Talkin' 90s Horror with CreatorVC's David A. Weiner (In Search of Darkness 1995-99)

Episode Transcript
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(00:29):
Hello and welcome to BoxOffice Pulp, your one stop podcast
for movies madness, moxie. Andtonight, a descent back into the
dark, dark days of the mid tolate 90s. As always, I'm your host,
Cody and joining me are my cohost, Mike. Say hello, Mike.
Hey.
And Jamie. Say hello, Jamie.
Hello.
I'm shocked. Normally there'sa lot more stuff you guys say that
throws me off my game before Ican actually introduce the guest

(00:50):
host, but you're just lettingme ride at it. This feels weird,
like there's a target pain onmy back. Anyways, we're also joined
tonight by director DavidWeiner who's been on the show before
to talk about In Search ofDarkness. But now In Search of Darkness
reloaded. We're here for insearch of darkness 95 to 99, which
personally is my jam. Ifucking love 90 movies, so I'm very

(01:10):
excited for this. David, thankyou so much for coming back to talk
to us.
Hey, thanks for having me backon. Yeah, you know, we could talk
about the whole 90s. We don'thave to talk only about the second
half. But you know, for theuninitiated, normally when I've done
these long form documentary,these long form documentaries or,
or long ass documentaries,they're, they're four hours long,
five hours long, and the lastone I did was six hours long. But

(01:33):
they cover the entire decade.But because we got into the 90s,
we thought we'd try somethinga little different and divided into
two parts, you know, and theidea was, well, we'll just make a
smaller one, you know, maybe athree hour movie and then divide
that in two and if peoplereally like it, we'll do another
round. But no, people seem toreally, really like longer sits,

(01:54):
I guess, or you know, justmore bang for their buck. And so
first one came out to be sixhours and now doing this part two,
1995 to 1999, it's also goingto be six hours and change. And so,
yeah, you know, it's good,it's good and I'm happy to be back,
so thanks for having me on.
So I was going to ask aboutthat because I just assumed when

(02:15):
you broke it up, okay, this isgoing to be 90 to 94, then 95 to
99, that that was like alessons learned from In Search of
Darkness where you justcovered all the 80s and then you
had to go back to it two moretimes to get all the other little
pieces in there. So thatwasn't necessarily the consideration
we were going through. Just aslike a streamlining effort. Like
just be so much easier towrite this thing if I only had to
focus on the first five yearsat a time.

(02:36):
Well, you know, yes and no.Like I can give a flippant answer,
but fundamentally like the,the answer is, you know, Robin Block,
who's the CEO of Creator vc,you know, he's my executive producer.
He, he, he allows me this wonto make these long form documentaries
but he's like, well this timearound why don't we just do that
sort of, that would be theapproach where it is shorter times

(03:00):
two, so you still get like asix hour movie but it's just more
manageable to do. And once Igot stuck in, listen, do I want to
make a six hour movie each andevery time I make a documentary?
Not necessarily. It's a lot ofwork. It's a lot of work.
I'd imagine.
Yeah, it's blood, sweat andtears. But I got to tell you that

(03:21):
there's so much amazingmaterial. I get so, so many amazing
interviews. There's, it's awealth, it's an embarrassment of
riches, you know, and, and,and so a wealth of content. And what
happens is, is I'm just like,well I'll make it a four hour movie.
I'm like, no. You know, peopleare just like, they, they, they expect,
they being our, our verysupportive community and backers

(03:43):
of these projects, they alwayssay, I mean if you read on letterbox,
I love how long this is and Icould, it should be longer than,
you know, and people reallysay that I read this stuff and I'm,
I'm like really? Okay. Andit's to the point where people are
like, you know, tap my veins,put it in 24, 7. And of course they're
kidding I think. Butultimately, you know, they want,

(04:05):
they just love the fact thatit goes on forever and it's kind
of this comfort blanket forpeople. So I did the first one and
I just said yeah Robin, Ithink I'll just make another like
five plus hour movie. And itended up being the longest one yet.
And so now that I'm doing parttwo, I feel absolutely obligated
to the fans and to the contentto do more. And so I'm delivering

(04:28):
this second half 95, 99 asanother six plus hour thing. And
I gotta tell you I just gotfinished trimming out about 90 minutes
of material. So I don't know.Make of that what you will. Yeah.
Extended cut, director's cut,coming this fall.
One thing that's changed sincethe last time we've talked that I

(04:50):
was thinking about earliertoday is the. There has been a rise
in the five to eight hourYouTube video has become a very big
draw. So it seems like that'sjust a thing a lot of audiences are
getting more and more hungryfor. And it almost seems like lengths
are becoming a bit of a dare.
I definitely run into thatquite a bit and I'm not ashamed to

(05:11):
admit I have spent longSaturday nights watching three hour
documentaries of peopletalking about the making of Resident
Evil 4 the video game. So I'mnot surprised that other people are
into this stuff.
Well, I admire anyone who putsthese stuff on you. This stuff is
on YouTube because it's a lotof work. It's a lot of work because
what you ultimately see is theresult of someone's organization,

(05:34):
thought process, prep,resourcing and then editing what
didn't go in out. Andsometimes it might feel like it's
everything plus the kitchensink. But there's still a huge amount
of effort and thought puttingthese things together. And so it's
quite an achievement to beable to put, you know, crank that
out. You know, for me, ittakes a year to turn around these

(05:57):
YouTube videos. It's. It'sfaster and that's quite impressive
to me.
That's. Yeah, it's insane thatpeople can do this on a monthly basis.
I don't know how they do it. Alot of Adderall, I would guess.
Well also, you know, justfundamentally though, I don't know
if they're interviewing like50 people for their video. So that
might be part of the processthat I'm.
I think they're probably justreading a lot of Wikipedia articles

(06:19):
and regurgitating.
Yeah. So for the uninitiated,with these In Search of Darkness
documentaries, I did a trio of80s documentaries where talked about
80s movies and got the iconsand the legends of the era to sit
and interview and talk aboutworking in the 80s and working on

(06:40):
horror movies. And so whetherthey were in the front of the camera
or behind the camera, thedirectors, the actors, the writers,
the composers, the specialeffects folks, you name it, it was
an absolute pleasure to talkto everybody. Lots of experts and
enthusiasts as well. Andfundamentally it becomes this big
celebration that feels likeyou got to have the cool table in

(07:02):
the back of the bar and whenthey Kicked everyone else out. You
got to stay late and havedrinks with the likes of John Carpenter
and Robert Englund and HeatherBlankenkamp and, and Barbara Crampton.
But yeah, you know, it's very,very cool. We did three of them for
the 80s. I did one for Sci Fias well, In Search of Tomorrow. And

(07:22):
then, yeah, so we're doing the90s and we just divided it in half
and half. But what it is, iseach year I curate a bunch of titles
and we have people talkingabout individual movies. But in between
the years, there's largercontext chapters where you talk about
the special effects, the popculture zeitgeist at the time, the
music, the practical effects,you name it. To create a larger context.

(07:46):
Look at the puzzle that afilmmaking and reflections of culture
and society can become in thecourse of a decade.
For prep for this, I actuallywatched a bunch of different 90s
horror films in the last fewdays. And it's, it's astounding to
me because you go fromsomething in 95, 96, like the tales
from the Crypt movies to Ithink it's 98 with the faculty. And

(08:07):
those movies feel like theyare completely different generations.
They, they don't feel likethey should have been made three
years apart. They feel likethey should have been made like 15
years apart.
Well, a key element is, is theKevin Williamson contingent. And
basically when people look atthe 90s, I, I think, and I'm talking
about the average non hardcorehorror fan, they kind of look at

(08:28):
the 90s and they're like,well, gosh, what was big in the 90s?
I don't quite remember. Butthen you had Scream and, oh, I guess
there was Blair Witch Projectand yeah, yeah, it was pretty cool,
you know, Sixth Sense. Like,the more you start thinking about
it, your memory hole startsdissipating and you start realizing,
wait, there was a huge amountof really, really, really cool stuff
in the theaters, on video,straight to video, huge amount of

(08:49):
horror people doing DIY stuffin their backyard and making it to
the shelves of the mom and popvideo stores that you went to. You
know, J Horror was creeping inand so on and so forth, but a huge
part of it was screamingScream, which we forget or didn't
know in the first place, waskind of a sleeper hit. You know,

(09:09):
Wes Craven, they're like, oh,well, Wes Craven's new nightmare
didn't do that great. Andyeah, Wes Craven's a standby, you
know, when it comes to horror.But, you know, all right, he's got
a new Movie Scream. And youknow, hopefully it'll do all right.
But it totally revolutionized,at least from the standpoint of studios.
Wait, horror is big again.Wait, it's making huge box office.

(09:32):
Wait, people are going to gosee a movie if it's really glossy
and you have the cast ofDawson's Creek in there and Party
of Five and people are goingto pay big bucks to go see it. All
of a sudden you have this hugewave and you have combination of
Kevin Williamson working withWes Craven. But you also have meta
filmmaking, which Scream wasnot the first meta film, but this

(09:54):
self reflexive, postmodernkind of take on which you would see
in movies like Tales from theCrypt. You know, it's definitely
there. You know, it reallycaught fire with Scream. And all
of a sudden the average personwho wasn't a horror fan totally wanted
to go and see their favoritehot teens in movies or hot 20 somethings
acting like teens in movies.But there's even just real quick.

(10:17):
Sorry, it just popped into mybrain, you know, in Bordello of Blood,
there's this great littlemoment where Dennis Miller is walking
in this sort of dark alley,you know, this dark sort of dank
room, and he's like, I feellike I'm in a bad Tales from the
Crypt episode.
And it's fascinating toobecause you're, you know, completely
on the spot too about, youknow, hey, let's have a bunch of

(10:37):
30 year olds playing 20 yearolds. And that's what everyone wants.
Just a bunch of Very Hot 902.
We also got used to like,listen, we all saw Greece. You know,
those were teens who were leftback by like 10, 15 years in high
school and they, they never graduated.
Yeah, but what I'm thinkingtoo is the advancement of special
effects during that periodbecause Tales from the Crypt has

(10:57):
a lot of like in cameraeffects. There's a lot of obviously
the Crypt Keeper puppet andall that. And just a few years later,
Robert Rodriguez is out thereand all of his aliens are cgi. Everything
he's doing in the faculty isprimarily cgi. There are obviously
some practical effects stillmixed in there, like severed hands
and fingers and all that. Butit's amazing how fast everything
advanced in the realm ofhorror and the amount of doors that

(11:18):
opened and unfortunately theamount of very, very bad CGI we got
in the meantime.
It's interesting, you know,Robert Kurtzman, who did the. Robert
Kurtzman wrote the, thetreatment and the story for From
Dusk till Dawn. And you know,he was a very, he is a very well
known effects guy and heworked on the faculty doing the effects

(11:38):
on that. And he was telling methat the, you know, spoiler alert.
Not like anyone wouldn't know,you know, there's a big monster at
the end. We just, just put itthat way. That is a combination of,
of practical effects and cg.But there are shots where it is a
giant mechanical monster thatcost a lot of money to make. But

(12:01):
he said that was literally thelast one they ever made. And after
that, all cg. Yeah, but youknow, I mean, I kind of tackle that
in the first half of the DOCin 1990-1994. This sort of uneasy
transition from balancingpractical effects to all of a sudden
every producer wants digitalcg, especially after Jurassic Park.

(12:23):
But they couldn't or wouldn'tspend the money or they couldn't
afford ILM to do the work. Andso that's why you have a lot of half
baked CG during that era.Lastly, I'll say about that in terms
of CG though is I kind of lookback on it because I've been spending
so much quality time in the90s watching horror movies. It's

(12:45):
like a time capsule of an erawhere there was a new technology
going through baby steps. Andeven though it looks incredibly fake,
you just have to understandthat for the time period, it didn't
always look fake. It actuallywas something people hadn't seen
like say Morphing andSleepwalkers. You know, it was very,
very cool. You know, morphingand T2. If you watch that stuff now,

(13:07):
you're like, oh gosh, that'sclunky. But back then people were,
wow. And it's kind of likelooking back prior to that to you
know, say stop motionanimation, you know, by Ray Harryhausen.
We all watch that now and wedon't say, oh God, that's so fake.
You say, well, no, it's aproduct of its era. If anything,
it's quite precious to look athow much artistry went into creating

(13:29):
these creatures that hadpersonality when it's clearly stop
motion animation.
You know, there's a 90sslasher I've been obsessed with for
years, Sleep Stalker, which Ishow Jamie not that long ago. And
I find it very quaint becauseit's filled with really half baked
CGI effects, but they're doneso with so much confidence that it's

(13:53):
kind of adorable and kind ofalmost endearing to the overall tone
of the movie, which is boththis kind of ridiculous supernatural
slasher with a guy who turnsinto sand Essentially. And then these
really just bad morphingeffects that are, you know, don't
look like they're there atall. And then there's mixed with

(14:14):
also kind of like hackneyedpractical effects because they couldn't
quite figure out how to dosand practically. And it just, it
just gives this very strangemiddle of the road vibe between what
is what would soon become bemodern moviemaking and then what
was schlocky 80s moviemakingsmashed together. And there's a lot

(14:36):
of that stuff in the 90s, andit's. I just find it very quaint
and now kind of like, lookback on.
It's not underappreciated.Like, they're all like lost gems
that we should all look back.Look back upon because Sleep Stalker
is Sleep Stalker. But there'sa lot there that is appreciative.
Well, at the end of the day,you know, especially as horror fans,
I think we look back at thesethings and you say, why was this

(14:59):
fun for me? You know, thisreminds me, you know, like, I could
watch Howard the Duck now,which, you know, everyone has their.
They roll their eyes when yousay Howard the Duck. You know, Howard
the duck from 86 and. But it'san absolute amazing, insane time
capsule of the 80s, you know,from. From Leah Thompson's hair and

(15:20):
shoulder pads to the extremelyquestionable love relationship that
I love.
If he has a music video, it.
Had a signature song goingthrough, going through his. His wallet
and finding a duck condom. AndHoward, you know, it's just like,
this is a movie for kids, butthey tried to have it both ways.

(15:41):
So my point is that I thinkwhen you look back at these things,
as long as you kind ofappreciate it for what it is, I think
they all, all these moviesspeak to us for different reasons.
And they can't all be amazingand great. There are plenty of amazing,
great movies. So the ones thatare imperfect, they speak to us for
personal reasons. Whether itwas, you know, we saw this movie
when mom and dad were asleepand we snuck it and we saw boobs

(16:03):
and, you know, or gore that weshouldn't, that we weren't allowed
to see, you know, or, youknow, things were kind of crappy
at school, but you got to hangout with your cousin who always made
you laugh, and he showed youthis movie. All these movies are
less about the movies and moreabout who you were during that time
period where you were. Whereyou were in your life, you know,

(16:24):
and the sense memory ofpopping it in, saying, oh, my gosh,
I forgot how dopey this is. Ilove it.
So it's a little funny to mebecause you mentioned sleepwalkers
just a minute ago, and thatwas another one. I saw Resaw just
last week. And yeah, you havethat reaction to it, like, oh, man,
this morph effect is a littlesilly. And you stop and think, this
is 1992. For a movie without ahuge budget, this is actually phenomenal

(16:47):
work here. They're doingsomething kind of unknown at that
point. So, yeah, you do haveto appreciate the fact that they're
trying stuff out.
And talk about, again,questionable content. You know, you
have incestuous relationship.You have, you know, death by corn
on cob. By corn cob. Exactly.Yes. Great minds think alike.
Yep. But it's got Ron Perlman,so no matter what, that evens out,

(17:10):
like, half.
Right. It's got some Enyamusic in the.
Beginning, I think, in thecredits, too, doesn't it? I can't
remember anymore. Yeah. Butthe fun thing for me is Stephen King
has been around so long and sopopular that you can look at him
each decade and see a wholebatch of movies come out of his properties
and just get a little senseof, okay, how are we adapting King

(17:30):
now? Is it. How does it feelthis decade versus the 90s, versus
the 2000s versus the 70s?
It's ebb and flow. It's ebband flow. You know, he gets really
popular, and all of a suddeneveryone wants more Stephen King.
And you have a good batch ofRun or of Stephen King movies, and
then they stumble and they getreally bad, and then it all comes
back again a couple of yearslater where one good one, you know,

(17:54):
sets the whole thing runningagain. You know, the tail end of
the 90s. He. His name was kindof mud, you know, when it came to
movie adaptations. Not. Notas, you know, of course, we're talking
about his. Not his writing,but his movies. And, you know, the
rage Carry, too. You know,that's. That's a. It's. I don't know

(18:16):
if you guys.
It's got a reputation.
It's what it's. But it's.Yeah, it's. Well, it's like a Pet
Sematary 2 adaptation. It'sbasically just taking the characters
and. Or situations and justevolving it where he has nothing
to do with it, but people wantto slap the name Stephen King on
it. But that movie, if itreally wasn't about Carrie, it's
actually a really, really welldone film. And again, it's kind of

(18:38):
a good time capsule of thelate 90s in terms of high school
sexual politics and angst andfitting in and being the outsider.
But it also is, of course,hitches its ride to Telekinesis and
Carrie. But you've got SueSnell in it. You've got Amy Irving
in it as well. And so it'sactually really interesting for a

(19:01):
revisit, or if you've neverseen it, you should just check it
out. But what's cool about italso, arguably, or not so cool, is
the fact that that movie. So Igot to talk to Emily Bergle, who
plays the lead in. You know,she plays the Carrie Telekinesis
character, Rachel. But she.She said that they started making
that movie and they pulled theplug on it because the studio said

(19:24):
teens don't want to see horrormovies. So we're just. They got it
going, and then they changedtheir mind and they literally canceled
it. And then not too longafter that Scream came out, and all
of a sudden, the studio, like, is.
You can hear everyone in thestudio smacking their fortnites.
And they got everyone back on.They fired the entire. They fired

(19:44):
everybody. And they prettymuch rewrote it and brought in an
entire. They screamed. Theyscreamified it, basically. But, yeah,
you know, Stephen King, Ithink, notably, he was sort of king
of the miniseries during the90s, really, and the movies weren't
doing so well by the mid-90s.You know, yes, there are the langoliers

(20:05):
and things like that, but, youknow, the Stand and it were huge.
You know, he didTommyknockers. These were giant.
You know, Storm of the Centurywas appointment Television for America
when that came out.
And he hated the Shining. Hedidn't like Stanley Kubrick's the
Shining because it was a verypersonal book to him and Stanley
Kubrick, he even wrote acouple scripts for Kubrick. And Kubrick

(20:28):
said, nah, I'm just going todo my. I'm going to be Kubrick and.
Or Kubrick, depending on whoyou are. But fundamentally, he just
said, you know what? I. Theywere like, what do you want to do
after. After the Stand didreally well. And he's like, you know,
I'm going to do the Shining myway and just write it and get McGarris
to make it. And they did. Andso we have McGarris talking about

(20:49):
that and also the star ofthat, Stephen Weber, talking about
that experience. And so that'sreally cool in the documentary.
And that one just fascinatesme because the opinion on the original
Shining has shifted so muchover time. It makes a lot of sense
they would try and reboot itback in the 90s. Whereas if you suggested
it now, you know, there werepeople that got upset about the idea
of them doing a sequel inDoctor Sleep, even though it's based

(21:10):
on a king story.
Yeah, yeah, It's. It's. Well,doctor Sleep had also. I love doctor
Sleep. I really liked it. And.And Mike Flanagan, I think, can do
no wrong. He does, really.He's really great. Yeah. And he's.
I'm going to just. I'm justgoing to name, drop it whenever I
can. So Mike Flanagan's in mydocumentary too, and he's great.
But I'd start with that. I'dbe bragging about that all week long.
Yeah. And by the way, Life ofChuck, if you haven't seen it, is

(21:34):
phenomenal. I'm dying to. It'sso good. But I had a point and I
lost it because I got enamoredtalking about Mike Flanagan.
But we're all sitting herethinking about Hush. It's understandable.
Yeah. What was I talkingabout? Why is this important?
Dr. Sleep.
Thank you very much. Thankyou. Yeah. Dr. Sleep, people did

(21:54):
not understand that becausethey didn't, you know, if you're
a King fan, you know that itwas an adaptation. But the average
Joe did not realize that thatwas a follow up to the Shining because
of the title and the. And the,the. The marketing was pretty awful
and they put that out inNovember after the. The best time
that would have been inOctober to put it out. So, you know,

(22:16):
I think it's worth checkingout because I think it's a really
great movie.
I'd really recommend thedirector's cut of it as well. I enjoyed
the theatrical, but I thinkgoing the extra length, put that
extra, whatever it is, 15, 20minutes into it and kind of doing
the chapter breaks reallymakes that movie sing.
But what's interesting, Ithink mostly just from the perspective
of the fact that Stephen Kingdidn't like Kubrick's the Shining.

(22:38):
This is an adaptation of hisbook, but it also brings in Kubrick's
the Shining.
Yeah. I don't know what kindof witchcraft Flanagan had to do
to make all that weavetogether and make everyone happy.
But he pulls it off.
Some fancy dancing. It'samazing that he actually got that
to work.
Yeah. The last I'll say aboutin front.
Of King and said, you're goingto watch this and you're going to

(22:59):
like it. And he did.
He might have done that. But Ido want to say that, you know, the
Shining Suffered fromcomparisons. But ultimately, if you
take it on its own merits, theShining miniseries came out in, I
think, 97. It's really,really, really good. But it's a slow
burn. It's very different. Andyou have to sort of take it on its
own merits. And I think it'sstill, it's well done and it gives

(23:21):
these characters the time theydeserve. And I think that's probably
the most important takeawayfrom it.
And what I appreciate aboutall those miniseries was they were
broken into two, three parts,whatever, which makes it way more
digestible. I'm not a hugebinge movie kind of guy, so for me
it works great. I can watchthe first half, take a break, come
back an hour later if I want,like intermission or the.
Next day it will too. It wasnumber one in the ratings for both

(23:46):
of the nights.
Well, I think the miniserieswere doing great for King until they
got to Rose Red. And eventhat, the first chunk of it, I think
did very well.
I do not understand why theLangoliers wasn't bigger, but, you
know, it's a confusing world.
Yeah, langoliers so much as a kid.
Did you really well, so. Soyou've got a. A personal connection

(24:07):
to it. So the, the goofy, youknow, the goofy critters, Pac man
munching things, eating theplane. That really did not work well
with cg, you know, that's whatpeople remember. But there's more
to it, you know.
So to backtrack out of theStephen King stuff, we probably dug
enough of a deep hole.
We'll be here all night.
That's it. Yeah. We've onlygot so much time here. One thing

(24:28):
I wanted to ask, though waswhen you're assembling the list of
movies to cover,theoretically, you know, you're trying
to. This is a two parter andyou're just trying to cover everything
from the first five years andthat'll be that. I'm sure you have
to cut some movies out andthere's a process of deciding, okay,
is this one on the bubble? Isthis one going to have enough eyes
to make it worthwhile? Can weget good talent for it? What are
the criteria you were using toselect the films?

(24:48):
It's a good question becauseit sort of evolved over the first
three documentaries that Idid. You know, I was kind of raked
over the coals for the firstIn Search of Darkness, which when
I made it, I thought was goingto be the only In Search of Darkness.
And the thing is, tackling the80s where there's hundreds and hundreds
and hundreds of movies, eveninto the thousands, arguably, depending
on how you categorize things.I needed to. I needed to wrangle

(25:13):
that in some digestible form.And so I made a very tough decision
for me as a completist and B,as a horror fan, to just do North
American movies. Because Ifigured that's just the most digestible
way of approaching this. Andafterwards, you open later on, if.
You ever want to do a whole InSearch of International movies, then,

(25:33):
you.
Know, this was a Kickstarter.This was a crowdfunded documentary
that was supposed to be 2hours and 3 hours if we reached our
stretch goal. But the thingis, there's so much material to cover,
I figured that was just thebest way to go about it. And a lot
of people respondedpositively. But there were plenty
of people who just said, oh,it's American centric. And you know,

(25:56):
where's all, where's thefauci? You know, all this, all the
million other cultures thatgot in search of Japan. I'm like,
Cronenberg's a foreigner, hewas in there. But that's true.
Yeah, all the Canadian films.
Yeah, that's why I say NorthAmerican versus just, you know, American.
But it's ultimately what Ilearned over the course of making

(26:16):
the second one where I did alot more international stuff. I did
a whole chapter focusing onItalian and horror and stuff like
that. People responded verypositively to that. And people seem
to want more and more of thestraight to video, bottom of the
barrel, quote unquote, typesof movies that I wasn't sure if people
were interested in or not. Imean, plenty people are. But I think

(26:39):
the horror fans really wanted,the hardcore horror fans really wanted.
They were like, I needsomething to help curate my own list.
You know, I want to discoverstuff that I did not know even existed
or I've never seen. And sowhen I did sort of a hybrid for in
search of darkness 3 still inthe 80s, that was a whole spectrum

(27:00):
of studio films to indiefilms, to backyard shot on video
films, including things fromCanada. Oh boy, you know, people
responded really positively tothat. So that's kind of been the
alchemy that I've been using,you know, when I say ever since,
it's two more documentaries,the 90s, part one and part two. But

(27:20):
I find people really respondto the fact that there's a broad
spectrum. But like you said, alot of it comes down to I struggle
with this. You know, I stay upat night because it's just like,
well, this is Everyone knowsthis, so they expect it, you know,
but then again, well, maybeit's too obvious because everyone
knows it. What is new that Icould bring to the table? But yet,

(27:41):
then again, if I don't do it,they're like, how. Of all movies,
how could they. How dare youLeave that out. Boy, what a glaring
omission, you know, on letterboxd.
Yeah. If I was in your shoes,man, if I had to do army of Darkness,
it'd be a dream. But what am Igonna ask Bruce Campbell about Army
of Darkness that he hasn'tbeen asked 50,000 times in the last

(28:01):
two years?
Well, I reached out to BruceCampbell, and Bruce Campbell politely
said, I don't want to talkabout this because I'm talked out
about. Talked out.
Yeah. So many times about allthese things. It would be tough to
find a new angle. So I sympathize.
Yeah, well, the. I could tellyou the angle that I found. You know,
first of all, I talked withTed Ramey, and so he provided some

(28:23):
interesting insight in termsof, you know, he played multiple
characters, and he, you know,he and Bruce would. They felt like
they were kids, you know, intheir basement doing all the voices
in the looping afterwards, youknow, talk to Robert Kurtzman, who
worked on the effects withthat, and he just said they were
like kids in a candy storeblowing things up and having the

(28:45):
greatest time ever. And Italked to Alex Winter. Alex Winter,
who's friends with Sam Raimiand is a huge Sam Raimi fan. And
he just told me what it waslike to hang out on the set and be
a fly on the wall for thatkind of stuff. And so for me, I was
just like, good, now I canbring some perspectives that people
don't normally see to this andmake it interesting. I even got the

(29:09):
Candyman director. He did acameo on that as well. Yeah, he's.
He's. He's. He's. He's one ofthe. He told me he's lying. You know,
I've one line. I'm one of theguards, you know? You know, and so,
you know, it's fun being ableto wonder, how am I going to approach

(29:30):
this? That's different. Andthen getting these wonderful, you
know, serendipitous kind of,oh, yeah, I was there. I. Oh, I saw
this. Or, oh, I. You know, Iwas rejected for it. You know, like,
I talked to Ernest Dickersontalking about Demon Knight and Death
by Temptation and all thestuff that he's done as a cinematographer

(29:50):
working with Spike Lee, youknow, and direct as a director. And
he's just like, oh yeah, youknow, I, they asked me, they, I sat
for a meeting for seven andthe producers didn't know what to
do with it. And they said,what should we do with this? We don't
know what to do with this. Andhe said, oh, this is a great script
and you should do X, Y and Z.And they're like, oh, these are great
ideas. Thanks a lot. Thanksfor coming in. And he left this production

(30:12):
meeting and, and the next dayhe gets a call from his agent and
he said, you didn't get thejob because you talked, you talked
yourself out of it. And, andhe's like, what? I talked, I gave
him all these great ideas.They're like, yeah, they're taking
your ideas and they're sayingthey were going to throw this in
the trash and they weren'tgoing to do this. But they're like,
wait, now we know how to crackthe code. We'll get an A list director

(30:33):
and we'll make this. Thanks,Ernest Dickerson. So it's fun when
you get these sit downs whereyou can really go down sort of tangents
and rabbit holes and you getthese, you know, hey, all right,
you've talked about the moviesthat you worked on that you're here
for. What else have you workedon? What projects did you try and
get off the ground that younever got off the ground? But what

(30:55):
was that like? And you know,it's, it's an industry. People, directors
and writers, they'reauditioning just like actors are.
Everyone's trying to get theirnext gig. And so many people were
part of a project that didn'tquite get made. You know, Joe Dante
was going to direct, you know,the Creature from the Black Lagoon
remake. John Carpenter wasgoing to make the Creature from the

(31:16):
Black Lagoon remake that hasstill yet to be made. But apparently
James Wan is currently tryingto get that one off the ground.
Every five years somebody'sgoing to do it. And I'm starting
to lose hope.
So I get to sit down with JohnCarpenter, I get to sit down with
Sandy King Carpenter and she'sjust like, oh yeah, I'll tell you
the whole story.
That's really exciting to mebecause that's one, it's been kind

(31:36):
of hinted at over the years. Iremember there's a big hub up. I
think last year someone wasinterviewing Carpenter and he had
one of the preacher maquettesin the background.
And I got to hold, freezeframe that. I got to hold on to that
in my grubby little hands. AndI got close ups of that. And spoiler
alert, that mech head makes anice little cameo in the new In Search

(31:58):
of Darkness.
I can't wait to see that inhigh def. I'm. I'm going off a blurry,
like, YouTube clip some guymade like a lunatic trying to prove
conspiracy theory.
Actually, if you go to my. Ihave a blog just for fun. It's called
It Came from blog, so it camefrom blog.com. if you go in there
and you type in Creature fromthe Black Lagoon, I've got lots of
close ups that'll spoil it foranyone who wants to get a good look

(32:19):
at Rick Baker's design.
Fantastic. Okay, interview'sdone. I got business.
Right, right, right. You gotit out of me.
It was all one big ruse.
Did I answer your question,though? You know, it's hard to choose
these movies, but a lot of ithas to do with who can I get? What
do people probably want tosee? What surprises and eclectic
choices can I make and whattime do I have? Because if I want

(32:43):
to include as many. You know,there's some years where so many
more horror movies reallystole the spotlight and you can't
put them all in. And so youdon't want 100 movies.
From 93, but none from 92.
You know, 99, believe it ornot, was like an insanely packed
year. And I'm clocking in like20 movies and I'm like, I can't.

(33:03):
I can't do it again. It'smathematics. You know, you. Regardless
of what I ultimately choose,if I want to give each movie three,
four, even five, even sixminutes, because it deserves it,
whatever the film is, and thenI want to have a chapter in between
that I want to give. At thevery least, I want to give like 8
or 10 minutes or 12 minutes.You put that together and you multiply

(33:24):
that by, you know, 70 moviesand you're flying towards six hours.
So when you're putting thesepieces together, obviously some of
these have much biggerreputations than others. You know,
everyone loves the Blair WitchProject. Is it constraining to you
when it's something with thatmuch reverence in the fans to have
to write and talk about andinterview folks for? Or do you prefer
the ones that are lesser knownbecause maybe you've got a little

(33:46):
more freedom to play with those?
Yeah, there's a little lesspressure on the ones that people
haven't quite heard ofbecause. But, you know, there is
no rhyme or reason at the endof the day. When it comes to outreach
for talent, who says yes and,and who doesn't. There, there's the
most famous people that youguys would, would know who say yes
and then there's thecompletely non famous or they did

(34:09):
that one movie that one timeand they're like, they don't even
respond. You know, I meanthere, there's some, you know, I,
I don't want to name namesnow, but there's some straight to
video gems that I'm like, oh,that's total cult favorite. I, I
gotta, how easy it's lowhanging fruit to get the director
of that one, you know, andthey don't respond, you know, and

(34:30):
multiple, multiple outreaches.So I'm not here to complain about
that, but it also kind of justinforms what I'm ultimately doing
because, you know, if there's,you know, we're Scream, you know,
Scream is a big part of this,this, this latter half of the decade.
And you know, if I can't getsomeone from Scream, at least someone,
if I can't get at least thecraft service guy from Scream, you

(34:52):
know, I'm screwed. You know,because people. So fortunately I
got Marco Beltrami, who's thecomposer at Scream, and I got Jamie
Kennedy who gave a wonderfulinterview talking all about scream,
scream 2, even scream 3. Ifyou know anything about scream 2,
scream 3 is an, is aninteresting appearance and it's very,

(35:14):
very cool. And you know, forUrban Legend, I got to sit down with
Rebecca Gayheart and she's inScream 2. So I kind of get, you know,
best of both worlds withhaving her talking about being Brenda
Bates for Urban Legend. Alsogot Michael Rosenbaum from Urban
Legend. So it's very, verycool, you know, but there are other
things where I'm just like, ohgosh, you know, I gotta get that
one person. And then you'd bevery, maybe not surprised, but a

(35:40):
lot of these folks, they,they're agents, they're representatives.
If I can't get some backdoorway of getting their attention, a
lot of these folks are justlike, oh, you know, this actor, they're
only looking forward, they'renot looking back. That's literally
a quote that I got, you know,so it's like, oh, how do I do?
But it looks like you've got apretty good lineup of folks here
besides everyone you'vementioned. I think one that's exciting

(36:02):
to me is you're delving intothe Wishmaster series a little bit.
Yeah, I'm pumped to hear aboutthat. I'm kind of A late convert
for that. Yeah. That seemslike a fun interview.
Yeah, I've got Andrew Deevoff,the Wishmaster himself. And of course,
I keep on mentioning RobertKurtzman. See, I could have just
interviewed Robert Kurtzman.And he's been in so many of these

(36:22):
movies in terms of, you know,creative force behind it or doing
the effects. It could just bean interview with him. He's really
great. And of course, TedRaimi's in it, too. You know, I can't
get enough of.
Ted Raimi, so that's excitingto me. He's even popping up in video
games now. He's in the quarryrecently, and I got all excited.
But I have to say, AndrewDivoff was so cool. He's Andy. He's

(36:43):
Andy to me. And Andy is superduper nice. And you know what Andy
did? Andy Divoff, super,super, super, super, super nice guy.
He really cared about what hetalked about and what he got to talk
about. And he really enjoyedhis time. He gave me a long time
to talk with him. We talked. Ican't even remember. Two plus hours.
And. And at the end, you know,he makes his own Wishmaster rings.

(37:06):
He's an artist. He actuallybrought some of his paintings. He
brought them with him. He'sjust like, oh, yeah, I did this.
Thought I'd show it to you.I'm like, oh, my gosh. You know,
really, really cool. But hecrafted his own ring that could be.
It's a work of art. And it'sthe Wishmaster. And he said, you
know what? I'm going to giveone to you. And I'm like, oh, no,
no, that's really nice. No,no, I'm going to have it. I have

(37:30):
to have it crafted, you know,from the mold, but so be patient.
But I'll send it to you inabout a month. And he did.
Wow. He has your soul now, unfortunately.
You know, he mentioned thatonly after I opened the jewel box.
Classic. Classic devil rule.
Yeah. The little jewel, itsort of flashed. And next thing I
knew, I was doing things thatI. That were untoward.

(37:52):
You're inside the lamp. All ofa sudden, it's a whole mess.
I'm looking at your Wishmasterring online now. I googled Wishmaster
ring and immediately saw you.
That's the one.
That is incredible.
The good thing about gettingstuck in the genie bottle was that
Barbara Eden was there, andshe was young.
All right, well, this isstarting to look up.

(38:12):
I actually had a questionbecause from just a little bit we've
been talking about We've,we've had a lot of, oh, these are
the Scream type movies thatcame out in the latter half of the
90s. And then we're talkingabout all of these other things that
are very incongruous to oneanother. You have Wishmaster, you
have Sleepwalkers, you havethe Stephen King miniseries. You

(38:34):
have all these different tonesand vibes. And there's nothing that
feels overarching. Like youlook at 80s, 80s horror movies. Everything
feels like, oh, that's an 80shorror movie. No matter what the
tone is, no matter what thecast is, it feels like it belongs
there. With 90s until they getto Scream.

(38:57):
It felt like they were trying on.
So many different hats, tryingto decide what the vibe of 90s horror
was supposed to be. And there,there are more, I would say, tones
and sub genres, you could sayin 90s horror. I've always been kind
of obsessed with 90s was veryinto Catholic horror throughout the

(39:19):
entire decade, hardcore andthose. And that's something that
people kind of overlook islike, oh, no, that, that was a tone
that took place over thecourse of that, of that entire decade.
Like that pre predated Screamand I predated this kind of getting
here from.
Exorcist 3 all the way to Endof Days. It's bookended stigmata,
all sorts of stuff.

(39:40):
And so what, what is going,like going back and looking at all
these 90s movies, what hasbeen the surprise that's kind of
jumped out at you? It goeslike, oh, there's actually more thorough
lines in this decade.
Well, serial killers. BecauseI think in. Well, you have Silence
of the Lambs to thank for thatbecause it won the Oscar and everyone

(40:02):
said, oh, you can make aprestige serial killer movie. And
that gives way to seven and amillion other movies, the psychological
thriller. But horror ishorror. If someone's getting stabbed
or dismembered or.
As a rule, because I had awhole college philosophy course about
what is horror? And we couldnever decide and maybe it should
have been that simple.

(40:23):
Well, my through line for thatis that if you put yourself in that
situation, you would beabsolutely frightened and you would
have your own horror. Youknow, you'd be terrified. And because
of that, you know, there'slots of situations where horror,
it doesn't have to be a horrormovie, but there could be horror
moments or situations. And soI would say a through line is a lot

(40:47):
of horror, a lot of serialkiller movies, especially because
that's also in the wake of,you know, Jeffrey Dahmer, you know,
in the beginning of thedecade, people were fascinated by
how horrifying that was. Andit was the real deal. And, you know,
there's lots of stuff that'ssort of parallel to that. But moving
on from serial killers, Ithink you're absolutely right. One
of the things I reallyrelished about doing dividing this

(41:09):
into two parts is that 90 to94 horror really was trying to find
its footing. It's trying tofigure out its identity. And like,
you could, you know, take anydecade and say it was this, you know,
Scream really does kind ofsteal the thunder. So I liked having
a whole five year stretch ofnot having to do Scream because then

(41:30):
you could focus on all the.All the different pathways that they
were trying to figure out, youknow, whether they were remaking
horror movies, you know,bringing the classic characters back
to life. You know, like BramStoker's Dracula, that did well.
So it's Mary Shelley'sFrankenstein. You know, you've got
Jack Nicholson as Wolf. Youknow, it's. You know, that was one
thing. You know, you haveInterview with a Vampire, all of

(41:52):
a sudden, vampires aredistinguished, you know, you know,
using these Anne Rice as ajumping off point where these literary
sort of inspirations gettingpop culture, you know, treatments.
But you also have 1001 sequelsfrom all the 80s icons that just.
They were like, it's. Oh, it'sthe 90s. Well, the party's not over

(42:14):
for us. So let's have more.Let's kill Freddy and then let's
have a Freddy rebirth. Let'sput Michael Myers on ice for a little
bit and then bring him backfor not only another sequel, but
a complete retcon reboot andbring Jamie Lee Curtis back. Let's
bring Pinhead on. Pinhead's onthere through and through. And you've

(42:35):
got Chucky. Chucky's justgetting warmed up because Chucky
came. Child's Play came out in88, but child's play two and three
are in the beginning of the90s. And then you have Bride of Chucky,
which is pretty much Chuckygoes meta and arguably the best Chucky
movie. So, I mean, there's agazillion trends, but there's also
other remakes. I mean, you'vegot the island of Dr. Murrow again,

(42:57):
and it's a train wreck that isabsolutely, absolutely watchable.
And no matter who you are,whether you like that movie or not,
you can't not watch it becauseit's just. It's crazy, especially
the story behind it. Andthere's A great documentary about
the story behind it. And DavidGregory, who directed that, he's

(43:17):
talking about that as well,which is cool for us. And Adam Marcus,
who did Jason Goes to Hell.Jason was still doing his thing.
They kind of put him to bedmore for legal reasons than anything
else. It would be almost adecade before you would get Jason
versus Freddy. But Anna Marcusis a great speaker, he's very entertaining.
And he's talked about how he'slike, yeah, I'm in a very exclusive,

(43:41):
distinguished club of peoplewho directed Val Kilmer and survived.
And he's like, that's themovie where Val Kilmer felt like
he was the reincarnation ofMarlon Brando and told me that he
felt Marlon Brando's soul gothrough him. I mean, it's ridiculous.
You have the remake, you haveGus Van Sant. I mean, I'm now just

(44:02):
a listicle now. You got theremake of Psycho. Gus Van Sant, you,
you won the Oscar. You coulddo anything you want. What do you
want to do? I'm going to doPsycho shot for shot. You know, that's
quite a choice. And you know,success or failure. It's very interesting
to look at that 30 years on oralmost 30 years on and see why those

(44:23):
choices were made and how theyresonate to this day because they
did, you know, trail off indifferent directions even though
it was the same movie. So it'sinteresting to get. One of my favorite
pieces is having bunch ofpeople talking about these, these
two movies. Two movies thatI'm talking about, you know, Psycho
and island of Dr. Moreau andsort of do a, you know, postmortem

(44:43):
on these and the, the reasonswhy they're worth checking out.
From a top down view. How muchof an influence did you find the
upcoming millennium had onlate 90s horror? Because growing
up at the time, it felt likeApocalypse Anxiety was at an all

(45:06):
time.
That's because you watch endof days 40 times.
Yeah, well, I'm glad youbrought that up because that permeated
the whole second half of the90s. And in real life too, things
were very different. You know,there was sort of this. The news,
which we want to feel like isvery different today in terms of
the way they cover things.They went crazy and they tried to

(45:27):
make us all think that weneeded to create bunkers, you know,
in our houses. You know, whenY2K comes, the planes are going to
be falling from the sky, allyour money's going to be gone because
the computers are, you know,they're not going to Be able to turn
over. There was a genuine, ifyou lived during that time, there
was a genuine anxiety, if notpanic, you know, during that time.

(45:48):
And then, you know, the clockchanged and we were like, is everything
okay? Oh, everything's fine.It's all good. You know, spoiler
alert. But there was lots of,you know, you're talking about the
religion that was in a lot ofthe movies. You know, you had, you
had cults. You had, you know,David Koresh, you know, and Waco.
You had the, you know, withthe Branch Davidian. You had Heaven's

(46:11):
Gate cult, a very differenttype of cult, but they wanted to
jump on hill bop and, youknow, lose, leave Earth. I don't
know if you know about any ofthese things, but there was a lot
going on. You know, thedynamic changed because there wasn't
a war happening, a major warhappening. So people are like, well,
let's watch O.J. and let'swatch Monica Lewinsky and oh, there's

(46:32):
a lone wolf. You know, you'vegot Columbine, you've got the Oklahoma
bombing. There's a lot goingon in the world. Of course, you know,
it's not like everything's onpause, but this all kind of feeds
in, even along with all theinformation that we get. Because
the Internet is now becomecommon in the 90s. Everyone's got
AOL and all of a sudden you'vegot all these like, cyber thrillers,

(46:54):
you know, you know, the Netstarring Sandra Bullock. Or, you
know, we got Strange Land, youknow, with, with Dee Snider. I got
to, I got to sit down with DeeSnider. And he is a kick and he is
so, so excited for that. Somuch energy. And he talks all about
Strange Land, but he, youknow, spoiler alert. He talks about
how he did his own researchand he got on AOL and he just pretended

(47:17):
he was, he was a young girl.And then he said, party. And he said
party at my house. And he gotthese young girls to go, come say
I want to go. And he's justlike, holy crap, I'm a 40 year old
guy and I just lured a girlinto my home. Figuratively, not literally.
Yeah, but I mean, but it gavehim inspiration that this is something

(47:37):
that could resonate, if not belike a cautionary tale. That's kind
of what I'm getting at. It's,it's amazing. But all that stuff
really kind of contributed to.Look, we're getting closer and closer
to the turn of the century inthe millennium. Never mind that the
millennium really starts in2001. But the whole fact that it's
turning over to all the zerosare like the mileage counter are

(48:00):
turning over and we don't haveour flying cars. And life isn't arguably
better, it's maybe even alittle worse from the corporate raiders
of the 80s and trickle downeconomics that didn't trickle down.
So what, what am I doing here?How is life going to get better and
is it only going to get worseonce this new millennium comes? And
you know, the films of the erareflected this anxiety, whether it

(48:24):
was a conscious orsubconscious thing.
I think just one more questionfor you before we let you go and
this time to look towards thefuture. Considering how many studio
discs come out now or digitalreleases come out now with kind of
just PR fluff pieces forspecial features or nothing at all,
you know, you're lucky to geta commentary track. Do you see what
you're doing? Long formdocumentaries kind of being the replacement

(48:47):
for that. Do you think there'sgoing to be more of an audience for
things like In Search ofDarkness moving forward?
Yeah, well, that's relevantalso to the fact that DVDs were brand
new, you know, at the end ofthe 90s and you know, blockbuster.
I think in 99 they startedadopting DVDs and stuff like that.
And if you remember, you hadall these amazing. You get the director's

(49:09):
commentary but you have allthese amazing bonus features that,
like you said, it's reallyhard to come by these days. And so
I see these documentaries, ifanything, as kind of not only a celebration
of an era, but a bit of a timecapsule of the people who are part
of it. But I think for peoplelooking to curate their list, so
to speak, for letterboxd andjust for what they want to watch,

(49:31):
it helps to have moviedocumentaries like this and other
documentaries similar to it tohelp them decide what to watch and
why they should watch it. ButI've an unexpected byproduct of making
these movies is that peoplehave been telling me that they should
be taught in college classes.I had someone this past summer who

(49:54):
interviewed me because he's inLondon in film school and he did
a whole, his thesis onelevated horror and he wanted to
talk to me about my mill, mydocumentary and how the 80s led up
to and helped create thefoundation to contemporary elevated
horror. And I'm like, oh gosh,I'm like in a thesis now, you know,

(50:16):
you.
Know, it seems pretty cool.
And I, and I've been asked by,by some, some professors as well.
To talk to their classes andgive talks as well. And, gosh, I
never thought I was the personwho that, you know, I never made
these documentaries with thatintention, but it really makes me
happy that they think thesedocumentaries, whatever you may ultimately

(50:39):
think about it, you know, deepor not, they definitely capture a
mood, a vibe, a sense of filmschool, a sense of cultural conversation.
And. And they're. They movefast and they're entertaining and
they're. They're amazing clipshows. And. And they're long. And
at the end of the day, I thinkpeople will rely on them to a certain
degree to help them digest andunderstand what a whole decade of

(51:05):
filmmaking for a particulargenre is like. And that's the ultimate
compliment for all of us whowork so hard on these documentaries.
Yeah, I just remember as a kidputting on Bravo's 100 scariest movie
moments and discovering thewhole genre through that. And I think
the entire in search ofwhatever you want to call it, franchise
or series, whatever, could besomething like that for new kids.

(51:27):
Like, they could find outabout all of the genre, all the social
things happening through the90s, 80s, whatever, through these.
So I think it's just reallyexciting, you know, younger audiences
to be able to go through allof this for the first time.
Yeah. Thank you. Yeah. I mean,you know, people have been saying,
gosh, you know, I just did notknow any of these movies were. You
know, this is younger folks.You know, I didn't know any of these

(51:50):
movies were here with some ofmy favorite actors when they were
young. Cough, cough. And, youknow, ultimately, if I can enlighten
anyone, you know, it's like,Tom Savini, he's just like. People
say, oh, I don't want to watchthat movie. It's old. He's like,
well, it's not old if youhaven't seen it. It's new, you know,
and. And I think people of anyage should adopt that ethos. And

(52:12):
I guess lastly and relative tothat is that, you know, we shouldn't
gatekeep. We should. We shouldhelp people say rather than saying,
oh, you haven't seen that. Youknow, think about a young person
today with there's so much, somany titles, so many famous things
that you, quote, unquote, haveto see. They don't know where to
start. And, and so many ofthese things, whether it's, you know,

(52:35):
all the Halloween movies orall the Star wars movies or all the
Transformers movies, whateverit is, they, they. They. They're
paralyzed, some of them,because they don't Know where to
start. They're like, well, I'msupposed to watch it in a certain
order. Or, you know, I don'tknow which one is the best one to
watch first, especially withStar wars, because do I start with
the first one? But the first,the fourth one came out first.

(52:57):
The first first or the secondfirst? Which first?
They get so confused, youknow. And so I think a documentary
like this is helpful to givepeople some sort of direction and
a compass to navigate all thisamazing stuff. And when they get
to it, they get to it. And ifthey haven't seen it, you know, don't
shame them not saying you guysdo. But, you know, people do.

(53:18):
You.
You know how it is. People do that.
And so people get thatattitude. I've seen it and you haven't.
I'm better than you.
Yeah, you should be ridiculous.
It should be an excitingthing. You get to celebrate because
that person gets to watch itfor the first time. And maybe you
get to watch it with them andkind of soak up some of that enjoyment,
kind of.
Well, it's like, you know, Ihave a kid and, you know, reliving
childhood again vicariously,you know, except I happen to be in

(53:40):
a different adult this time,or at least in an adult body. But,
yeah, you know, just totallybe enthusiastic and encouraging for
all this stuff for people andjust say, you know, let me know what
you think when you got out ofit. You know, you'd be surprised
at the. You know, that. Imean, I'm seeing. I'm totally getting
tangential here, but, youknow, I'm seeing these. These weird

(54:00):
polls that. That say, youknow, the younger generation is.
Is. Is kind of shocked and,And. And they don't like the fact
that there's so much sex in.In these earlier movies. You know,
they don't like sex in theirmovies as much. And I just think
to myself, wow, what'shappening here? You know, that's
a very interesting take onthings because they don't connect

(54:21):
with it. Whereas, you know, Igrew up with a bunch of horn dogs
who couldn't wait to get intoPorky's too.
But I think the excitement isstill there. Like, I. I don't think
they would turn down watchinga lot of these films. There might
be different tastes andpreferences and some things of age
poorly, but all these moviesare just exciting opportunities for
kids to just see a wholehistory of the genre or they align.

(54:42):
With characters that they're.They're. It's supposed to be the.
The character that theyconnect with. And they don't align
with the character becausetheir, their moral compass is different
from what this character has.And they're just like, oh, I hated
that character. And thatcharacter deserved what they got.
And they, they shouldn't havewon at the end because of blank.
You know, it's, it's veryinteresting to see how perception

(55:05):
collectively has evolved,language has evolved, all sorts of
things have evolved. So ifanything, I think looking back at
these movies from the 80s,from the 90s, next up, I think I'm
going to do the 70s, 70shorror. 70s in search of dark, the
70s. So it's a whole differentset of rules for each decade really

(55:26):
when you look back at it. Andit's kind of fun to tackle and create
some perspective. Yeah.
So I think we're pretty muchout of time here. David, I just wanted
to thank you so much forcoming on here to talk to us for
this folks at home. If youwant to get in on in search of darkness,
95 to 99, that's going onsale, I believe the Pre order starts
October 7th. And that'll berunning through Halloween, correct,

(55:47):
David?
That's correct. That'scorrect. And you know, it's short
and sweet because the movie isdone when I say done. We're still
kind of polishing it, but westill haven't done the end credits.
And that means you can getyour name in the credits if you get,
if you pre order it duringthis time and you get all sorts of
other cool swag and, and, andif you missed the first 90s, you

(56:09):
can get a two pack where youcan get the, the whole 90s which
is going to be 12 hours of 90sgoodness. And if you missed the 80s
trilogy, you can get one orall three of those. That's 14 hours
of celebration and amazinginterviews and time capsule goodness.
And so yeah, you know, we'rean indie company called Creator VC.

(56:32):
Go to 90s horrordoc.combetween now and Halloween at midnight,
stroke of midnight and then wemake and manufacture and distribute.
You'll get a digital copy inDecember and then you'll get your
Blu ray. For those people wholove to have a physical copy in their
hands, who like to go throughthe video stores and actually hold

(56:52):
a box in their hands and lookat the front and back and decide
you could have it on yourshelf and you could have it with
your name on it too. Andyou'll get that in, I think, January.
So ultimately it's a word ofmouth is very important, you know,
for us to get to keep on doingthis. So you guys at Box Office Pulp,
I really enjoyed talking toyou guys last time. I really enjoyed

(57:13):
talking to you guys today. Ireally appreciate your enthusiasm,
but also helping to spread the word.
Yeah, of course. The more BluRays I can get with my names in the
credit, the happier I am.
You give it to yourgrandchildren, you bequeath them
and you say, I was in themovie next to John Carpenter. We
had credits next to each other.

(57:34):
They're just grandpa. We don'tunderstand what to do with this donut.
This metal donut thing you'rehanding me.
There's the hologram version.
Anyways, folks, definitelycheck that out. I believe we're going
to have an affiliate link linkin the description of the show. I'm
putting that on you, Mike.
Sorry, I'm jumping in also.And, you know, so you could, you
could get all the informationon. On our socials. We're actually

(57:56):
80s horror doc. So at 80shorrordoc, for all the socials on,
you know, Twitter X andFacebook and Instagram, where we've
got a really, really cool newtrailer that you could look at. And
we're going to be showing someclips from the films as well. Plenty
of opportunities to just, youknow, jump on it while you can. And
when you go to 90shorrordoc.com, you get all the details

(58:18):
on who's in it, when you getit, how it works, what's in the,
you know, the documentarywithout too many spoilers. And, yeah,
you know, your support isabsolutely appreciated.
Well, you heard it, folks. Ifyou don't check it out, you're personally
going to make Mike and Jamiecry. We're going to send pictures
to your house of them weeping. So
I'll commit spepukku!seppuku

(58:39):
All right, well, folks, youhave until the 31st. Don't let us
down. Or David, he's been so nice.
Anyways, this has been BoxOffice Pulp. Thank you so much for
listening. You can find moreof us, whatever service you're currently
listening to us on. I don't. Ishouldn't have to tell you how to
find us on Spotify. You'realready there. But you can find more
episodes on boxofficepulp.com. thank you so much
for listening. Thank you,David, so much for your time. That's

(59:01):
a wrap.
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