A Group Outing to Shelby Oaks

Episode Transcript
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James Jay Edwards (00:25):
Welcome to Eye on Horror, the official
podcast of ihorror.com this isepisode 153 otherwise known as
season eight. Episode 13. I amyour host, James Jay Edwards,
and with me, as always, is yourother host, Jacob Davison, how
you doing?

Jacob Davidson (00:41):
Jacob, doing good now that it's Halloween, it
is

had. Today is Halloween For those keeping
track at home, we are recordingon Halloween. So Happy
Halloween. Everybody also withus, as always, is your other
other host, Jon Correia, how youdoing?

Jonathan Correia (00:58):
Correia, tired. You know the usual
complaints.

I don't even want to hear about tired from
you, too. You guys know my workschedule. Let's, let's jump
right in to this, because wealso have some exciting guests
that are SPOILER ALERT taking upmost of the episode. What?
What's been going on? I sawsomething that opens actually. I

(01:27):
don't know if it's this week ornext week, but the New Yorgos
Lanthimos movie Begonia. Youguys heard about this?

Of course. Yeah, yeah. It played at Beyond Fest,
and I think it does have a widerelease now. I know it's playing
at like Alamo Drafthouse. Did

you see it at beyond fest? No, I didn't. Okay,
this is, it's pretty much thenext logical progression in in
what Yorgos Lanthimos is,because it is probably one of
his more accessible movies. Butit's also very Yorgos. It's
about these two conspiracytheorists. One is Jesse Plemons,

(02:05):
and they they're convinced thataliens from the Andromeda galaxy
are living on Earth and they'regoing to destroy the earth. And
they have determined that thishigh powered female executive,
who is played by Emma Stone, isone of them. So they kidnap her,
and they basically want her totake them to her leader, you

(02:30):
know, so that they can save theearth. And it is, it's a very
your ghost movie in that it'sjust like, real quirky and
weird. It's, you know, in scifi, but it here's the thing
about it. The big differencebetween this and Lanthimos other
movies is that this one, he letshis actors roll with it, where

(02:51):
normally Yorgos Lanthimos moviesare. You just get, like, those
wooden, straight line readings,you know, like The Killing of a
Sacred Deer. It's like a surgeoncan never kill a patient. An
anesthesiologist can kill apatient, but a surgeon can't,
you know, you get those realstraight linings. He actually
lets his actors run with this.
So it's not just completelystoic performances. And the

(03:13):
performances are terrific. JessePlemons and Emma Stone are both
then the other conspiracytheorist is, I think it's his
first movie. His name is Aidendelvis. He's the closest thing
to a Yorgos performance you get,because he's, like,
developmentally challenged, sohe's so he does kind of like the
but what are we doing here?

(03:36):
Teddy, you know, like, he's moreof like the questioning, but
he's completely manipulated byactually both of the other two.
It almost comes off as like astage play, because it's real
contained, and most of the movieis just the three of them and
and the alliances andmanipulation just completely

(03:58):
shifts the whole time. So um,it's, it's really good though it
is. And it's, there's, it doesthis thing where there's a
twist, and then it untwists, andthen it twists back again. It's
like, one of those things whereit's like, the twist seems
obvious, and then they talk youout of it, and then, nope, that

(04:21):
really was the tweet. It's, it'spretty crazy, though, but Yeah,

funny enough, I did see the original movie that
it. It was based on Koreanplanet, yeah, Save the Green
Planet. Yeah, save the GreenPlanet, the South Korean film.

Yeah, it is it. I have not seen that, but
I'm curious to see how close itis to that. Because, yeah, it
is. It's an English language. Imean, it's, it's a, it's an
Americanized remake of that,because, you know, because it
takes place in America and it'sEnglish language, but it is, I
kind of feel like the orgos hasfound a bit of. A muse in Emma

(05:01):
Stone now, oh yeah, and also,Jesse Plemons might be one of
his go tos now too. But yeah,it's, it's pretty crazy, and I
wouldn't be surprised if it getsOscar talk, which is great
because it's, at its root, it'sa science fiction movie,

yeah? Well, I mean, em and Emma Stone have
made three movies in three yearstogether. So, and that's not
their first three, you know,there's what their fourth or

fifth film together? Well, she was in was
her first movie with him. TheFavorite, yeah, yeah. And then
Poor Things and kinds Well,Jesse Plemons did Kinds of
Kindness as well with them. So,yeah, it's, it's, but it's
Yorgos being Yorgos. And I feellike he's getting, I feel like
he's, he gets attention. Now,you know, with with The Favorite

(05:51):
and Poor Things, he gets Oscarattention. So, yeah, it's, it's
crazy. There's the screening Iwent to. They had a barber truck
there. And the whole thing isthey shave Emma stones head
because they think that her hairhas the aliens tracking device
in it. So the whole thing withour screening was, you got
preferential seating at thescreening. It was a promo

(06:13):
screening if you let them shaveyour head.

Oh, yeah, no, that was in my neighborhood.
And, yeah, I mean, I did want tosee the movie, but I didn't want
to see it that bad. I almostwent to it. The

rep actually said, Are you going to shave
your head? And I'm about, Iusually do do, like, a buzz cut
kind of a thing, and I'm aboutdue for a haircut. And I and I
asked her, I'm like, hey, youknow how short are they going to
go? She's all to the scalp. AndI'm like, Nah, I'll do Henry
Rollins. I won't do Mr. Clean.
And I already, I already had thepriority seating anyway for
press, but you know, I was gonnatake one for the team, and you

(06:49):
know, so I could be in the baldpicture with everybody else, but
I didn't want to go cue ball.
Understandable.

Well, Jay, I know you talked about it last
time, but Jacob and I finallysaw Guillermo del Toro's
Frankenstein. Yeah. What do

you think? I loved it. I thought it was a
brilliant adaptation of MaryShelley's novel with Guillermo
signature spin.

And what did what do you guys think about the
pacing? Because, because Ithought it was a beautiful
movie, but like I said, I kindof had issues with the pacing,
did you guys?

I did not the whole time. I was never bored. I
was interested in pretty muchevery scene. I mean, yeah, I
mean, it's a little slow attimes, but still, the
performances still kept meinterested in the story,
particularly when the creatureis, you know, on its own and

(07:47):
befriends the old man like that.
It does go a bit slow, but atthe same time, I was very
compelled.

Yeah, I like that. It marinated in these
scenes quite a bit, because thisis like, as close to the book,
as like any adaptation hasgotten. But it also had that
extra layer of what Guillermodel Toro was working through or
having while with the film, withthe whole put it bluntly, daddy

(08:15):
issues. Of it all of both Victorwith his father, and kind of
passing that along to hisrelationship with the monster,
and like, just kind of liketalking about, like, how that
goes. And I like that. Itmarinated in the scenes. The
only bit that really kind ofthrew me off was it was two

(08:35):
things. It was Mia Gothintroduction. I thought that
dinner scene where they're justlike, oh, well, you've heard her
talk before, and then allsudden, she's talking about war,
when Frankenstein, when Victor'stalking about, you know, his
experiments, it was that, andalso the milk that was so
uncomfortable. Why did Victorkeep drinking milk like that? I

(08:58):
don't know. What? If that's justa quirk they put in with it, or
if there's like, a deepermeaning, either way, I was just
like that, grown ass man isdrinking an uncomfortable amount
of milk. Maybe, maybe it wasjust a highlight how evil he is,
I don't know. But yeah, the milkthing was rough, but I loved it.
I esthetically and andthematically, I really do feel

(09:24):
like it is a culmination of,like, 20 plus years of what
Guillermo del Toro has beendoing. I mean, I still, I still
love Pan's Labyrinth and CrimsonPeak more. But, you know, I
still really love thisadaptation and the creature
design and acting by Jacob BLord. He was phenomenal,
especially since he is a talkingAdam like so I loved, especially

(09:50):
that you when you theprogression of how he's talking
and how he's moving fromespecially when you know it's
going into part two from themons. Side, it's like, oh God,
is he gonna still talk like hedid, like he does with the blind
man, but with the progression ofintelligence and cognitive was
there. So it was, yeah, I andthe random bouts of violence is

(10:13):
great that that opening scene, Ivery loudly just scream, fuck
back. Break. That was crazy.

That is, it is one of the most memorable
opening scenes you're gonnafind, you know, you know, we
and, and then the whole thing,when, when they get Victor onto
the boat, and he's like, howmany of your men do you kill,
you know? I mean, he knew whatwas after him, you know. So,
yeah,

no, it was great. There's gonna be some
toxic Twunks out there that aregonna be dressed up like the
creature when he's in thebasement. Though, calling it

also it's interesting that the design for
Adam was based off of the BernieWrightson sketch art of
Frankenstein. Have you seenthose? Oh, yeah. Well, you know
the horror artist Bernie writes.
And yeah, he did. I think acomic book adaptation of
Frankenstein years ago. And Ithink Del Toro said that that

(11:13):
was a prime influence for thatspecific design.

Okay, yeah, I thought, I think I know which
one you're talking about becauseof the hair and stuff. Yeah,
awesome.

Let's move on now to let's segue into our
interviews for this week, andlet's talk about Shelby oaks.
You guys have both seen Shelbyoaks? Right? Yep, yeah. Saw that
beyond fest. Would you guys? Oh,cool. You saw it. I actually had
to see it on the little screen.
This, you know, we were talkingbefore we hit record, that you
guys thought that I had seenFrankenstein on a small screen.

(11:46):
Nope, I saw it on IMAX. It was,it was, and that's a big screen.
Or if you have a chance to seeFrankenstein in a theater,

do it on IMAX, yeah, it was IMAX. I mean, I
thought on 35 but still,

yeah, Frankenstein's a big screener.
Shelby oaks, I did see on alittle screen though, um, but I
think it works that way, becauseShelby oaks, it's kind of part
like true crime documentary,part found footage, and then
just part narrative film, butthe way that it's all stitched
together, and we'll get to thatin a little bit. But the way

(12:24):
it's stitched together is kindof brilliant. The way that it
the way that it comes together,it's basically about on this,
these true crime podcaster kindof like this team who go
missing, and it's, it's kind ofthe search for them. And, you
know, of course, they'reinvestigating, like, kind of,

(12:46):
like a, like a ghost it's, it'snot, it's not really true crime.
They're like paranormalresearch. That's, aren't they
called the paranormal paranoids,or something like that
paranormal paranoids, yeah, so,so it's not really true crime.
It's, it's ghost investigatorsand they go missing, and
everybody's looking for him,but, um, yeah, it's, it's, it's
a pretty intense movie.
Actually, it's about as intenseas found footage can get, even

(13:09):
though it's not technicallyfound footage, but there are
elements of it, but you guysthink of

Shelby oaks. Oh, oh, yeah, no, I'd say it still
counts as found footage,considering that the found
footage is such a major plotpoint. And actually, at the
beyond fest screen, we all gotDVDs. Actually, I got one right
here, who took Riley Brennan,which has the footage from the

(13:37):
paranormal paranoids in ShelbyOaks. Oh,

that's cool.
That's a really cool promo thingthey did there.

Yeah, no, it was very, it was a very good way to
hype up the film and the foundfootage aspects.

That is, for those of you, I mean, we're
audio only, but Jacob held upit's, it basically, is a is,
like, a burn DVD in Sharpiesays, and it's in like, like,
one of those envelopes you buyit, like fries, you know, has
got some blood splatter on it.
Yeah? Ooh, blood splatter too. Ididn't even notice that. That's
a pretty that's a brilliantpromo item. That's, that's

(14:11):
pretty cool.

Oh, yeah, no. I always do appreciate a movie
like that going the extra mile,very Blair Witch, but, yeah, no,
I'd still say still counts asfound footage, like we were
talking about. It's kind of amixture, because there is found
footage, there is a mockumentaryaspect, there is the narrative
aspect. So it is an interestingway of putting the the film

(14:34):
together with three differentmediums.

Yeah, I definitely, because the opening
is all true crime mixed with thefound footage of the paranoid,
paranormal paranoids. And so Idefinitely like for that first
like 10 minutes or so I wassaying they're going like, Oh
no, it's another it's anotherfake true crime or found footage
about YouTubers going. Missing?
Oh, no, is it open?

It opens with, this is the last time
anyone has sought saw her alive.

And you're like the mockumentary of like
you search for her and stuff,and then, but

then, it does seem like it's going to be real
typical, because it does thewhole Blair Witch. A year later,
their footage was, you know,

but then, but then the moment happens where
it's just like, oh, oh, that'snot what we're doing. Oh,

okay. And, like, Behind the Masking it
here, yeah,

like, I wasn't, I wasn't, like, not into
it, but I definitely, I've been,we've, I think we've all seen,
you know, missing YouTuber foundfootage films. There's their
dime a dozen. But I reallyenjoyed like, that complete
shift the and then, not onlythat, but like, a lot of times,

(15:48):
these type of movies kind ofgloss over the personal
relationships in favor of, like,trying to be more spooky, trying
to be more scary, and all thatstuff. But this movie really
does do a good job of, like,really not letting go of the
fact that, like, this is aperson looking for their missing
sibling, and so it does addweight to it, and especially

(16:11):
later on, when they're whenyou're discovering the truths
and getting behind stuff.
Because I don't want to spoilthat third act, that third act
just is bonkers, and I, and Ihad a lot, a lot of fun with
that, but it's really great. Andeven so, like, there's a whole
bit with, like, an abandonedprison, and it's just, it's so,
oh yeah, it's so dirty I canhave and having shot in

(16:33):
abandoned prisons, like I couldsmell that it's but it comes off
like it is musty and wet anddirty and and, yeah, it's, it
gets pretty nasty at times thatmovie. It's great.

About as much as will spoil the third act is
you're not going to bedisappointed with the third act.
No, I mean, it really, it yourjaw drops in that third act.
It's pretty awesome.

It was a weird one, but, yeah, great. I thought
great use of like, mixed mediapacing and especially space. I
think they did a really greatjob. There were a lot of moments
where the shot was was verywide, and it's like, why are we
wide? Now I'm looking in thatdark corner. I live for that. In
the moment. I hate it, becauseI'm just like, No, now there's

(17:23):
something tense about to happenhere. But I thought it was and
it's

also one of those movies where, like, you're
all is something in that darkcorner, and you'll swear that
you'll see something move evenwhen there's nothing moving
there. It like plays with you,like that too. I mean, it was
shot really well, like that. Soyeah.

And now to get into our main topic this week,
we are, of course, being joinedby some of the filmmakers behind
Shelby oaks. We have composerJames Burkholder, we have Brett
Bachman and Patrick Lawrence.
The editors. Welcome guys.
Awesome to have you guys here.
Brett, welcome back again. Iknow it's been a couple months.

Brett W. Bachman (18:07):
Hey, happy to be here. Yeah. Thank you for
having me back,

of course. And the day that we are recording,
it is October 24 which, ofcourse, is release day for
Shelby oaks, Congratulations,everybody. I know it's been
quite a long road for this filmto get made and out there.

Patrick Lawrence (18:23):
Yes,

awesome. So as our viewers know, we always like
to start off our our interviewsby asking our guests, how did
you get started? What? What kindof got that spark going and got
your career going? Let's startwith you.

James Burkholder (18:42):
James, yeah, well, I played, I played music
my whole life. I started playingviolin at eight and guitar at
10, and then quickly stoppedplaying violin because I was
like guitars way, way more fun.
And yeah, I grew up like playingguitar, playing in bands,
writing songs. And then after Iwent to college, I got a gig,

(19:07):
touring for another artist astheir guitar player. And I was
doing that for a while, whichwas really fun, but decided I
wanted to not be on the road allthe time, and so I've always,
I've always really loved filmmusic, but it never really

(19:30):
seemed like something possiblefor me to get into. But I kind
of just decided, You know what,I'm going to give this a shot. I
started taking some classes atUCLA Extension, which is
actually a really great filmscoring program, some
orchestration classes and stufflike that. And then I got an

(19:50):
internship with the Newtonbrothers, who I've worked with
for many, many years, andstarted assisting. Am, and, you
know, doing additional music andadditional synth design and
stuff like that for them. Andthat's, that's kind of how I got
into film scoring.

Wow, that's awesome. And so you've been
working with the Newton brothersever since, yeah, especially on
this project, exactly, yeah,that's awesome. What about you,
Patrick, what's the what's theorigins of Patrick?

Lawrence, well, you know, I went to school
to be a director. I wanted to bea director, and I was taking a
semester of college where I wasdoing a film production course
and a video production course atthe same time, and we, like, one

(20:45):
class, I was editing eightmillimeter film on a steam back.
Another class, we were going outand shooting on DV tape and then
editing it in, you know, thenext hour. So that sort of
realization of, you know, whatediting could be, in terms of,

(21:05):
you know, what I wanted to do asa director, like really
fascinated me. And so I was alsoplaying music and in a band. So
I started doing video stuff forthe band, and when the band
fizzled out, I decided to dofilmmaking full time, and
started directing and editingmusic videos for bands that I

(21:28):
knew and that got me connectionswithin the film community, and I
just started working as aprofessional editor After that,
and moved to LA in 2015 andbasically left all the work I
had back home in St Louisbehind, and came out here with

(21:48):
nothing and no contact, and justhad to start from the ground up
again. And it just basicallybuilt up from there. I did a
couple short films in 2016 thatended up getting into Sundance.
And so I had two films inSundance in 2016 and then one of
those ended up turning into afeature called Clara's Ghost.

(22:08):
And that got me Scare Me. Andthen after Scare Me, I kind of
fell into doing horror comedies.
And one of those was a filmcalled Blood Relatives that got
me Shelby oaks

love Scare Me, by the way that was

I will echo that sentiment

great, and working with mini DV tapes
really ties into Shelby oaksreferences.

You know, I had boxes filled with them that
I left home in St Louis, and sohe would pull them out and talk
about, you know, the technologyhe wanted to use to, like, edit
the tape and everything waslike, those were almost all in
my wheelhouse. From from doing,like, video podcasting and
things for my band, you know, inthe 2000s

my favorite little bit of trivia behind the
scenes, or one of my favoritelittle bits of trivia, was when
Chris talks about making theseparanoid videos, all the
paranormal paranoid stuff, wherehe set these rules in place. And
Patrick, you can elaborate onthis, but he was like, I don't
want to use any editing softwareon the film footage component
that didn't exist in like, 2008so he was, like, I was bringing

(23:23):
stuff into iMovie and applying,like, the very basic text layers
from that perspective,

it's like, yeah, all

those things though that he would and and,
like, at one point, we weretrying to find material that
would be like, what would hecall it like, crime scene images
of what the paranoids would haveleft behind. And so Chris was
pulling out all kinds oftechnology and things that he

(23:52):
had collected over the years andstacking it and making it look
like if you just been leftbehind by the filmmakers.

That's awesome when, when you guys are, when
you guys had to search for thattype of software, like, was that
a bit of a struggle? Because,like, some of that, you got to,
like, dig deep on, like, theinternet archives or find
somewhere

some of these things on Chris's old computer,
right? Yeah, he just had an oldcomputer from that time?

Yeah, he had an old iMac that, I think, that
he just pulled up and was usingto do that stuff, open it

off, blew it off, pray that it would turn on.
That's what,

that's what I'm saying. I'm surprised it
even worked at all, not

connecting it to the internet so it wouldn't
update, crash the whole thing,

yeah, seeing the original YouTube layout
definitely made me nostalgic,

for sure. Oh, man, bring me back to the albino
Black Sheep days with earlyYouTube. And that

was something that I remember early on him
telling me that like he hadreached out to YouTube people.
And like, gotten permission touse it. And I'll think, like,
like, his roots in the YouTubecommunity go so deep that I it
was fascinating to me, becausesomebody who had, like, made
youtube com content when itfirst came out, and, you know,

(25:15):
music videos and things likethat. But like, he knows things
so deep about it, and like, howthe numbers work, and who to who
to contact for certain thingsand all that stuff was like, so
fascinating to me,

which is integral because, I mean, one of
the things, especially whenyou're trying to portray
something as real, like foundfootage, is there's got to be a
level of authenticity. And thatkind of kills it when the just
those little details where it'slike, oh, this is clearly a made
up home thing. Or, yeah, that'sright, everyone was very you. Or

(25:51):
what was it? Me tube was verypopular. Sure that thing
existed. So having thatauthenticity really helps sell
it. Makes it unsettling a bit.
Now, Brett, we've had you on inthe past, and we've heard a bit
of your origin story. So really,what have you been up to since
last time we talked to Gods ago?

Well, first off, thank you for having me
back on the show. Of course, bigfan guys, let's see. Yeah, we
talked for Companion and HeartEyes. This has been kind of a
crazy year for me. I've by theend of the year, I'll have six
feature films that have comeout. Thanks, Companion, Heart
Eyes, Toxic Avenger last month,Shelby, Rabbit Trap, and then I
have a picture called LoneSamurai coming out in December.

(26:34):
So it's been busy, I guess,since we last talked, I've
started a show with Mr. MikeFlanagan. I've been working on
Carrie since early summer, Iwant to say, and we are actually
today. It's not just release dayfor Shelby, but it is the last
day of production for Carrie aswell. We are wrapping production
on that today, officiallystarting post production. We've

(27:00):
been editing the entire showsince for months, but that's
very much been keeping me veryoccupied and very busy.

Man, where have you? Where have you had the
time having six things comingout? Jesus,

I also have children.

I was about to say,

I don't know.
It's somehow it's materialized,and it's been, I'm breathing
since February.

The coffee, the coffee pot has never not
been full. Sad.

I'm not for like, six or seven cups a day.
It's not healthy.

Ever since I got back from Vegas, I've been
doing the bangs every day justto, like, wake up in the
morning. I need to start calmingdown before

as I decide the Toxic Avenger ruled. And it's
funny. Another movie I saw itBeyond Fest.

Thank you.
Yeah, I love that movie.

Thanks, Jacob.
Appreciate it. Yeah, I had afucking blast working on that
film. Also a long road to thefinish line for that one coming
across, but I'm so happy thatit's finding its audience after
all these years and so muchuncertainty about but it
certainly found its weirdos.
It's found its people that lovethe weird, sweet, gross,
pulpiness of it, and it's thesweet, sweet, saccharin heart

(28:08):
with Gore plenty

and vertigo homages, yes,

oh god, I'm glad everything's about that
transformation sequence.

Oh yeah, no, that was incredible. I love it.
So getting into it. How did youguys become involved with Shelby
oaks and Chris Duckman?

Oh, I guess I'll go first. Like I said, I
done a movie called BloodRelatives, and that was produced
by the guys at Paper Street. Andwhile we were in post on that
movie, there was this buzz abouttheir next big thing that had
just raised $1.4 million onKickstarter. So, you know, we

(28:52):
were all intrigued by it anddidn't know much about it. And
then when they made their likeKeith David casting
announcement, that was the thingthat I was like, Okay, I'm gonna
shoot Aaron Koontz a message,and just kind of like, plant the
seed a little bit. And a couplemonths later, I got the call,
and they had wrapped in May of2022 and this was like, late

(29:19):
June, and they sent me thescript, and I read it on a
plane, and loved it. Wasfascinated with it. It was doing
a thing that I'd always want todo as a filmmaker myself, which
was make a faux documentary thatfelt realistic, and I was trying
to do that with a short filmthat never happened. And so the
first 30 pages of the scriptwere this documentary. So I was

(29:43):
like, this is the thing this.
This is exactly what I waswanting to do. So I was really
hooked on it. And I had a veryquick meeting with Chris where I
was familiar with him, but Ihadn't, I wasn't subscribed. I
didn't know, you know, I. Muchabout him, other than he was a
film critic, and we hit it offright away. You know, obviously

(30:04):
it's like when you watch hisvideos, see all the collection
he has behind him, and it's muchlike what I've got going here in
this room. And so we justconnected right away. And the
funny thing was, is that theyhad given him the hard drive
with all the production rolls onit, and he was messing with the

(30:25):
movie already, like he, I thinkhe had already cut a version of
the movie just sitting there upall night long for, like, two
months before I had evenstarted. So we talked about
that. And you know, my usualprocess when I'm brought on
after movie is doing theassembly cut, which in this
case, took about four weeks, andI didn't want to see what he had

(30:50):
done, because I didn't want tobe influenced that much. I
wanted to have my own spin onit. But what was great about it
was that there were things thatI figured out that he didn't
figure out. He thought they weregonna have to reshoot the
ending, all, you know. And Ididn't think about it that way.
Like, to me, like whateverhappened on set didn't matter.
Like, I was just like, this isthe footage you gave me, so I'm

(31:12):
gonna make something work withthis and and so I gave him
something that, like, solved alot of problems, and then at the
same time, there were thingsthat he had done that I was
like, actually, that's prettygood. Let me take that and
recreate that and then put myown spin on it. And so that was
sort of where we met in themiddle, which was really great.
So that was the start of itNice.

That's awesome. What about you, Brett,
what did you get brought intoShelby oaks.

Oh, I, I so I had heard about this movie
entering production throughthrough the trades. But also,
coincidentally, I went to highschool with the post producer of
this movie. Yeah, yeah. We bothgraduated Delma High School,
2005 Maple Valley, Washington,small world, coincidentally,
like he's living in Austin now,but I so I had been following

(32:05):
the Facebook page of like, whatwas going on here. I'd heard
that Patrick was on this. Ididn't really have much. I
wasn't too familiar with Chris,but I had been following the
news of this. And I was workingon Fall of the House of Usher
with Mike, and we're working outof this building in Studio City,
here in Los Angeles, and oneday, I'm in the editing

(32:26):
facility, I look down thehallway and I see these folks
carting an avid into one of thevacant rooms at the end of the
hall, and I'm like, What isgoing on? Are we getting another
show down the hallway? Issomeone else leasing the space?
And I see Patrick wandering thehallways. What are you doing
here? Hi. And it turns out Mikehad invited Patrick and Chris to

(32:49):
sit in for the kind of set upshop for like, a few days down
the hall. And Mike would come inand give some ideas to Chris and
some ideas to Patrick, and theywould bounce back and forth some
stuff. And so that was myopportunity to meet Chris. Went
down and exchanged a goodpleasantries and talked with him
just for like 10 minutes, justto get an idea of what he was
doing. And I think was one ofhis Patrick. I think that was

(33:11):
like his first time in LosAngeles, yeah, ever. And so I
think he was a little shellshocked about the city, and I
think I gave him some restaurantrecommendations, but it was a
pretty

good I loved about that was that he was
staying at the safari in downthe street, and his brain is
like, that's the hotel fromApollo 13,

and True Romance as well.

But, um, you know, I, I didn't hear anything
about the movie for months, butI think the next thing I heard
about it was that I was going toFantasia and the Neon
acquisition, which was a bigburst of news. And so I was
really just happy for Patrick,happy for Chris, happy for this
production that, you know, was agrassroots indie. I mean, by
definition, like this littlepassion project that had bloomed

(34:00):
and flourished into somethingreally cool that was apparently
going to reach a wide audience.
And a few months went by and Igot an email from Chris. He was
like an opportunity has arisenthrough neon to do some pickups,
to do some some things that onthe movie that I we wanted to do
initially, but we didn't havethe resources for and Neon is
going to allow us to shoot a newending, allow us to pick up some

(34:23):
additional photography, to redoa scene or two. And he's like,
I, you know, Mike has saidwonderful things about you.
Would you be interested in, youknow, looking at these reshoots,
but also presenting some ideasfor the movie? And then there
happened to be a good window ofopportunity there, so I took
advantage of it, and I set upshop here in my apartment, or

(34:44):
here in my house in Alhambra,and loaded up the cut and looked
at essentially the movie thathad gone to Fantasia, and
presented some ideas to Chris,and we noodled on it for under
the hood for a few weeks on.
Ideas. And they ended upbringing in this material from
the reshoots, and weincorporated that, and we took

(35:04):
it through a new sound mix.
James ended up, I think, makinga few new cues on them.

Yeah, probably three or four, yeah,

three or four, yeah, three or four new cues.
So, yeah, that's my story.

And what about you, James, when were you? When
were you brought in? Yeah, so itwould have been

January three years ago. It would have been
January 2023, the Newtons hit meup, and this was before it had
been announced that Mike was EPing the movie. And they were
like, Hey, we've got this movie.
It was like a Kickstarter thing,but Mike really, really likes
it. Would you take a look atthis? We want you to come on and

(35:48):
CO score the film with us. And Iwas like, yeah, absolutely. I'd
love to check it out. And so wegot what I'm sure, is one of the
first, very first, rough cuts ofthe film. It had all Tempe
effects. And I sat down andwatched it with my wife, and it,

(36:08):
it was one of the most I've seenrough cuts before. It was the
most compelling Rough Cut I'veever seen in my entire life. And
I was like, I need to, I need toto get in on this. And so I
signed on. But we actuallydidn't end up there. I think

(36:29):
they were re editing it. I don'tknow exactly what was going on.
We didn't end up actually startwork on it officially until,
like, probably may, I would say,of that year and but in the
meantime, I was just stoked. Iwas stoked on this concept, so I
just started writing stuff. Istarted writing suites, I

(36:50):
started writing themes. Istarted working out, you know,
different instrumentations,different different vibes and
sounds for different charactersand situations, which was
really, really awesome. Younever, ever get that opportunity
as a composer to have that muchtime to kind of like, play in a
sandbox and figure out what youwant to do sonically. So by the

(37:12):
time we had our first spottingsession, we had a ton of music,
and we had actually just beenlike, sending Chris stuff and be
like, Hey, here's some music.
Like, plug it in where you wantto plug it in and see how you
like it. And that, that helpedus narrow down kind of what we
wanted to, what we wanted to domusically. And then, and then,

(37:35):
from there, it was just a blast.
Like, working with Chris. He'ssuch a he's such an empathetic
dude, and he's such and he also,by the way, I've said this in
other interviews, but it's verytrue, he is, has encyclopedic
knowledge of film scores. And sothe shorthand there between
somebody who knows all thatstuff and composers is, is, is

(37:55):
really quick. And so it wasreally fun getting to, you know,
talk with him about differentPatricks brought this up too,
but like, he'll tempt Field ofDreams in a horror movie, which
is, like, who does that?

And I love Mike. Clocked it right away.

Yeah. So that's kind of how I got, got,
got brought in, yeah?

Got loved.
When people know have that typeof knowledge to back up and go,
I'm going for this. Go to this,rather than getting a note of
like, Can this be more artistic,

yeah? Can this be a little more make it more
yeah? Can this be more blue? I'mlike, I don't know. You might be
colorblind, man, I don't knowwhat you're talking about,

off of that, what scores did Chris
specifically reference inrelation to Shelby oaks and what
he was going for?

I mean, there was a bunch of there was a bunch
of Newton brothers stuff. It wasfunny, because it was like,
there was stuff. There werescores that I had worked on that
were tempting there already.
There's like, Dr. Sleep. I thinkOculus was in there, I'm pretty
sure. But then, like, I mean,the cool thing was that, like,
he wasn't ever married to thetemp score, which is such a
dream as a composer. He wasalways like, you go do whatever

(39:11):
weird shit you guys do, comeback and and we'll check it out.

It's always tough when someone's married to
the temp score, because it'slike, well, we can't do that.
Yeah, yeah, that's already done.
Yeah,

yeah. I'll say. What's great about this is
that when we found out we weregoing to be working with the
Newtons and the James it gave usthe opportunity to start pulling
from their library. And we, Ican talk about this, I think.
But in the third act, Chris andI weren't sure what to do with
the music. We had tried a couplethings, nothing was really

(39:50):
working, and and we had to gointo the room with Mike, and I
was real nervous, because I knewwe were showing him this scene
dry, and I knew that the numberone note we. Were going to get
was what needs score, I know,but once we found out we had the
Newtons, it made it easier to goin and pull from their stuff to

(40:10):
really build the type ofsoundscape that we needed for
that scene. Yeah. And then Jamescame in and what he wrote just
like completely knocked it outof the park. Thanks, dude.

Absolutely, I'd be nice. What a varied
catalog, too, with James and theNewtons. I mean, it's, it's not
only a lot of project, butthere's a lot of mini series, so
you could, like, have a lot moreto pull from, of different tones
and different atmospheres. Sounderstandable and yeah, that
third act, I we don't want tospoil anything, but that third
act, holy shit, you guys fuckingknocked it out of the park.

Thank you.
Yeah, it gets loud at the end.
It does, yeah, make it veryloud.

Oh, yeah. And something I was interested in
asking was because Shelby Oaksis kind of a cross, kind of
cross medium in that it'snarrative, found footage and
documentary. What was it likehaving to do music in those
different formats. Yeah.

I mean, I think that we really from the
get go, like from the firstspotting session, we were saying
we want it to we want it to feeldifferent, but we don't want it
to feel like a different movie,if that makes sense. We want it
to all so thematically,everything kind of stays pretty
similar throughout, like we'reusing the same themes throughout

(41:24):
to connect everything in yourmind. But you know, in the in
the opening section, forinstance, there's that Sonic
palette like you, you don't endup hearing that again in in the
movie, because we've, we've kindof shifted focus at that point,
and me and Andy and Andy andTaylor, we kind of got together,
and we're like, okay, so if thiswas, if this was just a true

(41:45):
crime documentary, well, wedidn't want to, we didn't want
to, like, go and listen to abunch of, like, Netflix
documentaries. We were like, howwould we do this?

Yeah, the film is really good about sitting in
moments and, like, holding onthings and for for everyone in
the room here, when is it like?
Is it like, guttural? How do youknow when to like, Hold on
things? Because with the score,there's moments where nothing is
happening with sound, and that'suncomfortable, especially in I'm

(42:14):
thinking, like the cabin scene,there's a lot of open space
happening, and there's a lot ofmoments where music is not
happening, the angle is off. Soyou're constantly looking at
that, that corner right overthere, going, something's about
to happen in that fuckingcorner. I know

it. That's by design. That's supposed to be
happening. I

don't like it, guys. I don't like it. I don't
like it. When you do that to me,no, I do. I love it, but in the
moment, it's like, I don't likethis. I don't like what you're
doing. Release this tension,please.

I mean, that's all anticipation. Yeah, it's,
it's a fun sandbox to be workingin, but it's evaluating, what is
the narrative require? What doesthe story require? What is the,
what is the beat we want theaudience to be experiencing
right here? And if it's a ifit's building towards a scare.
90% of your scare isanticipation. It's the ambiguity
of that threat. Where is itcoming from? When is it coming

(43:09):
from? And, I mean, there wereseveral, I mean, there's several
great opportunities in this filmto really draw that tension out.
I mean, I'm thinking of youreally hit the nail on the head
with that cabin scene, with theattack at the end of Act One,
and then seeing, without givingtoo much away, the what happened

(43:30):
to Riley, you know, about athird of the way into the movie,
but also the very beginning ofthe movie as well, with
establishing the disappearanceright off the bat. I remember
seeing the cut that had gone toFantasia, and one of my first
impressions of the film wasRiley talking to the camera the
subtext or the subtitle saying,this is the last time that she

(43:53):
was seen alive and shedisappears. But you don't really
get a sense of what occurred inthis attack, what took place?
You just know, she kind ofdisappeared into the air. One of
the first things I did was tolike, look at this material and
be like, oh, there's. Look atwhat had been shot, you know,

(44:13):
years ago with Sarah, who playedRiley. And think there's a great
opportunity here to really openthis up, really make this
breathe, really linger in thistension. And really, I think we
Patrick, this was, I think Ibasically reverted to a cut that
you had had months ago. That wasreally just let that
opportunity, let that momentbreathe, really, let you hang in

(44:35):
the air with her staring at thisdoor. You've heard the all these
attacks in the other room. Youknow, it's a threat outside, but
we're going to make you sit init. We're not going to fly
through this and get the storygoing immediately. We're going
to establish there's danger. Letthe audience sit in this for 30
seconds. And she walks out theroom and you hear, you hear

(44:58):
something outside. You don'tknow what. It is, you don't know
exactly what is occurring. Ifshe's encountered something, if
she's been abducted, if she'sfallen, if she's run outside,
there's this ambiguous sound ofsomething. And then the movie
begins. I mean, I basically justbeen Patrick, this was something
I think you guys had triedbefore, right before Fantasia,
yeah. And I think there was,like, notes coming in that were

(45:18):
like, Okay, we need toaccelerate this story. Let's get
the movie going. And I was like,no, no, no, no. This is a case
where you plant a flag, you sit,tell your audience, this is what
you're expecting for the next 90minutes, 80 minutes, and also
it's one of the more effectivemoments of dread and tension in
the entire film. I think,

yeah, what I love about what Brett did was he
went back in and he found thingsthat I was really precious
about. There were things that Idid not want to cut. And, you
know, over the course of amovie, when you're in it for,
you know, a year and a half,like I was, there's a lot of

(45:58):
thoughts and notes, especiallydifferent filmmakers and
different personalities andpeople they it really the film
morphs along the way. And therewere things that we had done
very early on thatinstinctually, I really wanted
to see, you know, come tofruition. And one of those was

(46:20):
in the opening sequence, justsitting in that tape for the
entire length of the tape. And Iwanted the audience to just get
increasingly more uncomfortablewith being in that room with
Riley up until the point shegets taken and yeah, the scene
had gotten cut and down, cutdown, cut down. And I didn't

(46:43):
think it had the same effect,you know, when I was done with
it. And so Brett brilliantlybrought that back in. And I love
that. And a few other scenestoo, the cabin scene, the scene
on the porch, was another onethat, like I loved and got
thrown away, and he had theinstincts to bring it back in

(47:03):
and let that tension draw out,because that's what I'm not. I
don't think I'm, like, thegreatest with jump scares, but
like, I feel like I can dotension pretty good, and I love
making the audienceuncomfortable. You see that a
lot, and scare me as well. Like,like, we would sit in a shot
forever just trying to make theaudience think, like is

(47:24):
something about to happen. Butit doesn't, yeah, sort of throw
them off

guilt. I will say that the porch scene. So
I've seen it twice. I saw it atFantastic Fest, and then I saw
it at beyond fest. In the lastcouple months, that porch scare,
I jumping 10 feet out my seatevery fucking time, and I know
it's coming, and I scored thejump scare.

I've seen this movie a million times, and I'm
sitting in the theater next toJames, and both of us jumped
because it's almost

got a jump scare. What makes it work is
you're anticipating a jump. Imean, one of my favorite things
about this movie is that we'replaying with jumps twofold. I
mean, we certainly have momentswhere you're paying off with a
sting, you know, whether it bethe porch attack, but you know,
one of my favorite moments inthe film that was a product of a
pickup shoot. Sorry, somethingwas this flashback memory that

(48:23):
Mia is telling a story of thefirst time that she saw
something outside her window.
We're purposefully reallymanipulating with time and the
reveal of a character or anobject outside that window and
subverting the audience'sexpectations to see something,
and how you go about that. Andone of my my favorite things

(48:44):
about working with Chris is thathe's quite familiar with the
archetypes and the devices, Imean, as being as a giant film
fan, and he's likes to play withaudiences expectations in that
way, he knows what to they'reanticipating, and can either
know how to delay that, know howto manipulate that expectation,
to provoke producing somethingnew. And that was a great

(49:07):
opportunity with him. Oh, I

mean, again, that porch scene that that
changes the tone of the ofeverything, and the fact that
you guys made us sit in it forthat long. Was brutal, brutal.
And I say all these things likenegative, but I know our
listeners can't see I have thebiggest dumb smile on my face
when I say stuff like that. WhenI'm like, fuck you for making me
sit in that. No, it's reallybecause in you want. I You want

(49:35):
those type of reactions frompeople you want. I mean, not
saying anyone's asleep, but thatwakes you the fuck up and makes
you go, Oh, shit. What canhappen next? Because I don't
know, like, everything justchanged from what's happening.

Like, the bit that got me on edge was the
prison scene, you know, just isjust the environment and the
pacing just really had me onedge because I knew. Something
bad was gonna

happen. Oh, man, I've done, I've shot, I
found footage, film in anabandoned prison before. So the
second I see that happening, I'mjust like, I know what that
smells like. Immediately wasthere. And sometimes I'm just
like, oh, I don't know aboutthis, but like, I was on I was
on edge. Let by that point youguys got me good, excellent

(50:24):
looking in the darkness andstuff. And I'm like,

I love that we were able to get that entire
scene silent. Yeah, I don'tthink until, it's not until
there's very much music at 100but I mean, there's that entire
investigation of her goingaround the cell, seeing the
Ferris wheel, footprints on theground, the flashlight panning
like the only thing you'rehearing is Camille, our actor,

(50:49):
playing Mia, just breathing,intensely frightened, and you
have no idea what's about tooccur, yeah? And then, you know,
then the next sound is MIA notbreathing. It's something else
breathing.

Yeah, and the film famously got the reshoots
to happen with the neon deal,which is awesome. I haven't seen
the previous Fantasia cuts oranything like that, so I don't
know what was changeddifferently, but what were some
of the challenges on making thatwork? Because, I mean, there had

(51:25):
been a few years since you shot,since it was initially shot the
film, and then you have thesenew endings. And even just like
piecing together or making itflow, making it look consistent
without there suddenly be a megachange, the challenge. Oh,

I mean, I will say they were not mega changes.
These reshoots were very light.
There they were not, we were notredoing entire sequences. We
were, this was a very like alight two, three day pickup.
Then this, then they weremotivated. I think the biggest
reshoot we did was toconsolidate two existing scenes

(52:02):
for momentum reasons and pacereasons. In the movie, we have
the advantage of coming backfrom Fantasia, of coming back
from a film having premiered,and Chris got a lot of feedback
from not that, just thatopportunity, the show in front
of a public audience, but wetested, they test neon, tested
the film with a recruitedaudience. They got some data
back in. And one of therecurring things that have

(52:22):
popped up on some of thesequestionnaires was, like, there
was a some questions about pacein the middle of the movie,
about, you know, the way thatthe structure of the character
going here, discovering thatgoing there. And Chris was
thinking, Is there a way I canconsolidate some of these
scenes? And so we reshot. Wetook two scenes from the
Fantasia cut, and we reshot wereshot them to consolidate these

(52:43):
two scenes into one brand newscene. So the scene where like,
Mia is like, laying down all thepaperwork on the table, all the
photos of her detective workthat used to be two separate
scenes, it took twice the screentime to do. And so Chris was
like, I think we can really keepthe momentum in the movie going,
if I just get the actors backand consolidate this. And it

(53:04):
worked. It works quite well,keeps the momentum going, keeps
the pace going. And that wasprobably the bulk of the
pickups. Was just that we endedup redoing some of that prison
scene that we just discussed. Ithink largely because they when
Patrick, when we shot thisfirst, the first time it was
actually at the prison, and thatset was quite restrictive. Chris
did not do a lot of the camerawork that he wanted to in the in

(53:28):
the actual location. He couldn'tget some of the angles he
wanted. He couldn't get somethings on the walls there.
Couldn't there was a thing aboutart. They couldn't have some of
the props and some of the setdesign that he wanted. And so we
shot that on a stage just for, Ithink, the intent of, like
building up that moment tomaking that as scary as it
could. And then we reshot a fewelements for to amp up the

(53:50):
visceral violence at times. Ithink a lot of, I mean, Patrick,
you can talk about this goingthrough the iterations of the
film. But one of the firstthings neon did after the
acquisition was like, look atthe shooting script that was
part of the deliveryrequirements. And they realized
this bit in the script is not inthe film. Why did you cut that

(54:13):
out? And Chris would say, wenever shot that. We did not have
the logistics not make thatpossible for us to pick that up.
And neon came back, and they'relike, Would you like to shoot?
Would you like to have this intothe movie? We would like this,
please. Yeah. And so when youCase in point, when you there,
Mia is watching the tape, andyou see the attack of what

(54:34):
happened to the paranoids, someof that, those intense moments
of violence, those are pickupsyou know, having a great, great
visual effects crew, greatpractical effects crew, to, you
know, show some of thisharrowing, intense action that's
a pickup and and some creaturework. I'm just too we had a our,
there's a, without spoiling toomuch, there is so. Something in

(54:58):
the film that appears incorners, hidden in places and in
shadows at times. And Chris hadsome ideas to update the look of
this creature, of this monster.
And so we had some wonderfulprosthetics and some special
effects with our our unsaidcreature, and got some of him on

(55:26):
green screen, and worked him,worked his way into the movie.
But that was really it. I mean,in terms of, you know, reshoots,
it was really not that much,

yeah, you know, to set the record
straight, even though you're$1.4 million Kickstarter
fundraise film, it after fees.
It's still a low budget movie,right? And so there were a lot
of restrictions that we hadworking on the initial film,
which became the Fantasia cut ofthe film. And there were things

(55:57):
that were in the script, likeBrett mentioned, that didn't get
shot or, you know, just everyfilm goes to this where it's
like, okay, well, we can't getthat, so we got to move on. So a
lot of the things that we wereworking with, we were stuck
with, because you you're reallylimited by the footage you have
and the story that we weretelling. And some of these notes
that neon had had come up andthe story points and things, but

(56:24):
we were kind of handcuffed,because there was no real way to
cut around those things withoutfinding a way to condense them.
So that was a big part of it.
And then, you know, the theminimal reshoots that happened
or enhancements to things thatwere previously shot. But like,

(56:44):
you know, when you have theability to go and make it, you
know, 100 times better, why not?
So that was, that was a big partof it. But, yeah, no, I, I've
seen comments and things onlinewhere it's like Mike Flanagan
went and redirected the movieand blah, blah. But no, to set
the record straight, like Brettsaid, it was very minimal and it

(57:05):
enhances the story.

And no, I don't think Mike has seen a cut
after fantasy. Like I wastalking with him, because we're
getting ready to go and Carrieand I would mention, like, Oh,
I'm starting, I'm going to do apass on Shelby. And I was like,
I'm tossing out to, you know,Paper Street and folks for
notes. I mean, would you like tobe a part of that? And he's
like, nope, nope. This is, thisis Chris's movie. I'm here to
support, but I want to see themovie at the premiere in

(57:31):
October. Like, I'm not going tobe involved in any of the
reshoots. I'm not going to beinvolved in any of the notes.
I'm here to support Chris. Hedid a great job. So, so So Mike
is certainly involved from like,the advisory capacity or earlier
on, but ever since Fantasia, hehas not been involved.

That's awesome to hear. I love hearing when
there's like, names and thingsthrown around and it's just
like, No, no. They're verysupportive. They're very, you
know, everyone's everyone justsounds so cool and Buddy Buddy,
like, that's awesome,

yeah, yeah, definitely not a rogue one
situation.

Oh, we don't want to get in trouble there.

He was extremely supportive and very
hands off, and really, sincerelywants the best for Chris, and
just wants to support him, makesure that this is the first of
many films for him. Yeah,

no idea, and we're excited to see any and all
these future films. It's, andit's, it's, again, it's an
amazing road that this film hasgone through. It's years in the
making, from the crowd fundingall to the acquisition to today
it being released. Socongratulations once again,
guys. But before we head out. Ijust want to check in with you

(58:42):
guys. Brett, I know you have acouple more projects coming out,
but James and Patrick, what?
What's coming up for you guyssoon?

Patrick, go ahead.

I just had a movie premiere at screen fest
called cognitive that I'm reallyexcited about it. Does not have
a home yet, but it's like a scifi horror, you know, with AI.
And I compare it to like Alienin a office space, but the alien
is an is a omnipresent AI thatis infecting all of the

(59:20):
technology in the building, andit's a mix with bodies, bodies,
bodies, because it's a comedy sovery fun. Comedic kills lots of
action, and directed by thisguy, Tommy savis, who I adore,
and I had just the best timeworking with him. So I'm really

(59:40):
excited for that to come out.

Yeah, I just started working on a kind of a
Creature Feature movie that Ican't talk too much about, but
should be coming out next year.
All

right, can't have too many creature

features.
Yeah, exactly that is, that is afact like, if there's, if
there's too many creaturefeatures. Is coming out, then
that's a problem. I want. Yeah,exactly.

Jacob Davidson (01:00:04):
Give me all the creature features. Yeah.

Jonathan Correia (01:00:07):
And then Brett, what are? What are the
films that are coming out soonfor you as well? Yeah.

Brett W. Bachman (01:00:11):
Okay, so I have a film called lone samurai
coming out with an old buddy.
Josh C Waller, the firstdirector I ever worked with.
I've done three features with.
It's our Fourth time workingtogether. It's a samurai film
coming out in December, about aguy marooned on into a tropical
island, and he discovers he'snot marooned. He's not alone.

(01:00:32):
There are cannibals on the

island.
Samurai versus cannibals. It's a

little meditative. It's a little
Terrence Malick, and then itdoes not become, I have a
samurai sword and I am fightingin a little army of flesh
eaters. So that we had a premierbeyond fest a few weeks ago,
making the rounds for thatright. Nice to be coming out.
And then, yeah, at some pointnext year, Carrie, whenever,

(01:00:59):
whenever we finish it. But wewere wrapping production today,
and it's been going really

well. Oh yeah, awesome. All right, looking
forward to all that. Yeah, thankyou absolutely.
Well. Thank you guys again, somuch for joining us today.
Sitting down, Brett's Always apleasure. Patrick, James, you're
always welcome back and say, Welove having people come back and
see where things are going. AndI think last time when we talked

(01:01:24):
was very like his Toxic Avenger,finally coming out. So
congratulations on that finallycoming out. Congratulations. I'm
waiting for my steel book.

Get that 4k

it's it's pre ordered. And again,
congratulations everyone onShelby Oaks, awesome job, and I
can't wait to see more reactionsout of people. Thank you,
Jonathan, thanks. So our Yeah,our theme song is by Restless
Spirit, and our artwork is byChris Fisher. You can find Jacob

(01:01:55):
myself and everyone else.
ihorror.com the place we callhome, James, where can we find
you online to keep up with whatyou're working on. I'm

James Burkholder (01:02:05):
on Instagram.
It's @James.wolf.Burkholder. Ismy

app awesome.
And what about you? Patrick,where can we find you

Patrick Lawrence (01:02:14):
on all the socials @PtrckLwrnce, with all
the vowels removed except forthe E at the it just sort of
looks better that way, I don'tknow. And also check out my band
of cults at a colts official.

Hell yeah. And Brett, where can we find you
online?

I reluctantly have an Instagram
@BrettWBachman, Instagram, I'mthere. I post stuff.

Yeah, no. I mean, I always tell people my
follow @eyeonhorror. If youfollow my personal thing, it's
just pictures of my cat and StarTrek.

Me mostly post picture Mark Marquise, yep.

So Well, thank you guys again, and yeah, until
we meet again, keep your eye onhorror. I'm JonathanCorreia,

I'm Jacob Davison,

James Jay Edwards (01:03:06):
I'm James Jay Edwards,

James Burkholder (01:03:07):
I'm James Burkholder. I

am Brett W Bachman,

Patrick Lawrence (01:03:10):
and I'm Patrick Lawrence. Keep

your eye on horror.

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