TSOL100 - Bill Oberst Jr

In this special 100th episode of 30 Screams or Less podcast we interview daytime Emmy award-winning actor Bill Oberst Jr. Known for his roles in horror films such as 'Three from Hell' and 'Circus of the Dead,' Bill discusses his career, his experiences working with directors like Rob Zombie, and his unique approach to playing dark characters. The conversation touches on various topics, including Bill's childhood experiences, his method acting techniques, and his perspective on the film industry. We also dive into Bill's upcoming projects, his love for fitness, and his views on human empathy, the marvel of the human body, his admiration for director Billy "Bloody Bill" Pon, and his excitement for 'Circus of the Dead 2.'

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Episode Transcript

(00:00):
Warning! 30 Screams or less may contain spoilers about movies that have recently been released.

(00:06):
If you haven't seen the movie, go watch it, come back, and enjoy the show.
Or, if you don't want to waste your time watching the movie and rather have two random horror dudes watch it for you,
we got you covered as well.

(00:36):
Welcome everyone to 30 Screams or Less, a horror movie podcast where we review horror movies in 30 minutes or less.
Today we won't be reviewing a movie because we got ourselves a special guest.
He's a Daytime Emmy Award winner for his role in Take This Lollipop, and you may have also seen him in such films as
Three from Hell and of course Circus of the Dead. Bill Oberst Jr. everyone.

(00:59):
But before we get into it, Corey, last night I was looking in the mirror and you know what?
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(01:20):
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They're local too. They're based out of Connecticut. So help them out and support small businesses.

(01:42):
We're not just slinging beard grooming supplies. We've been using them for a while.
Yeah, we have.
Bill, thank you so much for joining us today. How's your day going?
Well, you missed the line in my introduction. You can find him on virtually every movie on Tubi.
You're like the Tubi King.
Yeah, my dad was a one, I do like three or four year and I was telling him about movies I did last year around Christmas.

(02:08):
And he said, where can I see these things? I said, Tubi. He said, what the hell is Tubi? I said, never mind, Dad.
Tubi, arguably the best streaming service in the world.
I did an Asylum movie once. They've only done one kids movie or they had up to that point.
So I was the villain in the kids movie called The Princess and the Pony.
And I had this elaborate handlebar mustache and we were out on set and it was really hot and it was kind of falling down.

(02:33):
And they didn't want to call makeup to set. So we just, you know, be in Asylum. They just shot it.
So his mustache is like really just hanging on by a thread.
And my father called me and said, I'm watching this thing called Princess Pony. I said, yes. He said, what the hell is this?
I said, it's a movie, Dad. And he said, well, what's wrong with your mustache?
I said, well, it kind of fell down. He said, well, if I couldn't do any better than that, I think I'd just quit.

(02:58):
That's my dad. That's funny. I mean, could have glued it a little bit.
I don't know, like the stuff that you put on aspartame, like you do for freaking press on nails.
I don't know anything. Could it be? Yeah. Whatever. That's kind of funny.
I have to check that out just so I can see like, well, obviously you do your thing, but see the majestic mustache going on there.

(03:20):
It's not a bad movie, except that the pony was a stunt pony.
And we go on and on about how he does these amazing tricks.
It's just why my evil guy wants to capture him because he's magical.
But the pony showed up there in Burbank and the pony wouldn't do anything.
He wouldn't like jump or do special tricks. And the pony's handler said, quote, someday she feels like jumping and someday she doesn't.

(03:45):
And today she just don't.
You know, you got to lock the pony in her trailer, just hang out.
So they filmed the pony like stepping over Dixie cups and doing things like that. And everybody's looking amazed.
It's really funny because we've been on and on about how magical the pony is.
But you know what? That's the indie movie business. For sure.
Hey, sometimes it works, sometimes it doesn't, or sometimes you just make the best of a kind of an unfortunate situation.

(04:09):
Oh, hell yeah. All you can do. Just roll with the punches.
And sometimes it actually makes for a better movie because you can get these weird scenes and throw them in there.
And you're like, you know, for some reason that works. Yeah, that's right.
If you're cool enough and like slack enough to say, OK, I'm going to go in this direction and not just be a tight ass and say, no, and just be frustrated that, you know, you're a great movie I did in work.

(04:30):
Just go with what's happening. Yeah.
Some of the best parts in movies are just ad libbed or they just go with the flow or they just do it as is and leave it in.
I find a lot of movies that tends to be the best stuff.
For instance, I was reading an article on what's that movie with John Voight and Dustin Hoffman, Cowboy, Midnight Cowboy.
Right. Yeah. So Midnight Cowboy, where Dustin Hoffman is walking and he slams his hands against a taxi and he goes, hey, I'm walking here.

(04:57):
That was completely ad lipped. And now it's like a normal thing. Yes. Iconic. Iconic is right.
Just on the fly, like right there when I did Abraham Lincoln versus zombies, I had one good line beside the Gettysburg address, one good line.
And he was an ad lib. I was trying to make the crew laugh because we'd already done the takes and they were still rolling.
And so I swung the side, the zombies head and said, emancipate this, which it doesn't make any sense.

(05:25):
It's completely nonsensical, but I just thought it was funny and they left it in. That's perfect.
I mean, if you're going to like something like this, I was saying throwing that stuff in occasionally is just gold.
It can be like solid gold or the directors be like, maybe not. But in that case, sounds like it worked.
So, Bill, we got some questions for you. And I know this one tends to be a pretty generic question, but I'm going to ask it anyway.

(05:49):
Just kind of get the ball rolling here. But you're putting a lot of you're putting a lot of disclaimers on the question.
I know I have like this whole build up usually for my questions because I don't want to be like I don't want just yes or no answers type deal.
OK, go on. Generic question.
Yeah. But what I would like to know and anyone aspiring to be an actor is what inspired you to be an actor and how did you get your start?

(06:12):
Getting the crap beat out of me. That's how I was inspired because I was a really, really unpopular kid. I had zero interest in sports.
I made straight A's because I like to read. That's all I wanted to do is read, read, read, read, read. I even knew all the answers in Sunday school.
I was really ugly because I had bad acne early on and the treatments weren't great then.

(06:33):
And so it left holes in my face and scars and all kinds of shit. Oh, and I was fat too. I had like a size 36 inch waist in the fourth grade.
Oh, wow. I was the fat kid, the smart kid, the ugly kid and the sissy kid all in one kid. Oh, my goodness.
You can imagine how that went over in a rural school in the South. Oh, yeah. Yeah. I mean, I was bullied too. So I get it. Yeah, I hear it.

(06:54):
So yeah. So I learned a little trick. I learned that if I could do imitations of my teachers and principals that they would laugh and they would make me do it on demand like a little monkey.
But at least they wouldn't beat me up. And so I learned, aha, if you entertain people, they will not hit you.
OK, so you figured that out and you're like, you know what, maybe I can make a career out of this.

(07:17):
Yeah. So my whole career has been saying, please don't hit me.
Well, you don't have to worry about that here, Bill. You're good to go. We ain't going to be causing any sort of abuse whatsoever.
I mean, we might drive you a little crazy. And ironically, I end up hitting people myself in the movie. Oh, my God. Yes, you do.
Like movie after movie, I'm hitting people. And yeah, I was working with one actor and I was supposed to do, you know, the gag where you're like you're punching down the guys on the ground, the camera shooting up at you.

(07:46):
And they want the fist to go like bam to the left, bam to the right, bam to the left, bam to the right.
He's turning his head each time and you just catch a little bit of his nose in the bottom of the frame. So it really looks like you're beating the crap out of him.
And he said, Bill's going to hit me. And I said, I probably am going to hit him. I'm really not good at doing stunts. And they said, oh, just do it.
Well, guess what? He got hit. Yeah. And he jumped up and he said, I told you that was going to hit me.

(08:11):
Anytime I'm involved in stunts, there may be injuries. At least most people that work with you probably know that. Yeah.
Except like the close up, like the licking and touching and where that's that's OK, because you're probably not going to get hurt then.
But if it involves throwing around Jim Carrey. OK, I did.
I did an episode of Funny or Die with Jim Carrey and I was supposed to pull something out of his hands and pull him backwards with me.

(08:37):
And I was like, you know, I don't want to pull you too hard. And he said, just go for it, dude.
Yes. Of course, being overcompensating Bill, I pulled him so hard that he went tumbling head over ass and landed on the dolly tracks.
The entire set went silent and the crew went, oh, so.

(09:00):
So he got out and he looked at me and he looked at them and he said, my bad, it was my fault.
And I was like, you are some kind of guy. Yeah. I hear a lot of getting fired. It was nice.
Well, yeah, I mean, good thing not getting fired just because you almost heard an A-list actor. Yeah.
That's pretty scary stuff. And as you're saying that, I'm thinking like, oh, the gasp in that room must have been deafening.

(09:23):
They really were. Oh, that's a great story.
So what was it like working with Jim Carrey? I'm assuming it was pretty good because he sounds like an upstanding guy.
He was great. He's a very nice guy. Not at all funny, offset, you know, serious and introspective, offset, friendly.
The nicest thing that he did, which Hugh Jackman does this also and Christopher Plummer, several of the nice people,

(09:49):
big people that I work with are nice people. He came on set, Jim Carrey did, and extended his hand to everybody that he saw.
And he said, hey, I'm Jim, you know, like we didn't know. Right.
But it puts him on the same level and it gives us the opportunity to say, you know, hey, I'm Steve. Hey, I'm Corey. Hey, I'm Bill.
It's a really it's a class act. That's pretty cool that he doesn't put himself above everyone on set.
Christopher Plummer saved me from getting fired, too. So he was especially nice.

(10:12):
It's awesome hearing those kind of stories where actors, they know the situation that everyone's in.
And there's no sense in them being like just big headed.
I mean, I'm sure there's plenty of actors out there that are really big headed and cause a bit of a nightmare to work with.
So it's really cool. Yeah. I mean, I hear some things like I hear Tom Cruise is a pain in the ass. Right.
I don't know. Like I hear a few things out there, but I don't want to be I don't want to say too many names.

(10:36):
I'm going to get myself in trouble one day.
I did work once with an actress with whom I had face to face scenes of a confrontational nature.
And the actress would not look me in the eye, just refuse to make eye contact.
Huh. And anytime that I would make like direct eye contact in the scene would tell the director, you know, Bill's making me uncomfortable.

(10:58):
So you get a little bit of that. Yeah, I'm sure that comes with the territory in Hollywood.
Some people are just they have their own methods and they don't want to stray from them and they just stay in their comfort zones. Right.
I didn't get fired. So that was good.
That's the important thing is that you're still working. Always. Always.
And I've seen you have quite the resume, sir.

(11:19):
I was looking at some of the stuff you're in, like 20, 24 looked like you were filming a movie every day.
Just about. Good for you.
I think I've got like 200 and like five or six of them are good. That's not bad, right? That's not bad.
Are those the ones on Toby? That's a decent percentage. What's that? Well, I mean, it's like a half a percent.
Well, you know, the quality of indie film is wildly variable.

(11:44):
And so I hate it when people on IMD, their review is it sucked. Put me to sleep.
I'm like, OK, what parts of it? Because not every part of an indie movie is going to be fantastic.
But what did you hate? Or were you not even discerning enough to know what you hated?
Maybe you hate everything. Maybe everything puts you to sleep. Maybe you should be put to sleep.

(12:06):
Maybe you should be in bed. Yeah, it sucks. Put me to sleep.
OK, what what does that even mean? Yeah, I think constructive criticism is important, I feel, especially in indie films.
I had one film where I had an actual normal relationship and like I was a normal guy with a wife
and the reviewer said poor girl, she had to kiss Harry Potter's Dobie.

(12:29):
Oh, I had to go. I had to Google what Harry Potter's Toby was.
But, you know, that's a specific constructive criticism. You look like a character Harry Potter.
So it was just better than just a generic. It sucks.
You know, well, I mean, I guess it's something, but it just sounds more like an insult than anything.
At least when we do reviews, if we're putting it down, we go, well, you know, we probably would have done this differently.

(12:51):
You know, that type deal. Are there times where I've gone off on a movie? Sure.
But it's also I've had some that are straight up wasted my time and I'm like, what is going on here?
But I still try to give constructive criticism. I still try to see the silver lining.
Sometimes people will give like clever headlines. And for me, that saves the whole acidic review.

(13:13):
Like one review of a werewolf film I did, it was called Werewolf Rising and the title was Werewolf Rising Should Have Stayed Down.
But I thought that was clever enough so that it kind of like made you're not so mad at the review if you had made the movie.
Yeah, that's solid clickbait material right there. Yeah. So, Corey, you have a question.
Yeah. So I would like to know how did you land the role of Popcorn?

(13:36):
So Billy Pond contacted me because I was on a list at IMBD that someone did of must watch actors for the year.
I think it was 2012, Snow 14. And so he contacted every actor on the list and two of them ended up in the movie.

(13:57):
And after talking to me, he offered me the role of Popcorn.
Wow, that's pretty awesome. We saw it, obviously, and we loved it.
And Popcorn is next level nightmare material of a character, let me tell you.
Yeah. I kind of brought this up when we interviewed Billy.
I said that no one could have played that character quite like you did. I can't picture anyone else playing Popcorn.

(14:21):
Well, I tried to bring a lot of myself to him because I really hated him. I hated the fact that I found it so easy to play him.
I hated it. And so I don't like watching the movie because I'm like, I don't like those parts of myself.
But I just let him loose and let him roam with Billy's help, a lot of help from Billy.
In fact, there's a picture online. If you Google Circus of the Dead behind the scenes, I think it comes up.

(14:46):
But it's me dressed as Popcorn and I'm up against the wall of this convenience store.
And Billy literally has like one hand on each side of my head and he's leaning in and he's lecturing me.
He's like talking me into the darkness of the scene that's coming up because I had to stick a gun in actress's mouth and say, let's send this bitch to hell.
That's really heavy, even if you dress like a clone.

(15:09):
Right. Yeah. And that was my personal favorite scene in the movie.
He was telling us about that whole thing and how he knew someone in the town that let you guys shoot in the store.
But yeah, that whole scene with the gun in the mouth and all the stuff you were saying to that woman just sent chills down my spine.
Me too. Me too. And afterwards I was like, oh, Tiffany, are you OK? And she was crying.
And she said, no, it's good. It was good. They'll keep it in the movie, won't they? And I said, yes, I think they will.

(15:33):
Yeah. Let's hope so.
The only way I could get into Pop a Corn was just to stare into a mirror with that makeup on away from everybody.
I would just stare into the mirror for long periods of the time.
And that's where the mirror piece came from in the movie where he's looking in the movie saying Pop a Corn, Pop a Corn, because that's what I would do to try to get into it.
And Billy said, let's put that in the movie.

(15:55):
Really? I mean, it's very menacing and it's cool.
See, this goes back to what we were talking about, these little things that are almost kind of ad-libbed and you were trying to get into that mindset.
And Billy's like, all right, this is great. Let's put this in the film.
And it's such a menacing scene to see you just kind of talking to yourself like that. Yeah.
Yeah. So I mean, that kind of goes along with my question about how it was actually kind of hard for you to do this.

(16:21):
We heard from Billy Pond that if you weren't acting, you'd probably would have been a minister due to your religious beliefs, right?
True. Yeah. Christian, Catholic? Christian, yeah. Christian.
Okay. So how did you separate your beliefs from a character such as Pop a Corn that's a complete stark difference than obviously Christianity?

(16:42):
I had to start doing it when I first started getting these kind of roles. I came from theater.
I did 10 years of legitimate theater and then I just kind of fell into doing movies and TV and I thought I'd do character roles,
but I began to do like creepy roles and then outright evil roles. So I had to start making the separation.
What I decided was, okay, I believe that evil is real. I believe there are spiritual forces that are malevolent.

(17:05):
And I said, all right, if I'm going to do these, I'm going to do them real. I'm going to do them right. I'm not going to play with it. I'm not going to joke.
I want people to have the sense washing me that, oh shit, this could be real. So in a way it became like a ministry for me.
Like if I'm going to do evil, I'm going to do it so well that you're going to think this is not an actor. There's something going on here. There's something darker here.

(17:28):
Yeah. So like they're going to believe in evil and then that's compelling them to do good.
Because I believe that if you think evil is a joke and doesn't exist, you've really given an assist to evil to run rampant in your life.
Huh. What an interesting thought there. I for one believe that evil exists because there's just some stuff out there where it's like either this person is too far gone from being good

(17:54):
or they are just straight evil inside them. And it's kind of wild. I mean, obviously I'm not going to go into details about some of the things these people do,
but there's some people out there where I question if they were just born evil. It's like just in them.
Right. So like the thing is, one of my favorite authors, Frederick Buechner says, the problem with saying that evil just comes from us, from people,

(18:15):
is that the sum of the evil in the world is more than the sum of the evil in each of us.
There's something else. And what it is, I don't know any more than I know what the something else that's good is.
We give it a placeholder name God. I think that's just a name we use for a mystery. But there's something there.
And that's what I'm trying to tap into and play in these roles. I don't want to play with it.

(18:39):
Yeah. Fair enough. Yeah. Don't play with evil. Just convey it and then show people like, who knows? This could be a thing in real life. Right?
But you know what? The scariest thing is how easy it is to convey it. Once you say, I'm going to surrender to this and I'm going to convey it,
how much of it is just floods into you, how easy it is to do. And you think it is it difficult to grab someone by the hair and pull their face back

(19:05):
and lick their face and look in their face and tell them, I'm going to enjoy killing you? No, it is not hard at all.
It's easy. And you will be horrified by how much you like it. It's really terrifying.
Yeah. So do you think there's that little part of us all where we have that little evil, but we just make sure that we don't give into that evil?

(19:27):
Yes. Yes. And if we don't, if we don't acknowledge that we have it, we're very, very dangerous.
Oh, no. I think we all have to have it in a sense because that determines whether we're going to be good or bad.
I've always felt that you can't fully understand good without having bad. Like, yeah, you can't have good without some sort of evil, things like that.
There has to be contrast. Like I know that you guys and everybody listening and me, we know things are wrong.

(19:50):
We know they're going to hurt other people and perhaps us. And we do them anyway.
Edgar Allan Poe wrote a story about this called The Imp of the Perverse. But it's the great mystery.
Why do we do what we know to be wrong just because we can? Yeah. And just because you can doesn't mean you should, you know, sometimes just be like, nope.
OK, I just vibe here and not give into that crap because sometimes it's just it's crazy to hear some of this evil stuff that happens.

(20:14):
I mean, I'm not really a religious person, but I hear a lot of these ideologies and I'll listen and I'll take them in and make my own opinions and things like that.
So I will never say that one religion is wrong or whatever, or I won't dismiss anything. I'll hear it out.
And I can agree when it comes to evil, you have to just like not give into it. But some people maybe just don't have that ability to not give into it.

(20:37):
I've done it and I try to be really diligent about it, but I have done things that I knew to be wrong and that I knew would be hurtful.
And I did them anywhere. And looking back, I think, how the hell could I have done that? How do we do that?
It's really frightening to think. I don't think that people are inherently evil, but that we all have this capacity.

(20:58):
The capacity for evil.
Yeah, because what I did was evil. I chose to do hurtful things because I wanted to do them. And I know everybody listening.
We've all done it. Like, why? If we want to do good, why can't we consistently do it?
No, we should be able to. But I don't know whether people are just wrapped up in the old world or just don't want to acknowledge or even bother being good.

(21:20):
They think that things are just too messed up to even think it's going to make a difference. So they don't do good.
They don't do good. But there are people out there that actually do good things and just try to be good people.
I try to be a good person as much as I can, but it takes more than just one person, I think, to really make a ginormous difference.
One person can make a difference in maybe a small amount of lives, but I think we all collectively need to start doing more good.

(21:44):
Yeah.
So Corey, you've got a question, right?
Bill, what was your experience working with Rob Zombie on Three from Hell?
It was a great experience because he didn't make me say fuck a thousand times.
It was in the script. In fact, in the script, every other word was fuck.
It was like this, motherfucker, fuck, fuck, fuck, fuck, fuck, fuck, fuck, fuck, fuck, fuck, fuck, fuck, fuck.
And so immediately when we got on set and I met him and I said, you know, thanks for having me,

(22:09):
because he just called my agent and said, I have a little role for Bill if he wants to be in the movie.
Everybody's working for scale and nobody gets to know what their role is until the script.
I was like, yes, of course. Yes, please.
Sure.
But when I got there and met him, the first thing I said was, do I have to say all these fucks?
Because they really get tired of saying it. It's boring.

(22:30):
And he said, no. He said, not at all. He said, those are just placeholders in the script.
You should just, you know, get the idea across. I don't care what you say.
And I thought, wow, this is really cool.
That doesn't happen frequently that you get the freedom, the kind of improv when you're acting.
No, no, because he was comfortable enough in the product that he was making to know he didn't need them to prop it up.

(22:53):
He runs a very tight set. Everybody on set who works for him is right on their heels.
And he's very gentle, but very in charge at the same time.
Well, I could see that because I've been obviously going to Rob Zombie shows for a very long time.
I've been listening to him for years and years and years since he was in White Zombie and stuff like that.

(23:16):
When he moved over to just doing his own solo thing, I saw an interview where he said,
sometimes it's just easier to do your own solo stuff because there's less moving parts.
And you can just focus on doing your thing and kind of just running the show.
Obviously, I'm paraphrasing, but that's kind of what he was getting at is sometimes going solo is just easier.

(23:38):
He does run the show. He's very comfortable in his own skin.
He's very comfortable with his persona. He was a very genuine person. I really liked him.
In fact, there's this whole thing in the zeitgeist now about being a man. Masculine energy is back.
And what does it mean to be a man? And aggression and we need more aggression in this.
Rob Zombie to me was the perfect example of how to be a man without being a dick.

(24:02):
Yeah, being a man is more about taking charge or just like being comfortable in one's skin.
Right. And as opposed to being like this day, they're calling it toxic masculinity.
It doesn't have to be like that. You don't have to be like your cavemanesque knuckle dragon and stuff like that.
We can evolve. Yeah. I mean, he treated everybody with respect.

(24:23):
His role and our role was clear, but he was courteous to everyone, yet he was firm and in charge.
He took responsibility for what he had to take responsibility for.
He was in every way a man, but he was not a punk. That's the difference. I really respected him.
Yeah. He sounds like an interesting guy to be around. I would have loved to have been a fly on the wall for that for sure.

(24:44):
I guess that kind of leads me into one of my questions then, because we're talking directors here.
If you had to pick one actor and one director, living or dead, who would your dream actor and director be?
Lon Chaney and Todd Browning. Now, they would have to make room for me in their film because they work together all the time. Chaney Senior.

(25:06):
Chaney Senior. Okay. That's cool.
Yeah. Chaney Senior and Todd Browning because he worked with Chaney a lot. And then Todd Browning did Freaks, which ended his career.
You guys ever seen Freaks? It sounds familiar.
I might be thinking, oh, that was in 1932, that one?
Yeah. It was filmed with Real Circus Sideshow Acts.
So I didn't see it, but I've seen clips from it. Yes. I know exactly which movie you're talking about.

(25:30):
I had to kind of look it up real quick, but yep, I know exactly which one now.
It's disturbing now. And so in 1931, it was like crazy disturbing, 32. And Chaney was the son of deaf mute parents.
Oh, wow.
And so he preferred to be nonverbal. He would have done sound had he not died as it was coming in.
But his Phantom of the Opera is so, what do I want to say, evocative is not the right word. It's internal without words.

(25:58):
You can tell what he's thinking and you can feel everything just from his motions. And I also love nonverbal.
So that would be my dream. If I couldn't work with Roger Corman and Vincent Price, that would be my second choice.
Oh, yeah. Vincent Price got some good stuff there. So it sounds like you're a fan then of The Silent Film Hour.
Oh, very much. I'm German expressionistic. All of those early, early things. Cabinet of Dr. Kelly Gary and Nosferatu and yeah, all of that stuff.

(26:26):
Have you seen the new Nosferatu? Yeah.
Oh, you have? Yeah. Yeah. I haven't seen it yet. I hear good things.
I've seen both of them. I've seen the Doug Jones version and then the Who's the Actor in the New World.
The Skarsgard?
Yeah. Yeah, yeah, yeah, yeah.
So I want to go back to The Silent Film Hour real quick because they really did have to do more with less because it's hard to convey dialogue.

(26:52):
And you had to, I would think, use body language. And then they had like those cards where it would just be like a quick little blurb about what's happening in the scene, right?
Yes. You had to really kind of, as you're watching it, almost form your own opinion and maybe just kind of create this own verbal scenario in your head as you're watching it.
Yes. I just watched The Silent Spartacus, which is, you know, excuse me, Ben Hur, The Silent Ben Hur. It's freaking amazing. It's fantastic.

(27:21):
And it's just what you're saying. They're just conveying it with body language.
So when I get on set, if it's a wordy script, the first thing I ask is, what dialogue can I cut? Can I say this with a look? Can we try just saying nothing here?
Because I really like just eyes and looks and ambiguity.
This is kind of why I like Arthur Clown so much. And I know you're going to be working with David soon, but he's able to portray so much with just not saying a word. I love that so much about that character.

(27:50):
Yeah, those, the villains should not be talky unless it's James Bond. But other than that, yeah, too much talk really kills it.
Yeah. And well, sometimes it makes them more eccentric, right? But I think that's probably when you would want to do a lot of talking.
But they should be the quiet, silent and deadly type, you know, very menacing and just kind of comfortable in their own skin and doing their crazy bad actions.

(28:15):
And as I was kind of saying, silence is deafening. And who do you worry most about, the quiet person in the room or the loudest person in the room?
Yeah. Yeah, you might worry about the quiet ones. You got to always worry about the quiet ones.
That's right. The loud one I just want to get away from.
Yeah, exactly. They're just more bark than bite. But the quiet ones like, what's his deal? Why is he not saying anything? Why is he just sitting there watching us? You know, that type thing.

(28:38):
And so if you're naturally introverted, which I am, quite quiet at social gatherings, people look at you even weirder with my face accentuates it.
But they really do think like, what is that guy? That guy? She's just sitting there being creepy. And you're just sitting there like with the face that you have being quiet.
Yeah, you're just doing your thing, hanging out. You want to be part of it. But like you're just not used to like being out in the open or you're not loud and boisterous or anything like that.

(29:03):
You're comfortable doing your own thing. If people talk to you, you'll talk to them, I'm sure. Yeah. Yeah. I mean, that's fair.
I can be the same way sometimes. But then sometimes I like to think of myself as a bit outgoing. I don't know. I kind of float in between the two.
Sometimes I just if I go out, I'm like, I don't really want to like interact with a ton of people.
I'll talk to them unless it goes to the usual. What do you do? I'm an actor. Here it comes. Have you been in anything I might have seen?

(29:31):
Well, I've been in these horror movies, blah, blah, blah, blah. No, I've never seen those. Oh, well, I was in Criminal Minds for a season. Oh, really? What season?
Season nine. Oh, we didn't like that season. What else? So, you know, so you're like trying to validate to them your reason to exist. Yeah. Yeah. I don't like that conversation.
It sounds like a flow chart. It's like, oh, yeah. It's like if you tell people you're an author, the very first thing they want to know is, oh, have you read anything?

(29:58):
You know, like, what do you do? I'm a dentist. Oh, have you fixed any teeth? I might have seen. Give me an example.
Yeah. Yeah. Give me an example. What kind of, well, I do molars. Oh, I don't like molars. What else?
I'm picturing this whole scenario in my head of just like a piece of paper you're reading from. Okay, this is the yes path.
So, just giving the answers. It's like you just have them just drafted up.

(30:21):
And kids in school, I speak in school sometime and bless their little hearts, you know, they just get right to it. They just go, are you famous?
You go, no. And they go, aw. Aw. Disappointment immediately. Yeah. Yeah. Aw, the poor kids.
Now, I'm sure it's interesting for the kids to hear you talking about your job because kids, obviously, they want to, I think, meet people like, I don't know if you have kids or anything, but maybe it sounds like you do.

(30:48):
When you go in, is like parent day, when you go in and you talk about what you do, I'm assuming that's kind of what you're talking about or are you actually just getting hired for these to speak?
No, yeah, getting hired to come in and talk about acting as a career and as a skill and as a craft and this sort of thing.
And there are a few kids who actually get excited when you tell them, this is a noble craft.

(31:10):
It doesn't really have anything to do with celebrity, but it can help people see inside themselves and understand other humans better and it creates more empathy and it can make the world a better place.
There are some kids who get excited about that because that's really what acting is.
I'm really sorry that it ever became equated with celebrity. Right.
It's like if you're an actor, people assume you have to be famous in order to qualify as a decent actor.

(31:35):
Yeah. Or if you're not famous, then you must be sad.
Yeah. Sad or not good.
Right. Or not good. Because if you tell people about this, this is fantastic indie movie, you've got to see it.
The first question they'll ask is who's in it? And you say whatever the names are and they go, oh, I never heard of them.
As if the only good actors are people that they've heard of. But that's the way, you know, that's the world.

(31:58):
Yeah.
But it's not like some of our favorite actors and actresses didn't start making smaller films before you saw them in blockbuster summer movies, you know?
Yeah.
Hey, you got to start somewhere. And I think you going in and talking to kids about acting, you never know.
One of them probably had an idea that they would like to be on TV or they would like to be in a movie.

(32:19):
And then you talking to them probably solidified that idea that they want to make that a dream.
So you going in, even if like no one knows who you are in a movie, we'll say, right, you might have that one kid who's like, I want to do that.
And you kind of reach them that way.
Maybe so.
Yeah, maybe so. You don't know. You never know.
If I can just make them understand that it's not about fame.

(32:42):
Yeah, it shouldn't be about fame anyways. It should be about the craft. And that's the important thing is the art.
You know what I mean? It's all about the art as opposed to the big houses and fancy cars and like being well known.
I'm sure all of that's fine and everything. But I would think it's more important to be an artist.
For instance, one of my favorite actors, Daniel Day Lewis, he's not like this man. Well, he's a celebrity, right?

(33:06):
But he's not like in these blockbusters and you don't see him on the covers of magazines all the time and all these things.
He comes in, kills it on a roll, wins an Oscar, goes back and does his thing.
And he's just a true artist. And that I think is way more important for a legacy than being in a bunch of action movies.

(33:27):
I mean, you'll see these action movies later on down the road or whatever. But I think it's more important to be an artist.
Yeah.
Go ahead, Corey. Now you can ask your question.
So you've portrayed many historical figures on stage, including Mark Twain, Jesus, Abraham Lincoln, John F. Kennedy, Louis Grizzard, just to name a few.
Are there any other figures you'd like to take on in the future? Anyone?
Historical figures? No, I think I'm done with the historical figures.

(33:51):
What I'm into now is taking literature that exists and trying to put it in new forms to make people think about things.
For example, I've got a touring show now called Adversary.
It's about Satan, the idea of Satan and how people have seen the figure of Satan throughout the centuries.
And so I use a piece, Robert Louis Stevenson's short story, Dostoyevsky, a little bit of the Brothers Karamazov, and then a piece I wrote myself.

(34:15):
And it's all woven around, oh, and Milton's Paradise Lost.
So essentially it's like a clip show. It's like Satan's Greatest Literary Hits.
Oh, that's cool.
But it's a solo show. And by the end of it, people have had kind of a tour of how humanity has thought about this, perhaps mythical, perhaps not, figure of Satan over the centuries.
And that's what I've really enjoyed. And not specific people now, but ideas.

(34:40):
I want people to think about how other humans have thought about things.
Oh, absolutely. Yeah, I think that's really cool.
So I guess I didn't realize that you were a writer.
So you starting to do any writing for movies or trying to have anything in development other than like your tour?
I have written stuff for film, but I get to the point so quickly that like in five pages I'm done because I don't like dialogue and I don't like exposition.

(35:08):
That's right.
I can write a scene like nobody's business, but the whole thing I like, I can't stretch it out because I'm like, OK, I'm done. I don't want to tell them anymore.
Hey, that could be a thing. Micro movies, right?
It could be. I mean, they're too damn long and most indie movies are too long anyway. I got a script today that was 130 pages.
Yeah, that seems like a lot. Correct me if I'm wrong, but that feels like that looks thick in my head.

(35:32):
You know, make a 775, 80 minute movie if that's what he wants to be, then make that movie.
Yeah, a lot of movies when they're like an hour and a half, sometimes you can get everything you need out of it.
But I see now the trend is two hour minimum runtime. I know all over the place.
But indie films I do see they're still hovering around the 90 minutes.

(35:54):
But they should. They should. Indie films shouldn't be longer than 90 minutes.
Come on, guys. Yeah, you know, we don't have the we don't have the money.
We don't have the budget to make wow things that can sustain people in a character piece.
It's really hard to sustain past an hour and a half. Oh, I'm sure.
I've seen some indie movies that are like two hours and it does get to that point where it just feels like it's dragging on a bit.

(36:19):
My favorite runtimes are 80, 75, 80. Our 20 hour, hour 15.
Totally, because then you don't feel like, oh, God, you know, you feel like, wow, I could have used a little more of that.
Yeah. Or you can go on with the rest of your day doing anything else.
I think the original Circus of the Dead, I don't know what the runtime is now, but the first edit that he sent me, the first screener I saw was pretty short.

(36:44):
It's right about that. Yeah. Get as much in in the short span of time as you can and just move on with your day.
Less is more. I've always felt less is more.
You can convey everything in 90 minutes instead of two hours. Make it 90 minutes. There's no point.
Other than that, it starts to get into filler material. Yeah.
I'll tell you, speaking of runtimes, that I did a movie called Children of Sorrow, maybe 12, 13, I don't know, maybe 15 years ago.

(37:10):
It was a great movie. It was about a cult. It was found footage and it was about a cult leader out in the desert.
And so it was like 70, 75, something like that. I think it was 75. And it was killing it at film festivals.
It was killing it. It was winning award after award. And we were like, oh my God, we really got something here.
This is a great movie. So then Lionsgate bought it and Lionsgate wanted it to be 90. And the director had to deliver 90.

(37:35):
Geez. And I'm sure that affected the whole flow of the movie.
The released version, the bigger version, every single review said it drags in the middle, it drags in the middle, it drags in the middle.
And that's why it didn't drag in the middle in its original edit.
Right. It probably had like a nice pace to it and everything. Yeah, that's rough.
I mean, because you have this idea in your head of this is how the movie is going to be. This is how it feels.

(38:00):
So I'm in a band and we've had songs where, you know, they'd be pretty long and I go, I think we can cut all of this.
And then they're like, no, we're going to keep a bunch of it. I'm like, all right, fine. And it's not really the best song.
I mean, it's fine to us. We like it, but it doesn't perform that well.
What's the optimal, because I'm an old radio guy, I'm from the, you know, 305, 330 days.

(38:22):
What's the optimal length, do you think, for a popular song now?
Honestly, three minutes.
OK, then it hadn't changed.
Yeah. I mean, well, it used to be like three and a half minutes.
But I think with the like under three minutes now, I think that tends to be the runtime that everyone's shooting for.
And yeah, I think it's just because everyone's attention span, they just want it shorter and you get your hooks in, your few verses, and you kind of move on with your day.

(38:48):
And then you're on to the next song.
How interesting, because back in my FM radio days, it was like 304, 330 max.
And if you played an album cut, it was like, you know, if the cut was like five minutes, it was like it was really long.
You know, like Rush 2112.
Oh, yeah, that's a long one.
Some of those cuts. Yeah, it was hard to get the program director to let us play them because it's like, that's too long.

(39:11):
Yeah. Well, they might play a long one if they have a bathroom break.
Right. And they'll just like play November Rain or something like that from Guns N' Roses, whatever.
Oh, absolutely. We are the priest of the Temple of Syrac.
But yeah, everyone just seems like I actually I see a lot of songs now like two minutes, 57 seconds.
I think that tends to be like a pretty standard length now.
Oh, tell me, since you guys are reviewers, what do you think a good trailer length is?

(39:36):
45 seconds to a minute maybe.
So like teasers? Yeah, like teasers are typically like a minute or so.
But I like maybe like two, two and a half minutes.
OK. Oh, wow.
But most trailers these days, I feel like spoil all the most important parts of movies.
So I kind of try to stay away from them altogether.
Yeah. Why do they do that?
I don't know. Like you get the big twist right in the trailer and a lot of stuff now.

(40:00):
Yeah. What was it? Speak No Evil.
So the newer Speak No Evil that came out with James McAvoy, getting our James McAvoy reference in Corey.
So we saw the trailer and we already knew about the movie because there's a Scandinavian version.
Scandinavian, right, Corey? I believe so. Yes.
OK. So there's a like a non-English version.

(40:22):
I'll just say that because I don't know if it's Scandinavian off the top of my head.
There's a non-English version and we saw it. It was great.
We knew everything was going to happen.
They put out the trailer for Speak No Evil and they showed everything that was going to happen along with the twists and everything in the trailer.
I'm like, they just gave the whole thing away.
Like I said, I'm a fan of Less Is More.
Keep it under a minute.

(40:43):
Try not to blow your wad with all of the big moments of a movie.
Maybe keep a couple in there if you want, but then save the bigger ones for the movie itself.
But I think it's just a way to obviously get people excited for the movie, but I feel like you're just ruining it because people are going to go in and be like, I saw all this stuff in the trailer and it just ruins the movie experience for people.
That's almost like the whole problem with our popular culture for me is nobody will go see a thing.

(41:08):
Well, nobody will invest money in making a thing unless they think it's something that's already been proven.
So then people go to see it and they're like, we already saw this before.
And they're like, yes, that's the only reason it was made is because people knew you had seen it before and you'd go see it again.
So like new stuff falls by the wayside.
Absolutely. I think there's a lot of problems with originality in Hollywood, especially with bigger movies, right?

(41:33):
It's either remakes or sequels or comic book movies, I feel like these days.
Yeah, nobody wants to put money into a new idea.
Yeah. New ideas now, they're too risky.
They know that superhero movies are going to perform really well, regardless of whether they're good or not,
because there's always going to be an audience there for that.
They just go, yep, we're going to stick with that. That's fine.

(41:56):
Probably the same thing with Disney movies for animated, right, Corey?
I was just about to say this is kind of what drives me crazy about what Disney is doing right now is, you know, I'm a massive Disney fan.
I grew up watching them. I still watch them as an adult, but they take all of their original say cartoon movies and they're just flipping them over a live action.
That's all they do now. Yeah.

(42:17):
So I'm not really a huge fan of anything they're doing now.
Well, as a fan of the Disney parks, a huge fan of the Disney parks, I will grouse about unique experiences in these parks that walk Disney World in Florida,
now just being done away with and turned into rides that are about Disney's movies.

(42:39):
Yep. Like they turned a whole section of the park, like granted Star Wars is one of the biggest franchises of all time, and like The Simpsons, for example,
like there's whole sections of that park just dedicated to those movies and shows.
Yeah. So you kind of feel, I don't know, you kind of feel whored out when you go to the parks now because you're like, you know, they're just trying to shove this into me and they're trying to shove this into me.

(43:00):
Yeah. I remember the rides being different when I was going there as like a kid as opposed to now.
Yeah, it feels very much force fed some of these sections. Don't get me wrong.
I'll see Nintendo World all day because I love video games, but I see what they mean by like force feeding you these movies or shows or whatever in like whole entire sections when you probably don't even really need it.

(43:24):
But people are going to call me out and probably say something about Harry Potter World or Dagon Valley.
It's fun, but doesn't need a whole ginormous section. Probably not. But whatever. I actually have another question that's kind of off topic here.
When you're not acting, what do you do with your free time? Any hobbies?
Yeah, I love working out. I love studying the science of muscularity, how muscles are created.

(43:49):
In fact, I'm taking courses now to become a certified personal trainer because I've done this just, you know, on an amateur basis for so long that I was like, you know, I want to get certified so I can know more.
But I'm small and I'm skinny. But whatever appeal I've had in films for years has been, you know, I'm fit and I can move fast and I stay in shape.

(44:11):
And I'm just fascinated by the human body. I'm not ashamed of the human body. I think we make way too much out of like, you know, oh, you have to cover up and the body is shameful. I don't believe that at all.
So, yeah, I'm into humans as embodied creatures. I do a lot of reading on this and a lot of thinking about this that we're real.

(44:34):
It's why AI really kind of bothers me because we need each other. We need to touch and communicate with other living embodied creatures.
That's what we are. We're not these abstract ideas. And I'll tell you and then I'll shut up. I promise.
If people understood how miraculous the human body is and how crazy it is that everything works together to keep us going, there's no way we would invent weapons that would purposely rip bodies apart in new and interesting ways.

(45:09):
That's crazy shit. If you really understood your own body and what a marvel it was, there's no way you could say, hey, I invented a new device that can kill people in different ways.
Wow. Sometimes I don't think of it like that. You know, a lot of people are just so easy to murder, right? Murder or hurt people or whatever.
And they don't take this kind of stuff in mind. They're just like, all right, whatever. I don't like this person or something. And then, you know, body's dead.

(45:35):
You know, so it's and you never really thought of it in that sense that maybe we should like start looking at our bodies more as like this like really important entity and vessel that we should like honor.
Well, I know that in brain science, the brain, the ability to empathize is not something that we learn. It's contained in the right hemisphere and it's innate.

(45:57):
We have it and we need it. We know how to empathize and we learn how to empathize.
I mean, we practice empathy by looking at another person and we know instinctively how to know this is how that person feels.
We have mirror neurons so that when we watch a person perform an action, our body reacts as if we ourselves are performing the action.
So, you know, how can we treat each other like shit the way we do? I don't understand it.

(46:22):
I don't understand it either. I ask myself the same question every day. Like, why are we just doing this? Everyone just seemed to hate everyone these days.
Yeah, it's awful. I mean, I can I can barely go through my Facebook feed now without seeing some form of like hate and it's unbearable. It's absolutely social media.
I have to be on social media because like to manage all the pages that I use. So obviously 30 screams or less.

(46:47):
I mean, if we didn't have to be on social media at all, we wouldn't. I wouldn't either.
But I have to be so careful of anything I post because if it has any meat to it at all, then someone will make mean comments and I end up having to take the post.
Exactly. So I pretty much just keep my opinion off of social media.
I might post funny quirks here and there or some sort of observation. Stay away from politics and all that stuff. And that's about it.

(47:13):
And that I just try not to interact with a lot of people on there because I know it's just going to cause all sorts of shit.
But Corey, you have like one question, I believe. And then I've got one more to kind of wrap it up if that's OK, Bill.
Yeah, totally. So were you involved in the creative process behind developing the popcorn character or was that all bloody bill bloody bill had a version of popcorn that he had created for his haunt along with the acrum.

(47:38):
A really, really kind of a horny, dangerously sexual clown.
Yeah. Billy thought was really funny. Billy would say he's a necrophiliac, homicidal rapist who just happens to have a day job as a circus clown.
That's who he is, Bill. Like you could easily be a plumber.

(48:00):
What I added to it, if I added anything, was almost a sort of like one review called it a feminine energy, which I liked because I always like to like push against whatever is.
And he was so rapey that I just wanted him also to have this sort of yes, yes, kind of like a gentle side.
Like a sensuality to him. Did you get to create the voice?

(48:24):
Yes. So that's what and then I also asked Billy, can he have two voices?
Like when he's being in the circus, he has a, you know, come to the greatest show on earth.
And then he's like, well, quit fucking with me.
He's got his behind the scenes voice and his show voice.
So, yes, the sensuality was what I tried to add, because I thought it made him even creepier if he also had this sort of very smooth, feminine energy as, you know, he was cutting off your head.

(48:55):
Yeah, there was one scene. I think you were running around naked in it, right?
I think so, yes.
As I recall, though, the more interesting part of the scene was the young lady without benefit of clothes running towards the camera frantically down the ramp of a parking garage.
And I was told that.
In Odessa, Texas in the middle of the night.
Yeah, I was told that did not fly too well with the owner of the parking garage.

(49:20):
And may I say that when Mr. Pond handed me the cattle prod, pantsless, me, not him.
He asked me the cattle prod and he says, this is a real cattle prod.
I said, Billy, please tell me there are no batteries in it because I don't want to chase this young lady to the real cattle prod because she's liable to get stuck.
Oh, my God. Yeah.

(49:41):
No, there ain't there ain't no batteries in it, but it would work if there was.
I said, OK, all right, that's good. All right.
Fair enough. Make it work. Yeah, make it work.
So, yeah, I've got one more question, Corey.
Then you've got a question from Billy Pond, but mine is pretty basic because this is a horror movie podcast. We got to know what your favorite horror movie of all time.
I don't want to be stereotypical. I really don't.

(50:02):
And I don't want to say the exorcist, but it just is. Yeah, it's fine.
You can say the exorcist. It's a masterpiece. OK, then I'll just say it.
There you go. It's like it recognizes the strength of evil, but it also recognizes the strength of good.
And there's this real battle between them at the end of it.
You're not sure who won and you're not sure what was real and what wasn't.

(50:24):
And yeah, I really, really like that.
And I'll tell you that even as good as the movie is, the book is better.
And if anybody listening is into audiobooks on Audible, there's a read that the author did before he died.
And it's fantastic. He does all the voices himself.
And it's scary as shit. And it's one of the best audio productions I've ever heard.

(50:45):
Really? I'm going to have to check that out because I've been wanting to start getting into more reading.
I don't do it enough. I've just been slacking in that department for quite some time now.
So maybe that's something for me to read.
Lately or recently, I read The Hellbound Heart, which is based after Hellraiser.
Very nice. Yeah, it was actually pretty good.
There were some things in there that were slightly different than the movie,

(51:07):
but Clive Barker kept it pretty close to the source material.
And that's always a good thing. Yeah.
So, yeah, Corey, I think we should get to the question from Bloody Bill here.
Actually, I have one question before that.
You do? Okay, go for it.
How does it feel to know that Take This Lollipop still has such a lasting impact,
leaving people traumatized 14 years after it's released?

(51:30):
It's delightful.
See, there's something wrong with me that I find take pleasure in that, but I do.
When it came out, in fact, that people were posting pictures all the time,
and one woman posted a picture of herself with a shotgun.
And she was like, don't come near me, you effing stalker.
And I loved it.
And a kid in a movie theater in Los Angeles about that time said,

(51:53):
Mom, that's the guy who's stalking us on Facebook.
And that was great, too.
That's awesome.
I'm pretty sure they still use it to this day to show kids what can happen on social media.
It was delightful.
God, be careful these days on social media.
And it started me down the wife beater path.
That was a dirty wife beater, but every movie after that was a bloody wife beater.

(52:17):
So I actually have a pre-stained wife beater that I take with me
in case they don't have the right size on set.
And they're always like, they say, we're not going to put you in a wife beater.
I've had several directors just say, we're not going to do the wife beater.
And then I get there, and it's a wife beater.
Of course, they've got to get you to show up, right?
Yeah, of course.
So yeah, I have one last question.

(52:39):
And this is actually from Bloody Bill himself.
I talked to him earlier today, and he wants to know if you're aware of how much he values you.
I'm not. Did he tell you?
Yeah, he wanted me to ask you that.
Did he tell you how much?
No, he didn't tell me. He wanted you to take a guess.
Well, no, he kind of stated in our interview with Bloody Bill,

(53:00):
because he talked about you a lot.
And he was just raving about you the whole time, about your performance, you as a person and everything.
So he really does value you.
I appreciate him valuing me.
And I will tell you that I think he's a horror genius, truly a horror genius.
And Circus of the Dead did well, but I was heartbroken that it didn't get out there more than I thought it deserved to.

(53:23):
Not because I'm in it, but because of Billy.
He's so attuned to the fans and to what he thinks the fans will like.
I think he's a genius.
The reason that I'm doing Circus of the Dead 2 is because of Billy and because of that relationship.
Otherwise, I wouldn't want to do the character again.
Fair enough.
Because I don't like Popcorn, and I especially don't like that I like playing him.

(53:44):
But for Billy, I want to do it.
And I want this movie to be something that will make people say, hey, I see you.
Now, have you seen any early scripts or anything of Circus of the Dead 2?
Yeah. Billy sent me some things.
He gave me some ideas for what he was planning.
And yeah, it's pretty cool.
That's awesome. We're excited.
He actually invited us to the, I think he said the crew premiere in Texas.

(54:08):
I think he said around October.
So hopefully Steve and I are going to be able to get out there to meet everyone and hang out and see the film.
Oh, that's great, Ben. I hope so. I hope so.
Billy's such a gentle, he's kind of like Rob Zombie.
He creates this really messed up stuff.
But he's a really good and decent and gentle person.
I could see that for sure with Bill.

(54:29):
I just clicked with him and I've seen him interact with fans at conventions and he's the best.
Yeah, he's a pretty good guy.
I mean, we sat down with him for like an hour and a half because he just kept going on and we're like, all right, let's party.
Yeah, we shot the shit with him for a long time.
It was really cool to just hang out and have a conversation similar to what we're doing with you.

(54:50):
This is really cool.
He coped me through the first and perhaps last time that I've copulated with the decapitated human head.
And he was very helpful because he said, you just got to get in there.
Just give it a good, just like lift that head up and throw your hips up.
It was very helpful.
All right. This is how we bang ahead, I guess.

(55:14):
I bet we'll see more of that in the second one because he told us it's going to be a lot more intense.
Oh, geez.
Oh, please get another clown to do that.
Stunt double?
Yeah, some other clown.
Your close-ups and then have someone else just doing all that crazy stuff.
Yeah, exactly.
Bill, thank you very much for your time today.

(55:36):
This has been so awesome.
We loved speaking with you and we're super excited for Circus of the Dead 2.
And you know what, I should probably ask this, other than Circus of the Dead 2, what else you got coming up?
I've got a movie that Carl Lindbergh did called The Day They Arrive, which is about UFOs that's in post-production.
And then I've got two that I'm doing this year.

(55:57):
And one of them is Adrian Corona, a young director who works in Mexico.
I did a movie called Dis with him.
It's a horrifying, horrifying, his vision of hell.
And now he's got one called Dead Iris, and it's about the Aztec sweat lodge culture and the belief that in the sweat lodge,
you can contact something from the other side.

(56:18):
And so this movie is called Dead Iris, and we're going down to do it.
I play a shaman, I think like with Aztec tattoos and a loincloth.
Oh, interesting.
So yeah, it'll be cool.
It's one of the more interesting ones that I've got coming up for this year.
And I'm touring with my little show about Satan.
Are you coming out to the New England area at all with it?
I hope so. It's a small show.

(56:40):
You know, it's only like one person and it's one act.
So I have to do small theaters and houses of worship and stuff like that.
But if people want to check it out, it's adversarieshow.com.
Adversarieshow.com.
Or you can go to BillUbers.com and I've got a page that leads you to it.
Oh, perfect.
Okay.
We'll check that out because if you're in the area, we'd love to come see it.

(57:01):
Awesome. I really have enjoyed talking to you tonight. Thank you.
Yeah, we've enjoyed talking to you too, Bill.
Thank you so much again for hanging out with us and talking to all these amazing topics.
So can't wait again to see you in Circus of the Dead 2 and everything else you got coming up.
Thanks. And thanks for what you guys do for Indie Film. Much appreciated.
Anytime. Thank you.
Thank you, Bill.
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