Companion Editors Brett W. Bachman and Josh Ethier

Episode Transcript
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James Jay Edwards (00:25):
Welcome to Eye On Horror, the official
podcast of eye horror.com thisis episode 143 otherwise known
as season eight. Episode Three.
I'm your host, James JayEdwards, and with me, as always,
is your other host, JacobDavison, how you doing? Jacob,
doing

Jacob Davidson (00:41):
fine. Not much new to report on, but gotta say,
it's only February. Been apretty good year for horror.

Yeah, I'm pretty impressed. Well, we'll
get to that in a second, butfirst also joining us is your
other other host, Jon Correia,how you doing Korea? We almost
started the episode

Jonathan Correia (00:57):
without you about to say, I know I've been
reading a book aboutconspiracies, but I felt one
here just now. The

big release right now is The Monkey.

The Monkey.

Have we all seen the monkey? Oh

yeah, oh yeah.

What you guys think?

Oh man, I love The Monkey. It's just an
interesting blend too, becauseit's an Osgood Perkins movie
just coming off of the successand rep from Longlegs, and it's
based off of Stephen King shortstory, and it's from neon and,
yeah, it's a load of fun,because it's basically about
these two brothers who get thislike kind of creepy toy monkey

(01:39):
that plays the drums, and everytime it plays a drum, somebody
dies horribly, usually somebodyconnected to them, and which
makes for some very good setpieces involving very elaborate
and gory deaths that are alsohilarious.

It's very Final Destination in the deaths
that and they just get crazierand crazier as you go. But my
thing was, it was not the movieI expected to be, um, knowing,
it's a Stephen King adaptation.
Now it is the loosest of StephenKing. I mean, it's, it's one
step above The Lawnmower Man, asfar as King at because, because
there is a monkey that when you,when you crank it, someone dies.

(02:18):
And that's about where the thesimilarities end. But this one,
it's even a different kind ofmonkey, the the monkey and the
king one, I think, is a symbolplaying monkey, and this one
plays like a snare drum. Yeah,yeah.

A funny story about that. Apparently they
couldn't use the symbol playingmonkey because Disney put a
copyright on symbol playingmonkeys because there was one in
Toy Story. That's

why that sounds about, right? No,

I'm dead serious. That's

ridiculous, because symbol playing monkeys
were out way before anyway, butum, it, the thing is, I was
expecting it to be more of astraight horror movie, so it was
not what I expected. But it, itis way more of a comedy than a
horror movie like it. It ishysterical. This movie and and,
like, like, Jacob saying, eventhe deaths, you're cracking up

(03:08):
the whole time because they'reso like, like, the very first
scene has this death where it'sset in motion by a rat on a
shelf, and it's like a freakingRube Goldberg machine. Oh, my
God, the it's hysterical,though, so much fun.

Yeah, it's all the deaths were very Looney
Tunes meets Final Destination.

They just kept getting more and more so
like the kid in the backseat ofthe car. So

I, I always it's one of those movies where I
left and I'm like, I theconfidence that the movie has.
Because sometimes there's movieswhere it's like, we're going to
do something very weird with thetone that, with the characters
motivations, with everything,and we're going to play it as
straight as possible. And theconfidence that's behind it is

(04:00):
just all over the pages, like,it's hilarious, but also is like
a deep meditation on grief.
There's a few characters in itthat have motivations that, once
the motivation is revealed, it'slike, that's the stupidest
motivation I've ever heard. Butit makes sense because of just
like, the amount of grief thatis because it is a funny movie,
but the meditation on death anddeath of loved ones is

(04:23):
profoundly deep. So which issuch an interesting mix between
the because it's in betweenthese, like we said, Looney
Tunes meets Final Destinationdeaths and it it all works. And
I think Theo James playing thetwo brothers is incredible. Oh,
yeah, especially since, you knowhe, if he comes off of, like,

(04:43):
White Lotus and The Gentleman,where he's, you know, he really
shines as that attractive dude,and here he's just weird, like,
in every sense and senses thatyou don't even know. Yeah,

both characters are losers in their own ways.
So. He's, like, really playingup being just just kind of like
an unattractive person, and

they're so different too. Like, I mean, we
haven't had a portrayal of twinslike this since the Dark Half,
you know, like, oh yeah. I mean,it was actually very dark half
esque, and also in the way thatit was shot towards the end,
but, um, Correia, you'll lovethis. I had the word they didn't
screen it for press, so I had toactually go to a paid screening.

(05:28):
And I had the worst audienceever worth that. No, I'm just
saying you'll appreciate notlove

Oh, because it's the first time that you had
a bad audience and I had a goodaudience.

Maybe, Dave, you had a good audience, one but
two people texting for theentire movie, one of them right
in front of me, and the oneright in front of me. Also,
every time the monkey would getget the keyspun to kill someone,
she would start playing a drumin front of me. You know, like

(06:01):
playing air drums. I'm like, Areyou guys really? Anyway, it made
me appreciate press screeningseven more. But because this is
The Monkey is usually, this isthe kind of movie that you think
would be more fun with anaudience. But my audience sucked
see.

We went and saw it at an AMC. But Osgood
Perkins was doing a Q and A touraround the AMCs in LA that
opening weekend. And so we wentto one of the screenings where
he did a Q and A after and hewas joined with Tatiana Maslany,
who is incredible in this movie.
I mean, no, yes, no one's gonnadoubt that Tatiana Maslany
wasn't gonna fucking slay it inthis movie, because she is a

(06:42):
God. If you've ever seen OrphanBlack, yeah, I thought she was
great in She Hulk. Oh, she wasfantastic, and she Hulk. But
Orphan Black, she plays like 17different characters. Oh, yeah,
yeah. All done. Well, I alwaysforget what her actual accent
is, because she has like abajillion accents in that show,
but she I, and that's the thingtoo. And I was really stoked,

(07:04):
because we're big fans of her,and that they that she joined
with the Q and A as well,because her her and her
character really tie that movietogether. Like that opening
scene is so over the top and,like, kind of ridiculous, and
then it's mostly flashback towhen the twins are kids, and
with the mom and the and TatianaMaslany and her character set

(07:26):
the tone so well, of like,what's happening here, because
she's weird, she's funny. She'salso very deep in what she's
saying, but also has this, like,does weird things with her face
that, like, just work reallywell. And I think without her, I
don't think the movie would haveworked that, because she sets
the tone perfectly and set andit's because of her everything

(07:50):
sets off. So, yeah, it's, again,it's one of those things where
it's like, she should be gettingawards, but it's, it's horror
So, and it's early in the year,so we'll see. But yeah, no, the
I loved The Monkey. It wasgreat. Love the promo they're
doing of just like the giantmonkeys and theaters around
here. Oh yeah, and I did not getthe popcorn bucket. Now, it

(08:13):
seemed like a like a step.
That's

what I was about to ask, did you get with
those popcorn buckets? It's apretty cool popcorn bucket. It's
a

really cool popcorn bucket, but I don't have
the space. That's what

made me think you get it. You're a popcorn
bucket fanatic.

I only have, like, three or four. I just have
the alien one, the sarcophagus,and, like, you get the
Ghostbusters one. I got one ofthe Ghostbusters ones, but it's
Slimer. He's holding all my

I got the Ghost Trap one. Oh, you got the Ghost
Trap one. That's dope. Yeah.
Though, speaking of audiences, Iwas lucky enough to go to the
the Beyond Fest pre screeninglast month, and that was a great
crowd for it. And actuallyrelated to that, you can
actually see me in thecommercial for The Monkey or,
you know, like on Instagram andstuff where they do those
audience reactions, like you cansee, see me with like a shock

(09:02):
expression on the on theInstagram post, because, you
know, they recorded the audiencewhile we were watching the
movie. Is

this going to be another fucking Nickelodeon?

Does it say as seen in Nickelodeons, as seen
on Nickelodeon? Dude,

you can go to the neon page and look at like,
the audience reactions video.
It's right there. I can eventext it to you. I feel like

I'm like Charlie Day and fucking it's
always sunny with the whiteboardand

Sylvia. Pepe Sylvia, Sylvia, Pepe Sylvia, no.

Jacob says he was in the video game
Nickelodeon show, but I see it.
I was watching all the episodes.
I watched the April 24 1996episode, and he wasn't in that
one. No, no, no. One.

No, no, no, no. I think we just have the
wrong show title. I think thatit's probably something else
that Jacob's misremembering thetitle on. I

might have an answer on that actually, like I
was talking with my folks theother day, and it was, you know,
we were visiting aroundChristmas. So I might have. Just
been like a promotional thingthey were doing for tours, and
like a promotion for, I think itwas Sonic and Knuckles, so I may
not have been televised. It mayhave just been a thing they were
doing for the holidays as apromo thing. It was a goose

(10:13):
chase.

How can I ever trust you again?

And now let's bring in our guests for the
episode. We're real excitedabout this one. We have got the
editors of Companion, which isone of our favorites of the
year, Brett W. Bachman and JoshEthier. How you guys doing? Hey,
doing good, doing well, awesome.
Thanks for being here. I alwayslike to start off with kind of
the origin story. How'd you guysget started doing what you're

(10:41):
doing? And have all have youalways wanted to work in horror?
Let's start with you. Brett,

Brett W. Bachman (10:48):
horror was a bit of a I suppose, a recent
discovery for me. I had grown upbeing involved with learning the
essence of filmmaking on myfamily's mini DV camera. Got
into college, got reallyinvolved with the sketch comedy
community there, and really Iwas volunteering our college TV

(11:09):
station, doing anything film orTV related. Upon graduating,
knew I wanted to be seriousabout this, and figured I would
have to find my way to New Yorkor to Los Angeles. Got into the
American Film Institute. Spent agreat two and a half years
there, and it was around thistime that I had come up on a few

(11:29):
horror comedies, mostly like SamRaimi. But like I had avoided
almost all horror growing up, Iwas just I hated the sensation
of being frightened, and I hadbeen reading a lot about his new
movie Dragg Me to Hell, and wehave a service at the school
where you can check out DVDs.
And I grabbed it, I took ithome. I had a great time with
it, but the ending of that filmcompletely blew my socks off,

(11:51):
like I had no idea it wascoming. I remember feeling
astonished and really creepedout, and I couldn't shake this
feeling for like three days. Icouldn't shake this sense of
nihilism and dread. And Irealized, like, there's
something to this. This is likea really powerful emotion that
I've been kind of neglecting,and the the act of being scared

(12:12):
and being tense, and how tobuild that it was I realized
there was an entire, entire toolkit of things that I could do as
a storyteller that I've neverreally engaged with before, and
a sensation that I've there'ssomething to this. This is a
core part of being human thatI've been neglecting for such a
long time that was kind of thegenesis for

me. Oh, cool.
How about you, Josh. I,

Josh Ethier (12:37):
when I, when I was in high school, I was, I was
obsessed with, like, heavy metaland all this other stuff. So I
would just sit in my room and Iwould play guitar and I would
record music. And then when Iwas in freshman year of high
school, actually met Joe Begos,who's still a friend of mine,
and we still make filmstogether. And Joe loved using a
camera and hated sitting infront of a computer. And because

(12:58):
I had a background in music andsort of experimenting with sound
and all this stuff I was kind ofaware of, like, watching
something just like on repeatfor, you know, a period of time.
So I started editing his stuff,and just realized I fell in love
with it. And this is when I was,like, 15 years old. So I used to
just spend, like, all of mylunches in high school, like
I'm, you know, IMDb, likereading all the trivia for

(13:20):
whatever movies I was watching,and trying to watch as much as I
could. And obviously we werejust, we would go to horror
conventions. We were obsessedwith horror movies. My entire
left arm is just horror tattoos.
It's like, even before we weremaking movies, we were, we were
obsessed with it, and we wantedto be a part of it. And that's
actually really funny. We moved,we moved to LA when we were 21
together and had like a, like aone bedroom apartment in the in

(13:41):
the valley, and I slept on thecouch. And one of the first
things that we did when we gothere, actually the first day we
were here, we bought tickets forit when we were leaving Rhode
Island, and we drove acrosscountry like three straight days
to get here for that 70millimeter screening of The Fly
with Cronenberg and Howard Shoreat the cinemaradome in 2008 and
then we were, like a Best Buy.

(14:04):
Like, a week later, you know, wehad finally gotten our power on
in our apartment and ourinternet and everything. So
we're over like a Best Buy,like, looking through blu rays,
and some guy walked up to uswith a messenger bag, and he was
like, Hey, do you guys, guyslike horror movies? And it was
like, weird, because, you know,you would assume it's like, he's
trying to sell his drugs orsomething, just like you like,
horror movies. Like, opened uphis bag and he had, like,
invites too, which is hilarious,Drag Me to Hell. And he's like,

(14:26):
You guys want to come see thenew SAM Raimi horror movie?
We're like, hell yeah, of coursewe do. So we got to go to like,
a test screening of that. And,you know, it's just experiences
like that. Living here in LA westarted to work with, like, you
know, Adam green and Joe Lynch,and Joe was working for Stuart
Gordon, which was incredible. Iwas working for an editor named
Ed marks, and we were juststeeped in it. We weren't making

(14:47):
any money. We were still holdingregular jobs, but we were, you
know, thankfully, like, a smallancillary part of the community.
And then we decided, you know,fuck it. We have to make it's
gonna

kind of like you and I, I think, have a very
we started, like, at the exactsame time. I.

Yeah, Brett and I have always been running in
parallel. And that's, you know,when he worked on when he worked
on Mandy, for instance, I was ahuge, huge fan of that movie, as
I mentioned, I love heavy metal.
I love downers, I love slowcinema. I love all of the things
that, you know, that Panos wasdoing in that movie, and I just
absolutely fell in love with it.
And Brett had also worked withAdam Mortimer, who I'd worked

(15:23):
with on his first film. SomeKind of Hate, Brett had cut
Daniel Isn't Real. And so at oneof Adam's house parties, I met
Brett, and I was like, oh mygod, I love that movie. And we
just started, like, tradinglike, temp scores, and every
once in a while, going to grab abeer, and just became buddies.
And it was cool, because usuallyyou would assume the two guys
that are, you know, working inthe same world and going after

(15:44):
similar jobs, there would besome sort of animosity, and
they're like, just, isn't he'she's just, like, one of the, one
of my best friends. He's just awonderful guy. And a chance to
work with him on this wasawesome, you know. And I hope at
some point it gets to happen.
That's

was my next question, are you guys, is this
first time you've workedtogether in

an official capacity, yeah. I mean, we've
been the horror community,especially post production.
Horror community feels like it'srelatively small, and we've seen
each other at, you know, testscreenings, and you know, each
other's giving notes on eachother's movies for years, but
yeah, first time, like anofficial capacity, on the same
movie.

I'm a big proponent of I don't believe in
competition so much asencouragement. So it makes me
happy that you guys, you knowyou might be going for the same
jobs, but you still lift eachother up. Because I, I don't
know I'm, I'm more about supportthan competing anyway,

yeah, man, it's, it's difficult out there.
Need each other to hold eachother up. Oh, yeah, absolutely,

especially since sometimes it's, it's not
you, it's just like the project,you know, and it's whatever you
know is best for the project.
Sometimes one voice is, it's thesame with actors. You know, I
hear actors all the time.
They're like, what's the rolethat you wish you had gotten?
It's like, for whatever reason,that was the person for it, and
it wasn't me. And that's fun.
You know, one of the, one

of the things that took me such a long time to
realize was, like, howcontingent just your own
personal schedules are in yourown career. I mean, you say yes
to a film, and you're basicallykind of locked up for, you know,
six to seven, eight months,sometimes, if not a little bit
longer. And so the our window,fortunately, if you're working,
you know, that window ofavailability, you know,
hopefully, is kind of short. Andso if stuff gets thrown my way,

(17:22):
or if I get an invite for totake a general or to read on
something, Josh the first guyI'm throwing that opportunity
to, if I'm booked on something,I mean, those things come, those
things opportunities come andyou're booked and you're not
available. I mean, we'reconstantly referring each other
for stuff.

Yeah, there's no reason it shouldn't go to, you
know folks you trust absolutely

and on that. How did you both get involved with
Companion?

Well, going back to the all the shared
history we have, we both workedwith the same group of
producers, Boulder light,earlier in our careers. So after
Mandy, I had been my agent, hadgiven me a phone call and said,
I want you to meet these twoguys, J.D. Rafi. They are
They're young, they're extremelytenacious. They are very

(18:09):
ambitious. They will be runningthe studio at some point in
their lives, getting the doorwith them right now, and they
had this project called TheVigil, which was a haunted house
film. Oh, yeah, I love thatmovie. Oh, thanks, sir. Yeah,
steeped Judaism and folklore,and had a wonderful experience
working on this little movie. Imean, I think we're sub a

(18:30):
million dollars, but the filmdeveloped, you know, a little
bit of a cult following. Weplayed at Toronto, played at
citrus. IFC eventually put itout, but that was my
introduction to the BoulderLight world, and I've stayed
close with the guys over theyears. This I received a text
message from Rafi one evening,and he was like, we have a new

(18:53):
project. Curious, if youinterested in looking at it. And
I had heard a little bit aboutCompanion in the press with
Creggers involvement in Boulderlight. And I didn't really know
Drew Hancock, the direct writerand director of the project, but
they set up a general I met witha man, you know, very lovely,
very smart, was clearly sopassionate about this story. And

(19:15):
then he went really well, and Igot offered the opportunity to
do the movie it took. We gotgoing, knowing that there was a
potential imminent strike on thehorizon, and just a few weeks in
the production, it became clearthat, like they were not going
to this thing wasn't going to besorted out. And we shut the
movie down half, just overhalfway done shooting then, and

(19:39):
we were able to only keep onediting for like, an extra two
or three weeks and realize therereally wasn't I had this common
agreement that there reallywasn't much sense in continuing
to work on this half a movie.
And so we got shut down. We shutdown editorial. I'm hoping that
we come back shortly, hopingthat the strike would, you know,
be over relatively soon. Buttook several months, and. And I
received the phone call fromDrew months later. He was like,

(20:01):
we're coming back. I have someideas. I want to run by you, but
also, but first and foremost,are you interested in coming
back? And I said, Of course, I'dbe there in a heartbeat. There's
a major stipulation I have totell you right now, though, if I
came on board, I would have tostep away from the project
around, like, week six. Of yourdirectors cut because my wife
and I are expecting twins, andso I would need to take up

(20:24):
maternity leave for about amonth and a half. But if you
would have me and thisarrangements, okay with you, I
have someone I would love torecommend to sub in. And they
said yes, and that's how theymet. And, well, that's how Drew
met Josh. But, I mean, Josh, ofcourse, you have your own
relationship with the BoulderLight guys that goes back even
farther than me.

Yeah, about 12 years ago, I edited their, their
first film, Contracted. So I'vebeen, I've been friends with
those guys for years, and thatwas, it was funny to go from a
$50,000 you know, shot in LA,basically mumble core, stolen
horror film too. Years later,working on, like, a Warner
Brothers studio film with them,with, you know, Warners and New

(21:07):
Line, but yeah, thankfully.
When, when Brett recommended me,they they said, Oh yeah, no, we
love Josh. And then it was justa matter of meeting. Drew who,
like, like Brett said, isincredible. He's just like, this
incredibly funny, incrediblyfunny, like, very, very
thoughtful dude who really,really cares about his film, but
also, I think, just fromspending a lot of time in
writers rooms and and andspending a lot of time pitching

(21:30):
and stuff, he's just sopersonable and funny and easy to
like, bounce back and forthwith, which is great in the
editing room. You know, I'vecertainly worked with folks that
are a little bit quieter workwith some folks that are, you
know, everyone has their ownsort of method, but Drew was
like, perfect. He loved tobounce in and out of the room.
I'm going to go do some emails,you work on this, and then he
come back in. We'd riff for anhour or so, and then he'd step

(21:51):
out to do this that, you know,but it was really easy and great
to work with and and thankfully,too, that also meant that
obviously Brett didn't need togo very far from the job,
because obviously he could gotake care of his wife and his
and his two new baby boys, but,uh, but obviously we were just,
you know, basically warming aseat for him for when he came
back. That's awesome.
Congratulations on

on the on the kids,

by the way.
Oh, thanks, guys. I just turnedone year old last Sunday. Nice,

Happy belated birthday. Thank you. Birthday.
Birthday birthdays?

No, it's still

as a separate holiday for her, though, as
well. So there's the publicbirthday party, and then there's
also the my wife and I go out tocelebrate her, her birthday,
which is something separate.

Oh, it's same birthday as as the wife, no, no,
no. Just the event of,

like, giving birth. She's like, this is a
holiday for me. Like, the actof, like, carrying them for nine
months and going through it all,and now they're out, and now we
have children, this is anotherholiday

of freedom.
You know, they don't really, noone really does that. That's,
that's really awesome. It'slike, yeah, no, she did all the
work, like in carrying them, andit's twins, so like, yeah, no,
definitely celebrate her

as well.
We've the three of us were luckyenough to see companion before
it was released, so nothing wasspoiled. And I've been, I've
been telling people, if you seethis movie, go in completely
blind, because I've seen titlesof reviews that spoil what, to
me was the most untwist. Now,when editing clearly, the

(23:30):
editing keeps the Movie Secrets.
So how was that? Was that partof the process knowing that
these reveals were reveals

at the time.
Yes, we had driven forward withLean little hints. Lean little
easter eggs, here and there. Andif you look at the film, you
know, it's pretty easy to pickup on, you know, a few of these
more, you know, not necessarilysubtle, but you know the
conversation with cat and Irison the couch, where she's
talking about sense of selfworth. And

I know Correia and I have both watched
the movie a second time to seewhat, knowing where it's going,
what you can pick up on. Andyou're right. There's a lot of
cool stuff like that.

Yeah, it's it's worth this. Oh, it just wasn't
made that way.

I mean, initially, before an audience
was, like, familiar with allthis stuff. I mean, that first
reveal of her as a robot waslike a barn burner. Like that
broke that like, broke down thetheater. In the testing process,
when we're collecting data andwe're having smaller friends and
family screenings, like thatmoment in the movie, for an
audience that didn't really knowwhat this thing was, was

(24:40):
consistently like the favoritemoment of the film. And we, I
don't know how much we reallycared about maintaining a sense
of secrecy about that particularmoment, because, you know, there
was a few audience members thatdid kind of piece together some
of these uncanny hints that wereleading up to that. But, you
know, we also, I don't know ifspoils. The right word. But

(25:00):
there was a lot of discussionabout an earlier moment too,
where she says, The day I killedhim. I'm like that used to be
that was, initially that waswritten to be the day he killed
me, and throughout most ofeditorial it was the day he the
day the day Josh killed me. Wemade that switch in the editing
process during a friends andfamily discovery. So I think

(25:22):
it's safe to say, when workingwith Drew it became more about
as opposed to what happens.
It's, how does it happen? How dothe characters react to it? Can
it does revealing some of thisinformation earlier on allow you
to focus in on other particularcharacter specifics, and, you
know, hopefully build empathyfor them

during the during the tests, we had a lot of it
all, like basically all of ourfocus groups. There was even one
group where a guy said, if youhad marketed this as what it is,
I probably wouldn't have come tosee it, but I really liked the
movie, and it was kind of likeall the all the sort of research
was sort of saying, like, oh,maybe we shouldn't realize, but

(26:00):
obviously I don't understandmarketing in the way that the
New Line people do. Andobviously I think they made the
right choice, because the filmwas a, you know, a moderate
success. And also what was kindof fun of that about that was
when one of the things isspoiled for you, because that's
not all that the movie is, youknow, having, you know, you guys
have seen the film. It's, it'sabout 20 minutes in that
something is revealed, that isrevealed in the marketing. But

(26:22):
then there's a couple of othersort of, like ricochet reveals
down the line that aren'tspoiled. And those are now the
moments that get, like, a nicebig pop from the audience. And
so I'm glad that, and they'renot expecting, yeah, yeah,
because they think, they thinkthey're ahead of it. Everyone
goes in there, you know, haven'tseen the trailer or read those
reviews, like you said, andthinking like, Oh, I'm I know
what it is, and I agree it doesmake that first 20 minutes a

(26:43):
little bit silly if you knoweverything. But you know, we
never tried to shy away from it.
We were just hoping that, youknow what, however, however the
film was marketed, it would findits audience, and we just tried
to proceed with that as best wecould. But I'm glad that some of
that audience pop moved down theway to some of those other
reveals, and so there is still,like, a bit of a bit of fun and
a bit of discovery in thetheater for people.

Oh, absolutely. I mean, Jacob and I
were at the Beyond Festscreening down at the arrow
theater months ahead, and theNovember, yeah, back in
November. And the only thing Iwould tell people is the worst
part of Companion is the factthat I have to wait until the
end of January to see it again.
Because there was, there was somuch that I was like, man.

(27:26):
Because that first screening, Ileft going like, man, Jake Quaid
is going after his mom's titlefor the rom com thing. And then
I went on a second time, and Iwas like, No, he's not. No, he's
not. That was, I was so naivewith that for so like, there's,
there's so much to unpack and somuch to look for in it. And
yeah, it was that that entireaudience at that beyond Fest

(27:47):
screening was just went bananas,like every five minutes,
especially the the you don'tknow what it's like for guy, for
people like me, line, the secondscreening we went to was just an
AMC, small crowd, and so manypeople lost it at that

little eyebrow raised, and

I had, actually, I had to kind of chase
down a screening link, becausemy editor had asked for a
review, and I the link I got wasgood For five views. So I took
Korea's advice, and after Iwatched it the first time, I
went right back to the secondjust so I could see, you know,
what I had, because I knew rightwhen I got through it on the

(28:31):
call. This is why he wants tosee it again. So it is, it is a
different movie The second timethrough. But I'm so glad that I
didn't have, I mean, even thatfirst 20 minute I mean, that was
jaw dropping for me. I didn'tsee it coming at all, and that's
what I'm trying to protect otherpeople from. But at this point,
like you said, the marketing isso

if there's anyone out there who could get into it
unspoiled, I say go for it,absolutely. Yeah,

yeah. I was gonna say that. What really
hooked me when I first heardabout the film was that teaser
trailer, where it was from thepeople that brought you
Barbarian and the studio thatbrought you The Notebook. Like,
that teaser was brilliant. And,you know, just the ambiguity and
that type of marketing, like, itreally got me interested, which
is why, yeah, it was so shockingwhen I finally got to watch it

(29:18):
with Jonathan at the beyond festscreening and see what it was
actually about. So, yeah, no, Imean, just, and that was the
other thing too, is that, youknow, just having all those
secrets going into it, that youknow, even the initial one and
then leading into the later onesthroughout the rest of the
story, just made such a deeperimpact.

Now, okay, we talked about Companion, but
another thing that Brett hasworked on that is another one of
our favorites of the year,collectively, Heart Eyes. Oh,
yeah, what was working on? HeartEyes like

a dream. I love the experience of working
on that film. Josh and I areclose. Friends is my second time
working Josh Ruben, my wife alsogets confused all the time. I
have to specify Josh Ruben, justeasier a lot. Josh Ruben, joy to
work with. The man doesn't havea negative bone in his body.
He's so, so fun to be in a roomwith a guy for 10 hours a day

(30:16):
and just spit ball ideas backand forth. He was a difficult
film to assemble in the sensethat we are in the same way that
Companion has a relishing thisoscillating tone and
manipulating that Heart Eyeshas. It's a little more silly,
it's a little more goofy, butthese tonal oscillations i are
even sharper, and you havebigger peaks and valleys for the
ups and the downs, and we kindof revel in the fun of all of

(30:39):
that. But it's, I had a blast ata wonderful crew in that movie.
Had the doing a film like thiswith studio support as well,
with Sony, was you had all theresources, like at your disposal
and getting people into we had agreat opportunity to work in
this location where we had likea little micro theater, and so

(31:00):
like, once a week, we'rebringing like, five people in,
playing the movie down for them,and making changes, like on the
fly these individuals, and justlearning so much about the
editorial process with them. Somuch fun. I cannot. I really
hope we have the opportunity topotentially do another one or
get the same team back togetheragain, because everyone was
great. Yeah,I was going to ask what. What is
it like editing a movie that iskind of a mash up of genres like

(31:26):
that, horror and rom com, whichI guess can apply to both Heart
Eyes and Companion? Yeah, it'sdifficult. It's really
challenging, and, but in a fun,rewarding way, and, but it's all
it's intuitive. Certainly, itreally comes down all to your
actors. It comes down to yourscript. It comes down to your

(31:47):
director, and treatingeverything for real. I think if
you look at these situationsearnestly and with did you try
and bring out and relate, bringout the actors best performance,
and relate to the characters ona fundamental level and not feel
like you're making a joke out ofthem. You can I was surprised by

(32:08):
how much you can oscillate anddeviate in tone with an
audience, as long as you'refollowing the actors lead, as
long as it feels honest. Isuppose we have several more
tools like at our disposal tofacilitate that and help all
these tonal changes, I thinkprobably on our two films, Heart

(32:31):
Eyes and Companion, the use ofneedle drops was the soundtrack.
And I gotta like, shout out RobLowry, like he his our
collaboration on these movies, Ireally think make these films
have this unique calibration oftones and the oscillation
between just a sense ofbuoyancy, keeping these films

(32:52):
fun, finding the right era andthe right tone of these needle
drops as well, with Companion,that's like, mostly like 1960s
love songs, and then with HeartEyes. It's quite eclectic, but I
mean, going back to, like, a lotof some big, more recognizable
pop songs, but also a lot ofsurprising finds as well, like

(33:14):
we're utilizing Italian andFrench needle drops and but up
against outcast and Supremes?

Yeah, I, uh, What? What? I would say that
what makes Heart Eyes work sowell is as a movie, it
understands what is soridiculous about both rom coms
and slashers, and it completelyleans into it, and that's why it
is so such a fun movie. Andwe've, yeah, we're big fans of
Heart Eyes.

Yeah, when I was at the beyond fest screening,
uh, Josh Ruben even said it'sSleepless in Seattle meets

Friday 13 Part Six (33:49):
Jason Lives

quickly is, and I, oh, sorry, I

was gonna say Jason Lives was. I mean, that
was if Josh got a frame then,like, put it up on the wall
above the wall above the editingdesk. I'm sure he would like
that was always North Star forthe entire project. He was
wearing his influences, like,very like, clearly, on his
sleeve. And just the man lovesthe genre, he was so excited to
kind of play in the sandbox.
Just, I remember one particularday we came in after a test

(34:19):
screen, and this is when we'restill trying to kind of find the
voice of the film. And we weretrying to find a way to really
balance some more of yourslasher moments in some of these
set pieces, particularly like inthe the end of the movie and end
of the second act, with a lotmore of your more traditional
kind of romantic comedyelements. And we were having a

(34:41):
discussion about, you know, whatto keep versus what to omit, if
we needed to omit anything. Andhe went home, came in the next
day, and he just was like,buoyancy, buoyancy, buoyancy.
This is a film that is meant tobe fun. I want. To be
entertaining. This is not a filmthat I want. This is not a film

(35:02):
that's meant you. Meant to makeyou feel bad, even if the kills
and are gruesome. I want them toput a smile on your face. Still,
this is meant to be a popcornslasher, romantic comedy at its
heart. And that became, like Isaid, the mantra for like, the
entire process, yeah.

And I always love it, because sometimes, you
know, people will do the it'ssomething meets something, you
know. And it always warms myheart that, if they were, if
someone does that, it's aspecific it like, it's not just,
like, sleepless Seattle meetsFriday 13th. No, it's Friday
13th, Part Six, like, it'sspecific. You really do know
your homework. If you can sayit's this one specifically,

(35:43):
because of the differencebetween all the sequels. And it
makes sense,

six is definitely the most operatic of all the
sequels. It really it's the mostlike lightning crashing in a
window with a big music of allthe Friday the 13th films. Yeah,

that's where, that's where it turns into,
like, Greek mythology, almost.
It's amazing. And what Irecently, I went and saw the
monkey this weekend, and OzPerkins was there and talking
about working with actors, andhow some actors will give you
totally different tones witheach take. And he was talking
about Tatiana, who plays themother in the movie, and he was

(36:20):
saying that they would get like,17 different, you know, styles
with each take. And I can onlyassume that when you're working
with someone like Josh Rubin,that there's a lot of improv or
Drew Hancock, they both comefrom comedy worlds, and so I
imagine that there's a lot ofplay, playing with that and a
lot of improv happening. What'sit like trying to like, find

(36:44):
that right one? Because you canonly use like, so like, so many
takes for a scene, otherwiseyou're just playing like, all 17
and losing people. So what's itlike trying to find that exact
tone throughout it?

You got to use your emotional barometer, I
suppose we it's, it's a bit of adilemma that when you're
watching dailies, and it's thefirst time you're ever going to
see footage come in and you'reyou don't have an opinion about
it yet, I like to be remindmyself before I sit down for
Dailies like, why are we here?
What is the scene about what?

(37:19):
What is the whose point of vieware we in? What is the
objective? What is the characterobstacle that they're working up
against? So having that kind ofa framing device for all that.
But on the flip side, I want tobe so open to improv. I want to
be so open for the gems, thethings that happen when you get
546, actors together and justmagic happens. For lack of a

(37:42):
better word, you know, the funsurprises you get. We had a lot
of that on both, particularlywith Companion. I mean, Harvey,
he cannot not improvise. Like, Ithink almost every other line
from Harvey would be like a newvariation of a line previously.
And so you like, you'reconstantly on your toes for
this, but you're also trying toremind yourself, look at, why
are we here? What's theemotional point of view? But you

(38:03):
know, with someone like him orRupert, you know some of these
phenomenal comedic actors, youare trying to be very cognizant
of, when could a moment likethis be really great for comedic
relief? But when do we also needto play it more straight? When
do we want? When do we feel likemaking a joke right now may not
be fully appropriate, and, likeI said, going back to your
emotional Brom, or just feelingthe moments, and that is not a

(38:26):
that's not like a one take guessthing and we're done. I mean,
Josh can tell you, like we areconstantly revising this thing.
I remember we did a press thingtogether, Josh, and you were
like, editing is just re

editing. It's just editing is re editing, it's just
the least fun part of the wholeprocess is the is the assembly,
because you're working in avacuum, you're taking things and
just putting it together. Andthat's like, basically you have,
like, the sort of like MicroUniverse of the scene, you know,
what is the scene doing? How isscene written? And so you put
together a scene, and you think,well, that's great. That's
awesome. I think that works.
Well, you drop that into alarger timeline, you know, and

(38:59):
all of a sudden, all the scenesstart to come in, and you start
pacing them together, and you'relike, oh, man, I was way off. I
was just way off. Like this.
This was not the way that thisshould be leaning. She should
not be in this mood now or, orhe's a little too red hot. I
gotta tone that down. Or, like,you know, where is that line
from? Harvey, I need a jokehere. I need, you know, you

(39:20):
really got to just sort of like,test it out as you go. And also,
another fun thing that's reallygreat about Brett and I's job,
is that, you know, if you're ona set, you've got about 5060,
you know, in larger movies,hundreds of people that are
waiting on you to make yourdecision as a department head,
or even just as any crew person,you know, all the way down to
pas. You know, everything islike, we need to get this done.

(39:41):
Here's our schedule how, here'show it goes. Whereas editorial
is like, hey, let's, like, makemistakes for a week. Let's just
try some things. Let's see ifthis works. Let's see if that
work. You know, both Brett and Ihave great stories about
unbelievably stupid needledrops, but when we when we tried
them out, and. Everybody gavethem their fair day in court,

(40:01):
because the the edit room is somuch different than being on
set, you know? And obviously youwant to be completely aware of
time and schedule. And ofcourse, we always are, but it's
like, it's a little bit morelike play time in the edit room,
where you get to really, reallytry things and do things really
differently and like, reallyweird and and because of that,

(40:21):
it's like, you know, the famousthing is, like, we can, you
know, you can be wrong formonths as long as you're right
for like, one afternoon. That'sall anybody's ever going to
remember.

I think one more common things I said the
Drew was, you might hate this.
However,

the thing I love about drew too, is that drew
would always say, oh, man, Ihate that. But, you know, all
right, give it a shot. Maybe I'mmaybe I'm wrong. He was, he was
very, very open to to trying allof the, the silly stuff, the
good stuff, dropping lines,dropping scenes. There was, you
know, and also having twoeditors on a movie. He was so

(40:59):
anxious to see, like, just whatI thought of sequences that
Brett had already done that wereworking great. Because
obviously, Brett's an incredibleeditor. So you're looking at a
sequence, you're like, well,that totally works. And he's
like, Yeah, but if I think ifyou just looked at it, just, you
know, judging from being in theroom with you, you have a
different sensibility, you havea different sense of humor, your
tastes are a bit different,like, just have a look at it,
and suddenly I would find, like,one or two lines that were a

(41:21):
little bit different. Andsometimes it was like, Cool,
we'll go with, you know, Josh'sversion of that scene, but we
love this thing that Brett did,so let's bring that over. Or
sometimes it was like, no, no, Ireally, I still think Brett
scene is really, really good,but let's grab that read for
that line, you know. And it wasjust experimentation like that
that was also very fluid. And Ithink it's, it's mostly because
Brett and I do have differenttastes. We certainly have
different skill sets. But Ithink the most important thing

(41:44):
is that I, in my opinion, we'reboth very good editors. So it
was that sort of, like, that wasthe only thing we worried about
was like, we want to have a goodfilm. We want to have, you know,
a great cut and, like, ego outthe door. Best idea wins. And it
was because of thatexperimentation I think we
stumbled upon like a really,really interesting cut in
Companion. And that's

also drew, I mean, he's, he's always the
North Star. I mean, he's always,you are there for the director.
You're there to be their righthand person. And there's,
there's, you're doing this inservice for them to find the
movie together. And Drew alwayshad that, well, not always,
actually, the very the moviequite significantly changed in

(42:25):
tone from the point that westarted shooting to the point
that we came back from thestrikes. I'll wrap up this
thought, other thought though,and loop back to that because, I
mean, he's like, I like JoshRuben drew Hancock is an
incredible director to work for.
He's has a strong vision, butlike Josh said, He's openly
collaborative, and he loves toplay when we first back to that

(42:46):
tone thing, when we firststarted shooting the film was
not very silly at all. Iremember the first conversation
I had with Drew he was like, andthe script was very funny, but I
remember reading the script andasking him, like, on a sliding
scale of silliness, like, wheredo you see this movie from,
like, a zero to a 10? And he waslike, I view this as a negative

(43:08):
100 on the silly chart. I wantto make a thriller with, like,
the occasional comedic element,but I want it to be, you know,
quite a little cold and kind ofbut with elements that, you
know, hint towards someflamboyance and some buoyancy,
and then once we get on to setthat, I think you get Harvey,
and you get Rupert, and you getJack and all these great and

(43:30):
Sophie, all these phenomenalLucas, all these phenomenal
actors, I was having to askew, Ithink, a lot of this improv at
first, because it just wasn'tconsistent, I think, with what
the movie that drew, the moviethat drew wanted to make. And so
that early cut we have, like anot even like a full cut, like
we have half of a cut of a moviethat was, you know, very took

(43:50):
itself very seriously. It waslike Trent resner and Atticus
Ross had all this very intenseelectronic score throughout
jokes, for sure, but, you know,not, not a whole lot. It wasn't
until we got shut down for thestrikes that drew, I think, went
away. Showed this first 45minutes of the movie to a fair

(44:11):
amount of folks. And on thatphone call I mentioned, when he
invited me back, the other thinghe mentioned was like, Oh, hey,
I've been showing this cut to alot of people, I really want to
open this thing up. I want it tofeel pink. I want it to feel
fun. I want to relish in, like,1960s love songs. I want this
thing to soar. And so thatallowed us to, like, go back

(44:34):
into the editing room and like,re evaluate a lot of the
performance that we had picked,and we reinstated a lot of these
comedic beats, things that Ithink were like, we've kind of
been holding back, you know, inthat initial edit, and the film,
just like, like, it made the jobso much more fun, and the film
really flourished, I think oncewe began to reevaluate it on
those terms. Oh yeah,

no, I agree. And also I wanted to. Ask what it
was like editing, becausethere's several sort of dream
sequences. Imagine spots, kindof cut away segments, and how
you worked on those.

Good question, Josh, what do you think I I'm
trying to draw in a blank righthere we have the what is it? The
opening of the supermarket. Oh,and then all the other
reprogramming, that stuff'sreally fun too. Yeah,

it was the Halloween party once

the imaginings, yeah, the Meet cutes were, yeah,
I remember one of the thingsthey were, all those were all
really well put together by thetime that I was on, like, for
instance, that openingsupermarket scene, I think I did
like a little bit of musicediting, but otherwise, the cut
pretty much stayed exactly thesame from the moment I was on it

(45:48):
till the end. But we did playaround a little bit with the the
Meet cutes for Harvey andLucas's characters, where we
were like, how late can we getin? We don't want to do the
whole pan down again. We don'tlike, do we go right for the
joke? Do we go right to thedance? Like, just sort of like,
tempering that and thenscreening it for an audience and

(46:09):
then gaging that response andgoing back to the editing room?
Like, okay, cool. We could try alittle bit tighter. There were
still a couple people that wereahead of us and figuring that
out. And the one of the, I thinkone of the funnier jokes in the
movie is the first time itflashes back to when he gets
iris, and the Goo Goo Dolls isjust blasting, and it's like to

(46:29):
see me as it cuts to him andlike, you know, the knock on the
door and they're delivering Irisfor him. But that sequence, that
was one that we actually lookedat because it was, it was a huge
exposition dump that you have tohave all of the information
about, you know, the companions.
But we wanted to make it likepunchy and as fast as possible,
and also lean on Jack Quaidperformer to make it as as funny

(46:51):
as possible. But I don't thinkthere was anything like any sort
of different approaches to it,the stylistically, but rather,
just like, I think most of, mostof what we went for was, like,
tight, compactive, like, all ofthis is necessary information,
but let's try to make it funnyand fit in this, you know, this
tone that we've created for themovie.

Yeah, I remember one point when we were
first making those flashbacks,there was, like, a film nerd in
me was like, trying to make themexactly identical between the
Lucas meet cute and the Joshmeet cute, where I was like,
exactly the same Frank count,exactly the same shots, like,
and that lasted all of like fiveminutes before it was like, this

(47:33):
is not going to work at all.
They just different, differentrhythms. Yeah, different

different actors.
You know, the

audience had already seen it the first time.
So it makes, it makes more sensefor it to be abbreviated the
second Yeah.

100% Yeah. And like Josh was saying, like,
you're just, you're trying toevaluate where the audience is,
and also, like, trying to stayahead of them a little bit. And
so if they can tell you're like,Oh, we're going to do the entire
pan shot again. And then thestepping on the tail, like
there's a sense of kind of itfeels, begins to feel a little
lethargic. And they're like, Oh,we got to settle in for all of
this again. This is going to be,like, another 45 seconds, and

(48:05):
Josh is exactly right. You justonce they sense like, okay,
where we are. This is the joke.
We got to fly through this toget them back to the ACE, the a
plot, get them back to the bulkof the

movie. Yeah. The the dream is to have your
audience right with the movie,not necessarily behind it, and
certainly not ahead of it, butlike, right with it for like,
maximum enjoyment, that's sortof like Spielberg zone. Of
everything is sort of calculatedand working well, because, like,
for a popcorn film, that'sreally what you're aiming for,
is, is that that level? Andobviously sometimes that can be

(48:34):
very, very hard to achieve. ButI think we were lucky to have it
on this one through great actorsand great writing and, you know,
obviously a great director andand also just that openness in
the cutting room, absolutely and

what a great joke. It's so layered with the
whole eye. Her name's Iris.
They're playing the song Iris bythe goo goo doll. There's

a friend of mine who loves, loves, loves, loves
the Goo Goo Dolls, andfrequently tries to remind me
that their first record was onmetal blade. And it's just like
they're so hard, they're so hardrock. When the joke was in
there, and he finally went to gosee the movie, he was like, he's
like, I think it's really coolthat he has really good taste in
music. Actually, the joke of itwasn't just like, everyone will

(49:14):
say, like, Oh, her name is Iris,the name and song is Iris. And
they think that that's thething. But really what drew and
I thought, and I think is trueso much about it is just like,
Josh is just like, a really lamewhite guy. And so yes, he's just
sitting in his room. He's justlistening to, like, the Google
dolls and like, that's kind ofthe joke about it. So I think it
works really well across the

board. Drew loves as well, I think, was
written for City of Angels,which his mom was in. Yeah,
that's one of his favoriteEaster eggs about the entire
process. Meg, Ryan, oh, trust

me, that movie was very popular in my house as
a kid. My mom loved it. AndJosh, I would be remiss if I
didn't ask you some questionsabout Orphan: First Kill,
because even when that was firstannounced, it's like, how are
you. You get to do a prequelwhen the actress Isabelle
Furman, I mean, this is 10 yearslater. She's an she's an adult.

(50:06):
She's gonna play a youngerversion of the kids, worse of
Esther. What were some of theediting challenges with that
film? Well, editorially,

I mean, we had done a lot of that in camera, and
which obviously, then, then fellon me editorially. You know, we
had, like, a lot of Texasswitches, where it would go from
a double and then it would sortof show what she was looking at,
and then it would come back, andit would be like a squatting
Isabelle Furman. But she was,she was incredibly game on set.
And I think she really loves thecharacter Isabel as well she

(50:37):
should. I mean, I think it's apretty like, well loved
character in horror circles. Andshe was, like, so keen to come
back and, you know, revisit thatworld, and to bring Esther back.
And she really, like, truly,mentally and physically bent
over backwards to make thatmovie happen. And I remember
reading and thinking in my headlike, of course they're going to
recast her, like, for exactlywhat you said, like, of course

(51:00):
they're gonna recast her. Andalso, how do you sequelize A
movie where, in the opening ofthe first one, you know, the
main villain, like, drowns in anice lake. So I was like, Oh, of
course, it has to be a prequel.
But I remember just falling inlove with the script, because it
was basically like a soap opera.
It was just these two womengoing at each other. It was like
a Bravo, you know, realityseries, just under the guise of

(51:20):
a horror film in like the in thein the orphan world. So I it
was, it was, it was incrediblychallenging, trying to make all
that work, and also havingscenes with with her and her
dad, because obviously theentire point of Esther is that
she falls in love with oldermen, and like trying to balance
that and make sure that we had aproper reaction from Julia

(51:41):
styles whenever we needed one.
There was, it was a bigchallenge. But I'm actually
really happy with how it cameout. I think what was most
exciting was that when it cameout, people liked it for the
same reasons that I had likedthe script, which is like, Oh,
this is just two trashy womengoing at each other. This is so
much fun. This is, you know,almost like watching that, like
that, that TV show feud. It'slike, oh, this is so much fun.

(52:02):
These, these, these ladies arejust going at each other. Go

get Korea started on hagsploitation.

I was going to say that's why the orphan films
work so well. It's because it ishagsploitation, but it's this.
It's a child, but it's not achild. Do

you know that they're there? They announced
the third one. I

think I remember it, but it wasn't off
top my head. I will be there.
Yeah,

I have read it. I can't share anything, but it
continues all of the, all of thestoried intrigue of the series.
And I think if you liked,especially if you like the
second one, you would you wouldlike what they're cooking up for
part

three. Can't wait. Speaking of what you can't
share, we need to wrap this up.
But what do you guys got comingup that you can talk about? You
got anything in the cooker thatyou can let us know?

I got two things. I have a supernatural
drama called Rabbit Trap withDev Patel that is coming out at
some point, I think later. Greatfilm, just coming off of
Sundance, and in August, I havetoxic, toxic Avenger finally to
burst into theaters.

Yeah, it was at the Beyond Fest screening that
movie rules. I'm so glad it'sactually going to get a release.
Yeah, it's, it's me

too crazy that they made a $20 million Troma film,
and I maybe, maybe that's why ittook so long to release. But I'm
glad it's finally coming out tofind its audience, because that
movie is a blast.

That is exactly why

I can't wait.
Because back in college, Iworked on a Troma project
briefly, and Lloyd was talkingabout selling those rights back
then. And so it's been like a 10over 10 year process of, like,
getting this

thing in the film. I can't wait to, like,
read the book about the preproduction on this film, because
it's, it's gone through, I thinkso many different actors
attached and directors like I, Iwas, like, brought in a little
bit on the story of, like, thebehind the scenes, like, up
until Macon was attached. Butthey found the perfect guy
making, like, so much. He's aTromas number one fan. He hit it

(54:05):
off with Lloyd, and he finds away to really balance the
lunacy, the the craziness, withsomething that's really earnest.
Yeah, the sentiments, Father,Son, Father, stepson, story at
its heart, and it finds a way tobe earnest and and sweet,
without being like overlysentimental, but still being a

(54:25):
goddamn Troma movie at itsheart. You know, it's still a
film where Toxie punches intosomeone, grabs their intestines,
rips it out through your butt,and says, give me your lunch.

What about you, Josh? What do you got
coming?

I have probably around the springtime. Joe Begos
and I started a film literallygot him. It's almost five years
ago now, but during thepandemic, we started like an
apartment film over at hisplace, starring him and our good
friend Matt Mercer. And itpremiered at beyond fest last

(54:58):
year, and it's still there.
Still like a couple of musiccues we were waiting for, a
couple of visual effects that wewere waiting for, but we were
like, we've had this for solong, we just want to put it in
front of an audience, which wasgreat. And thankfully, people
really responded to it andreally enjoyed it. But that is
now just about finished, andthere's going to be a bit of a
launch and a, you know, figuringout of distro and things like

(55:19):
that. I think Joe's dream is totake that one like, make a 35
millimeter print and just like,tour the country with it, like
drinking with a new audienceevery night. But yeah, that'll
that'll be exciting for that tobe out, and in whatever capacity
it sort of exists, that'll becool. And then Brett and I are
both, you know, I'm sure we'reboth reading things and getting
ready for what's next, andexcited to embark on on some new

(55:41):
success after both, both of uson Companion and Brett having,
you know, Heart Eyes, which isan incredible one two punch in
theaters,

absolutely.
Oh, thank you, sir.

Where can people do you got, or do you
guys both have socials or awebsite? Where can people find
out what's coming next? You sayyou're reading a lot. Where can
people find out the nextprojects?

I really, I'm just on Instagram. So if I'm
posting anything, any newsthere, I'm just on Instagram at
Brett W.Bachmann,

yeah, mostly on Instagram under my name, Josh
ether. I think I'm also on bluesky, but who knows if that'll
take off. You know, I would sayI am on blues. It's doing pretty
good. Yeah. I mean, it's got,it's got to be doing better than
X to and I mean, boy, that's,that's the sound thing. But I
think we're both pretty easy tofind. And also it's funny, as
I'm sure, Brett and I both, weget messages from young

(56:30):
filmmakers all the time thathave seen us on this sort of
publicity journey. So if anyoneis listening and you love
editing horror films, feel freeto drop us a line too. We're
both very happy to do anythingwe can to help younger folks
figure out how to how to do whatwe do for a living.

Yeah, right on. Love it. And also, I
encourage anyone listening tolook up either of these guys
imdbs. There is bound to be amovie you love in one or both of
their resumes there. These guysboth have incredible bodies of
work. So check it out. And thankyou very much for being here.

(57:05):
Like I said, we love companion,and hope we didn't spoil too
much for people who haven't seenit, because go in blind. It's
amazing. Our theme song is byRestless Spirits, so go give
them a listen. And our artworkis by Chris Fisher, so go give
him a like you can find us onall the socials, except for x
under @EyeOnHorror. So checkthat out. And also ihorror.com

(57:28):
is the website we call home, andeverybody see companion and hard
eyes and everything else onBrett Bachman and Josh ethiers
resumes, and we will see youguys in a couple of weeks. So
for me, James Jay Edwards,

I'm Jacob Davison,

I'm Jonathan Correia.

I'm Josh Ethier.
I'm

Brett Debbie bobman,

keep Your Eye On Horror

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Companion Editors Brett W. Bachman and Josh Ethier

Episode Transcript

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.css-r6mb8g{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:1;overflow:hidden;}Bookmarked by Reese's Book Club

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Companion Editors Brett W. Bachman and Josh Ethier

Bookmarked by Reese's Book Club