
watch more and more and learn more and more about
that period because the stuff that I've seen is so
vivid and unforgettable, Like I like the Curse of Her
Flash movies. Y, yeah, I mean just that stuff. It's
just the black and white cinematography. Yeah, it's just such
a cool, cool period, a.
Speaker 3: Lot of creativity and h yeah, totally, and we've covered
covered some of that and some other people who are
like not great but yeah.
Speaker 4: Yeah, it's like you're you're kind of swimming around trying
to find the jewels and a lot of junk.
Speaker 2: Yeah, but even the garbage has interesting stories to it,
you know, Yes.
Speaker 4: Very true behind the scenes stuff is what gets like.
And I love both the like I read. I always
read both of your guys stuff on letterbox whenever you
post something, and I love the way both of you write. It's,
I mean the interest in film history because that's really
where I'm at too. I mean, like that's you know,
I do critique stuff and I like, but I just
really am into film history, so like learning about the
people that made the films and the people behind us.
I really appreciate what you guys, right, and uh case,
I've been reading your stuff for years, like Harry, I mean,
and I'm just I'm so grateful. Yeah, like yeah, yeah,
your knowledge is Yeah.
Speaker 2: Casey also always helps me like identify actors and actresses
because sometimes I'm like, I have.
Speaker 3: Face, have some screen, Yes, yes, you have somebody screens,
so that's who that is? Who was it? I helped you, oh,
Frank Mills, because you were like, who's this guy with Barbara.
I was like, that's her.
Speaker 2: Husband, some random white guy.
Speaker 3: Yes, he has white guy face blindness. Yeah. Yeah.
Speaker 4: I got those Doors Wishman box sets recently, and I've
been watching those and like, yeah, the people and I'm like, oh,
I'll look up, like who is this lady with the
brunette and I'll try to figure out and I'm like, oh,
who's this character's name. I'm like, yeah, it's it's a hunt.
Speaker 2: Yeah.
Speaker 4: Everything you used to go on internet movie database, Casey
and like correct things.
Speaker 3: That I used to, I don't correct them anymore.
Speaker 4: Okay, I thought, you know, I remember a long time
ago you would do that.
Speaker 3: Yeah it was anymore. Yeah, yeah, it's still a mess.
But basically I update stuff in my reviews, and if
you read the review, then.
Speaker 4: You know, Okay, there's actually true. Yeah, yeah, yeah, it's
just such a wild period.
Speaker 2: And with the pseudonyms. Yeah, the pseudonyms will throw you off.
Speaker 4: To even some of the Cage Virgin alternate titles. I
don't think I had heard before, Like like I didn't
realize it had so many different retitlings that he would
just keep putting. I can't. I was imagining like if
you have somebody that would just go to these movies
a lot, and you would just then to seeing that
over and over again. Oh.
Speaker 3: Absolutely. Sam Sherman loved doing that.
Speaker 2: Yeah, they got different titles because they played it so often.
Speaker 4: So you have the car sitting down and be like,
oh my god, it's this movie again. There's those clowns.
Speaker 3: Yeah, right, exactly. Well that is something that is I mean,
I do love the way this movie opens actually and
where you think it's gonna be something completely different. It's
you know, it's against this, it's this cops, cops and
robbers movie, and then like these girls escape. It's like, Okay,
what's gonna happen to these girls? Where's our life of
crime going to take them? Apparently takes them to a
castle with some vampires in it, and apparently they're virgins,
which is shocking.
Speaker 4: But yeah, the film just I just love how it
starts with them in that car and it's just like
you're in the middle of the action. There's no explanation
about what why are they were in clout what's happened?
But it's perfect. It's just it's perfect. It's just like
a poem. I mean, it's just just like this.
Speaker 3: Yeah.
Speaker 2: I just know over long like loved shooting that scene.
He's like, Oh, this is just like those cereals I
read all the time.
Speaker 3: This is perfect.
Speaker 2: Finally get to do like an action scene. Yeah.
Speaker 4: Now, didn't Harry Novak put up the nude vampire too? Correct?
Is that right?
Speaker 3: Like early? I don't think so. I think okay, I
don't think we were. I don't think I was able
to determine that. I think what happened was he had
prints in his vaults, which happened a lot when it
was something weird partnership was that they went into his
vaults and they basically liberated the vaults, and that included
a lot of Prince of stuff that either he was
holding for friends like the Don Davis stuff, or Prince
that he was sent by other producers to it to
entice him to distribute the films theatrically. So I don't
think he handled Shiver and I don't think he handled Nude.
I haven't found any evidence that he handled either of those.
I think maybe he because he distributed Cage Virgins. Maybe
he was interested in doing additional Rolan films. I have
not personally found any evidence he distributed those, Okay, but
I think Gentry determined that they recently showed Shiver of
the Vampires at the New Beverly and I thought it
was the print from the Novak vaults, but apparently not.
There was a title on the print that I'd never
heard of, and then Gentry found that it was distributed
in the States by some other distributor that I'd never
heard of.
Speaker 4: Wow, that's really it.
Speaker 2: Was distributed by. It was You can find newspaper ads
for it under that Strange things happened in the title.
Speaker 4: Yeah, yeah, I actually like that. I like that retitling.
Speaker 3: I kind of vertitle.
Speaker 2: Yeah, very evocative.
Speaker 3: But box office wasn't attached to that. That's and that's
kind of the thing. It's like usually if it was
if Harry handled a movie, he made sure you knew
who was handling the movie. Like box Office International was
slapped all over that place, you knew exactly who was
doing it. And I don't think there was any Box
Office International attached to that retitling that you could find.
Speaker 2: Right, I'd have to double check again, but I don't
think so.
Speaker 4: Yeah, So would he just get would he just get
prints sent to him as like possibilities the films for
him to distribute?
Speaker 3: Is that how it worked? I think that's how he
got ahold of those two, yeah, I think, or or
if he had see this is an example like the
Cage Virgins thing. I haven't seen the Novak VHS release
from something Weird of Server the Vampires, it's possible that
it was a print under that title that maybe he
handled as a as a California distributor, which he did do,
which he handled California distribution for some titles that were
not California productions. So that's possible that he handled some
regional distribution for Shiver of the Vampires, but Nude Vampire,
I don't think. I don't think. I don't think he
handled that.
Speaker 4: Do you guys think that he handled and do you
think they think the English dubs were brought to him
or do you think that he.
Speaker 3: Gentry had a note about that.
Speaker 2: Yeah, well, I saw in that interview he said, I
don't know what the wording is kind of strange, so
it's hard to really say, but he made it sound
like he took care of the English dubbing on it.
But Casey questions, I.
Speaker 3: Just questioned that because the big reason I questioned that
is actually home video distribution. If you finished the English
dub on that, I feel like the Novacks would insist
on getting paid to use that English dub for any
of the home video releases of that, because that's the
way they are. Like, they wouldn't have been like, oh, yeah,
you can use that English dub, that's fine, because that
English dub would have only been used for the domestic
distribution unless it was used for the UK release. That
I don't know either. You know who really is really
good about this home video stub.
Speaker 2: Is Mark Morris.
Speaker 3: Mark Morris had that website that was Roland Barack's and
somebody else years ago, and he's typically credited in a
lot of these Roland releases for like, because he was
a big collector in video and he would have like
a list of all the video releases and the companies
and their run time and things like that. He was
really on tip. Yeah, Mark Morris is like old school
Pee Toom zero stuff.
Speaker 2: I was gonna say, we haven't talked about Lionel Walman,
who's you know, he's an American. Wasn't he overseas He's
working with Ralan? Was it Canadian?
Speaker 4: So yeah, I always get him in sam Celski. I
know kind of money guys that he would go. So,
I mean, yeah, he had.
Speaker 2: A connection with someone who probably could dub it in English,
and you know, sure.
Speaker 4: Yeah. I was just wondering like if I mean, if Ralan,
I know that he would take his films or you
would have people that would go to like the can
Film Festival with kind of promotional material trying to sell
the films. I'm just wondering, Like, I'm just wondering if
more if he sent if he tried to get prints
of his films to America, like after the ones that
came out, like the ones, if they were just all rejected,
or if they were even seen nor I just find
that stuff really interesting. Well.
Speaker 3: It also makes me think like because we know that
those scenes, there were scenes that were created for this film,
specifically for an American audience, that were more graphic. So
then it makes me wonder, Okay, well, if you were
already thinking of an American audience, then they definitely would
have been thinking about a dub already without involvement. So
I wonder if Novak saying we finished it meant that
they meant the any editing that he did, not necessarily
the English dub, because I feel like I'm not that
familiar with how these film markets work, but I would
think if you're trying to sell a movie domestically, it
would be similar to like the Italian films of that era,
where they would be shot either shot in English even
though they were dubbed, and then have a dub done
later by like the Nick What's his Face group with
Carolina and defense Eka and those people like they were
in They lived in Rome specifically to do English dubs,
and so I don't know if that existed in France too,
but I feel like if they were already thinking ahead
in terms of an American release, they would have probably.
Speaker 2: Done that dub. Yeah, they had it all planned out.
Speaker 3: And honestly, there's not a lot of dialogue.
Speaker 4: You know one of my favorite things. I love that
the first half is basically like a silent film. I mean,
it's got love music and I just love that. Yeah,
I mean, and I love the school. Actually I got
I got my Little Requiem for a Vampire cassette.
Speaker 2: Oh, I love that.
Speaker 4: Yeah, and it's got I mean it doesn't have a label,
but it's uh yeah, fascinations on the other side.
Speaker 3: Yeah, it's got a little yellow right.
Speaker 2: So who did the who did the soundtrack for Rafe?
Speaker 4: I think it's how you. I think it's rape, yes, yeah,
but I love the music is just this. Yeah, it's
kind of indescribable, kind of this experimental sort of Yeah.
I love the score to it. And yeah, I love
the lack of dialogue. Yeah, we've hadn't talked about that.
I just yeah, like you mentioned Gentry earlier with his
like making a cereal, I mean, but yeah, the element
of early cinema just kind of comes through and just
pure cinema. I just I love that. And I think
it's cool to Novak because to get to the kind
of the cage virgin section of the film, I mean,
he would have to have sat there and watched, you know,
the first half of the film. I think it's kind
of impressive that he still picked up that, Hey, I
think this has could be marketable towards, you know, people
in an American drive dragon.
Speaker 2: Yeah, as long as they had to retitle. I think
the title kind of did everything for him. It did
all the work he's like to call Cage virgins and
I don't really have to do much else well.
Speaker 3: Also, that American artwork is really pretty iconic to the
Cage version's poster. He always had really good poster people
on staff to do that kind of thing. His campaigns
are really as much as an uncultured swine. I think
Harry Novac was your point is accurate, Jeremy. The fact
that he sat through this whole thing before he got
to anything that was really the potatoes kind of thing.
But then also the fact that he always had the
best campaigns, so he knew exactly what he was doing.
I will always give him credit for that that he
really knew what he was doing in terms of marketing
absolutely marketing gs yeah.
Speaker 4: Yeah. Yeah, as crude as the Cage Versions title is,
it is very like unforgettable, like once you see and yeah,
the ads I was before we did the or you
asked the other day Journtry if I had a copy
of Cage versions. I looked on eBay to see how
much the old swv VHS tapes are, and they're more
money than I'm willing to spend or have.
Speaker 3: But does slipcase Alex don't have a copy. We're friends
with a guy guy who is he is on Instagram
and I think a letter box, no, and he collects
a lot of the old vhs, the original something were
vhs so much or not?
Speaker 4: Like copies for like fifty and sixty bucks so not
astronomical days, but yeah for And I don't like I said,
I I don't like. I don't save. I mean I
I go from like if I had like my old
VH and once I got the DVDs, I got rid
of the game, and then once I got the Blue rays.
I know, I do like to save things. I kind
of wish I didn't had the room and space to
do that, but I just don't that I needed money
and I sell stuff, you know what I mean.
Speaker 3: So it's just yeah, I think Verus Holocheck does that. There.
I know a few people that have the space to
do that. But it's like that I don't. I'm not
that I cannot afford to be that kind of collector
multiple iterations, yes, yes, once, yeah, I have piles of
stuff I need to upgrade from and once I do,
it's gone, like I don't need to keep it.
Speaker 4: Yeah, that's that's how I am too. Yeah, but but yeah,
it is kind of I'm jealous of people that have
like huge places where they just have like walls of
their entire like life collection. I'm just like, that's pretty
cool that you can do that.
Speaker 3: I can't do them. Yeah all myself. I have a
lot of something where tapes I need to send to
Alex actually because I have the DVDR so I don't
need the vhs.
Speaker 2: Oh yeah, yeah, I'm always It always kind of stuns
me when I see people still collecting vhs, not because
it's expensive, just because like I'm a quality whore. So
it's like I want to see this in the best
quality possible, so I don't need to spend money on
something that looks worse than I can currently see it.
But I get like the aspect of like it's cool
to collect this thing and to have it on my
shelf and shove it in a little you know, a
combo TVVCR player when I'm doing something else in the background,
you know, that kind of thing.
Speaker 4: But I saw, like this was a few years back
at an interview with Tarantino, who I don't like to
mention anymore, but anyway, he was saying that, Yeah he was,
And it drives me crazy. Anytime you see a release
like of an old, old cult film, if they can
find a way to mention him, they will like and
I'm just like, stop doing that, please stop. I don't
care if it's one of his favorite films, I don't know.
Speaker 2: It sells a hundred more copies.
Speaker 3: Yeah, But so the people who made these films do
the same thing. They're like, well, you know, I mean
this movie in Tarantino love it like I could give
a shit. I love it, that's what.
Speaker 4: Yeah, I love it, Yeah exactly.
Speaker 3: I don't care if he liked it. I liked it.
Speaker 4: Yeah. But he gave an interview where he mentioned that
he prefers watching his films on vhs, you know, like,
and I'm just like, why, what what are you even
talking about? Like, why would you want to if you've
got like a restored you know, HD copy, why would
you want to why what do you even so anyway,
there's why I could get you know what that is.
Speaker 3: That's a dog whistle to hipster frauds, is what that is,
isn't it No, Because basically it's like, see, I'm one
of you guys. I like VHS better. I'm like most
VHS collectors do not watch the VHS. They they don't
have a VHS tape, they don't have a player or
you know.
Speaker 4: Yeah, it just he's become such a boomer boomer, the
ultimate boomer. I can't Yeah, we could go, I could go.
We could make an entire.
Speaker 3: Bin I think Alex actually the yeah Alex lopcase or
the guy that we that we talked to all the time.
He's one of the only people I know that collect
tapes and watches them, which is why I'm like, great,
if we're gonna collect and watch them, at the very
least you have them. It's media like indulge in the media.
But he also isn't someone who's like, well, I have
the tape, I don't need to get the get the.
Speaker 4: Blue Yeah, yeah, yeah, yeah, it's yeah, I don't know.
It's just weird.
Speaker 3: And God love Alex too, because he buys a lot
of tapes of stuff that has been out of print
for years, and we can't access streaming or downloading, so
he's able to send some stuff that word.
Speaker 2: For us.
Speaker 3: So yeah, yeah, that's why I was like, I thought
maybe he might have the cage visions. I could ask
him just so weak.
Speaker 4: I was really surprised that I couldn't find it, Like
I I, you know, I have a number I look
to download from him, and I just was like, why
is this not out there? That's it's weird even on
like I went to some random like Russian video site,
you know, was like one of those No, it's not
it's not anywhere. We're really bizarre.
Speaker 3: Yeah, yeah, I think it. I think it is because
all the subsequent home video releases have basically trounced it,
so people I don't think people aren't even considering it
could be a completely alternate version that isn't available. So
people aren't considering that because they have the full complete
Roland's original version. But if we want us see if
there is a difference, and with the way Novak distributed
it and edited it, yeah, we don't have access to that,
and so I kind of it's like yeah. I originally
thought he didn't, but now that he maybe did, I'd
at least like to verify for sure.
Speaker 4: So what is what's up with something we'd video? Like
are they put I mean, are they putting out physical
releases at any points? I mean I remember there was
like a and then I'm not on Facebook anymore or
any of those platforms, so I don't see a lot
of stuff. I just remember there was a time when
they stopped their website changed and they stopped doing what
they were doing. Is there like an opportunity that they
might put out their cut of that eventually or is
that even that?
Speaker 3: Is that is with Novak? And okay, Novak? Well Novak, Harry,
Rest in peace, I guess yeah, Rest in peace Harry. Yeah,
as much as I as much as I vishes with Harry,
you know, rest in peace Harry. His wife is now
the executor of the estate and in charge of those releases,
and apparently she's very difficult to deal with. So oh
and also I think that, uh, that's why I've always
wondered how it came out, came out domestically in this country.
I don't know what rights that the Novak state would
have for this film, because if it's come out here
is rec waying for a Vampire it's the same film.
Then I don't know if they have to sign off
on it. I don't know if they have sued and
gotten money. I'm not sure what the situation is with that.
But access to the Novak version that came out through
Box Office International, I imagine you would have to go
through them.
Speaker 4: Okay, Yeah, I wonder if Indicator tried to get it
as like an extra, like an.
Speaker 3: Altern you know, I wonder too.
Speaker 4: Actually, it's like the their versions so definitive except for
that one. There is that alternate, sort of alternative version
out there. So well, I didn't know that about the Novacs.
That's that's unfortunate, Yeah, because they have a lot of
ship that we want out. Like, yeah, I hate that
when you read about people that have access to or
that have the rights to these films and they're so difficult.
Speaker 2: To deal with and they just want tell us about it.
Speaker 4: Work with people, It's like, why what are you doing?
Speaker 3: Why? Because they don't care, don't and also yeah, because
they don't get it.
Speaker 1: Well.
Speaker 3: Also, I mean historically I think sales have gone down
on these things, but I feel like, I feel like
we're right for a renaissance because I feel like there
are people who are tired of like the quote unquote
woke bullshit where people are like, well you can't talk
about sex and film. I feel like it go the
other way around, and it could be like an edge
lord kind of thing where it's like, well, you know what,
I'm gonna buy every sex movie possible because I'm edgy
like that, and it's like, Okay, I applaud that. Let's
edge lord it up. Please, whatever that's gonna work in
my favor, I'm for it, right, Like, if we're gonna
be edge lord about.
Speaker 4: It, let's go yeah, yeah, yeah, whatever it takes.
Speaker 3: Yeah, I know, do what you gotta do.
Speaker 2: I feel like there's probably not much difference in the
Caged Virgin's cut because I don't think, you know, because
Indicator is pretty good about noting stuff like that as well.
Like sometimes in the booklet or for the Lips of
Blood booklet, they talked about the suckby vampire and they
even talked about the right So I feel like that
would have done something if it.
Speaker 4: Was I I really just think it was just some
tightening up.
Speaker 2: But I do still want to see that.
Speaker 3: Yeah, oh yeah, I do too, just for well, That's
why I kind of wish they had shown that at
the New Ever League if they had access to a print.
But then again, the Novaks they might have raised hell
about it, but I would have liked. I would like
to see it for scene. I would like to see
it theatrically, whether it's in that Novak version or just
for the original French version, just because I would. I
think I can't imagine how good it looks on a
big screen.
Speaker 4: Have either of you ever seen a roll on film
like see one like big screen?
Speaker 3: Now in New York, of all places, we don't. We
don't have roll off screenings. We have tons of Urgento
and fool Cheat and.
Speaker 4: The one I got to come up one weekend for
my book and I got to see a few of
Sylvia's films scream screen theatrically and it's crazy, and that
was just amazing, Like I could I never experienced anything. Yeah,
I mean, just seeing those films scream in the mix.
I mean, yeah, So case if there's ever like in
New York, if there's ever like a roll on retrospective,
let me know, and I can just.
Speaker 3: Well at the very least. I mean, even if it
was just the three Brigitte films, Great Fascination, Night of
the Hunted, I mean, that's a weekend we could you
could do just screenings that. I would love to do that,
even even if it's not a comprehensive survey. I would
love to. I feel like that maybe there was a
rolanda series a few years ago when I was not
that they have. It's just not there. It's not a
recurring presence in REP cinema here as much as ourgenta was.
We have midnight screenings of our gentle stuff pretty frequently,
and I'm like, it's I love our gentle and seeing
in the theater is great, but I kind of I
crave something different sometimes, and Roland would be different because
you just don't see him that.
Speaker 4: Much, you know. Yeah, it's funny you say that. Like
I had an experience recently where I popped in birded
with a crystal plumage, which I still love, it's one
of my favorites. But I just think I was just like,
I've seen this so many times. Point, I've seen these
so many times, and it's yeah, I'm just I'm in
the mood to like discover new things right now.
Speaker 3: Yeah, yeah, well that's why how you in the Safe?
When that came out last year, I raved about that
and multiple.
Speaker 4: Still got to get that. Man, I haven't seen that.
Speaker 3: That was such a breath of fresh air. I was blown.
I mean I watched it from a download that I
got from another website. I had a DVDR of it,
and I was like, well, let me watch it and
see if I'm gonna buy this Blu ray. And I
watched it and I was just like, I cannot wait
to see this Blu ray because I know it's going
to be better. The subtitles were better too, from the
version I had. But that was one that I was
telling everyone, see this movie. It's it's it'll It's nice
to have something that's a complete surprise that when you
when you think of seen everything in terms of jolly,
then yeah, it's a really nice surprise.
Speaker 4: Yeah. I love that. I love when you discover. Yeah,
just make major discoveries and you're like, man, I can't
believe this has been out there, and yeah, it's yeah,
so great. We're kind of in a golden age right
now of some of these companies releasing films that to
me at least are I'm completely YouTube and I'm just like,
I don't know this film went on to this director and.
Speaker 2: I'll watch it. I'm still so much more.
Speaker 3: Yeah, it does make you most much more optimistic. That's
why I remain optimistic about a lot of stuff in
terms of boutique label releases and film in general, because
it's kind of like there's always gonna be something that's
gonna come along and completely like obliterate me and wake
me up, Like, you know, as as quote unquote bored
as I might be kind of like, well I've seen everything,
it's like, well you really haven't, because there's always gonna
be somebody's come along. I was like, why where has
this been my entire life? You know? Yeah?
Speaker 4: I saw some guy on YouTube recently cause I late
at night. I I'm heavily medicated and just watching rand
a YouTube channel.
Speaker 2: But.
Speaker 3: Content Jeremy.
Speaker 4: Yeah, Yeah, he was talking about how like he felt like,
you know, everything was everything at argument released, there wasn't
anything to look forward to. I'm like, dude, what are
you even talking about? There is just there is so
much cinema out there that's just unseen. Yeah, we've been looking.
Speaker 3: At like the nineties. For a while, I was going
through a period of trying to see every movie that
was nominated for the Independent Spirit an Independent Spirit Award
in any category. There are films in the eighties and
nineties that have never been released past VHS, not even DVD,
and not even Blu ray yet. So I'm just kind
of like, there are so much stuff, not even genre stuff,
like there's studios stuff that hasn't been really I mean,
we're finally getting Last Summer from Warner Archive, which they
just announced, and I thought that would never happen, So
I'm waiting for I'm excited for that movie to blow
minds because that hasn't been available on cut in decades
since like the early eighties when it first came out
on VHS. So and Night of the Juggler just came
out last year, and that never came out on anything
after VHS, so there's always I remain optimistic about it,
and that's why I like Sidewalks of Bangkok. I'm hoping
that we will get that. Crazier things have happened, you know.
I didn't think we'd be getting four K of any role.
Speaker 4: So yeah, yeah, positivity, like the only thing that like,
I'm it's a very I find right now to be
a very depressing time, and I it's a struggle to
keep my spirits.
Speaker 2: Up some days.
Speaker 4: And like watching these movies, reviewing these, was writing about them,
researching them. That's really keeps me going. Like the excitement
of that, Yeah, I appreciate that what you said just then,
I mean, it does keep me that positive and like
a very kind of increasing dark time.
Speaker 3: Well you know what, actually what was crazy to me,
what actually made me so happy randomly out of nowhere
was all the Doris Wishman nudistcamp movies, because I just
bought all those and I was like, I remember being, oh,
this is just so stupid. He's just so bad, something
about the bold color, the stupid stories, like just people
enjoying being naked under the sun. And I was like,
you know what, this is a breath afresh, Like why
why is this completely healing my heart right now? These
stupid doors Wishman movies, these idiots going to the moon
and finding aliens with then you want to run naked,
but then with paper pipe cleaners on their head, Like
why is this saving my life right now?
Speaker 4: It's just there's a liberating. There's a liberating freedom about it.
To me, there's just a liberating quality about it. They're
just absent now. I just do not feel it anymore.
Speaker 2: It's like a joy of filmmaking, you know.
Speaker 3: Yeah.
Speaker 2: I just like, let's me make a joy as much.
Speaker 1: Yeah.
Speaker 4: Yeah. Even I watched a couple of like really like
no SOV titles lately, like no no budget, you know,
shot in somebody's living room, and I was just like, so, like,
this is the quality of like, let's make a movie,
be let's get this movie made. I just love that.
I just think that's such an admirable because I don't
have that in me, and I don't have that kind
of community around me where I could do that. But
I just people that are able to do that. I
just think it's so cool. And especially I just have
gotten to the point where I don't have any interest
in seeing movies that are made for hundreds and hundreds
of millions dollars. I just find that kind of gross now.
So I just really like discovering people who managed to
make these films and keep making films.
Speaker 2: I just love that.
Speaker 3: I just think it's great, right, is it actually what
it was? A Bowen said on our on our episode
with him, that really resonated me was that when something
becomes easy, it no longer becomes it's no longer an
art form. Yeah, like there's a certain challenge challenges associated yes,
where you are creating and it's not going to be
easy and it maybe shouldn't be easy. And that goes
back to the AI of it all, where it's like, well,
this makes it really easy. I can just tell something
what to do, and it's like, yeah, well it's stealing
from somebody else that worked hard on something and you're
doing nothing.
Speaker 4: So the AI stuff, just the generative AI stuff makes
me so angry, like I cannot and I can. It's
so depressing how it's just being so accepted and embraced
and it's just it's it's as devastating to me, Like
and I really worry about I mean, I just worry
that like if a boutique lab will come, like if
they start doing these kind of eight quote AI restorations,
AI upscales and like IV already happened. Yeah I know,
I think and yeah, yeah, yeah, I think.
Speaker 3: I forget which one it was, but somebody was talking
about I read it. I was like, oh, this is
an AI upscale that they released on Blu Ray and
didn't label it as such.
Speaker 4: A Lindsay and Better Lindsay to the Killer Must Kill Again,
which was pretty controversial over the movie.
Speaker 3: Yes, that's the one I'm thinking of, Yes, and I'm.
Speaker 4: Like, yeah, No, I didn't. I didn't call I in
my review of it. I just said because I don't
have like a I don't feel like I have kind
of like a professional setup where I can judge completely
what is going on like behind the scenes. But I
knew something was up with that release, like something was
and then I read I'm like, cause I kind of
suspected this looks like an AI upscale and I was like, man,
I hope it's not. And I still haven't heard like,
but it definitely looks like it. And the frustrating thing was,
and it was one reason that I didn't like completely
go off in my review of it is because it
came from they worked with Better Lindsay himself, like he's
involved in.
Speaker 3: The release, or Luisa Cotzy coatze, I'm sorry, coachsy No,
that's fine because you know, you know what Luis Cotsey,
I mean, the guy who wrote our cottails, his entire career.
You don't see yeah, yeah, but he doesn't know how
to do something without using a Yeah.
Speaker 4: But it's like, man, if you're getting if that's if
we're going to have directors start doing that for you know,
it's a really it's very concerning. And I just, man,
I and I'm convinced that these major studios are going
to start messing with their classic films. Like I don't
know exactly what they're gonna do, but I just it's
I hate it.
Speaker 2: Who puts that out?
Speaker 4: What's called a company called rust Blade and they connected
with him. I thought it was a good release. I mean,
it's it's it's but it's just it it does have
there's this kind of plastic, smooth look about it.
Speaker 3: Well, it's just the book.
Speaker 4: There's something not quite right. And I and it was
frustrating because they didn't give any if it would if
it had been a case of like, we don't have
access to the original negative we wanted to get this
out in HD to be honest with what they were doing,
but as it is, they didn't have any information at all,
So you just don't know what exactly well.
Speaker 3: I mean, well, Monda micabro I think that was something
that came to my attention. Apparently the Criterion Collection had
a version of a new HD version of Alucarda on
there and it was an AI upscale, and I thought
that it was a Monda Micabro.
Speaker 2: It was not.
Speaker 3: Criterion is an AI upscale because the negative is gone
and modern Micawber has been very open about this that
they want to do a Blu ray. They cannot because
there is no element available. They didn't do this AI upscale.
Apparently the rights owner did. But that's just goes to
show you certain companies with morals like Mondon Micabro are
not going to do that. They're going to say I'm sorry, guys,
this is not possible.
Speaker 4: And those are the companies that I really, I really
want to follow those companies. I want to, you know,
I I because I just, yeah, I really, because I
was watching you know, they've been doing it with TV shows,
streaming TV shows, older shows, they've been doing AI up
scales for like Roseanne, and it.
Speaker 3: Just looks horrible. Well you can tell, yeah, you can tell.
Speaker 4: It looks horrible. And I'm like, God, please stop doing this,
just stop.
Speaker 3: Nobody's asking for it. And that's kind of the interesting thing.
And like you know, in terms of Rolant, I mean
the fact that historically throughout his career he had these
issues with getting his films made financially and then seen
by people because the distribution was so terrible all the time.
But I even think Rolana, if you gave him the
option of like, well, you know, AI will get your
movie done quicker and more affordably, and more people will
see it if we use AI to do this, I
think he wouldn't have said yes to that.
Speaker 4: No, I don't. I don't. I don't think so either.
Speaker 3: I mean why would he because then it takes away
everything that is part of his creative, his creativity for
me to.
Speaker 4: See, like directors not speaking out more about this stuff,
Like I just don't understand why they don't see the
I don't know.
Speaker 2: Yeah, I hate the argument that's like, well, it's here,
so there's nothing we can do about it. It's like, yeah,
there is something you can.
Speaker 4: Do about it.
Speaker 3: Yeah, yeahsane argument, ever, because there's all sorts of ship
that it was here fifty years ago that isn't here now.
I mean, yeah, we women couldn't vote, No, I mean
it was part of our it was part of the culture.
It still is, but you know things have changed for
the better. You can't just throw your hands and I'd
be like, well, I guess it is what it is.
We'll let.
Speaker 4: Very ari aster is that her name?
Speaker 3: That ud uh Midsummer and.
Speaker 4: And the interview was basically like Gentry just said that
was what he said. It's like, well, it's here, so
we just kind of have And it's like, dude, you
have a major following, you have a major platform. You
could literally just say right now, I will not work
with any companies that do that. It would be an
easy thing, but just none of them. I mean, it's
just depressing, Like even I don't know, it's just it's
it's bizarre.
Speaker 3: Yeah, well, because I think a lot of it would
be like, well, we're powerless to stop it. It's like, really,
you are the creatives in a creative industry. You don't
have the power to stop it. You're also unionize. Your
unions aren't going to do something about this and go
on strike and say we're not doing this. They make
no stands when they have the power to do something
about it. It's just it's very frustrating to me.
Speaker 2: Yes, it's you know, yeah, well what the restoration talking
about the killer must kill again? You know, I'd like
to talk to someone that actually does digital restoration to
get a nuanced view, because I know that there is
sometimes you know, what we might call AI that's used
to like clean up little dust and stuff like that.
So I think it is like there is a gray
area there with regard to it, like you.
Speaker 4: Clean up with me that you have a program, an
AI program that just basically, yeah, removes like does a
basic cleaning that is not taking away somebody's job and
it's not altering the movie. That's I don't really have
an issue. It is kind of a gray area, but
that's not something. But it's the it's the AI up scales.
It's degenerative AI upscale.
Speaker 3: Just that's kind of the issue because the upscale is
not the upscale isn't part of the clean up, right,
it's don't even those tools, Yeah, those tools to clean
stuff up, those have been around like that's that's and
they have been us It's yeah, it's trying to it's creating,
it's creating something out of nothing to make.
Speaker 4: Something Like I was watching one of the it's yeah, yeah,
I was watching one of the Roseanne Upscale just because
I was curious about it upscales on I think it's
on Peacock or some one of those streaming but anyway,
I I was just like, what am I even watching
right now? Am I? Am I even watching this actual show?
Or am I watching an AI representation of it? Like
I don't even know what I'm looking at? And it
was so bizarre, like why did yeah?
Speaker 3: And that's something else? How was I not violating some
kind of saghirl for all those actors where it's impacting
their performance and they didn't sign off for that to
be done exactly? Why Why is that? Why is that
not being discussed and not doing anything?
Speaker 4: It's just I think for for deceased performers or anybody
right to use the use their likeness. I mean, it's
just it is. It's deeply immoral to me, Like if
I unless they signed off on something, then it's it's
just not right. I Yeah, I don't know.
Speaker 3: Oh, you mean like they want to use AI to
recreate all the missing ship from Magnificent Amberson's exactly. Yeah,
it's WELLS would have never agreed to that ever. Yeah,
I mean for the very you know what at least
for it. Basically, if only for the reason that he
couldn't complain about Warner Brothers anymore.
Speaker 4: I mean, at the very.
Speaker 3: Least he could see he could then it would take
away his tortured artist narrative for one second of all,
this is morally repugnican, but it would take away his
complaining rights, which as a as a chronic complainer, we
don't want to lose those rights.
Speaker 4: We want to be able to Yeah, yeah, I was, Yeah,
I it's I don't understand. And you know, I see
like little snippets online of people like recreating people from
the past doing and it's just like, what gives you
their I to do that? I mean, this is just
really upsetting to me to see. I don't know, I
don't get it.
Speaker 2: It's it's not good.
Speaker 3: Next we're going to see like brisiteit turning into a
zombie in Grapes of Death. And then yeah, the film I.
Speaker 4: Can really picture like in the future like subscription services
where you can like basically create your own movies using
actors that have been rights have been purchased for the
I don't know, I hate it. I just think it's
depressing as well.
Speaker 3: I hate that idea.
Speaker 4: Yeah, that's that's.
Speaker 3: Why I'm not a creative. I like and I like
taking in the work of creatives. I have accepted for
a long long time. I am not a creative as
the people that it was work I like to watch.
I would rather enjoy them and amplify them and celebrate
them rather than try to imitate them, try to take
their work and create something. Yeah, like, yeah, the.
Speaker 4: People that can actually make a movie, like I don't
have that in me. I just know I don't have
that in me.
Speaker 3: I definitely don't.
Speaker 4: Yeah, so I'm happy to, like you said, take it in,
embrace it, and yeah, celebrate it. Yeah yeah.
Speaker 2: But the people that are making these AI movies there,
they don't have the talent, so they're like, wow, democracy,
this democratizes it for me, So now I can't. It's like,
well maybe you shouldn't.
Speaker 4: You don't. I want to roddle somebody, like seriously, like
what's happening, Like music is streaming, music is completely being
taken over by this AI junk, and you'll see interviews
with people talking about, you know, my create, my process
and my and I'm just like, shut the fuck up.
Speaker 3: I mean, you have no process to press a button.
Speaker 4: Yeah, you put a prompt in and I'm like, what
are you talking about. It's yeah, I don't know.
Speaker 3: The well frequent argument I see it's like, well, you know,
some people aren't born by talent. I'm like, nobody is
fucking born b talent. We're born shitting our pants. We're
not born with anything. We we we work at it,
we learn, we practice, and we do all that stuff.
Like I was not born with the ability to write
and complete sentences. Nobody is born with that. If you don't,
if you want to be lazy and not work at it,
just say that. Just say I'm lazy. Don't make it
seem like well this really democratized. No, it doesn't. It
gives it basically makes you a lazy motherfucker.
Speaker 4: Yeah, totally, And I hate that. It also damages people
who like I've I've wonder like I want people to
be aware that I don't use that, you know what
I mean? Like, I feel like writers who I don't
want I wouldn't want anybody to ever think that I
use that, or anybody that I like you or gentry.
I mean, it's just so onus.
Speaker 3: Is on us now as as writers to basically like, Nope,
I didn't use chatty to do this, and why because
I'm a fucking grown up and I practiced writing. I
got a degree that I paid for.
Speaker 4: I I do what I'm enjoy doing, Like I enjoy
doing this. My mom I recently called me and she
she had read something that I had written, and she
was like, you know you She mentioned a typo like
it's misspen and I'm like, no, it's fine, keep it.
It's fine at this point, just keep it. I want it.
I want people to be aware that the human being
there's going to be imperfections. I'm okay with that.
Speaker 2: Now. Yeah, isn't that crazy?
Speaker 3: That's what we have to do now we have to
like yeah, but that's also on the flip side. That's
how you can tell it's shatypt. Apparently it's the dash.
Apparently CHATTYPT likes to use dashes instead of semi Collin's ellipses.
They just do it.
Speaker 4: That's because I used to actually do that. I mean,
I use am I writing.
Speaker 3: I like to do those really.
Speaker 4: Crazy because I don't want people to think that. I mean,
I know it does suck. It does, and I think
that for anybody, any like, if you're a musician, writer, filmmaker,
right now, it's like you're like competing and dealing with
these people using this stuff, and it's we're.
Speaker 3: Not doing anything right. You're you're actively working and competing
as people who are intentionally trying not to work and
try to get these exact same accolades without putting any
effort into it whatsoever. And I'm just like, well, you know,
and it is. Yeah, it's like Michael said, it's like
I listen as someone with major mental health issues. I
know the struggle is real because I've had my entire
life as someone who likes to write and and do that.
But I wouldn't sacrifice that for anything, because I know
that I've grown as a writer that a god struggle
and feedback and adjusted and things like that. Yeah. Yeah,
And also I guess I'm part of generations that are
dying out now, where like the act of cheating was
very heavily handmered into me that that is morally repugnant.
You don't do it. I consider this cheating, Yes, pleasure,
I consider it cheating. So why, Yeah, I think that
that's lost. I'm afraid of all those generations who are
now just like, yeah, it's going to consider like plagiarism.
Where where's the where's plagiarism going to begin and end? Now?
Speaker 4: Yeah, because that was always like a huge thing with me,
like I always want to make sure that I wasn't accidentally,
you know, copying something somebody else had said, something I
was so aware of, like I never wanted to. And
now it's just so open and people or I mean
all ai ai is plagiarism. That's I mean, it's just
stealing from me. And so I don't know, I don't
know what the future is going to hold with this
kind of stuff, but it's I do feel like we're
our generation is kind of dying out.
Speaker 3: That's why that's why we stay in the past.
Speaker 2: Yeah, oh well, And I know it's stressful to think
about and it's depressing, but you know, I'm talking to you, Jeremy,
just like, do your thing. That's what I try to do.
What I'm trying to focus on what you're doing, and
don't worry about those people.
Speaker 3: I couldn't write an in depth book about Sylvia Crissell.
I appreciate that.
Speaker 4: Yeah, I couldn't have said I can't.
Speaker 3: Watch all of her films a. I can't. I can't
speak to people. I can't do that.
Speaker 4: Yeah, I just I don't understand, Like that's how I
get joy in life, watching research and writing, That's how
I get joy. And I just the idea that you
would it's nourishing, it's and and you know, I don't
make money. I don't. I'm I'm poor and live in
a little studio and work as a barista and you know,
I don't make any money. I just enjoy doing it,
you know. And yeah, I don't know. I can see
like certain people using AI that will make a lot
of money and will, but it's just soulless. And I
would never I couldn't live with myself like I would
just be so flabbergasted that I would, you know.
Speaker 2: It's yeah, yeah, so go check out Jeremy's website, Nostalgia Kinky.
Speaker 3: Absolutely no.
Speaker 4: And I just enjoy having my own little space because
I'm not really on I mean, I'm on Blue Sky,
but I don't really I kind of get on there
in the evening and just see what's going on in
the world and what ship heads done today, and you know,
and then get off. I'm not really on social media anymore.
But I you know, I love Letterbox, and I just
I come home and I look forward to watching whatever
movie I've got and writing a little bit about it,
and yeah, just like just trying to keep some sort
of positive happiness and happiness in this life right now, because.
Speaker 2: This is not That's all you can do. That's all
you can do.
Speaker 4: That's all you can do, because man, this is not
the future that the nineties that I thought was gonna happen.
Speaker 3: No, No, and that's c think this this this basically
the two thousand started with like we got over y
two K fears, and then all of a sudden we
started getting these amazing DVDs and all these movies that
we thought were lost forever. I remember, I remember when
Blue Underground put out Uzenni, the story of for Journey
to Perversion, which I never thought I was going to
ever see, and I was like, Okay, well that anything
is possible. If I can see this movie, yeh be awesome.
The future is golden. And I mean we're I mean
we just got two we got too lost Andy Milligan
movies last year, like we're there's still so much to
look forward to. It keeps me so optimistic. I mean, yeah,
I mean, there's obviously a lot going on, but yeah,
that's why I like and I've loved going backwards and
looking watching revisiting films, and maybe I don't remember liking
that much, and I'm like, you know what, this is
really hitting this time and like there you know, yeah.
Speaker 2: I don't know.
Speaker 3: I'm also thinking, like, well, it's funny. Before we started recording,
we did an intro and Genter reminded me that we've
been doing this for a year now. It's crazy that
we've been doing this for a year. But in that year,
I'm also remembering, like, Gentry, you saw All American Girl
for the first time. Yeah, you saw what else, secret Places,
secret Things for the first time, toy Box for the
first time.
Speaker 2: I'm trying to think what other ones I gave, like
four or five stars, A cute QUI.
Speaker 4: Yeah, the first two you mentioned there I put on
my watch list because I've not seen those.
Speaker 3: All American American Girls.
Speaker 4: Such a master stuff about him, and I was like,
oh man, because I saw both of you yees. Typically
when I put on a film, I always scroll down
and I see you guys rating them high. I immediately
put that in my watch list because I know we're
kind of all on the same wavelength as well what
we like and stuff.
Speaker 3: Yeah. Oh, I will give you a warning if you
see a rating of Mind that is high, but there's
no review. It's a historical radio. No that makes when
I rated it when I was like in high school,
like when I was starting, because I've gone back and
taken some five stars back for sure.
Speaker 4: Yeah, no, I there was some stuff there was, like
you know on like Moon in the Gut or the
old blog I used to have. I've gone back and
some of the stuff I've written there, I'm like, ah,
I don't know, I'm not that's it's just the different Yeah.
Speaker 2: Yeah, yeah, you're entitled.
Speaker 3: I'm like, why did I rave about this? And then
it'll change my mind on stuff like what did I
change my mind about that? I was like, I was
fucking out of my mind. Oh the ram Roder, which
we did an episode of and I I didn't like
The ram Roder when I reviewed it on DVD, and
then I watched it again, I was like, oh, I
really like this. Actually we did a whole episode on it,
and I was perfectly. I was very happy to get
people to pay attention to that one again.
Speaker 4: Yeah, that's right. I remember you said that he never
changed his mind about a movie, and I always thought
that's the stupidest thing I've ever heard. Like I'd keeped
my mind on art all the time, whether it's music, movies,
it it hits different. I mean, yeah, and some things
you have to watch more than once. I mean you
have to, like you know, it's yeah, so right.
Speaker 3: Movies definitely changed, especially they also age in different ways.
Like there are some movies that I'm we're liking way
better and there's yeah, I mean it goes both ways,
where there's something I'm like, well, I really loved this,
maybe I'll love it again, and I go back, I'm like, actually,
this doesn't really match my mindset. Now. It matched my
mindset when I was like a young pipsqueak discovering sex
FHLM for the first time, and I was like, oh
my god, this is a mind blower. And then I
watched it as someone who's very weathered at this point,
the weather different year, like you know, put out wet
to dry, and I'm.
Speaker 2: Like, no.
Speaker 4: There's a lot of films from the nineties, especially when
I was in my teens and twenties that I really
really loved that I go back and I just can't
some I can't even watch because kind of emotionally they
make me feel. And then some of the directors, I've
just lost so much faith then that it's kind of
affected the way that I feel about the early work.
So it's weird. Like I was thinking the other day
that a lot of the people that I really liked
in the nineties, like I'm talking about American mainstream directors,
you know, like Sophie, Kevin Smith or Guaranteed Knows, I've
kind of had to just compartmentalize them in that period,
which is unfair. You know, I know they exist outside
of it, but I just I don't like what they've
done since, and I don't like their inability to speak
out about what's going on and to yes and some
of them, I just I was thinking the other day,
like about Tarantino, especially, like he's just somebody who has
refused to mature at all, Like there's just not been
any type of growth or it's just strange. And that's
true for a lot of those nineties filmmakers. They just
seem kind of stuck in that kind of I don't know,
I just feel like they're making the same films they
were then and they've not grown at all, and it's
it's just really sad to see.
Speaker 2: I know, I see.
Speaker 4: I remember like when you put out Jackie Brown, I thought,
this is a guy that's going to kind of mature
and grow and make his films. It's easily his best film.
But then he just then he just stopped. It was
like he just stopped maturing and just stopped progressing and
just kind of flatlined. For me at least, I know
a lot of people disagree, but that's fine.
Speaker 3: Well. I my hot take about Tarantino is that I
think I think Sally Minky as editor it's a secret weapon, yeah, everything,
and she died after in Glorious Bastards, that was the
last movie of his I was able to finish everything
after I started watching Django. I didn't get that far,
didn't watch Hollywood, and I'm just like, you know what,
it's Sally Manky, Sally Mankey, God rest her soul. I
think she was the reason why her his movies had
that flow.
Speaker 4: Yeah, I think it was so what I think. Yeah,
that's that's exactly what I think too. And I don't
want to take away from his writing and everything, but
as far as his editing, like his films after her,
I can't watch him either, like I've seen him, but
I especially Jiango, I just hated that film. I just
thought that was and it's the like she was the
secret weapon. But yeah, I just it's it's so frustrating
that these filmmakers have not progressed, They've not been able
to make any kind of real films about human relationships,
and their kind of fear of sex is weird to me.
And yeah, it's so I just feel differently about a
lot of those films from my youth. Unfortunately, it's very
emotionally hard because I was really connected to a lot
of them. Yeah, yeah, I get but but I but
I'm finding joy in discovering new movies and new filmmakers
and filmmakers that spoke out like I really.
Speaker 2: Yeah, I look at your website all the time and
like there's Jeremy is going everywhere on his man, I'm
trying to go all the way the world.
Speaker 3: But you always have. I mean, but I feel like
you always have. You've always done a little bit of everything,
and you've really covered a lot of different territories and
that's why, you know, and I think, but I also
think that's really important for someone who is writing about
film and watching film. I think if you're stuck in
one genre, how limiting. I think there I would hope
there's something that would appeal to you in just about everything.
Speaker 2: You know.
Speaker 4: Yeah, And I've gotten pushed back and I'm sure and
I know you have casey about the adult films that
I've written and research about, and it's like that's part
of film history, Like why would you ignore part of
you know, if you're considering yourself film a story in
which I do, why would I ignore like an essential
part of film mystery and not and not even mentioning that,
just putting inside the fact that I love it and
I are those people and really fascinated with that period.
But it's like that's part of it. It's like I'm
not going to ignore even like something like warf I
hate war films, Like I'm just the war film genre.
Speaker 2: Is not for me.
Speaker 3: But I mean it's mostly propaganda, but there's good exactly, yeah, yeah,
but I still watch, Like if I hear about something
that's great and that I will watch it because it's
part of film.
Speaker 4: Mystery, and I don't want to like turn away from it.
I think that's crazy. But there's just such a moral
a moral panic about so many well it just all
comes back to sex to me, Like, there's just such a.
Speaker 2: Yeah, Emerald, you should be watching caged virgins.
Speaker 4: Watching cage versions.
Speaker 3: Well, honestly, I think we could use a sex a
sex positive vampire movie. When's the last one we hadn't forever,
It's been a while.
Speaker 4: In decades, there's been a lot of movie the sex
has been kind of it's been really i mean just modern.
Speaker 3: Because it's it's been a major part of the vampire
legend since the beginning.
Speaker 4: Oh yeah, it goes.
Speaker 3: Hand in hand Brand Stoker and lots of sex and Dracula.
It was very there. But it's interesting you mentioned the
idea of people kind of pushing back on maybe not
taking you seriously because you also discuss or focus on
adult films. I have the I have both that and
people who are kind of like, well, you watch porn,
so you can't really know anything about any of the
film genre. And then when I'm like, well, actually, pre
code films, I know a lot about seventies. You know,
the seventies New Waves, and it's like, yeah, I didn't
start with an old movie that I started with other films,
you know, and they're kind of like, oh, okay, you're
into this stuff. I love pre code stuff, and I
didn't know I didn't know Gentry was a pre code
guy until recently. It was like, Gentry, we could be
doing a pre code side project.
Speaker 4: I love, I love something across that fun lutter. But
when I because I love pre code, I have a
pretty good knowledge of that. But but you guys are
way up there, and yeah, I'm always discovering new titles.
Speaker 2: Well, I mean that's the connection I always make is
I'm mostly interested in depictions of sex and cinema pre Code.
There's lots of depictions of sex, just like sexploitation that
we cover in this podcast. There's a pretty clear through
line I think you could make there.
Speaker 4: People just need to be adults, Like I don't understand
people who refused to be adults, and I just don't
get I mean, sex is like an essential part of
human life. I don't understand any idea that you would
have an art form that doesn't approach it or represent
It's just crazy to me, Like I don't, I don't it.
Speaker 3: Well, Gentry made a good point. We did another we
did an appearance on The Disconnected, and I was kind
of like, we have our favorite actresses that we rave about,
and you know, it kind of runs into this idea
of like, God, I don't hope people don't think that
I'm like, you know that I'm amplifying these women and
everything you see with them they're nude, and Gentry was like, well,
most women who are movie stars are famous because they're beautiful,
and so it really is kind of like that's kind
of a mart and parcel with with adoration of women
in cinema. There is there's a certain beauty that comes
with that. So it's not it's not misogyny, and it's
not uh you know, it's not male Daisy. It's just
kind of like, no, this is these women eximiting strength
in a different way in this medium, and the strength
is the way that their their beauty is amplified, their
sexuality is amplified.
Speaker 4: Yeah, oh yeah, Well I recently read the book about
Candy or Royal, and I just, I mean, I was
just like, what a life man, what a strong like
independent woman, and just you know, and just I mean
all those people that those figures are just yeah, I
mean they're monumental to me, like I just yeah, and
I yeah, the idea And back to what you're saying
about attractiveness, Yeah, I think the history of film is
filled with, if not attractive people, at least interesting looking
people like that's who you want on camera. Like so yeah,
I get what you're saying too. People do kind of judge,
and yeah, it's not And I'm sure people with like
my book and my kind of like obsession with Sylvia
Cristal and the writing and how many years it took.
I mean, I'm sure there were that those thoughts too,
But it's like, yes, she's she was a beautiful woman,
but that's not why I'm writing this book, because cinema
are filled with beautiful people. Like I don't, I don't
know what to say about it. It's just that's the
way it.
Speaker 3: Is, right. Well, yeah, Like my focus on most of
the women that I'm interested in are women who typically
who also could act like so that they and they're
able to develop that persona across a number of films,
regardless of whether they're nude or whether they're playing strippers
or whatever, like there's something about that persona that they developed,
and then when you learn about their lives outside of film,
that's when it becomes even more interesting. So it really
is just about it's more storry about women than it
is about like you know, actresses or movie stars or whatever.
It's about women in sex and which was interesting. Yeah,
it's by the way, Candid write out one of the
most intimidating women I've ever known in my life.
Speaker 2: But I loved her to death, So I can't seated
by anybody.
Speaker 3: Because she even when you met her, she was one
she because she was so it was her strength. It
was the fact that she had this. She had more
strength than anyone that I think I've ever met, regardless
of gender. She was so confident in herself. She said
exactly what she meant, and you were I whenever you
were in her presence, you were constantly trying to make
sure that she was uh impressed by you and that
she liked you Like she was one of the only
people that I ever cared about really liking me because
I because I knew that she would not suffer fools,
and so I was kind of like, God, I really
hope Candace likes me, Like I was trying really hard
to make her like me, and we got we got
along well, and I hoped to reconnect her with Leslie
Bove and you know a few other people. And yeah,
and svery scary in a good way, Like she was
a good kind of scary. She kept on your but
it made you a better person because of it.
Speaker 4: Yeah, She's one of those figures like her and Veronica Heart.
I just feel like every film ban yeah yeah, I
mean yeah, I yeah, yeah, yeah, Indida for her, Like
I mean, everybody should know about film productions in that period,
and like it's just such an important part of film
and it's just never gets talked about. And then Veronica
like what an what an amazing actress, Like when I
was watching Rewatching Roommates, I just all three of them
are incredible, but Veronica Heart is just such an incredible actress,
Like I just and then her filmmaking career, like this
is something film history and should be celebrating and know
it knowing about. And yeah, I just the idea that
there's just so many young people who just completely turn
away if there's even a hint of nudity or sexual content.
It's just so frustrating. I remember when Poor Things came out,
just like I would see so many comments from younger
people complaining about all the time. Yeah, and it's just
like Jesus Christ, just these are adults making whole decisions.
Just yeah, and she's made how many more movies with
that director? That's like they are they have a key
collaborating pair now, Like she they have a great she
made the discising on.
Speaker 3: Her own to do the nudity and work together through
shooting those scenes. Like they're adults and this is an adult.
Speaker 4: Remember when I see something like that, I get so excited.
I'm just like, oh my god, I'm actually seeing a
new film with that's approaching something like this, you know,
and it's yea. And to see a young or you know,
a modern actress you know, willing to still do you know,
I'm just like this is great. This should be celebrated.
Speaker 2: Yeah, we have this conversation. We've had this conversation before
where like you're talking about Poor Things and remind me
like when that came out, people would you know, young
people be like this is just porn. I'm like, we
need to calm down with this py word. Okay, not
everything involving nudity is porn.
Speaker 3: No, not even it's not even titillation. It's regardless about
porn or not. Yeah, nuity serves different purposes.
Speaker 4: Yeah, there's it's a weird moral panic happening with certainty.
I mean, it's just strange this podcast.
Speaker 2: There's probably podcasts out there that probably wouldn't even say
the word porn because they don't want to get like
demonetized or have their listeners yell at them or something.
Speaker 3: But okay laugh yeah adults here. Yeah, yeah, first of all,
demonetize what a laugh. Second of all, I would care
what anybody thinks I say on this podcast because I
have more hot takes in every episode than real takes.
Speaker 2: I'm pretty sure we've said the word rape about one
hundred times as well, so.
Speaker 4: You know, we have to get I'm watching somebody that
mentions that it's like I don't want to get demind.
It's like, dude, you've got like six hunder the fall,
you're not You're not me.
Speaker 3: And also, way to choose capitalism of a free speech.
Great move, exactly, great move to pick your money over
being able to say what you want.
Speaker 4: Yeah, that's great, embracing our free speech right now, because
it is it's.
Speaker 3: Like, well I have to say grape guys, I have
to say pew p you and like, no, you don't.
You don't need to sensor yourself.
Speaker 4: Yeah, it's just like making children as children with people.
It's crazy.
Speaker 3: It's very yeah, very infantaalizing. I don't like that totally.
Speaker 4: It's so weird. Yeah, but yeah, like the firestorm that
Emma Stone got after Four Things was unreal to me. Yeah,
I'm just like, this is a really admirable woman who
making personal professional decisions about her life. And she's I mean,
what she's won two or three. I mean, it's just
it's she's.
Speaker 3: Won two Oscars now she's which is crazy because she's
massed for somebody. If she gets a third then it's
going to be crazy. Yeah, she's massed with Katherine Hepburn.
That's right wild. I mean, she's great. And the funny
thing is that she does so many different care so
many different kinds of roles, and that's kind of what
you want from an actress. You don't want an archetype
these days, you want that kind of diversity.
Speaker 4: Yeah. I get excited when I find modern performers that
are still willing to take chances because they're just yes,
they're yeah, yeah, agreed.
Speaker 1: How often the promise of heaven has guided a man
down the path to hell?
Speaker 2: What can we find? How can we wrap this up?
What do you think? How can we wrap up this?
Cage Virgin?
Speaker 4: Everybody should watch Caged Virgins.
Speaker 3: Everybody just go back to nineteen seventy one and experience
why honestly, well, here's my question, and this might be
gone to for another half an hour, would as someone
who's never watched over, if someone has never watched over
a long film, would you recommend this as a good
starting point or so they start with something else and
come back.
Speaker 2: What do you think?
Speaker 4: I've actually thought about that. I think it's a good
starting point, But I know a lot of people maybe
something like The Gropes of Death would be more ideal,
just because The Grapes of Death is just it's just
more of a It has Roland's elements, but it is
more of a commercial kind of film before you dive
into like the subtext of it and how you know
of a stating it really is when you start thinking
about it. But I think, yeah, the Gripson, But I
actually think Ruck William is a pretty good starting point,
like and because if you can't, if you can't get
through the first twenty minutes of it, then you're just
Roland's probably not going to be free to like It's
it's kind.
Speaker 3: Of a true actually, yeah, you know that's true.
Speaker 4: I definitely wouldn't recommend like The Iron Rose or Night
of the Hunted. I think those are so.
Speaker 3: Those are very theo's are too special, I think, yeah.
Speaker 4: Yeah, I mean the people, Yeah, yeah, they're just so
kind of abstract and and and like I wouldn't recommend
like The Rape of the Vampire, Like that's that's such
a hard film.
Speaker 3: That's a difficult that's hard for me to get through.
And I'm yeah, I don't in that one. Really, yeah,
I don't even.
Speaker 4: I've I've managed to see it a few times, but
it is a very difficult film. I love the history
behind it, but uh.
Speaker 3: It's a hard watch.
Speaker 4: But really, like, yeah, I've thought about it, Like I
think for Rolan, like any of those classic films from
the seventies, like the early seventies or I mean, if
you if you can't get into those, then you're just
not gonna You're not gonna watch onto it. I don't think,
what do you think, gentry you gotta.
Speaker 2: Yeah, that's good. I still think Lips of Blood might
be a good starting place, but it's a good starting
place obviously biased.
Speaker 3: I'm just well, listen, I'm a brigitte guy through and through.
But even yeah, you're right because there's a brig even
though I'm a brigitte person. I don't know if I
would say, like fascinations should be a good r stations
are good and you want for a lot of people
these days, and I think I.
Speaker 2: Think that has been an intro for a lot of people.
Speaker 3: Yeah. One of my favorite people who reviews on on
TikTok and letterbox just gave it a review and he
was like, this is one I think he said it
was like his first or second rollan. He gave it
five stars. I was like, you were in for a journey,
like you. But the funny thing is he posts video
reviews with clips and the movie behind him, and I
was like, obviously you couldn't pick the best scene in
the movie behind on social media because you can't show Yeah,
it was basically the scene where it's the two girls
talking to the guy in the room and I'm just like, Okay,
well this is going to tice anyone to want to
see it, but you gotta do what you gotta do. Yeah, yeah,
it lives a blood is a good one gentry, I think.
But you wouldn't suggest this, Like if someone listening to
this episode has never seen Roland, you wouldn't be like,
start with this, or would you say.
Speaker 2: Here's the thing. I would want to know who you know?
I would want to if it's someone I know, I
would tailor my suggestion towards, you know, their personality. Like
the Shiver of the Vampires is great. I love it,
but it's very seventies hippie raw.
Speaker 3: All those long you know, speeches by the by the
Philosopher vampires. Yeah, I can't stand those.
Speaker 2: I like it, and I think it would It does
appeal to certain people, so you know, I might Julien's great.
Speaker 4: Yeah, and I like with Roland. I mean any title
that you suggests with him. It's going to be a
test for a person like they really like. It's not
going to be like any other film or any other director.
So they're gonna have to be comfortable with nudity. They're
gonna have to be comfortable with these long passages of
kind of nothing happening, even even in Grapes of Death,
you know, I mean, they're gonna have to be comfortable
with these things, and they're gonna have to kind of
adjust their mindset if they're used to modern film. This
is gonna be a whole different experience.
Speaker 2: But even yeah, even you know, the Living Dead Girl
has a certain fandom as well, amongst like people that
love Gore films.
Speaker 4: People love that. People love The Living Dead Girl. That's
one that I love the performances in it, and I love, Yeah,
I love the scenes with the two of them. I'm
taken out of the movie with the the kind of
I don't know if it's American tourists or yeah, yeah, yeah,
and there.
Speaker 3: Literally is no reason for them to be there because
they end up anyway, and we were nothing from that journey. Yeah,
I wanted more of the girls.
Speaker 4: But otherwise, people love I mean, I've people love that film,
so maybe that's yeah.
Speaker 2: Yeah, I've even seen a lot of queer people that
love the Escapees for that relationship between the two girls.
Speaker 3: Still need to see that.
Speaker 4: It's a little film. I hadn't I had just seen
that one. I'd never seen that one before until I
don't know if it's a blu ray or what it was,
but yeah, it's a it's a neat little film. It's
not one of my favorites, but yeah it's a cool
little film. Man.
Speaker 2: So yeah, there's points I feel.
Speaker 4: Yeah, there really are just stay away from. I would
not recommend like Lost in New York.
Speaker 3: Or Vampires either, Yeah, I wouldn't. I wouldn't really recommend
anything after like eighty one, No.
Speaker 4: Because there after that there becomes like an element of
you can really tell that he's fighting with his budgets
and he's he's like struggling with It didn't click like
it did before, like the seventies. I mean just the
cast and the crews and I mean they were just
the small group of people making these really unique and he's.
Speaker 2: Like referencing himself all the time in those eighties and
nineties films, So it's like you kind of have to
work a little bit.
Speaker 4: Yeah, he really does have a classic period that you know.
I mean, it's a great that's a great run from
like seventy two to eighty two. That's a great thing.
Speaker 3: Really is well. I mean I have said I keeps
I will always say it. I don't. I guess I
don't care if people get tired of it. I'm for
the women so like and when I watch these movies exploitation,
adult anything, I'm all about the women. I don't need
a lot of central women, so many good Roland women
that I think. That's why the New Vampire, I'm like,
I don't give a shit about this guy at the
center of this. Like I like New Vampire, but it's
not in Ship of the Vampires is about the couple.
I'm like, whatever, I think that's my fascination. I love
Night of the Hunted and Living Dead Girl. Like you mentioned,
it is about that central friendship. It's about those two
girls and how they're trying to deal with this little
hiccup of one of them being dead, and unfortunately it
ends very inevitably and tragically. And that's another one that
I get very emotional at the end of because I'm
just like and that's something so weird about about Rolana.
You would not think he would be like I don't know,
kurisawar and Ozu, where he's able to play with the
emotions that well and make in something so so slight
on paper, where there's such emotion in it, and so like, yeah,
fascination is great, but like neither the hunted. That just
really hits hard for me. And that's one that I
have a playlist on YouTube called Crying because you know,
like any good virgo sometimes you just need to cry
because life. And so that ending sequence is something I
will just put on. I'm like, Okay, here come the
water works. Let's you know, I just see I just
need from these two doomed people just walking away.
Speaker 4: Emotional. Yeah, they're very emotional films. Like that's something that
the other kind of a moral tales directors or you know,
are gentle fool I mean, he's just a very emotional director.
There's like a very personal, kind of haunting quality about
his films. I mean they're sad. They're they're sad films. Yeah.
I mean, like when I was doing The Great and
you mentioned the act like on my comment series, I've
struggled like talking about the actors for the most part
that he worked with, just because I just find that
they take a back seat. I mean with Rollan, it
is about the women in the films, and these just
these strong female presences, I mean, and so that's what
I've I always foke. I mean, I just inevitably focus
on it. I just find them more interesting. I Mean,
there were certain actors like Willie brock Is an interesting.
Speaker 3: Guy worked with.
Speaker 4: Yeah, he's great, but for the most part, he just
had a real connection with these actresses. And so I
think I think for a lot of for anybody that's
new to Rolan, that's going to be a big introduct
Like whatever film you watch, you're going to be kind
of not only starting to form a relationship with Roland
as a filmaker, but you're gonna like form relationship with
this person that he's picked for this movie because they're
so perfect for whatever actress it was. They're just perfect
for those roles. I was really kind of like France
wats past.
Speaker 3: Oh God, that's another performance that's just like, yeah, I
think it's the I think it's the first really great
performance that he had in one of his films up
to that point.
Speaker 2: He didn't want her, that's the story to remember that.
Speaker 3: Yeah, and she's just she's absolutely sensational.
Speaker 2: He wanted he wanted one of the twins again, he
wanted his you know, Castel girl, but them, they could
not have done that.
Speaker 3: Role. They could not have brought anything. She didn't.
Speaker 4: She's fantastic in that movie. That's a shame that it
wasn't really seen it. I mean, she's just fantastic in it.
Speaker 3: Yeah, I just I was one of the last ones
of his that I saw. It took me a long
time to see it. It finally came out on Blu
Ray and I was like, Wow, I can't believe that
I can still be blown away by Rollin. I thought
I'd seen everything.
Speaker 2: Yeah, that's another one that you'll see Like screen I
used to see screen capped all the time, like just
images from the Iron rolls and people were just like,
holy cow, what is this gothic masterpiece movie I have
to watch?
Speaker 4: Yeah, And I guess maybe that's a good way, Like
if you want to if you're introducing a person, if
they're into horror films, you could recommend The Grapes of
Death if they're having into kind of more rotic films, fascination,
if they're into more living dead grum. I mean, he's
got kind of something for everybody. He really does just cool.
Speaker 2: So yeah, like I watched The Iron Rose every Halloween.
That's like a Halloween movie for me.
Speaker 3: Oh yeah, that's a good that's a good pick, Gentry. Actually,
maybe I should do that for Halloween this year. Cemetery
is a good one.
Speaker 4: Getty ghetto seventies porn. You can watch disco sex.
Speaker 3: Yes, tell me where you saw that, Jeremy.
Speaker 4: I've got some weird Tell me where in the DHS
copy of that somewhere with no subtitle, and it's just man,
it's it's yeah, you.
Speaker 2: You and Sam Deagan apparently have seen this movie, and
I must see it.
Speaker 4: I think actually I think I gave I think I
copied sam my copy because when she was working on
that book Lost Girls, Uh, I'd sent her a couple
of his hardcore films.
Speaker 2: I really do love Kathy Stewart when I see her
pop up in porn.
Speaker 3: Oh yeah, well, I mean that's another one night that
performance is really yes.
Speaker 4: Oh my god. Yeah, I just I love the French adulter.
I mean those actresses are amazing, like I did.
Speaker 3: There's there's so many good ones.
Speaker 4: Oh yeah, I wish like the I love Marylyn Jess
like I mean, I wish he had I don't know.
She appears briefly a Night of the Hunted. I wish
that she would have maybe done more with him later. Yeah,
I mean from the book I read, they really got
along well, and I was like, yeah, I recently discovered
that his cinematographer, Jean Jacques Vernon shot I got a
copy of the adult film that he shot, and it
stars Marilyn Jess and it features a lot of the
crew and some of the cast from Groups of Death.
It was made like a year before, So it's interesting
how all this stuff connects. And I mean these people
were just working and just all these different genres. It's
really really just a unique time, especially converted today.
Speaker 2: So well, should we wrap it, boys?
Speaker 4: I think so. I hope this went well. I had
a lot of fun. I appreciate you guys inviting me.
Speaker 3: Yeah. We love complaining about AI with people.
Speaker 4: Yeah, no, I hate anytime you want to complain about
it AI. Just just call me up. I'll be willing
to throw down for a few hours about it.
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