Wrestling Aliens With Composer Andrew Gordon Macpherson

Episode Transcript
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James Jay Edwards (00:24):
Welcome to Eye On Horror the official
podcast of iHorror.com. This isepisode 102, Otherwise known as
season six, episode 3. I'm yourhost James Jay Edwards and with
me as always is your other hostJacob Davison, how you doing
Jacob?

Jacob Davidson (00:39):
Doing good.
Happy to be here and veryexcited to talk about all the
movies I have been watching.

There are some good ones that we've got on
deck here. Also with us, asalways, is your other other host
Jon Correia How you doingCorreia?

Jonathan Correia (00:51):
Doing good.
struggling a little bit as Ijust had a spicy peanut butter
and jelly sandwich. I didn'tknow spicy peanut butter was a
thing that the peanut butter wasspicy. I guess there's like some
spicy in it. It's not like it'snot like super spicy. It's just
I kind of forgot that it wasspicy peanut butter. And now
it's like, like my mouths not onfire. But like, you know the

(01:12):
sinuses are going so if I soundnasally I'm not sick. I just had
spicy peanut butter.

Before we get started. Let's discuss the
Oscars because we just we weretalking about the Ocsars. They
actually happened. I know. Goodnow, but um, and here's the big
the big news is Laurie Strodeand Short Round both have
Oscars.

Good for them.

BOOM! Yes. I honestly thought the Banshees of
Inisherin was going to do whatEverything Everywhere All at
Once did and I thought they weregoing to run the table. The only
thing that kept EverythingEverywhere All at Once from
taking the Big Five is theydidn't have a leading male
performance. They cleaned up

and that one went to

that went to Brendan Fraser

Rick O'Connell themself from The Mummy, Brendan
Fraser Yes.

Which I am absolutely stoked because

Good for him

No, I'm absolutely stoked about that
because his performance in TheWhale was incredible. And I'm
glad that I've heard a lot ofpeople saying it was all makeup
it's like well no, he gave thatperformance in spite of the
makeup he basically acted withhis eyes and and actually his
makeup team won the Oscar formakeup too

and and also the it had a very special guest star
with Cocaine Bear presentingwith Elizabeth Banks.

Yes, they brought up Cocaine Bear with
Elizabeth Banks.

And I can't wait till next next Oscars when
Cocaine Bear comes out toaccept, you know, the awards for
Best Picture.

Yeah, well, let's talk about Cocaine Bear.
That's a great transitionbecause we're the kings of
transition. Okay, what do youguys think of Cocaine Bear?

I thought it was fun. I really I really enjoyed
it.

I think right now, as of March 14, Cocaine
Bear is my favorite movie.

But ya know, I really dug it because it did
feel kind of like a throwback tothe you know, those kind of old
school Animal Attacks movies,especially the ones by William
Gertler, like Grizzly and Day Ofthe Animals and all that,
because it's like, yeah, CocaineBears the focus. But also you
got like this kind of ensemblecast of characters and these
interweaving plots of like thecocaine and, and of course,

(03:17):
esteamed character, actress,Margo Martindale as the kind of
not not so great. Park Ranger.

She was brilliant.

The cast was brilliant. The ensemble was
amazing. And this is the scenethat they are getting hell for
because basically a couple ofpreteen kids how they might they
might be like, 13 they dococaine, but they do it wrong.

Yeah, they eat the cocaine because they think
that's how you do cocaine.

Yeah, the boy is trying to act all cool. I've
done it before. How do you doit? Ya eat it.

Yeah, no, I mean, and that and even then, it
just showed them being stupid.
And yeah, I mean, I've seen somelike panic articles be like, Oh,
Cocaine Bear endorses cocaine.
And it's like, no, no, no, kidsdo cocaine or like they eat
cocaine and they just feelterrible for it and it tastes
bad and Cocaine Bear is fuckedup because cocaine bear does
cocaine and fucks that bear up

if anything, it's the ultimate and probably
most effective campaign for antidrugs because that's basically
saying like drugs are bad lookwhat it did to this bear. And
also that bear really onlyattacked people that were
involved with the cocaine rightlike yeah, like most of the
people who were attacked, hadcocaine on them or in them and
stuff and are

like attacking attacking them for the Coke,
attacking them for the cocaine.
One of

my favorite bits was was after the one
victim that he kills now thismight even be in the trailer
now. I'm trying not to spoil toomuch. He kills a guy and there's
cocaine on him. So he does arail off his leg.

That's in the trailer.

It's great is that I don't watch trailer.
Trailer trailerable moment.
That's why I thought maybe

yeah, that Two things that I appreciate the
most about Cocaine Bear is afirst of all, it's directed by
Elizabeth Banks who has beenworking for decades now and got
her start and like has built hercareer on comedy. But one of the
first comedy she was in was WetHot American Summer, and the
movie opens with the exact samesong that went Hot American
Summer opens with. So for methat felt like a full circle

(05:22):
moment like this was her saying,like, I'm doing a comedy now I'm
doing my thing. And takingeverything I've learned. And its
beautiful

my favorite thing at the beginning of
Cocaine Bear was it gives you astat, and I forget what it is,
but it's some stat about cocaineor something. And then the
source is Wikipedia.

Yeah. Oh, and also how they do the opening of
the movie with like, a montageof all those, like, really over
the top anti drug PSAs likethis, your brain on drugs and
fuckin Pee Wee Herman holding avial of crack.

Yeah. And the other thing I really appreciats
about it is the fact that thereare so many characters in it,
and they casted them allperfectly. And every single one
of them had a story. It wasn'tjust like a generic thing. And
the stories that each have, likeeveryone has a storyline like
that you could essentially havelike a short film of just what

(06:14):
they're going through with theirshit. And it's so fleshed out,
and just almost unnecessarily sovery flushed out all the
storylines that have nothing todo with cocaine or the bear. And
it's amazing because of it, likeyou have stuff like, I think one
of the policemen has like a dogthat he didn't want, like, you
want to go adopt a dog, but hedidn't like the dog that he got.

(06:35):
And then like, as the movieprogresses, it shows like, no,
he's fallen in love with thatdog. And it's just like, why are
we spending so much time onthis? Like, I'm happy that we're
doing it. It's it kept blowingmy mind. I'm like, we just spent
five minutes on another fuckingsubplot.

He called it up the adoption place. You know,
there's been some kind ofmistake, I thought I was gonna
get one of these Labrador man'sbest friend type. And he got
this foofy little princess.

It was a little pink bow.

It's so good.

It was it's funny because it's a
surprisingly well written moviefor being about a bear on
cocaine. Cuz trust me, thattitle is not a metaphor. It is
about bear on cocaine.

No. And that's the thing too. It's very well
made very well acted all thesecharacter plots, but it delivers
on the premise of a bear, like,literally delivers

a bear in cocaine doing what you would
expect a bear on cocaine to do.
Yep.

It's, it doesn't pretend to be anything
else. But the thing is, like yousaid, the subplots, and also, I
don't want to spoil too muchabout it. But there's a parallel
between the main character theKeri Russell character and the
bear that is made evident. It'sjust a really cleverly written
movie. And it's clever when ithas to be and it's stupid when

(07:48):
it has to be so Oh, it's myfavorite movie of the year so
far.

Yeah. And the subplots really did pay off and
had really good casting. Like Iwould be remiss if we didn't
mention Ray Liotta, as like thesouthern crime boss who lost
cocaine, so he sends his goonsinto the forest to get them.

Let me tell you, Ray Liotta went out with
some of his best performancesthese last years. Like I just
finally watched Many Saints ofNewark. He was phenomenal in
that. And I just watched BlackBird on Apple TV, which is a
phenomenal miniseries, I highlyrecommend it but Ray Liotta and
that was insanely like powerfulperformance and then just

(08:27):
finished Black beard-bird gointo Cocaine Bear and he gives
us amazing comedic performancesjust like God damn, Ray Liotta
was one of the best,

but he's not trying to be what he probably is
trying to be comedic, but it'sso effortless that he plays the
role straight. Yeah, but becauseof how it's written, it comes
off as comedic. It's, oh, it's,The more we talk about it, the
higher it's climbing. It mightbe one right now.

Yeah, I mean, I just love that they do that like
opening kind of prime meeting ata Chucky Cheese. Yeah,

because his grandson is there

was just out that whole bar scene when O'Shea
Jackson meets with him and theguys just sitting there and he's
just like eating pasta. I waslosing it because I'm like, what
is up with that pasta? There'snothing on that fucking pasta.
But then O'Shea's like can I getthis? What's it I just like?
There's nothing there's nothing.
It's again, it's those littledetails that make this movie
work. So well.

We're going to be the kings or transitions
here because Cocaine Bear waswritten by Samira Weaving's
husband. And another thing wesaw Star Samara Weaving Scream 6

Yeah, by Radio Silence fequent collaborators
with Samara Weaver

and we don't want to talk too much about
scream six. Because first ofall, if you talk too much about
it, you spoil it. And second,we're going to do a minisode in
which we're going to spoil thecrap out of it. So

yeah, if you want to hear more, yeah,

if you have seen it, and or you don't mind
it being spoiled, go to ourminisode but otherwise, what do
you guys think? Just broadstrokes.

I really liked it. Yeah, no, I thought it was
good. And it finally did whatsome Many other horror
franchises did and failed todeliver on Ghostface takes
Manhattan. Yeah,

it went to New York. I, I liked it that
there's one thing I'm a littledisappointed on. And I'll
elaborate on this in theminisode, which may posting
before this episode, but Ithought it was a little too
safe. And I'll explain what thatmeans in the minisode. Because
it's hard to do it withoutspoiling, but

I'm probably gonna fight you on that.

Well, okay, then we

Hold it guys, we got to save it for later saving
for the ring.

did exactly the thing. The thing is it it
is, like you said it pretty muchdelivers. I think it was a smart
choice to set it on Halloween.
Because that because alsobecause ghost face is such a
phenomenon in that universe. Itmade it hard to figure out who
the real ghost face was becausepeople are dressing as ghosts
based on Halloween.

And I did like to that point how they had in
the thing. You know, very earlyon in the movie, they're like,
oh, because of the recentkillings. You know, Halloween
stores are selling out atGhostface masks. That is how
people react to shit. Like, oh,there was a lot of like, really
good parallels there. And the

All the people who wanted to be Ted
Bundy for Halloween, and theInternet the Internet kind of
turned on them. It's like I'lldo Do not be Ted Bundy for
Halloween. You're not clever.

Yeah, no, they really nailed that kind of
phenomenon of you know, does itthere's a controversy or there's
like something really terribleone year like a lot of people
are going to dress up it isHalloween. Like remember when
everybody dressed up as TigerKing for Halloween? Right when
that happened? Yeah.

Yeah, well, that's just the fun costume I
think

Scream 6 really delivered on all the
thrills a it was fresh. It stilldid. Like the spirit of Craven
was there but it was definitelyRadio Silence's film and I gotta
say surprisingly, is if not thefunniest, the second funniest
screen movie, like I waslaughing so hard at so many
points.

So many great gags,

and I want to talk about it so much more, but
we'll save it for the minisode.

We will, Yeah, we'll talk about it. So
what else you guys have beenwatching?

Um, well, I had a hell of a weekend specifically
with Cinematic Void on twofronts. Firstly, for March, so
Cinematic Void decided to do amarch movie madness series a
screening so every Mondaythey're doing a different horror
movie set in around movietheaters. So the week before

(12:28):
they did Joe Dante's Matineewith Joe Dante in person and I
had to say that's still probablyone of my all time favorite
coming of age movies. I justreally love John Goodman as the
kind of William Castle type guyand you know, the Mant! stuffs a
lot of fun. And yesterday theydid one of my favorite kind of

(12:48):
meta slashers Popcorn starringthe great Jill Schoelen who was
also there for q&a. And again,it's this is a genius premise.
You know, like slasher, thiskind of like Phantom of the
Opera type guy is going aroundkilling people with props from
these Bali who old movies at ahorror movie marathon. I just I
love it so much. It's just wildthat it's set in or was filmed

(13:11):
in Jamaica. So it's got like areggae soundtrack, but it
actually kind of works. If youguys see Mattinee or Popcorn?

Oh, of course, love Matinee and Popcorn is a
lot of fun. We actually have atheatrical sized poster for
popcorn in our apartment. And

yeah, and also the poster I think is what
really sold it for a lot ofpeople because it has one of the
greatest horror movie taglinesever "buy a bag, go home in a
box" and and Cinematic Void.
They had their seventhanniversary so there was the
Cinematic Void Seven Deadly Sinsmarathon last Saturday where
they played seven differentmovies on 35 millimeter from the

(13:46):
history of the series. And thosemovies were the Warriors, Beyond

the Darkness, Halloween 3: Season of the Witch in (13:51):
undefined
superscope, The Funhouse TobeHooper's Funhouse in superscope
too, then grain Clark'sJoysticks, for Chuck Norris his
birthday that day, Silent Ragewhere Chuck Norris fights a kind
of knockoff Michael Myers typeguy. And they ended with one of

(14:13):
the most bonkers Italian zombiemoves of them all. Burial Ground

Burial Grounds dope. Yeah,

no, that creepy little kid just is just such a
creepy little kid. And aren'tthey? It was also fun because
Deanna Rooney was there and shealways does characters for
Cinematic Void's shows. So shewas like, dressed up as like a
Giallo black glove killer andshe was actually Michael from
Burial Ground. And yeah, so alot of good bits. And you know,

(14:44):
just it's always one of myfavorite film series programs in
LA. So I'm really glad I wasable to be a part of, you know,
kind of a salute to that andthat's still going and having
wild kickass screenings Yadier.

I've been a I've been hitting the TV
watching Real hard since I'vebeen funemployed. You know,
watching a lot of Star TrekPicard watching a lot of Apple
TV that is, as I said, I watchBlack Bird, which if you ever
watch that it's Taron Egerton orEdrington, the guy from
Rocketman and Kingsman and allthat and he plays like, like a

(15:22):
like a drug dealer who gets putin jail, and he's given a ticket
out of jail. If he can, likebefriend a serial killer and get
him to confess to murderers. Andit's hard hitting Ray Liotta
plays his father, amazingperformance is really good. We
also finally finished watchingSee with Jason Momoa, which
we're into post apocalypticworlds with great world building

(15:44):
See is incredible. But I alsohad been in the Shudder, and I
watched Have you guys heard ofNocebo?

I've heard of it. I think it's on my watch
list. I just haven't watched ityet.

Oh, definitely check it out. It's from the
director who did Vivarium abouta year or so ago, the one with
Jesse Eisenberg.

Oh, yeah.

This one is it's Eva Green. And she plays a
fashion designer who hires ananny from the Philippines to
assist caring for her family.
Because she's getting she'sgotten really sick. She's
basically got Lyme disease froma tick, although they don't
outright say it, which is veryfrustrating. So whole time, you
know, people are likegaslighting and being like, Oh,
well, you it's just in yourhead. It's just because you're
guilty. And it's like, I'msitting there going, No, this is

(16:26):
all the signs of Lyme disease.
Fuck, have you not seen The PunkSinger? Come on. But if you as
the movie goes on, you find outthat the nanny is actually
connected to why she's sick. Andit deals with the themes of and
critiques on fast fashionculture, and how a lot of

(16:47):
fashion that's coming out thatgoes out to like Target and all
those places are made via likehorrible sweat shops and slave
labor and stuff of that nature.
And it's really, it's reallygnarly. There's some really
great performances. I really Ihad a lot of fun with it. But
the ending is very gnarly.
You're in for a rough time,especially if you grew up around

(17:10):
areas where ticks are prevalent.
The bits with the ticks are notfun at all. They're very
squeamish. So ya Nocebo it'splaying on Shudder right now. So
highly recommend it.

One thing that I dug into that just want
to mention real quick becauseit's hilarious is I saw a
documentary called Corman'sWorld. Either you guys seen
this?

Have? Not yet but it's about Roger Corman.

It's exactly what you think it is. Yeah, it's
a documentary about Corman, butit's funny because they talk to
everybody Jack Nicholson has asurprisingly big interview and
and he's there all time. And thefunniest part to me, and it was
they go to Ron Howard who didGrand Theft Auto for Corman.
And, and at one point, there's ademolition derby in the movie,
and Ron Howard goes to a Cormanand he says, Hey, we need more

(17:55):
extras for this, you know,because they only like 75 Extra
is supposed to be this hugedemolition derby and they needed
more, and Corman wouldn't go forit. And they were getting to
this discussion about it. AndRon Howard's telling the story.
He says, he says And finally atone point, Roger put his arm
around me and said, Look, Ron,you make this movie. If it does,
well, you never have to work forme again. That is just such a

(18:20):
one. That's the Corman filmschool. In a nutshell, if you
make one good movie for Corman

I love watching documentaries about
people and figures and momentslike that. And Corman is one of
the coolest because if you dolook at his catalogue, it really
was a go hard fit, you know,hands on film school for a lot
of big filmmakers. And I'm I wasso happy to see Nicholson in
there because Nicholson was in abunch of Corman films before he

(18:50):
took off and even like, if youlook into like the history of
The Terror,

but he also does an awesome story about how
he basically didn't really screwhim out of it. But he kind of
tricked Corman out of apercentage of Easy Rider because
he wanted to be paid more thanscale to write something for
Corman and corpsman says, Okay,I'll give you a scale plus five
bucks. And the next thing thatNicholson did was Easy Rider,

(19:18):
and he's found some loophole tobasically take Corman off of
that as a producer that wouldhave made him a ton of money.
Because it was Easy FrickingRider. At one point, Nicholson
is reduced to tears talkingabout Corman. I mean, it's a
really genuine, honest, I mean,he loves the guy. And a lot of
people say that a lot of peopleare like, Look, if Roger Corman

(19:38):
calls we're there, you know,it's just it was a really sweet,
you know, community film movie,

which it's just so good to see. And I see
that a lot in doing tropes gointo Troma things and stuff. You
see the families that are builtaround this, these fast paced
indie film things because at theend of the day, when you're
making anything you spend somuch time with me with these
people. But when you're whenyou're doing it for even cheaper
and doing it even quicker, youreally have to trust and get to

(20:10):
get along. Otherwise it's goingto be 1000 times worse. So it's
Yeah, Corman's World is greatwatch. It's very educational and
lots a lot of fun. As you guysknow, a couple episodes ago, we
had John Campopiano on and hehinted and talked a bit about
how he was working on a shortfilm called Snapper, which was
about the unmade snapping killersnapping turtle movie from the

(20:35):
guys who made Attack of theKiller re- Refrigerator. Well,
Terror Vision finally put outthat blu ray for Attack of the
Killer Refrigerator, and it'sloaded with a lot of special
features from those filmmakers,including Snapper and that
that's probably the most I'vespent on a short film because I
was like I like I willeventually watch Attack of the
of the Killer Refrigerator butSnapper was why for a 30 minute

(20:58):
doc he gets so much informationbecause it's it's a fascinating
thing, because these guys had abit of success with the two
previous movies. So they'relike, oh, yeah, we'll be able to
do this. And they invested a lotof money into making a a trailer
you know, as as like a sellingpoint for Snapper. And it just
didn't go anywhere. Which wasvery interesting. Like they

(21:19):
built animatronics, they builtthe Snapper. And they go into
great detail about thelimitations of what they were
able to do with what littlebudge they had. But man, what a
fun piece of of cinema and youcan you can feel the love from
John and the other filmmakers asthey're talking to them about
it. And, man, it's really cool.
If you're do if you're a fan oflike, low budget DIY shot for as

(21:40):
little as possible, becausethat's all they have type of
cinema. Get the Attack of theKiller Refrigerator, Blu Ray,
it's, it's with Terror Visionright now. And the special
features are so much fun, evenif you're not like the biggest
fan of that style. Like thefeatures are great. And just
learning how they did this andwhy and like all that there.

(22:02):
It's really cool. What do youthink, Jacob?

Yeah, well, it is always interesting to watch
documentaries about movies thatnever were movies never got off
the ground. And I would say Iwould like to live in the
universe where Massachusetts hadits own giant killer snapping
turtle movie.

I mean, a great world to live in.

It really would.

And now we're joined by a very special guest.
It's Andrew Gordon McPherson. Isay that right?

Andrew Gordon McPherson (22:31):
Yeah, although the joke the joke I
make is there's no fear andMacpherson's.

Oh, nice.
Andrew Gordon McPherson.

Yeah, but that might just be my
Canadian accent. I actually haveno problem with McPherson.
McPherson is actually like it'smore like my Treehouse of Horror
like title.

With an F E A. Yeah.

For all my horror films. I should get
them to like all uppercase FEAR.

Yeah, that would be great. Andrew is the
composer of among other things,the score for Jacob's favorite
Kids vs. Aliens.

Jacob David (23:06):
YEEEEAAAAAHHHHH!!!!

If you've been listening, you heard Jacob
rave about that. And

Hell yeah I have

Correia and I actually caught up with it. And
he's right. It's a pretty funlittle, little alien invasion
movie.

Thanks, guys. It was a blast to work on.
Hopefully as much as it was towatch.

It sure was.

Let's start with the question. I always like
to start with the Peoples, Howdid you get your start? I mean,
as a musician. How, I mean, didyou start playing in bands? Or
how did you get your start as acomposer?

Yeah, I mean, this is there's a long
sort of runway to this but longthe short of it is I played in
crappy bands and I went to filmschool.

You know, you're speaking my language.
That's me.

I was about to say, is this your biography or
Jay's? No, no crappy bands.

Sorry, the band's weren't crappy, I was
crappy. No, I got I got super. Igot super inspired as a lot of
people do, who grew up in smalltowns of like, punk and DIY and
all that sort of stuff. And Iwas I always loved movies. But
movies were on this like, upperechelon of like, it's like the

(24:22):
Mount Olympus of like, wherestuff comes from like I never
thought I would like get intomaking movies until really like
my the my last year of highschool. I think I saw
Aronofsky's Pi. And I was reallyinto like black and white
photography and electronic musicand and all this stuff. I really

(24:44):
thought I was going to like, getinto like, I was going to try
and like be a comic book artiststhat played like bass in a punk
band. But then I like discoveredsort of American independent
cinema. And I was like, oh,there's a way I could like do
All of these things in some sortof fashion. And so I like switch
gears really fast and I likewent to community college for

(25:07):
for what it was called ScreenArts, which is where I met Jason
Eisner, actually. This is in2002, 2003. And so I was I was
really like into musicproduction and like playing
bands and but I didn't reallythink of it as like my career
path is just like my, justsomething I was passionate about

(25:30):
and just learning a lot about.
But there was like transferabletransferable skills to like, I
ended up doing sound for a lotof the student films I was
working on and ended up doing alittle bit of music here and
there. And I was like, startedto get more into like, producing
for other people perusing alittle bit of hip hop's artists,
a bit of electronic artists aswell as like, playing bass in
the punk band. And it was justkind of a long, like, I mean, I

(25:54):
was, uh, I worked as a pictureeditor And while I said post
assistant, and an assistanteditor, then a picture editor
for a long time, like 10-15years while and in the midst of
that I had some sort of minorsuccess in the music industry as
well doing like, doing toursand, and producing and

(26:16):
eventually, like, I was doing abit of music for picture all
along. But it wasn't until, Iguess, about five or six years
ago that it just became my fulltime thing. And it all made
sense. And actually just like,felt like, I feel like I can
kind of do the scoring thingbetter than I could have was

(26:37):
doing any of those other thingslike it was just like every
everything coalesced. So it wasyeah, it's a really long, long
story short, while I said thatat the beginning, crappy punk
band and then went to filmschool, but

I feel like I lived your long story because
aside from the success part thatyou've had, but the punk bands
to film school, yeah. How didyou get into to the horror
scene? Was it all through JasonEisner, or did you have other
connections? Well,

in the most visible baahh, I guess not
because my, my partner wrote anddirected a short called And They
Watched, which I edited andscored, which was really the
first short that I actually noit wasn't the first sort of

(27:31):
scoring it was the first horrorshort I I scored in earnest. And
that got licensed by the FunSize Horror people. And it was
and I think it went in thecollection at Alamo so it like
plays in the intro, not in theintermissions but like you know
how they have the random Preshow reel, thank you. So I we

The pre show reel
don't have Alamo here. So the Igo there. Like, it's been years
since I've gone because ofpandemic things. But anyway,
yeah. So that was the first sortof horror thing that I did that
like, you know, it did thefestival run. And then it was
part of Fun Size Horror thatanthology. And then I did the I

(28:12):
did the Far Cry DLC, the DeadLiving Zombies one and which,
yeah, video game. And it was theconcept of which was like, there
was six or seven levels, Ithink. And each one was
basically like, there's kind oflike this sort of B-movie
director type guy who's likepitching different executives on

(28:33):
different types of horror filmshe wants to make, and then you
play this first person shootergame in this and each one is a
different style of horror. So Igot to kind of cut my teeth on
like, doing a sort of JohnWilliams, Close Encounters type
of like video games score, andthen doing like a cart, John

(28:53):
Carpenter style and doing a HolyMountain style doing like, and
just just like, you know, kindof like, do a pastiche of
everything. And then yeah, andthen i i Actually reunited with
Jason because he was editing afilm called Goon: Last of the

(29:13):
Enforcers, the hockey movie?

Oh, yeah.

Big fan of Goon

I love those Goon movies. Yeah. So

Jason Eisner was a was the main editor
on that and I was his assistant.
And now that happened was he wasliving in Nova Scotia. I was
here in Toronto. And Jason, likejust put a message on Facebook.
Like I haven't needed anassistant editor for a feature
in Toronto. Let me know if youguys know anybody who's good and
at the time I was working I hada full time job at a post house

(29:42):
as an editor. And I was like,hey man, I know lots of
assistant editors I can help youout let me know the project I
can find you a good fit and he'slike it's Goon 2 The Last of the
Enforcers with its directorialdebut of Jay Baruchel. You know,
I want to find someone coolbecause we're gonna like cut it
in his house and I was like, I Iwant to do that. And I love
Jason I already had, like, Ilove Jason We knew each other

(30:03):
for years, right? And I quit myfull time job, and went and
jumped on that movie. And itwas, it was, it ended up being a
good move for a lot of reasons,not least of which was the posts
house like closed, six monthslater, like went out of business

(30:24):
like later. And the movie, theposts on the movie went for,
like 11 months. So worked outthat way. But, but now me and
Jay and Jason just like worked alot in his house on a lot on
that movie. But um, you know, atthe time, Jason, Jason had to
duck out for a while to hedirected second unit on Adam

(30:45):
Wingard's Death Note. And so wegot to, like, we got to, like,
sort of, you know, be aroundwhile Jason and Adam were
working on that a little bit.
But there's all that stuff. Andthen Jason was pitching other
movies and I was like, kind ofgiving him little bits of music
cues and, and I got involved Ilike worked a little bit with

(31:06):
the composers on Goon just froman editorial side, but also
like, you know, helping out insome other ways because I did
have a recording studio inToronto at the time. And and
yeah, and then Jays next movieafter that was Random Acts of
Violence, which is a movie theShudder movie, and he asked me

(31:28):
if I would edit it and CO scoredand and so, you know, that was
my sort of moat that was up tothat point, the most like sort
of major body of work I did inthe sort of horror space. I
don't like horror space. Soundslike I'm talking about some kind
of tech incubators. And they'vebeen but like, as far as like,

(31:52):
horror stuff goes like that wasa significant chunk of work both
on the editing and the musicside. So So yeah, and then you
know, from from there, there'sKids Vs. Aliens and Dark Side of
the Ring, and both of which areheavily influenced by horror
and, and I did a couple ofotherr features. I did The
Ranger, I worked on the Rangerand Spare Parts

I love that move

Just about to bring up The Ranger because I
was like, oh, man, punk rockbackground that must have been a
dream come true. Get again,getting to do composing with
like a movie that was so heavilyinvolved with like punks, and,
you know, anti establishment, orwhat have you.

Yeah, so that was the first full
feature that I worked on as acomposer and I co scored it
with, with Wade McNeil who wasinvolved in the music on Goon.
And, I mean, he's, he's like,his bread and butter is sort of
like the punk stuff. I was moreon the music production side at
that point. But someone, someoneasked him to be involved on

(32:51):
that. And then he I think hewanted my help to kind of get
through the, the sort oftechnical aspects of it, but
there was also a lot of like,you know, there's synth stuff in
there, which is sort of minemore like my lane, I guess. And
and so that was the first thingthat we we did together and it
was the first first feature Idid in the first horror feature.

(33:13):
I did I guess,

nice and off of your scores. I was going to ask,
what would you say were some ofyour influences working as a
composer scoring movies? Oh,

wow. I mean, from like, my, the, I
can't remember which was firstbut the first three movies I saw
were Ghostbusters one and twoand Batman 89. So in the in the
theater, and this is when I'mreally young. I mean, I'm born
84 Batman 89 is 89 I thinkGhostbusters came out the year I

(33:48):
was born and Ghostbusters two is87 Or maybe or maybe a bit
later. But I like to say thatlike like the number one record.
The day I was born was PrincePurple Rain, and the number one
movie was Ghostbusters, and Ifeel like that is the center of
my my like Venn diagram.

And Prince did the music for Batman. So it all
connects. Yeah, exactly.

Like, like spooky funk. Like, so. So
yeah, I have a very highreverence for Danny Elfman and
did like you know and goingforward from there, and I mean,
Nightmare Before Christmas.
Edward Scissorhands and on andon. And you know, the Elmer
Bernstein score on Ghostbusters,of course. I mean, both of which

(34:35):
are huge influences on Kids Vs.
Aliens. But but those are myearliest like, the first film
music that I loved and and thenmaybe, maybe a little bit like
Teenage Mutant Ninja Turtlesfilm the film a few years later,
but

that's great to hear for me personally,
because the live action TMNTmovie was such A big thing for
me like I love Yeah, I needthose deep cuts brought up more.

There's that cue i the name of it
escapes me with that cue thatplays when. So Raphael is on the
on the roof and the Foot Clanattack and they throw him
through. And then the like theantique shop catches fire and
there's this cue that this isspecifically the cue where like
this cue is, is like,fundamental to like what I do

(35:29):
now I feel like it is soingrained in like, what I think
works with picture. It's it'skind of I think it's in a weird
time, but like, I think it's inlike seven eight times even
sure. And it's like, but it'sthis arpeggiated thing and but
and it's got like the these kindof big sort of digital drum hits
and and I can't think of thename of it off the top my head

(35:50):
but that cue especially fromTeenage Mutant Ninja Turtles,
but um, but you know that theall of that stuff is phenomenal.
But like I had no, I had no likemisconception that I could do
what like I could do those like,I couldn't make that at that for
most of my life. Like, you know,I was like, you know, Danny

(36:12):
Elfman is like, probably likethe most prolific artist who's
ever lived possibly like, andwhen you're talking about like,
over, I mean, I think HansZimmer technically has more,
more credits, but like, I feellike, I don't want to, I don't
want to I think he's got a lotof assistance and a lot of
people that want to helpers. And

yeah, Zimmer does, he has a staff

And I think like Danny Elfman, like, I
feel like, he like gets hishands in the slime of every note
of an end. So if you're talkingabout a guy who's like, if
there's 30, to 60, Q's and afeature film, and he's done 150
films. Anyway, I'm on a tangentabout Danny Elfman. But like,

(36:55):
the the thing was, like, I neverthought I I, my music theory is
really poor. Again, I come froma like, very DIY, DIY, like sort
of film music background, orsorry, very DIY music
background, I'm mostly selftaught, I took some piano
lessons, I quit, I hated them.
You know, I took music in highschool, I hated it. And but it
was then like when Irediscovered sort of American

(37:19):
independent cinema, the ClintMansell score on Pi, which was
like very electronic, and sortof homemade in ways. And I'm
seeing how that worked in thenew idiom of sort of independent
American films at the time. Andthen going back, and like, once
I got into synthesizers, andprogramming synthesizers, and
music production, you know,heavily into Tangerine Dream,

(37:43):
and John Carpenter, and youknow, these, these sort of,
like, man in a basement with atape machine and two keyboards
and a drum machine scores and,and, and it became something
that was like, within, like, youknow, for my first 15 years of

(38:03):
working in the film industry, Iwas like, Yeah, I can, I can
make records, but I'm not a filmcomposer, like, I can't, I can't
write you. At that time. I waslike, I can't write you a string
arrangement or something likethat. But I can do like a really
dope, like, you know, drummachine and three synthesizers
score if you want that. And Ijust got really good and hone my

(38:26):
skills that like, being a greatmusic producer, and, you know,
like making records that hadimpact and, and my story skills
were bolstering through all myyears of film school and hanging
out with the likes of JasonEisner, and Jay Baruchel and,
and so I think that it all justcoalesced to like, okay, now I
need to, like, fill out the restof my skills. And like, you

(38:49):
know, learn how to write astring arrangement and learn how
to write a brass arrangement.
And, and so that's, that's beenmore of the journey in the last,
like, you know, half decade ormore.

That brings up kind of my question that I've
been wondering. Basically, sinceI figured out that you also did
the music for Dark Side of theRing that the series the vise
series, what is your processlike because your scores like
you said, they're not realorchestral it almost sounds like
like a guy in his basement withthree synthesizer drum machine.

(39:24):
I mean, it is do you preferwriting that way just by your by
yourself? Or would you ratherconduct an orchestra if given
the opportunity?

I mean, I Yeah, it's

I think that sound told me my answer.

First of all, I love like, I love
going in the basement and makingmusic with a synthesizer like I
will do that till the day I dielike my my when I'm 90. I'll
have a prophet five next to mydeathbed with Linndrum and I'll
be fiddling with like, I have acompulsion to do stuff like
that. And I love it because itis Like, on it, it's like,

(40:03):
unrestrained, like I know, liketo get 60 musicians in a room
and that, you know, has enoughrecording firepower to actually
record them and do it justice.
And it's, you know, there's abarrier of entry to that.
Financially, obviously, now wedid it with Kids Vs. Aliens, but
I, but I, like I love I love thelike, I love them both, but

(40:27):
they're, they're different. Youknow, they're, they're so
different like, because one oneis like drawing in your, like,
drawing in your sketchbook and,you know, one is is like putting
on an art show. Like, like, andthey're both like, very

(40:48):
gratifying in different ways.
And, and I like when I wasreally when I was really young,
I wanted to be a comic bookartist. And I studied comic book
artists. And I remember therewas like this interview with
Frank Miller, like drew Batmanand Daredevil, and wrote Batman
and Daredevil, and he laterwrote Robocop 2 the film and he

(41:13):
go directed part of Sin City,which is based on a book he did
blah, blah, blah. Anyway, hislike, he had like, a quote about
comic books about like, why,like, why are comic books so
like, crude or whatever. Andhe's like, there's an energy
that comes from having todeliver 22 pages a month, or
something like that, that youdon't get from any other art

(41:36):
form where people aremeticulously to be like, you
just you need to get it out. Butthere is like, an energy you get
off the page from that. Andthere's, like, with Dark Side of
the Ring, there's like, I do anepisode a week. Which is a,
which is 20 to 35 ish minutes oforiginal music every week, from

(41:58):
the start until the end, and Ionly get a break, like, if they
need a break and editing. Soit's like, it's very it like,
it's very regimented. And it'svery like, like, it's, it's, it
pushes, like to push myself tothe like, I gotta fill that
sketchbook kind of thing. Like,like, before the clock tick,

(42:19):
like runs out every time, youknow what I mean?

And that's you in the, in the, in your
basement or in your studio,right? I mean, all that Dark
Side of the Ring stuff soundslike, it's like Carpenter's kind
of synth stuff. There's noorchestra for that. Right? It
sounds like there might be livedrums use a band, sometimes

I play like, it's it is all me. There
are like neoclassical elementswhere there'll be like, sort of
Philip Glass asks like littlestring quartet parts, but it was
like the I think the originalsort of inspiration for that was
very much Philip glasses scoreon Thin Blue Line, but but to

(42:57):
sort of, like marry that withthe Tangerine Dream, John
Carpenter 80's cinema feel. And,but I'm like, I'm doing that the
sort of like neoclassical bitswith whatever tools I can,
whether it's bowing my guitars,or using sort of sample based

(43:18):
instruments or, and yeah, andthen I play some percussion, and
I play. I play bass and guitarand acoustic guitar, and I have,
I don't know, lots of otherweird little stuff that goes
into it, but it's yeah, theproduction of it is all at my
house. Well, my house now my,my, I've moved out of my studio

(43:41):
into my house,

some of the Dark Side of the Ring stuff
sounds like you're waiting forthe vocals to kick in. As they
sound like actual songs thatare, you know, cranking along
you know,

I don't know if that I, I'm going to
take that as a compliment.

It is a compliment. It is,

I, I, I think that I the way I write is
from like, vocal first, I don't,I don't literally write a vocal
for a song and then throw itout. But like, like, I think of
the like key melody, and sort oflike write, like, and I mean, I
want it to be single, and like,have a hook and kind of, you

(44:19):
know what I mean? And then andthen I sort of build up the
arrangement around that and andthen I like the Dark Side,
because it's like, there's a lotof interviews. It's like, tried
to like leave enough space forthe interviews to be heard and
various degrees of success.

So you're a songwriter more than a composer.
I'm just busting your chops now.

I want I mean, at the beginning of my
like, film composer journey, Iwould agree with you 100%
Because I had written way moresongs, but at this point, I've
written way more cues for filmand television and video games
than I've written pop songs. So

Kids Vs.
Aliens. That's a film score.
That's not those aren't songs.
But the dark side of the ringare songs. You know, almost I
mean, they sound like I'm to meat least.

Yeah, and the Tales from the
Territories, which is kind ofthis the the sort of like,
sister show of Dark Side of theRing, which came out last year.
A lot of that is like me tryingto tap into 60s 70s 80s Pop type
production. And and, you know,feel like the songs on the radio

(45:28):
while they're like telling thesekinds of road stories, I guess.
So yeah, I mean, that thatinforms everything I do for
sure.

And how gotta ask is this Kids vs. Aliens is
now the third project that'svery wrestling heavy. And what
is what is it like because Talesfrom the Dark Side, there's a
lot of love for wrestling inthat show,

Dark Side of the Ring,

or sorry, by Dark Side of the Ring. A lot of
love for wrestling there, butit's about it's in the title.
It's about the dark side. It'sabout you know, the not so fun
parts of it, but the love isstill there. So what is it like
going from spending so much timein that? Showing that side of it
to Kids Vs. Aliens where it'sjust pure? You know, that

(46:14):
adolescent love for it?

Yeah, like I keep joking that I'm
gonna get business cards thatsay like Prestigious Wrestling
Composer. But also then, like,prestigious wrestling composer
like I like that need to like, Ineed to actually like join a
wrestling promotion. Just tolike go go all the way with it

(46:38):
and like have a gimmick is likethe Maestro and something

didn't WWF back when they were WWF they had
a guy who wrote all theirentrance music

Yeah, Jim Johnston

Yeah, there you go. So

he's the only he's the only more
prestigious wrestling composer.
At this point I maintain now heYeah, his his musics huge
inspiration to I think,especially everything Jason does
for sure. Like, I mean, he'stempt in wrestling wrestlers,
theme songs into edits, I'm surelike, like, he's very inspired

(47:11):
by that stuff. And, and, youknow, I am as well because it's
like, that's, that's a move, orwhen I was growing up watching
WWF at that time was like, thatwas a place where like, everyone
had a theme song and like, like,where do you get a better like,
education of like, when you hearthe song, you know, what's

(47:32):
coming, then wrestling where thelights go out? And you hear the
bell? And it's like, oh, it'sUndertaker, you don't even need
like, like, and as I like, justfundamentals of scoring, it's
just like, you can do that withevery movie in some some format,
you know what I mean? But goingback to your question is like,
yeah, like I, you know, withDark Side of the Ring,

(47:56):
especially, like, it's, it'soften because there are these
kind of the format's more ofthis sort of like prestige,
documentary style. It's moreabout finding the storytelling
of the characters, and then liketeasing in what I can from their
gimmicks, that is, like,tasteful in the like, you know,
what is probably like, theharrowing story of behind the
scenes, which is actually goingon. And then with Kids vs.

(48:18):
Aliens, Kids vs. Aliens, it's,it's, you know, hyping that up,
because there's this meta sortof narrative of like, they have
a, they have a movie, they'rewrestling in a movie that's in
the movie. And their movie iskind of also our movie. And so I

(48:40):
don't think too hard too much.
Like, like, about Ed sayswrestling is just, it's in the
tapestry of me growing up. Andyou know, I was a fan for a long
time. And then I got moreinterested in buying records

(49:01):
and, and sort of other forms ofpop culture at some point, and
then came back around when I hadto become a Prestigious
Wrestling Composer.

And focusing on Kids Vs. Aliens. We're
wondering, When did JasonEisener approached you about the
project and what was your yourstrategy in making the score for

Yes. So I was working on Dark Side it?
season three, and it was justabout wrapping up I think, and
and he was like, yeah, here Igot the script. And I didn't
know much about it. I knew Ilike I knew. So it's sort of
it's based on short, that he didas part of V/H/S/2, which is a

(49:54):
slumber party alien abduction,which is an amazing found
footage.

dog cam hahaha

the infamous dog cam. And so I knew
they were they wanted to adaptthat. And I love that film huge
fan of that film. So obviously Ijust I love working with Jason.
So it's just like 100%. Let's doit. Yeah. So he sent me a
script. At the end, I had noidea the timeline was I thought
it was just like, this is closeto a first draft or like, like,
it was very early in theirprocess. But they were getting

(50:24):
ready to shoot it in like acouple of months. Like they, I
think they had a really like,quick development process. And
so he sent me a script, and Iread it. I think he sent it on
Thursday or Friday, and I readit and like, over the weekend, I
wrote about 10 demos of like,ideas I had of

your say, you got the script on a Thursday,
and the score was done byMonday.

Yeah, I was still I was still living out
my, my Dark Side of the RingSchedule. So when you need by?
Yeah, no, but I, you know, superinspired. I like to try to to
sound like, as corny as itsounds like music does kind of

(51:07):
like, come in my head when Ilike. Read stuff for the first
time. So I like to try and likecapture that in some form. So I
sent him that stuff. And acouple of those were the
foundation of stuff that went inthe movie, but and also, I think
a lot of it, he kind of listenedto and played on set, especially

(51:28):
stuff to like, get people in themood of like, what the inside of
the spaceship was gonna supposedto be like, because I think a
lot of that was like on a set.
So they Jason likes to playmusic for the actors to like,
get them in the mood, I think sohe played some of that stuff.
But yeah, it happened, like asfar as movies go, like really
fast. Because I think like, Ithink I got I think I got the

(51:50):
script in August, and they wereshooting in November. And you
know, the the mix date was likethe second week of the following
August, which is, you know, so,so pretty, pretty quick. And
yeah, so So yeah, I wrote Iwrote these demos based on

(52:11):
script. Jason liked a lot ofmost of that material. And then
I like went through a process ofkind of like trying to make a
bunch of original sounds like abunch of synth sounds mainly and
and he had sent me a lot ofreferences, like he have like,
different stuff. A lot ofPlayStation One music like

(52:33):
really obscure PlayStation Onegame scores, but also stuff like
the he had this video of a guyplaying a conch shell in a in an
indoor pool. So it had likereally weird acoustics and the
conch shell like made this crazysound that I like sort of tried
to recreate with like thesefriction mallets on like a

(52:56):
different drum heads and andyeah, so I just kind of like put
all that stuff together and thenyou know, by the time it was you
know, edited you know, just hitthe ground running with a bunch
of material and and yeah, thatwas kind of the process.

What do you have going next because Kids Vs.
Aliens of course is out rightnow on video on demand and is
coming to Shudder later in theyear and blu ray soon too. But
do you have any projects? Whatare you working on?

I'm working on a TV show. And

sounds like you can't tell us what it is

I don't think that I'm technically
allowed to say what it is but Iif you if you were like reading
movie and other media sites,there might be rumors of the
thing that would not be shockedto find out that I'm working on

(54:02):
I sorry, I hate I hate like,most of my life is like under
this under the like darkumbrella of NDAs. Like until
until they're like sweet, sweetmorsel of a moment when it's the
thing that I've slaved over formonths gets released into the

(54:24):
and I can talk about it but it'slike no, I I write music every
day. And at some point, thepeople who are paying me to do
so will let me know when it'sokay to tell people that I've
done something.

So where can our listeners follow you like on
the social medias and stuff tofind out where this stuff that
you can't talk about right now?
When you can talk about it andwhere they can see and hear it.

Andrew Gordon McPhers (54:55):
Instagram is really good ango_composer so
ANGO is just short for AndrewGordon, ango_composer. And
that's like a social mediaplatform that I actually
interact with the most. Youknow, I put up stories from time
to time of if there's stuff I'mworking on that I can kind of

(55:18):
like sharing some littleinsights on and there's tips
and, and you know, it's sort oflike a pseudo portfolio. But
then, you know, Kids Vs. Alienscoming to blu ray really soon.
And, you know, we're stillworking on a soundtrack release.

Yes. I was gonna say, Dark Side of the Ring got A
great vinyl soundtracks, I'mreally hoping that Kids Vs.
Aliens gets one too,

that was Waxwork. But if you, we might
know a guy if Waxwork doesn'twant Kids Vs. Aliens, we, we got
a Devin burrows hooked up with aguy to get The Wretched.

We don't know if that actually was us

but we like to think we did

we like to think that happened

oh, I'll take it. But like, let me
say this about like, like, Iknow that you guys are huge fans
of film music as I am I and, youknow, Waxwork did do like the
most outstanding job for theDark Side of the Ring. They I
don't I know that they're likestuff is continuing to come out
from them, That is great. Andbut I know that the entire,

(56:27):
especially vinyl centricindustry is being it was totally
getting crushed by all thepandemic, and, and, you know,
supply chain and all that stuff.
So it's like our Random Acts ofViolence score. You know, there
was pre orders, and I think itwas 18 months for it to ship.
You know, and so it's like, andI think that people are like,

(56:50):
getting really angry whenthey're like, they get, you
know, they spend 50-60 bucks forlike, premium, you know, double
color vinyl pressing ofsomething, and then they, they
wait until like, two years andalmost, and they've forgotten
about the project. And so like,I think that I think that that
has meant that like, a lot ofthe labels on the physical side
are like, making a lot more likesafer bets and stuff. And so,

(57:14):
you know, so it's, it's a, it'sharder for sort of, like, a bit
smaller movies to kind of like,and, you know, to sort of like
find those outlets. So I'm happyto talk to whoever about anyone
who wants to make those things areality because in reality, it's

(57:36):
not all my like call eitherbecause, you know, often the,
you know, studio or whatever,you know, we kind of own they
either own it or we co own it insome fashion. So but yeah, we're
we're trying to figure out a wayI mean, you can hear you can
hear kind of like, on on myYouTube, you can hear sort of

(57:59):
three of the main cues from KidsVs. Aliens, which gives us sort
of three different flavors,which is like the classic
fantasy, sci fi, orchestralside, the 80s more 80s kind of
pop side and then some more likejust aggressive electronic side
of the sort of production sowell.

And it I think, what did you come up with
Jacob? April 18, it's out on BluRay, I think and then it's gonna
be on Shudder sometime probablyaround the same time. So now if
you can't wait till then, like,none of us could you can rent it
or buy it on Vudu which I thinkwe all did. And

yeah, and Apple Music and YouTube and
all those good good

as far as I mean, aside from the music, it's
just a really fun, watchablemovie. I mean, it's 75 minutes
long. I always have time for 75minute movie. Always. You know
it's and this is probablyexplains why Jacob loves it so
much. There's Have you seenPsycho Goreman? They're serious
Psycho Goreman vibes for me.

The DP of Psycho Goreman is the DP for
Dark Dark Side of the Ring.

Oh, really?
Okay.

Not Kids Vs. Aliens. So I don't know
all of the Psycho Goreman guysvery well. But Andy, who I Andy
also, like I work with a lot onDark Side of the Ring and Tales
From the Territories. Weactually are supposed to talk
this week about something

Something you can't talk about

Andrew Gordon McPhers (59:34):
Something I can't talk about. But yeah, I
think I think that I don't Idon't know that Psycho Goreman
necessarily like, I thinkthere's definitely some cross
pollination in the DNA of bothof those films and and I don't
know whether it was intentionalor not for them to like kind of

(59:55):
have such. Let's call itchemistry with each other.
There's a lot of people who usewho can I don't know if they the
accents of both filmmakers thatare coming out a little bit I
guess so.

Jonathan Correia (01:00:08):
I was gonna say no one does nostalgia better
than Canadians right now.

James Jay Edwards (01:00:12):
Yeah

Jacob Davidson (01:00:14):
especially R rated kids movies

Andrew Gordon McPherson (01:00:15):
that's up here we just don't get all
the stuff that you guys got downhere this is all this is all the
current like we just you know weGhostbusters 2 is still the hot
shit

Canada's and another is in like a time warp.

What is the what's the Parks and Rec joke?
Oh man. Wait until they find outKurt Cobain died.

Kurt Cobain died. Oh no!

Sorry. Bud

Andrew, thank you very much for hanging out
with us this morning and inanswering questions and humoring
us like this. Anybody who hasn'tseen Kids Vs. Aliens, go see
Kids Vs. Aliens and listen tothe music. We'll get you a
physical release somehow. IfWaxwork won't do it we'll will
cause because we all love vinyl.
And we would love to have vinylcopies of Kids Vs. Aliens.

So I appreciate that. I love your
support. I love your support inthis and while you're working on
and let's let's let's look intoTales from the Territories and
for The Ranger reissue at all.

I would love that

The full spread.
Yeah.

So yeah, we don't yeah, we we'll. We'll
start repping ya. So yeah, asfar as we are concerned, you can
contact us on any of thesocials, we're @EyeOnHorror, or
iHorror.com. Because that's thesite we all call home. Go to
@ango_composer on Instagram. Isthat correct?

Andrew Gordon McPherso (01:01:45):
Correct.

There you go.
Cool. To find out what's goingon with Andrew, and you guys
don't care what's going on withus. You can hear that every two
weeks. So um, thanks again,Andrew, for joining us and guys,
and to everybody else. We willsee you in a couple of weeks. So
for me, James Jay Edwards.

I'm Jacob Davison.

I'm Jonathan Correia.

I'm Andrew Gordon McPherson

keep your eye On horror

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