The Savage Hunt of King Stakh (1979) w/ Dennis Bartok & Craig Rogers of Deaf Crocodile

Episode Transcript
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(00:02):
Prepare yourself for the terror, theprison of madness. We have few inter
and Nunritter. Welcome to Unsung Horruswith Lance and Deerica. Leave all your

(00:32):
sanity behind it can't help you.Now. Welcome to another episode of Unsung
Horrors, the podcast where we discussunderseening horror movies, specifically those with fewer
than one thousand views on letterboxed.I'm Erica, I'm Lance, and we
have a very special episode this week. First, we're going to be talking
about The Savage Hunt of King Stockfrom nineteen seventy nine, which as of

(00:56):
this recording has six hundred and sixtyone views and it has a blu ray
release from Deaf Crocodile which is currentlyavailable to order on Diabolic DVD with three
options which we will discuss shortly.And here to talk about the film and
the release, we have Craig andDennis from Deaf Crocodile. Hey, thanks

(01:18):
for having us on so first andforemost for anyone, I think most of
our listeners are familiar with Deaf Crocodile. Can you tell folks a little bit
about your label and like what you'rereally kind of focused on and like what
you hope people will discover through youthrough year releases. Yeah, a lot
of the stuff that we end upputting out is stuff that Dennis has been

(01:41):
aware of over the years and wouldbe like, Oh, that would be
really cool to be able to trackthat down, and he's really good at
tracking things down that are hard tofind. So that's why most almost all
of our releases have been met withWow, that looks good. I've never
heard of it, because yeah,they're just obscure, really good films that

(02:02):
for whatever reason, most people haven'tseen. So we're always thrilled to be
able to expose these great films tonew audiences. As far as what we're
focused on, a lot of ourstuff tends to meet at the crossroads of
like art, house and genre,mostly because we kind of like that.

(02:23):
But also it's hard to pin downexactly what you'd say our focus is because
a lot of people, for awhile, we're referring to us as like,
oh, that's the company that putsout all those Eastern European or Russian
films. That's just because you asyou find one film and you find the
people who have the materials for that, it just leads to other films in

(02:45):
that area. By this time nextyear, they'll probably be saying, oh,
that's the company that puts out allthose old animated titles, because we've
got a lot of animation coming.It's not a concerted effort to be like
this is what we're going to putout. We're just looking for really good
films that people haven't seen. Leadsus where it leads us. Yeah,

(03:07):
and I think that's great, Likeyou're putting out films that are underseen,
Like so you're the perfect guest forour show because we're here just championing,
you know, the underseen horror films. But I think my introduction to def
Crocodile was actually through Lance because ofSolomon King. Oh yeah, yeah,

(03:28):
and you know, so that one'svery different from you know, if anyone's
just sort of generalizing you as EasternEuropean, Like, look at that release.
I mean that's fantastic. That onewas pretty special. And that one,
that one started with Dennis's final recordcollecting, So he should tell you
how that one came about. Yeah, no, I've I've been collecting records

(03:53):
since I was about fifteen, andwas that record surplus. This is one
of my favorite stores over on thewest side of La Santa Monica and Sentinela,
and they had a copy of thesoundtrack to Solomon King, which is
an independent black crime film that wasmade in Oakland, California and nineteen seventy

(04:17):
three seventy four by a filmmaker,actor, writer, producer named Sal Watts,
who was kind of like Oakland's answerto Barry Gordy in the seventies.
He had record labels, made movies, he produced a local TV program that

(04:38):
showcased Oakland street dance and soul funkartists, had a string of restaurants,
and he had a chain of misterSal's black urban fashion stores. So he's
doing amazing, amazing stuff. AndI found the soundtrack and it had all
these incredible and mostly unknown local Oaklandsoul funk artists on it. In nice

(05:00):
said wow, you know, letme see, if you know, track
down the film and watch it,and quickly discovered that had not been seen
since the late nineteen seventies and everyreference was a lost film. You know,
no footage. I think there wasa thirty second TV spot on YouTube
and that was the only footage thatexisted. So I talked to Craig and

(05:23):
I said, well, it's alost film, and that's it's kind of
what we do. We find lostfilms. Yeah, so we'll go find
this one, and we did.It took a couple of years of searching.
We eventually found out that sal hadpassed away in two thousand and three,
pretty much completely unknown at the timefor his work in media, in
music and film and TV. Andwe located his wife, his widow,

(05:48):
Belinda Burton Watts, who also appearsin Solomon King at the end and was
in charge of the estate, andwe made an arrangement with her. She's
been incredible to work with. Andthen after much much searching, we located

(06:08):
i think the only complete print ofthe original version of the film at the
UCLA Film and TV Archive, whichthey very generously loaned for the restoration.
We normally don't use release prints forthe purposes of restoration, but in this
case, it appears the negative waslost many many years ago, no OCN,

(06:31):
no interpositive, inner negative. Therewas this this one release print.
It was badly faded and had alot of wear and tear, and so
we scanned it and then Craig isour restoration wizard, and worked his incredible
magic, and then our colorist,Tyler Fegerstrom, was able to restore about

(06:54):
ninety five percent of the color ofthis badly faded purple print. It is
unbelievable if you get the blu ray. We even have a before and after
test where you can see and itpremiered a fantastic fest and we've had a
bunch of screenings. And the amazingthing is that sal and Belinda's family,

(07:15):
kids, grandkids, great nephews,great nieces have been able to see this
film come to screenings. They'd heardabout it for years and we're never able
to appreciate Sal's work. And alsothe family had never seen it. Oh
yeah, it was just this kindof myth that, oh yeah, you
know, we heard Salom made amovie, but there's no way to see

(07:36):
it. So that and the chanceto work with Belinda has really been the
best thing about Solomon King. Wedid a long interview with her. Jonathan
Marlowe's good friend of ours up innorthern California, sat down and talked with

(07:56):
her for over two hours, andthat interview about her life, Sal's life
and career Oakland in the nineteen seventies, black music culture to me, is
as important in its way as thefilm itself, which really documents a lot
of the long gone like geography,fashion, music, everything of black culture

(08:22):
in Oakland at that time, andfrom almost like a documentary sense. That's
one of the great things about SolomonKing. It was also super fun.
I mean, he was one ofthe few black independent filmmakers working at that
time, along with Rudy Ray Mooreand Melvin Van Peebles, and was clearly
trying to make a commercial action crimefilm and just had great fun with it

(08:46):
with very limited resources. They shota lot of it either in his house
or businesses that he owned, alot of friends and family appear in it,
so it really is like a trueindependent production with an amazing soundtrack.
So I know that's a long explanation, but we love, love, love

(09:07):
Solomon King. We loved working withBelenda. Cannot say enough good things,
and she's just become a really dearfriend. I mean that more than anything,
has been like the best thing.And and she says so amazing.
She said, you know, I'vebeen waiting. I was waiting for thirty

(09:28):
years for the phone to ring andsomeone to call and say, hey,
we want to you know, wewant to find Solomon King, and she
said the phone finally rang and itwas you and Craig, and she's like,
I think it was like divine blessing. And I agree with her.

(09:50):
I think it's so remarkable a miraclethat we were able to work with her
and restore and bring Sal and herswork back to the screen. Both Lance
and I were at the Solomon Kingscreening in Fantastic Fest and wow it was.
It was such a great experience.That movie is just pure di I
y joy really special premiere with SalWatson's family there and stuff. It was

(10:13):
the highlight of having the family therewas amazing. And the we screened it
again in San Francisco, so alot more of the family was able to
be there, and it was justincredible. Like the first scene where he's
on screen, I just heard,you know, one of the women sitting
behind me just yelled out and shewas like, that's what, daddy,

(10:33):
it's the best. It was amazingAnd it was licensed for Turner Classic Movies
and screened twice on TCM nationally,And to me, that's incredible that Sal
had this amazing uh kind of driveand hoot spat and did all these things,

(10:54):
you know, movies and music andTV and fashion, and we'd like
to know more. Actually, we'rehoping that somebody will at some point pick
up on the costumes in the film. Apparently a lot of the clothes were
off the rack from mister Salle's fashionstores, and there was a one designer

(11:15):
in particular his name and of coursenow forgetting but when we tried and tried
to see if we could find anyinformation about his work and found absolutely nothing,
but apparently designed most of the clothesthat mister Sal sold and were subsequently
used in Solomon King. And we'relike this, there was some incredible,
credible Yeah, and you can seethere's some photos from the TV show that

(11:43):
that Sal produced, Jay Payton showsthat's right, I think, and also
used those clothes which are just mindblowing. So we're hoping somebody at some
point will find out some more andfrom and gives some more background on the

(12:03):
career of the fashion designer, becausehis work was incredible. Yeah. Absolutely,
well, I mean, it's justinsane that someone like Sal Watts and
then also I'm it's on the tipof my tongue, but I can't think
of the designer's name, but bothof them had such incredible lives and careers

(12:24):
and like there's nothing, like we'vesearched hi and low and like it's hard
to find any information. So wewere really hoping, especially once we heard
the full interview with Belinda, somebodyneeds to make a documentary. Like,
yeah, absolutely, if we ifwe had the time, in the in

(12:46):
the and the we would we wouldlove to have done it ourselves. But
like, yeah, like a fulldocumentary just about Belinda and Sala and Oakland
at that time would be so fascinatingand have Olinda at the center of it
because short storytelling ability is off thecharts and she's really the main source for

(13:09):
all the background. As Craig said, we were able to find very little,
but she had some amazing family photosand her own personal memories. We
kept hoping that we would find photosor even like a TV ad that was
shot in mister Sal's back in theday, and we have we found nothing.
We do have a business card.I'm actually looking at it right now.

(13:31):
Mister Sal's Fashions, Custom Designing andTailoring, unique custom made hats and
bags male and female, seventeen thirtyeight, Telegraph Avenue, Oakland, telephone
four six five two six seven sevenSal Watts, and a part of me
is like, if I rang thatnumber, would Sal pick up? So

(13:54):
so yeah, we you know,I know it's we've gotten sidelined, as
we often do, but we love, love, love Solomon King. That
was one of our very favorite projectswe've worked on. Yeah. No,
yeah, you've never done a podcastwith us before. You're usually only going
to get one or two questions inNo, it's fine. We're here to

(14:16):
promote you guys and the work thatyou're doing, so you know, we'll
get around to the King's talk eventually. Well there is. They both have
King in the title, so there. Yeah, there could not be more.
They could not be more different films, although both were clearly filmmakers pursuing

(14:37):
a very individual like idiosyncratic vision.So yeah, they both have link awesome
costumes. There are outfits there yougo and super fun, just really movies
that we fell in love with.It just got really passionate. I mean
we we actually committed to tracking downand restoring Solomon King, having seen no

(14:58):
footage literally I think thirty seconds.Well yeah you would. After you've got
the record. You found a YouTube. It was a YouTube video, but
there was no video. It wasjust the theme song. Oh yeah,
And you had set me a linkand you're like, I found this record.
It's a lost film. We shouldtry and find this what you think?
And I clicked on it and Iheard the theme music and I was

(15:20):
like, I don't care what themovie is if that's the music, we're
finding this Yeah, no, andwe it's one of those rare occasions where
we kind of went after something sightunseen. There is a Mexican animated sci
fi film we've been pursuing for acouple of years, which is a lost

(15:41):
movie which you know, knock onwood, knock on my head. We
may be close to licensing, butno footage exists of it. Nothing,
no trailer, zippo, wow.I think a couple of lobby cards.
And so this is one where it'sreally it's that leap of faith. You're

(16:06):
kind of like jumping off the divingboard into the darkness hoping that this is
a really cool movie. But partof it is like, if we don't
do it, who's going to doit? Who's going to kind of be
crazy enough to spend the time totrack this down and have it scanned and
then we're so fortunate that Craig issuch an incredible wizard at restoration because we're

(16:27):
able to take on these projects thatyou know, a lot of boutique labels
can't do because the restoration involved isso time consuming and so expensive. Normally
for Solomon King, we even hadto do a Kickstarter because it was it
was a really complicated and expensive project. But fortunately we got a lot of

(16:52):
amazing supporters on Kickstarter and we're beingthe biggest one. Yay. Yeah,
No, I mean I fell inlove. I think I had the same
type of passion you guys did assoon as I saw the trailer and all
the stuff that and you know,I watched the full interview with Belinda that
y'all had shared and I was immediatelysold, and I was like, I'm

(17:14):
I'm in all the way anyway Ican help. Hey, I will thank
you now enormously because that's that's whathelped us finish the film and get it
out there and now it you know, the other really cool thing is Belinda
had what she thought was the cameranegative in her closet for twenty five years,

(17:34):
and Craig and I were really excitedand we actually had his zoom with
her and her daughter. They pulledthe cans out and started to unwind it,
and Craig was like, there's noimage, there's no image. It's
uh well she pulled when she pulledthe stuff out of the closet and it
was in boxes instead of cans.I'm like, I think that's audio.
So it turned out it was thethirty five millimeter ost, which was great

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that we had really good audio,but it meant that we had the soundtrack
and no picture. So that sentus back to the drawing board and we
eventually located the print at UCLA Archive. But at one point we were thinking,
oh wow, we could put outthe dialog, dialogue and the music,

(18:23):
but there's not going to be anyimage. You could do like the
reverse New York Ninja thing where theymade their like they had people record their
own audio for it. So you'vegot the audio and then you just have
people acting with no sound and thenadd that to it. I know,
I know. Well, Fortunately wedid find, yes, of course,

(18:45):
the picture to go with it,and so we did a little ten second
test to see if we could ifwe could restore the color and realized we
could. We shared it with Belinda, and she was like, oh,
oh my god, that's me andSal's house that I remember that painting on
the wall and dot dot and acar and a car that the car that

(19:08):
he drives in the beginning was Belinda'scar that might have given away to one
of his other lady friends. Atone point, Sal had, from what
we could tell her, think hehad fourteen children. So he was busy,
busy guy. I've just been business, but not just in film and
TV and music. So there's alot of family who were able to sort

(19:30):
of rediscover sales work, which isreally wonderful. I wish he'd made more
movies. We would love we wouldrestore them all and put them out,
but Solomon King was the only onehe got to make, and I,
you know, I wish he hadbeen more acclaimed and remembered during his lifetime.

(19:52):
His career seems to have have kindof collapsed in the late seventies.
In the early eighties, he actuallywent to prison on on tax issues.
Really sad. You know, heand Belinda faced just unbelievable racism throughout their
lives, which she talks about veryopenly and honestly in the interview. We

(20:15):
did with her. So again,if people rediscover Solomon King, I hope
they track it down, watch thefilm and then watch Belinda's interview because they
really compliment each other so beautifully.Lisa, absolutely, all right, So
let's make our jump over to Kingstock, our different king here. I did
want to give a quick summary,and this is pulled directly from where you

(20:37):
can purchase it on Diabolic DVD.We have more ghosts than live people,
murmurs the pale, haunted mistress ofthe Mansion of Mansion of Marsh first to
a scholar of ancient folklore who hasarrived at her castle to research the bloody
legend of King Stock, a murderedfifteenth century nobleman whose spirit supposedly thunders through

(20:59):
the local woodland. The wild Huntis a fixture of Northern European folklore in
which a sinister figure leads chase followedby ghostly companions. Part full core,
part supernatural mystery. King Stock isa melancholy, chilling mixture of Terry Gilliam,
Italian Gothic horror, nineteen sixties Hammerfilms, and The Wicker Man,
and a major rediscovery for genre fans. The longer the young scholar stays in

(21:23):
the mysterious house of shadow, gloom, madness, and death. The more
strange and surreal the imagery becomes amad widow and a white wig, a
man bleeding spontaneously from his skull,a dwarf hiding in a decayed doll's house,
screeching ravens, and maniacal puppet shows. So I did want to start.
You know, we're not going tofollow our normal episode structure where we

(21:47):
get into two like going down theline of cast and crew. We've got
Craig and Dennis here, so wewant to talk about the release and all
the great special features that come withit, and then we'll get into our
short discussion. So I mentioned threeoptions for the film. There's a standard
edition, a Deluxe edition, andthere's also a bundle available on Diabolic.

(22:08):
So we'll start with like the standardedition and go from there. The first
feature we have is of course,a brand new restoration of the director's cut,
and Craig did that himself. SoCraig, what was the restoration process
like for this film? And doyou like this kind of work or do
you find it, you know,tedious and just kind of a necessary evil.
It depends on the day. Okay, Sometimes it's it's can be actually

(22:33):
kind of relaxing, just kind ofzone out and work on it. But
other times it's it can be tediouswhere if you've got a problem or an
issue and you keep trying every toolin the box and it just doesn't want
to fix, can get can getfrustrated. There's a there's even a for

(22:56):
for kingstack. There's actually a littlerestoration disclaimer at the head of the movie
that we added because this particular film, the only element was available was all.
You know, we didn't have achoice of of elements, so we
got what we got, and Ibelieve it's a It was a print that

(23:17):
had some some weird fading issues thatkind of present sort of like flicker,
but not like consistent like flicker.It's just more of a wavy chromatic kind
of thing that happens throughout the film, and I mitigated it a lot as
much as I could, but it'sit's still kind of there and you'll notice

(23:38):
it. So I just wanted peopleto know that going in that Yeah,
we were very aware of it,and it's a lot better than it was.
Yeah, other than that, it'sit's the usual, you know,
just dust and dirt and scratches andissues like that, which you know every
release has that. You you know, you just clean up the best kid.

(24:00):
I was going to say that whenwe were in negotiations with Belarus Film,
who are the rights holders for ASavage Hunt of King Stack, they
sent us a quote unquote restoration thatthey had they had done recently. Craig
looked at it and he said,oh, you know, this is this

(24:22):
scene I think in a cemetery andit's supposed to be lightly raining, and
whatever scratch removal software had removed therain. It was gone. So we
had to explain to them that wewanted to go back to the unrestored elements

(24:44):
and start over again. You know, that's something we do. See Like
there are archives and studios that wework with that do really superb restoration work.
Moss Elm, the Alexander Pautushka filmswe put out most recently Russland and

(25:04):
Lidmilla. The new four K restorationis gorgeous. The the NFI in Budapest
and Hungary worked with on Cat Cityand Heroic Times and Bubble Bath do wonderful
restoration work. Yeah. Yeah,then the Rodney film Archive and Prague.

(25:26):
We're releasing a restoration of Adela hasnot had Supper yet next month, which
is there a man Eating Plant detectivespoof is fantastic kind of pink panther like
comedy about a carnivorous plants and superfun uh. Director old Rich Lipski,

(25:48):
who did Lemonade, Joe and MysteriousCastle and the Carpathians, which we put
out a couple months ago from theDruels, very novel. They do really
wonderful work without naming names. Youknow. We'll sometimes get elements that have
supposedly been restored and Craig looks atthem and goes, oh wow, there's
there's a lot of issues here.So I think standards for what is a

(26:11):
restored movie and what is and theyvery wildly Craig. Craig does what I
guess you would call like studio levelrestoration for most of the projects. So
it's kind of what you would expectfrom a major studio with far greater resources
and much deeper pockets. But hereally he's a perfectionist and he's often working

(26:37):
on the restorations. Literally he's like, I know, we're supposed to deliver
this for authoring. But I lookedat it again last night and I found
a few things I just had tochange. Literally usually Dennis, Dennis,
I don't. I don't even knowif you're aware of this, but but
there are occasions. There's actually somestuff in king Stack where I got the
QC file back from from David Mackenzieof Fidelity Motion, and I'm ce seeing

(27:00):
the blu ray and I've seen thingsand I've told him, I'm like,
hey, I need to send youa couple of pickups. Still it continues.
That's fine. So the film hasa video introduction by Kayla Janice,
who most people know for her documentaryWoodland, Stark and Days, by which

(27:22):
the history of Full Corps. Didyou reach out to her to do the
intro because this film was mentioned inher documentary and this film clearly falls within
the full Cower genre. Or didshe reach out to you when she found
out you were putting this out.No, I reached out to her.
We've been friends for a while.I'm a huge admirer of her work as
a filmmaker and as a writer.One of the supporters for the crowd funding

(27:51):
on her new book on Monte Hellman'sCock Fighter that's coming out in a few
weeks. Very excited finally see that, and wet her as a guest at
the Philosophical Research Society, the nonprofitI mentioned here in La the executive director,
and screened Woodlands Dark. I sawthere was a brief mention of Savage

(28:12):
unt of King Stack, and Isaid, hey, we're restoring the film,
would you consider talking about it?And she very generously agreed to do
it. And you know, she'ssuch an amazing scholar of all of these

(28:33):
incredible not just full core but forWoodlands Dark in particular full core movies,
and so I think she made thesort of perfect person to introduce the film
for those who have never heard ofit before, which is probably most film
fans here in North America. Itis really pretty obscure. Yeah. So

(28:56):
the disc also includes a new video, say by film historian Evan Chester,
or the Wild, Wild Hunt ofKing Stock. And so I checked out
his YouTube channel and actually watched afew of his short video essays there.
How did he become involved with thisrelease, Craig? Was it you had

(29:17):
discovered or one of you? Ithink I work on YouTube. I'd watched
it, I'd watched it I thinkhe had done one on Russian animation and
I was watching that and I waslike, oh, that was really good,
and then I just clicked and Istarted watching some other ones. I'm
like, this guy's really good.So I messaged him and I was like,

(29:37):
Hey, would you like to dobasically one of the videos you do
on YouTube, but do it forour Blu Ray release. And he was
thrilled to do it, and sowe were thrilled to have him do it.
You know, He's now worked onvisual essays for several of our other
upcoming releases, and we really reallylove his work. I think it's a
great compliment to the movies. Yeah, that's awesome. I think a lot

(29:59):
of people I hear I hear likeSam Deagan get asked this a lot,
like well, how do I howdo I get into that? How do
I get on like special features?And it's like, well, do the
work, find your niche and likepeople will come to you kind of thing,
and like this is a perfect exampleof that. Like this guy is
just like geeking out on his somestuff that he really loves, and you

(30:22):
can tell people are really passionate abouttheir like that one subject people will find
it and if they're doing something inline with that, we'll reach out to
you. So I think that's awesome. Yeah, I think we're I think
we're the first time he's done anythingfor a blue rear release. So yeah,
he was, he was very hewas a little surprised at first that
we really like, you want toput it on a blueprint, Like,

(30:45):
yes, do good work. That'sawesome. Yeah. So the artwork in
king Sex release, you have somereally great, uh to me, well
known comic artist, Yes, StephenBessett. Most people know his work from
Swamp Thing and the Alan Moore runand David Mack does some of the art
for the for the slip covers.But yeah, it's kind of surprising to

(31:08):
see Stephen Bissett's name linked to anaudio commentary. And he's worked with a
couple of you know, on acouple of releases from you guys. So
how did you meet him? He'she's done a bunch of stuff for us
now. I actually I'm a comicbook nerd. And he grew up and
I grew up in New England andhe's from Vermont and back in the probably

(31:30):
the late eighties, early probably lateeighties, was the first time. There
was a very small comic book conventionin Dover, New Hampshire, and he
would he would attend it every year, and so so did I because it
was it was near where I grewup. So we'd go in and every
year I'd see him and he'd doa sketch for me and I grab his

(31:53):
latest issue of Taboo, which isa really incredible like horror anthology book that
he put out like usually one onea year, And so I'm just a
fan of his for a long time. And then you were for friends on
Facebook and I noticed that he wouldpost really great, in depth reviews of

(32:14):
films that he'd seen, and soI just reached out to him. I
was like, hey, like,would you be interested in and doing something
for one of our releases? Andhe was, he was excited to do
it. So Yeah, he's donesome commentaries for us, he wrote an
essay for us. He's been he'sbeen getting he's been doing a lot more
work with with some other labels aswell. And he's also I mean he's

(32:36):
he's he wrote a lengthy book onThe Brood, the film you can get
I've seen that. You can getthat on Amazon it's it's it's it's quite
a tome on one film. Sohe is he's a he's a big film
fan and film historian, just asa as a passion project. I think
it's just something he likes to doand and now it's turning into like a

(33:00):
side gig that he's been a lotof people I think are starting to reach
out to him to get essays andinterviews and whatnot with him on films.
Well, he actually was one ofthe first writers for Video Watchdog and has
been friends for decades with Tim Lucasand Tim's late wife Donna, who co

(33:25):
founded Video Watchdog, and so Stevehas had this parallel career as a film
writer, you know, film scholarfor decades, but was much better known
for his work in comics. SoI think he's really excited that he's finally

(33:47):
getting a lot of attention for hisincredible film scholarship and enthusiasm for a lot
of the same kinds of movies youknow that that we love. He's worked
I think on most of our AlexanderPatushka Russian fantasy releases. The details and
historical facts he's able to come upwith are really astonishing. I think he

(34:12):
has a network of fellow film loversthat he's able to reach out to who
will do incredible, you know,sort of deep detective research into the release
of these films, and he canbring particularly the information and detail he gets
on the cast members of these youknow, obscure Eastern European films, and

(34:35):
he'll have like their whole backstory ofall the actors. It's really incredible.
I like the it's a very casualconversational style he has with his commentaries,
even though they are packed to thegills with information, but it doesn't it
doesn't feel like information overload. AndI think it's he's got a background in

(34:58):
teaching, and I think that it'sreally beneficial to he's he's got a good
talent for dispensing information without it feelingoverwhelming. It's he's really great at it.
I'm so glad that he's done somany commentaries for us. Yeah,
that's amazing. So in addition toBissett's commentary, you also have a commentary

(35:22):
from Mike White of the Projection Booth, and he actually recently released episodes of
some previous releases, The Unknown Manof Shandigor and Visitors from the Arcana Galaxy,
both with Sam Deagan and the latterwith friend of the show Ryan Verrel,
which is awesome. Brian had mentionedthat he was going to be doing

(35:43):
something with him on one of ourtitles, but I didn't realize that they
were going to be putting up Likeit was like two back to back that
were our titles, and I waslike, oh cool. And his show
is great. I mean when Ifirst started listening to it at first,
I was like, seriously, likethis podcast about this film is longer than
the film itself, but it's it'snever boring. It's always like I mean,

(36:08):
if you're a film nerd, like, yeah, he's he gets these
great guests that have great insights.And I've never listened to an episode that
I thought was like not entertaining ortoo long or anything. They're always great.
Yeah. I'm not trying to playfavorites on episodes or anything, but
like the Super Mario Brothers episode wasone of the most amazing things I've ever

(36:30):
heard in my life. Like allthe interviews he got for that, was
it the original Super Mario or thethe rede version? Oh, the original
like the John yeah, the liveaction one, And he got all the
people who were involved with that movie, and it was just the most amazing

(36:51):
feat. I can't even imagine himputting that thing together, but wow.
Yeah. Yeah, it is apretty a little bit like the independent horror
filmmaking community where it's pretty tight anda lot of the people know each other.
The community with as you've mentioned,like Ryan and Sam and Mike and
yourselves, Like, there's a lotof interconnectiveness people who who you know,

(37:15):
support each other's work, and well, yeah, we're all nerding out collaboration.
Yeah, yeah, and we'll workon releases by different labels. You
know, Craig and I are bothbig physical media fans and consumers, so

(37:36):
you know, I have stacks andstacks of discs by other specialty labels,
whether it's Severn or Mondo Macabre orPino Lurber or you know, you name
it, many still in the shrinkwrap. As I'm sure you all can
appreciate. I just bought two largebook shelves about footbooks. They're for Blu

(38:01):
rays, but two large shelves becausethe stack of I need to watch this
was just overwhelming. So just toget into a few more of the people
involved with the King Stock release.You have the graphic design by Beth Morris.
She's done some work for you previouslyon World War Three and Kin Satsa.

(38:23):
And the Deluxe edition as everything inthe standard edition, plus it has
a hard slip case with new artworkand Lance mentioned David Mack network is just
absolutely stunning. How did you first? You know, you talked a little
bit about meeting up with and gettinginvolved with set, but what about David

(38:44):
and his artwork? How did youfind out about his work and get him
involved again? My comic foot nerdRoute. Yeah, he's best known for
creating Kabuki, which is a comicseries which I'd heard of but I had
never read. And then I'm ahuge collector and fan of the Marvel Comics

(39:07):
Daredevil series, and he wrote anddrew that back in the probably late late
nineties early two thousands, which thenI discovered. I'm like, oh wow,
this guy's incredible, and so I'vebeen just a fan for a long
time. Weirdly, yeah, everything'severything's always tied together somehow. So I

(39:30):
did some consulting on the new restorationand re edit of Caligula. The gentleman
who was heading that project, ThomasNegovin is how we got in touch with
Dave McKean because he's friends with himand he also knows David Mack. So

(39:51):
yeah, he had helped us getin touch with Dave McKean, who did
a slipcover for us for a KickstarterPie Piper, and then I knew knew
that he also knew David Max.So I was like, any chance put
in a good word for us,and so yeah, he introduced us via
email and we were he was actuallygoing to do a different title for us

(40:14):
and that fell through, but thenhe wanted to do this one. So
yeah, I was just I mentioned, you know, when I talked to
these comic book artist heroes of mineto do work for us now at def
Crocodile, and they say yes,it's it's kind of surreal. I'm like,
oh wow, that's incredible. Soyeah, yeah, I've known David

(40:37):
Max's work from all his comic bookwork and and and was thrilled. But
he agreed to do this one,and he's asked He's like, yeah,
I both do another one. Sowhen when the right project comes up,
you might see another one by him. You're familiar with them. Yeah,
I've met David a few times whenyou know, we were both tabling a
comic convention selling art, and I'vecommissioned to him to do some some pieces.

(41:01):
I have one of his swamp thingsup in my office. I even
have a Stephen Bessett swamp thing thatI was lucky enough to pick to pick
up from him because he doesn't doart, he hasn't done art in decades.
Really, Yeah, I don't haveI don't have a lot of I
don't have any original like published workfrom from Stephen Bissett. But I've got
a bunch of sketches like I saidthat he would do for me every year,

(41:22):
yeah, way back in the day. So yeah, comic book art
and and is is a near anddear to me. So we'll cool continue
to reach out to two people thathave worked in that field and see if
we can't get some cover art fromthem. Yeah, it's appealing to like

(41:44):
us comic nerds, Like when yousee you know, the Dave McKean pie
Piper and then the Steven mac It'slike, I'm gonna buy this, Like
even if you're not into like filmsor something, it's it's it's a work
of art and you know as acollector, like and that's what we're that's
what we're really focusing on the Delexteeditions, is that we're trying to get
you know, new artwork and theand the slipcase is really to showcase the

(42:08):
artwork that was created for the slopcase. So there won't be a lot of
text on it. Keep it minimal, like the title and that's about it,
you know, right, because that'show I pitch it to them when
I'm trying to, you know,convince them to do one for us,
It's like this is this is justfor the Delecte edition, just for the

(42:29):
slipcase, and it's really to showcaseyour artwork. And yeah, so far
they've been really beautiful. I'm veryexcited about the ones. The next one's
coming up as well. They alllook really incredible. And I would also
like to give a shout out toBeth Morrish absolutely in the UK. She's
pretty much our go to artists nowfor all of our the kind of standard

(42:54):
editions as well as doing a lotof our slipcase editions. And I think
in particular her work here on Savageand of King Stack with the image of
the really eerie image of the skullheaded Rider to me, captures the kind

(43:16):
of metaphysical folk horror essence of themovie itself. So, you know,
we love all of the work thatBeth has done. She also designs the
discard and the booklets for us anddoes a wonderful job, so we can't

(43:37):
say enough good things. Yeah,she handles all of our graphic design work
now, so yeah, all theall the booklets, and and she does
all of the standard edition covers,and yeah, and then and the King
Stack covers a perfect example of likeyou get a really good graphic designer,
and she intuitively knew like less ismore, it's just the image, and

(44:01):
it worked so well. The Kingstackart work wise, I think, you
know, both the standard and theDelection editions are just like home runs.
Speaking of the booklet, you've gotbrand new essays from Walter Chaw from film
Freak Central, and he's also theauthor of a Walter Hill film, Tragedy

(44:22):
and Masculinity in the Films of WalterHill. That book is fantastic for anyone
who's a fan of Hill. It'sdefinite must read. I love Walter Chaw's
writing. I'm so glad he's involvedwith this one hundred percent. I don't
know if it was the first thingI read of his, but he wrote
a lengthy, incredible review of everythingEverywhere, all at once that literally had

(44:45):
me in tears, and I waslike, wow, Okay, if you
can write a movie review that makesme cry, you're good. So I
reached out again. I reached outto him and I was just like,
hey, would you be interested indoing like an essay for us? And
he was like, oh, yeah, I've been watched, you know,
following what you guys are doing,like anything I could do to support what

(45:07):
you guys are doing one hundred percent. And so he wrote a few essays
for us, and then at onepoint I was like, hey, would
you be interested in doing an essayfor all of our releases? And He's
like sure, Yeah, I'm thebiggest fan of his writing. So moving
forward, basically all of the Slipcaseeditions will feature generally two essays, you

(45:30):
know, one by by Walter andthen another by you know, different circle
of writers scholars we work with,but like Beth Walter has kind of become,
you know, part of our kindof go to list of collaborators.

(45:51):
Yeah, your other essay in Thisrelease is by film historian and professor Peter
Rohlberg from the Historical Dictionary of Russianand Soviets, which that just sounds like
a perfect fit for this. He'salso been on a couple other releases,
Rustlin and Ludmila and The Tale ofCzar Sultan. This is a stacked release,

(46:12):
like I mean, and and thefact that the Deluxe edition is what
thirty three I think on Diabolic whenI looked, that sounds right, Okay,
thirty three or it might be likethirty three ninety nine one, yeah
something, but yeah, four.You're getting a lot for your money with
that. But if you want toshow out a little bit more, there's
also a bundle which includes a Deluxeedition and some goodies such as a training

(46:35):
card, def crocodile sticker, afilm specific coin that is a numbered edition,
and a set of five film specificpostcards. So, as I said,
all of that's available on Diabolic DVD. You've got standard edition, Deluxe
Edition, and bundle. And Ihave to say that the coin is really
cool. I mean, it's ait's an actual coin, minted metal coin.

(47:02):
And because everything ties back to mybeing a comic book nerd, I
got the idea to do a coinby I supported a kickstarter a while back
that was for a release of aBernie Wrights and book. Oh, Cycle
of the Werewolf. I did thattoo, not the Cycle of the Werewolf,
it was the it was the onethat had all of his uh he

(47:22):
did two sets of trading cards,and it was all the artwork from those
cards in a book. I don'tthink I was even expecting it, but
when I got the stuff, therewas this really cool coin that came with
it, and I was like,how did they do that? Like that's
incredible. So I started looking onlineand I'm like, oh, you can
get custom coins made. And Iwas like, oh, we're doing this.

(47:45):
Yeah, it's great. I thinkit's Nakotomy that releases the Bernie rights
and stuff. He works with hiswife. But yeah, that yeah,
so the coins are very cool.I mean it's it's it's like it's just
weird. It's like it's legit coin. So yeah, the coin is again

(48:06):
goes back to a meat Dana comicbook. So let's get into the film
itself a little bit. But beforegetting into any sort of specifics, Craig
and Dennis, what is your historywith the film the first time you saw
it. Have either of you programmedit in the past, you know,
I heard about the film, Ohmy gosh, over thirty years ago.

(48:30):
I think I came across it ina catalog from the old Los Angeles Film
Exposition, which was held here inLA from the early seventies to the early
eighties. And I never went tomyself, but kind of morphed two of
the main figures behind film X,Gary certain. Gary Abrams founded the American

(48:52):
Cinema Tech, which I started workoutin nineteen ninety two, first as the
head of programming, and then manyyears later came back and was the executive
director there for a couple of years. And it was in a film X
catalog with I think one or twophotos and a description of the movie,
and I thought, oh wow,this sounds amazing, kind of a cult

(49:15):
and mysterious. I loved the title, and there's no way to see it.
And so I have a little kindof mental list in the back of
my head of titles that are reallyrare and or impossible to see that I
would love to track down. Andso that kind of sat on this little
mental list for literally decades. Ithink Robert Skotek, who's a good friend

(49:40):
of mine, is the Academy Awardwinning visual effects artist from Aliens and Terminator
too, and he did Cope withas Dracula and many many other The other
night, we're watching Tremors and I'mlike, oh my gosh, you know,
Robert did the visual effects for Tremorsto him, and he's like,

(50:00):
oh, yeah, that was greatfun. So I think Robert was also
a big fan and proponent of SavageHunt of King Stack, and he,
you know, like Tim Lucas andStephen Bissett and the late Alan Upchurch were
really far ahead of the curve inidentifying a lot of these really remarkable genre

(50:22):
films by directors like Mario Bava orTushco and many others that had slipped through
the cracks. And so I givea shout out to all of these,
like pioneering film scholars and film lovers, because you can go back and discover
oh yeah, you know, acouple decades ago, Alan Upchurch was writing

(50:46):
these incredible long essays about Tushko's workthe Tim and Donna published in Video Watchdog,
for example, And sadly Alan diedduring the AIDS crisis, and it
really deprived all of us of anamazing film scholar who was into Italian Gothic

(51:07):
horror and these Russian fantasy films.But Robert Kotak, I think, was
a big fan of Savage Hunt ofKing Stack. So it stayed on that
little list in the back of mymind. And then finally, oh wow,
maybe five or six years ago,started trying to locate the film.

(51:27):
We were working with a good friendof mine, Oliver Lootsky with Seagull Films,
who we co presented the release with, and Allah and I had put
together a touring retrospective of Alexander Patushko'sso we had fantasy films in the early
two thousands when I was programming forthe American Cinematack, and then a series

(51:49):
of Russian fantastica sci fi films thatalso toured the country. And I believe
it was through Allah that we wereable to finally make contact with someone Belarus
Film, and it took a longtime to negotiate the rights, and we
were finally able to secure a dealand get the materials. And it's one

(52:14):
of those things where something is hypotheticalfor years and years until finally, like
you receive the materials and it's kindof like, I don't really believe this
is happening. And even then therewas a long process because you know,
Craig had to again work as wizardryon the materials themselves to restore them to

(52:37):
a place where we were happy withit. We were also very lucky that
we got the two our director's cutversion, because I think it was initially
released in a much shorter version.So usually when somebody puts out a director's
cut, the shorter version is reallywell known. They're like, oh,

(52:57):
we've already seen this shorter but ohlook here's a case like we've never heard
of this film, and you're gettingthe directors we're getting the long version,
so we're sort of starting from scratchwith you know. So that's sort of
the backstory how we went looking forKing Stack. I guess it's the savage,

(53:17):
the savage and very lengthy hunt forKing Stack itself on our part,
but it was really it was almostthirty years of thinking about and then trying
to track down this film. Sowe're really really excited that it's finally seeing
the light of day and can shareit with other people because we love it.

(53:38):
It's a great movie. It's there'squite often a lot of projects I
work on, I don't really getto see them until I'm done my work,
so I had you know, alot of times dentisl will suggest a
film and there may be a screenor link or a really bad YouTube video,

(54:00):
and a lot of time, Imean, I just trust Dennis and
so like, I'll scrub through it. I'll watch the beginning and then just
kind of skip through it and belike, yeah, that looks great,
which was the case with this one, and so it wasn't. It wasn't
really until I was doing the QCfor the Blu ray where I sat and
I watched the whole thing and afterwardsI was like, damn, that was

(54:22):
really good. Yeah. King Stackis terrific because I've always been a big
fan of like the Hammer films,and it's even within the very beginning when
I just saw some clips of it, I was it just immediately reminded me
of a Hammer film visually, andit's it does. It feels like it

(54:43):
feels like something Hammer might have putout, and it's so good. I
really really enjoyed it. Yeah,it absolutely gives that off at the at
the very beginning, you know,with the scholar arriving at this large remote
estate in a rainstorm. I wasimmediately like, oh, pammer vibes.
And then Lance and I always jokeabout like whenever there's a fire on a

(55:05):
house on fire at the end ofa movie, I'm like, it's a
hammer movie, the Hammer of Vidence. Well, and it was kind of
late in the day because this wasmade in the late seventies, nineteen seventy
nine by Valerie Rubinci, and itwas based on a novel which I have

(55:25):
not read yet by Lazemir Kievich,who was a Belarusian novelist, and this
is probably his best known book,which came out in the mid nineteen sixties.
So it was adapted about fifteen yearslater as a film, and this

(55:47):
is probably the best known Belarusian film, which of course is ironic because Savage
Hint of King Stak is so obscureone of the reasons we're talking about it,
So to say it's the best knownBelarusian film is kind of a I
don't know, is that an oxymoron? Is that the right contradiction? In

(56:12):
terms? Hopefully it'll it will increaseinterest in other Belarusian movies, but you
know, it's also referred to asone of the only Soviet era horror films,
along with v v I Y,which is an extremely eerie vampire related

(56:35):
movie that Tushco was involved with helpingthe filmmakers, has some wonderful visual effects.
But Russian fantastica or Soviet fantastica isthis very broad term that encompasses everything
from folklore and fantasy to science fictionto horror, and of those genres,

(57:02):
by far the least common was washorror. Very very few Soviet era horror
films, and a number of scholarssay that that this which was made in
BAYLORUS, which was part of theSoviet Union at the time, and the
are the only real Soviet era horrormovies. And as we can kind of

(57:27):
talk about, this is actually morein the folk horror genre because it involves
folklore. That the hero, theprotagonist, is a folklorist who is you
know, who is studying ancient mythsand legends and comes to the mansion of
the marsh Firs, which just thename alone, I love is fantastic to

(57:52):
research the legend of King Stack,who supposedly thunders across the nearby Imors with
his ghostly horsemen, and the WildHunt, which is referred to in the
title of the movie, is afixture of Eastern European folklore, so it's
existed for hundreds and hundreds of years, which which Karat Kayevich, who wrote

(58:15):
the novel, was incorporating kind ofinspired by when he wrote this. So
the Wild Hunt of these ghostly figuresthundering across the plains u has existed in
various stories and oral histories and mythsin Eastern Europe for centuries and centuries,

(58:39):
which is a wonderful thing that thiskind of ties into because it doesn't just
exist in a vacuum. The thewild the Wild Hunt is a sort of
primal I guess in Joseph Campbell termsfoundational myths of the region in which this
is set. So there's so manywonderful kind of connections and tendrils that this

(59:04):
movie is part of, and it'sjust visually so beautiful. It also reminds
me of euro horror in a way. There's a bit of the surreal,
grotesque, black humor of Terry Gilliamat times, and again because it was

(59:28):
made in the late seventies, italmost feels like, you know, it's
a little bit out of time thatit should have been made circa like sixty
seven, sixty eight. It definitelyfeels like it was made earlier than it
was. Yeah. Yeah, sothat also makes it a really interesting outlier
if you think of the kinds ofgenre films that were being made in the

(59:52):
late seventies, which is when you'reyou know, you're seeing Alien and all
sorts of you know what, tous sort of feel very earn genre films,
and then you look something like TheSavage on of King Stack with this
this kind of eerie, uh kindof trapped in time, you know,

(01:00:13):
story of this decaying mansion and thisdecaying family that inhabit it. So yeah,
we just we love the film.The imagery so strange and surreal.
I'm so glad that that people aregoing to get a chance to discover this
wonderful film. I think it's theonly you know, Rubinchik who directed it,

(01:00:39):
directed a number of other films,but I think this might be the
only sort of out and out genreor horror film that he made. Also
his Again, people are like,this is Valerie Rabincik's best known movie and
I'm like, Wow, that's kindof crazy because almost nobody knows of King
Stack. But hopefully it will inspirepeople to to and track down some of

(01:01:00):
his other movies and look into hiswork more. I think this movie has
that I think a lot of peoplecan can appreciate, and that for certain
people is having more atmosphere and stylethan a clear narrative story that's happening.

(01:01:21):
And so if you can get downwith that, you're going to be right
at home with this. And especiallyin the first half of the film where
we're just being introduced to everything.Every you know, everything that you're seeing
is sort of eye candy in away, but also like very reminiscent of
Once they get inside the home,you know, it's it's dark and it's

(01:01:44):
overgrown with vines. It reminded meof the Hourglass Sanatorium. There's this flooded
basement and or like lower level ofthe home, and so every yeah,
everything it's literally you have this feelingthat it's sinking literally and metaphorically, but
there's so much going on with it. But I think a lot of you

(01:02:07):
know, for me, we justcame off of June Exploitation, so we've
been watching a bunch of like trashexploitation movies for a month straight, and
so then jumping into this, Ihad to like adjust my brain for the
first hour where I was like,okay, I'm reading SubTime. Okay,
Wow. It was a lot forme to take in the first hour.

(01:02:28):
And then when it gets to parttwo and it kicks off with the man
just spontaneously bleeding from his head andmissus Kolska or Coolsa, the rooster lady
shows up and she's my favorite,and like the little man emerges from the
dollhouse and oh, that's one ofmy favorites. It's just the puppet show

(01:02:49):
is the puppet show. That's mypuppet show. It's a work of art,
choreograph perfectly. It's oh yeah.My family, when I was very
young briefly ran a puppet theater shipCanada from Pittsburgh, Pennsylvania originally, but
we lived for a little while inNorth Bay, Ontario, and while we
were there, ran a puppet theater. And so I love puppetry and and

(01:03:13):
any any film with with puppet theaterimages of puppets, you know, Fanny
and Alexander, you name it islike, oh, I love that.
So when we saw this, Iwas like, Bamo, crazy crazy puppets.
A little bit of of of unintentionaltrivia. Uh. The the actor

(01:03:37):
who plays the little Man, healso plays the wizard in rush Lynn and
Ladmilla, and he's also in kinzasUp. So we've unintentionally released three of
his films, or intentionally without beingcompletely cognizant of it, there are these

(01:03:58):
Yeah, well we'll discover that sortof after the fact. Well, like
I actually discovered it listening to Stevens'scommentary. He meant he mentioned it in
the commentary, and I was like, really, like I go online,
I'm like, oh my god.He wasn't three of our places. Oh
my god. He played China Moore, the evil Wizard in Rustland as well.
Well. Well, another kind ofcrazy linkage is that we've put out,

(01:04:25):
or we're about to put out,our third film featuring amazingly strange and
wonderful creature makeup effects by Jan Schankmeyer, the legendary Czech animator and filmmaker who
to pay the bills, used todo like creature makeup work for other filmmakers.
So he worked on Visitor from theArcanic Galaxy, which is this incredible

(01:04:50):
Croatian sci fi fantasy film we putout last year, directed by animator Dussan
Vukic, and Schwankmeyer created the MoumoMonster, insane mutated like trauma by way
of Sidden marty Croft creature that interruptsa wedding banquet and decapitates all of the

(01:05:11):
people there while a blind accordion playeris banging away in the squeeze boxcredible sequence.
And then he also did amazing kindof steampunk esque props and visual effects
to the two old rich Lipski checkfilms, Mysterious Castle and Carpathians, and
then Adela has Not had suffer yetand created the beautiful, very eerie Audrey

(01:05:39):
like carnivorous plant that is the titlecreature in Adela has not had supper yet.
The steampunk gadgetry in both Mysterious Castleand Adela has not had supper yet.
Are they're just really they're very cool, and we tried to design.

(01:06:00):
We made a valiant attempt to getschrank Meyer to talk to us, and
the response is no, he's notinteresting. He's not interested in talking about
those movies. They were just commercialwork. That's unfortunate. So we were
like, Okay, we tried.Yeah, that's the biggest highlight for me
too, is I mean, itjust it's all building to this absolutely chaotic

(01:06:25):
ending where and I don't want tospoil it because I know we're going to
have a lot of people who arelistening to this who haven't watched it yet,
because you know, we are releasingthis, like right as the physical
releases have arrived and are starting toget shipped out. So the ending is
just absolute chaos with horses running aroundin these creatures that have been I don't

(01:06:47):
I don't want to say too muchbecause I'll give it away, but my
god, when when we got tothe end, I was like, holy
shit, this is madness. It'slike Wickerman. Yeah, the ending is
super full horror, which I loveabout it is is like, ah,
yeah, he really nailed the landing. I guess, as they would say

(01:07:11):
in gymnastics, yeah, sure,And yeah, I don't want to give
away too much, but I thinkI really think it's I love the fact
that you were saying, like there'sthere's subtexts going on. It's not just
surface level like creepy horror story,and so like all the fall of the

(01:07:31):
Aristocracy is just such as it's somekind of more what the movie's about,
really, And I have to sayit wasn't. It wasn't a completely conscious
idea, but the standard of editioncover artwork where it's got the splash of
blood, it was intended to bea splash of blood. But then I
was looking at it and I waslike, it kind of looks like red

(01:07:54):
wine, which is kind of like, you know, also symbolical, like
the aristocracy is like spilt their wine. It's like they're falling apart, which
I thought, shit the film onmultiple levels, and I was like,
that's it. I do love thatthere's layers to enjoy in the film.

(01:08:14):
I mean you couldn't. You can'tjust watch it as a folk core film
without any subtext and still enjoy it. But there's more going on, yeah,
one hundred percent. Like the endingspecifically notes that it's the first day
of the twentieth century, and there'sa comment earlier. I believe it's the
folklore Investigator that says there's no placefor apparitions in the age of steam and
electricity. So you have this emphasison the clash between science and spiritualism,

(01:08:40):
fact and folklore. So Yeah,there's definitely a lot going on underneath underneath
there, Lance, what were someof your standout moment's favorite parts? What
were your some takeaways from it?I mean it's all pretty much random scenes
and imagery. Like I think wealready hit on that it feels light on

(01:09:00):
horror, but the whole tone andatmosphere is haunting throughout. And then you
get like these little bursts of scenesthat make it even creepier, Like when
mister Kolson's Widow's first widow is firstintroduced in the carriage. She's dressed in
black, holding that black chicken,and she's always waving in her scenes passing
by. It's just it's just acreepy yeah. And then of course when

(01:09:23):
we're finally introduced to her, sheputs a little chick on her head and
she's a you know, one ofher mind. But yeah, the I
mean just just the scenes the SavageHunt finally showing up and like the slow
motion of the Folklore Investigator kind ofrunning slow motion through the quagmire. And
yeah, I mean the Favorites isjust getting lot completely lost in the visuals

(01:09:43):
for two hours, and like forgettingyou're in the real world, like that
that's what makes the movie so captivatingto me, because I think the story
is summed up really quick when theTale of the you know, the Roman
Janowski and the King Stack Murder.When when when the servant guy he's kind
of reading the book and you know, going through the chapters and laying out

(01:10:05):
the story, that's it. Thatsums up the whole movie. Yeah,
so everything else is just eye candyfor you know, an hour and a
half. So, I mean it'shard to pick a favorite scene in this
Craiger Dennis, any other points youwant to bring up or favorite elements of
the film. No, I thinkyou hit a lot of them. The

(01:10:26):
Puppet Show, of course, isthe one that always kind of sticks out
in my mind. And I hadto say, I am a sucker for
stories about decaying houses, sort ofdecaying families, and this is this is
absolutely one of them. I've seena lot of comparisons to like the Corman

(01:10:50):
post cycle, so like obviously howsuffusher comes to mind with with something like
this for sure. Yeah, itwas just a kind of visual The house
is literally sinking, so when youif you go downstairs, it's underwater.
Yeah, like it's it's and thewhole this the tone, the tone and

(01:11:11):
feeling across the whole film is soit's just like a feeling of I don't
know, dread, Yeah, youjust know, like this is all bad.
I had read that at least inthe novel, what we're watching is
is essentially a flashback. It's astory being told by the main protagonist who's

(01:11:32):
like ninety six years old, andhe's kind of sharing this real life story
that he encountered. And when Iread that, I was like, it
kind of feels like, as you'rewatching it, like a fuzzy memory.
Yeah. Almost, Yeah, likelike things are being almost exaggerated. It's
like it's a very fairy tale.And there's a visual trick that's used throughout

(01:11:56):
the entire film. I almost hesitateto mention it because once you know,
it's hard to not notice it.There's something obscuring your vision in every single
shot, like there's something in theforeground, whether it's reeds of grass,
or the camera will pass it infront of a chair and the chair blocks
your view. Like there's something blockingyour view pretty much in almost every shot

(01:12:17):
in the film, which gives itthis sense of disjointed like you're not seeing
clearly, you know, and itreally it's really effective. Yeah, there's
a great book. It's a nonfictionbook that came out in nearly two thousands
by a scholar named Christopher Woodward calledIn Ruins a Journey through History, Art

(01:12:40):
and literature, and it's about thekind of fascination with decay and ruins in
literature and in art. You know. He talks about how the romantic poets
of the Byron Shelley Keats era becamefell in love with the ruins of ancient
Rome. And I think of thatin connection with this film very particularly,

(01:13:08):
you know, for anyone who lovesthese kinds of movies, the cinema of
decay, that's a great book InRuins to track down. That's awesome,
great recommendation. So I think we'vegiven our listeners plenty of reasons to check
this film out, but we cangive them a few more with some double
feature picks to go. So,Craig, let me start with you.

(01:13:31):
If you were pairing this with anotherfilm for a screening, what would you
what would you pair it with?My first instinct was to say, like
Horror of Dracula, because it's ahammer film and visually kind of works,
but I think I think better Abetter pick would be Rosemary's Baby for that

(01:13:55):
sense of dread that just is drapedover the whole thing. Nice it,
Dennis, what about you? Wow? You know that's a that's a tough
one because it's a long film.And I used to you know program still
am uh so, so you think, oh, if you've got a two

(01:14:15):
hour movie, like what do youdo? You open with something shorter?
A part of me says, youknow, parrot with something that is kind
of spiritually aligned, like Harry Kommel'sMalpertui film I dearly love with Orson Wells
also about another kind of haunted hallof Mirror's mansion, or boy check Haas's

(01:14:42):
the Saragosa Manuscript. I know youmentioned the hour Glass Sanatorium, another great
has film, but a double billSavage On of King Stack and either Malpertui
or the Saragosa Manuscript. That wouldbe a long double bill. You could
pair it with something shorter, likeanother Hammer film. I love The Plague

(01:15:04):
of the Zombies by John Gilling becauseI love that movie and it's also about
kind of kind of horrible twisted aristocracyand the terrible things they do, and
has a lot of really surreal,nightmarish infantry as well. So you know,
I think probably shorter would be better. So maybe a you know,

(01:15:28):
a great like ninety minute Hammer moviewith this would actually be a double bill
you could sit through. Okay,sounds good. Craig on the note of
Dracula. So I know you sharedthis on Twitter, but Katie Rife highlighted
this release on her shelf Life serieson Letterbox this month, and she brought
up a familiar story that I think, yeah, you're right, would work

(01:15:49):
well. She wrote the quote,Kingstock takes place before the Communist are at
the turn of the twentieth century,amid the Gothic beauty of muddy fields,
misty winter landscape, some damp chilicastles. The film opens on a note
reminiscent of Dracula, as a folkloristarrives at a remote manor home. At
first, the house seems unhabitated,but it's actually the domain of basicly heiress

(01:16:13):
whose family is riddled with ghosts andcurses unquote. So yeah, I think
you're right, Dracula would work reallywell with it. I think there's multiple
versions of it. I was actuallythinking as as after I had answered that
Francis Fort Coppola's Brown Stoker's Dracula isalso a Dracula film, but it also

(01:16:33):
he highlights a lot of that theworld is changing. It's the turn of
the century and new technologies are takingover and the old superstitions of the past
are going away. So that wouldwork well too, Yeah, for sure.
And Craig is slipping that in becausehe loves I love it too.

(01:16:54):
I mean I have some serious problemswith some of the casting. I think
the film lives and dies on thecasting. Gary Oldman is absolutely incredible.
Some of the other casting not somuch. But I mean just Gary Oldman
and visually and sonically the score andthe sound effects, or it's so close

(01:17:18):
to perfect you just swapped out acouple actors, it really is, all
right, Lance, what about youfor a double feature pick? Yeah,
So I started thinking kind of alongthe same lines of Dennis. I'd want
to pick a short film because someof the folklore and the pacing reminded me
at times of The Empty Man fromtwenty twenty. You know, it's kind
of like this investigating dark legend,but that thing is longer than Kingstack,

(01:17:42):
so oh no, that's unound.But yeah, I'm going into I leaned
into the Gothic Mystery of King Stockand I'm picking the Hound of the Basketballs
not Yeah, I'm not going withthe nineteen fifty nine terror Fish or Hammer
Horror though. Oh no, whichOnune are you talking about? I'm going
to take the Sydney landfilled one fromnineteen thirty nine, starring my favorite Sherlock

(01:18:06):
Holmes. He loves Basil Basil.I love Basil too, and that's a
great one. Although I got tosay the Terrence Fisher is probably my favorite.
Oh I would argue this adaptation ofthe Arthur k I mean you can't.
I mean, Peter Cushing is myfavorite actor, and obviously him and

(01:18:27):
Christopher Lee and the Terrence Fisher one. But that's just the gorgeous technicolor,
you know, palette of it,and it's such a it's like such a
handsome movie, and so it reallyis. But the black and white from
the nineteen thirty nine it's you getthe you know, you have the family
curses there, you know, mostpeople on the story, the swampy marshes,

(01:18:50):
the foggy Nights, A lot ofit takes place in the family's estate.
But it Also most of it's atnight outside like in the Quagmires.
It's it's a quick eighty minutes too, So I feel like it would fit
perfectly into a little, well,a shorter double feature with King Stack.
And I clearly don't program for aliving because the length of the films did

(01:19:11):
not cross my mind. Yeah,Rosemary's Baby, what are you thinking?
Oh No, I still have aprogrammer's brain in terms of running times,
So you you have to think interms of like a clock in your head,
which is like, okay, theshow starts at seven, but you
get trailers, you get an introduction, which means it doesn't really start until

(01:19:34):
like seven fifteen, and then itruns one hundred and twenty six minutes,
and you know, it's literally you'relike does that end? Until you have
a Q and a after. Soit's really funny how I still will kind
of immediately revert to that kind oflike tallying up the minutes and when does

(01:19:58):
it start? When does it end? Yeah, I mean it still sounds
amazing to have, like, youknow, sit at your home and watch
two two and a half hour moviesback to back. I mean that's in
your own home, like with noyou know this. I mean, we've
had the extended edition Lord of theRings trilogy in a day before, So
yeah, there you go, it'spossible. It is possible, or IDUs

(01:20:20):
if you watch I have in thepast watched all of I Claudius in a
day. I think that's what twelveor thirteen hours. But yeah, we
live in an incredible era. Youknow, there was a I listened to
an interview on NPR a few yearsago with a media analyst who said,
we live in an incredible era tobe a content consumer, and a really

(01:20:43):
challenging era to be a content creator, because if you're a consumer, there's
so many opportunities. I mean,just the fact that you can now see
gorgeous restorations of teen or twenty PaulNashing movies, or Shanks or Savage Hunt
of King Stack, or any numberof incredibly rare and obscure you know,

(01:21:11):
art house and genre films. Stuffthat's coming out on four KUHD starting to
do as well. That's that's amazingfor you know, twenty five thirty bucks
for a disc. That's incredible.I think what's really challenging is if you
are a content creator, if you'rean artist, if you're a filmmaker,
a musician, or writer, howdo you actually monetize that and see any

(01:21:38):
of the revenue stream from your creation? So I think this is the great
This is a great era for consumers, which is wonderful. But also as
a content creator, I've produced andwritten and directed films and written books,
et cetera, I see challenges toeven like pay the bills and sustain a

(01:22:01):
career as a creator of content.And I'm also very aware that, you
know, a lot of the filmswe put out that creators are long gone.
You know, a number of thempassed away in relative obscurity or financial
hardship. Sal Watts, Solomon King, Alexander Petushko apparently at the end of

(01:22:21):
his life, you know, havingOh my god, his career paralleled the
entire history of Soviet cinema from thelate twenties until the early seventies. But
I think when he died he wasnot well off. So we celebrate the
work of these artists, but itis worth remembering that many of them,

(01:22:43):
you know, created under very difficultconditions. You know, rubinchicked during the
Soviet era of a lot of youknow, repression and censorship as well as
Patushko and others. And you know, in the end of the day,
our work is only there to sortof illuminate their creativity. You know,

(01:23:10):
had Laisimir kerritt Kivich not written thenovel and Valerie Rabinchik not adapted it into
a film, we wouldn't have aSavage Hunt of King Stack to talk about.
So I want to kind of endpaying tribute to their sort of primary
creative work in you know, writingthe book that was adapted into the movie.

(01:23:32):
Yeah. Absolutely, So let's endthere with like, let's talk about
what you guys have upcoming that atleast what you can share any screenings,
future releases, anything else that youwant to let our listeners know about.
Well, we're screening The Savage Huntof King Stack at the end of August

(01:23:55):
out here in the Los Angeles forany listeners in the LA area at the
Philosophical Research Society and Los Feliz Co, presented with Astral Eyes of Bibliomannswers.
So you can see it on thebig screen if you go to PRS dot
org. And in terms of otherfilms, wow, so many movies,

(01:24:16):
Craig, do you want to talkabout October November December beyond well, I
mean the benefit of you and Ibeing the only people that own the company,
we can say whatever we want.So yeah, I don't know how
deep into the backlog you want toget, but well, as much as

(01:24:39):
your you know, whatever you've announcedso far that you're willing to share and
that you want to you want topromote and get people excited about if you
want to just you know, promotea couple that are coming up, or
as much as you want, well, I know, I mean October,
we've already announced the titles that arecoming out. Well, these titles,
we've already anounced the Trapped Ash,which is an anthology horror film written and

(01:25:03):
produced by Dennis Bartalk. I knowthat guy. Yeah, it seems pretty
good. Guy. Actually, justyesterday was looking at the Tyler's Color Great
of Reels one through four. Itlooks incredible. So that's coming out.
That one. We're planning for October. For obvious reasons. That is one

(01:25:26):
of our first like true horror movies. I did it in the mid two
thousands with Joe Dante and Ken Russelland Monte Hellman and Sean Cunningham from Friday
the thirteenth and John gata All directedepisodes. So we're putting out a new
four K restoration and I think it'sgonna be our first four k UHD plus

(01:25:46):
Blu ray release. So nice forthat. Nice, excited for that one,
tons of extras, beautiful new slipcaseart by an not just named Hans
Woody. I think it's gonna lookgreat, awesome. Yeah, it's it's.
It's that's a that's a fun movie. I mean, it's it's I
don't know. I was like readingsome stuff online about it and people people

(01:26:10):
are trying to take it too seriously, like it's it's just you know,
it's a fun horror flick, andit's it's visually like I don't know,
like it's it's it's got some reallyreally great camera working cinematography. There's some
really beautiful shots on this thing.And I'm looking forward to to having a

(01:26:31):
a nice new disc of that myself. If you're in the folk horror,
the film we're putting out in Novemberis an incredible Irish folk horror folklore movie
called The Outcasts, directed by,written, and directed by Robert Wynn Simmons.
It is a British filmmaker probably bestknown for writing the script to Blood

(01:26:56):
on Satan's Claw, which is oneof the kind of essential British folk horror
movies of the early seventies. Andthis he made in the early eighties in
Ireland, and it's set in theearly eighteen hundreds about a young woman who
was accused of kind of witchcraft andconsorting with the fairy folk. And it's

(01:27:20):
about superstition and folklore and witchcraft andghosts, and it kind of feels like
an ancient ballad somehow committed to film. And it is a truly wholly remarkable
movie, incredible score, incredible performances. Was just recently restored by the Irish

(01:27:45):
Film Institute, So we're putting itout for the first time in the US,
along with a bunch of very rareearly eight millimeters short films that were
directed by Robert wins Simmons when hewas a teen. Oh my god,
he was so ambitious. He wentout and shot he's like twenty to thirty
minute like supernatural amateur films with hisfriends, including one that was shot in

(01:28:14):
this speaking of abandoned mansions, ina decaying mansion that was once owned by
Mary Shelley, writer of Frankenstein.Oh wow, yeah, yeah, like
a ghost story sort of inspired byher work with his He and his friends
literally climbing around like the roofs andthe chimneys of this this abandoned house with

(01:28:35):
like holes in the roof and Ianthis is great. So we got a
bunch of great app extras for that, including an interview with Robert Winn Simmons.
In December, we have announced Feladay. So, Craig, do you
want to talk about Felladay? Yeah, Fella Day is one of the the

(01:28:56):
rare films that, right, Ikind of was like champion because, like
I said, most of the timeour releases are are come from from Dennis's
deep well of incredible film knowledge.I happened to see this, this,
this movie and and was just I'm, you know, a huge captain attic

(01:29:17):
speaking of which somehow she just gotin here and yeah, it was like
this this it looks like a children'smovie, and then you watch it and
you're like, oh, that isso not a children's movie, and it's
it's just really incredible. So wewe spent a long time, like tracking
down who had the rights, waswas quick negotiating with them and convincing them

(01:29:40):
to let us uh do a restorationand release was not that's a seems seemed
like it's a forever. But oncewe finally got that settled, we're able
to get the original camera negative fourK scans and I've started work on on
those and it looks incredible. It'sto be able to have like four CA

(01:30:04):
scans from the original negative. Thenegative was starting to deteriorate on a chemical
level, but but picture wise,like it still looks fantastic. Yeah,
it's gonna I'm super excited about.It's gonna be just a stunning release.
And that is sort of like anR rated Don Bluth movie, if you

(01:30:26):
can imagine like an R rated anAmerican Tale or Secretive nim. It looks
like the animation looks like Don Bluthbecause a lot of the animators came from
Don Bluthe but but it's like thePlague Dogs or Watership Down. Yeah,
I mean there's animals being you know, gutted, and there's it's having sex

(01:30:48):
like it's it's not for kids,it's not. It looks like a kids
movie. And it was crazy theythey marketed it to kids when it first
came out, and they you knowthey had parents like dragging the kids and
they were walking out of the theater. So they're like, yeah, so
it didn't do all that well whenit came out because they were like,

(01:31:09):
well, you marketed it to kids, and I don't think it ever came
out here in the States. It'sit is a horror film. It's kind
of an occult horror kitty detective.Yeah, like a mystery, yeah yeah,
but with a lot of horror elements. Catacombs filled with thousands of dead

(01:31:29):
cat skeletons and all, and aboy George theme song. Oh yes,
George. It's just wow that thewhole movie is in German. And then
the opening title sequence with the songis boy George in English and it's it's
yeah, it's just an incredible movie. And then and then artwork goes.

(01:31:54):
We we really lucked out getting intouch with a lot of the people that
were involved in making the film,and we got in touch with the original
character design artist and he's given ussuch just a plethora of sketches and drawings
and behind the scenes stuff. Sothe book with this one is going to

(01:32:15):
just be so full of amazing stuff. But he also agreed to do a
new painting for the Slipcase and hedid it, and he did it as
though it were animated, So hedid like a full painting background with a
acetate overlay with the characters that it'sanimation. So this that's what the Slipcase

(01:32:41):
art rat will be. Well,this will be this new painting with the
animated cats and as the artwork.Yeah, so excited about this one.
I don't think we've announced this oneyet. So this might be the Golden
Fern. I don't think we've announcedthat yet, have we? I don't
think so, all right, sowe'll announce it here. Also in December,
we're putting out this amazing black andwhite early sixties Check kind of fairy

(01:33:10):
tale, very dark fairy tale kindof folklore movie by directed by Jeri Vice,
who was a wonderful Check director,and it is about a kind of
a young woodsman who has a beautifulforest fairy fall in love with him,

(01:33:36):
and he kind of heedlessly kind ofyou know, throws her love away and
goes off to Warren falls in lovewith another woman. And it also has
elements of Voi chek Has and theSaragosa Manuscript and it's just a visually stunning

(01:34:01):
black and white check fantasy film thatagain is almost completely unknown. I was
gonna say, I don't know ifif it qualifies as horror, but it
only has two hundred and twenty eightviews on letterbox it is. It is
more kind of dark adult fantasy folklore. But if you like Eastern European films

(01:34:27):
of that era, like the Saragosand manuscriptor or others, then I think
you will love the Golden Fern.So that's another one that we're really excited
to be putting out. That soundsamazing. I'm into it. You heard
it here first, Yeah, andyou heard it your first. Hello,
And we've got and we've got somuch else, Oh my god, have

(01:34:49):
us back on and like we're we'renow building up a backlock. We're getting
close to having more films we haven'treleased than we have. Not quite,
but we're getting close. Yeah,it's darn close. Oh my gosh.
As of earlier this week, wenow have sixteen animated films that we haven't

(01:35:13):
released yet. Oh boy, thisis so Yeah. Well, like I
said, but like I said,by this time next year, everyone's going
to be like, oh yeah,they put out all those animated films.
Yeah, I didn't realize it wasthat many. Yeah, a lot of
We have a lot of films.We've got a lot of films in our
back. Look. We're actually goingto start doing two releases a month for
some months. Okay, we're goingto try. Try. Poor Craig is

(01:35:38):
like, oh my god, howam I going to survive? And then
we're also going to be doing sometwo disc sets. We're doing in early
twenty twenty five, we will bedoing a two disc set of too amazing
early nineteen seventies defa EFA East Germanspace operas sci fi films, one of

(01:36:00):
them newly restored in six K fromseventy millimeter, putting out two films by
this wonderful Romanian female fantasy director,including one of the most jaw dropping musicals
you will ever see, kind oflike Andrew Lloyd Weber's Cats on Acid.

(01:36:25):
Oh my god, I have never, in your wild wildest, darkest dreams,
will have seen something this crazy.We actually have two unbelievably bonkers Eastern
European musicals coming out next year.I don't know what it is that suddenly
we've got this little mini genre oftotally deranged surreal and wonderful Eastern European kind

(01:36:50):
of glam rock musicals. Yea earlyseventy sort of Andrew Lloyd Webber Jesus Christ
Superstar inspired with really wildly inappropriate choreographyand costumes and production design just amazing.
So we're very excited. Yeah,it's not all animation. Actually, there's

(01:37:11):
a lot of crazy live action stuffwe've got coming down the pipe, and
we just hope people, you know, buy them and enjoy them. Well,
that's why we do this, yeah, to shine a light on these
great films and filmmakers. Yeah.Well, we appreciate all the work that
you guys are doing with all ofthese releases, and I'm excited about you

(01:37:34):
know, what's to come. Sofor our listeners, we will put links
in show notes to where you canpick up their latest releases. You can
find past releases on Diabolic. Doesyour site def crocodile dot com? Does
that just redirected Diabolic? Or canthey buy directly? You can buy direct?
Okay, So all of our stuffis available through Diabolic or direct it.

(01:37:56):
It'll be popping up in another retaillike other retailers online, we'll be
carrying our stuff as well. Yeah, Orbit, all the ones that folks
are familiar with, and yeah,great Amazon. I think people will still
be able to order king Stack soonvia Amazon and standard edition, but the
special slipcase and the bundles you'll onlybe able to get through US or Diabolic,

(01:38:19):
Right, all right, sounds great. Dennis and Craig, thank you
so much for your time and forsharing all this information and for just like
I said, like what you do. Oh, thank you so glad you
enjoy it. That's that's why wedo it. Yeah, yeah, yeah.
You mentioned Dennis that it's a goodtime to be a consumer, and

(01:38:40):
it's just it's a great time tobe just a film fan with labels like
you guys releasing what you do.So thanks to you. Yeah, I
mean I tune into to Ryan's Disconnectedshow every Thursday night and every single week.
It's just like there's a good largehandful of timee that are that are

(01:39:00):
coming out on disc and I'm like, god, damn I want that.
Yeah. Well, you guys justlisted a bunch that side of the my
life. Yeah, the can't takeit too much. Oh yeah, just
look up some of the images fromthe Golden Fern and your the cinematography,
and that is really god black andwhite. I think it's scope. It's
like that. I'm a huge suckerfor black and white scope as well,

(01:39:26):
so whenever I see that, I'mlike, oh, it's amazing. But
you know, another thing just inclosing your your fans should keep in mind
is you know, most of thecompanies, like us, the license these
films there for five or seven years, and in many cases, you know,
if those licenses expire, they maynot be renewed. Or you know,

(01:39:49):
we've all know of beloved companies thathave folded in the past few years,
you know, Twilight Time and others. So you know, just the
fact that something is out on BluRay doesn't mean it's always going to be
available. In fact, for alot of these films they won't, so
you know, not to break people'sbudgets, but you know, buy them

(01:40:13):
while they're available. Absolutely, yeah, if you can, if you love
it, support small businesses and theseboutique Blu Ray labels who are putting out
amazing, amazing stuff. Thank youagain, Craig and Dennis. Listeners will
be back after this quick break withLance's pick for next episode. Thank you
for having us. Yeah, thanksit was a lot of fun. Okay,

(01:40:47):
Lance, Wait, I realized afterwe said goodbye, I didn't give
my double future pick. Yeah,it was fun that you immediately jumped to
me. I well, no,I normally like when it's my pick.
We got you know anyway, Butyeah, I didn't want to, like
after a dentist had closed out,I didn't want to circle back. It
seemed weird. So anyway, mydouble feature pick is a Hammer film.

(01:41:10):
It's under ninety minutes, so itfits a lot of the criteria that we
talked about Captain Clegg aka Night Creaturesfrom nineteen sixty two. This one leans
a bit heavier on the adventure sideof the genre spectrum, having like pirates
and thieves, but I think itwould be a good counterbalance here. It's
about a pirate named Captain Clegg thatwas buried in the Romney Marshes. We

(01:41:31):
have marshes near the village of dimChurch, a great fucking name for a
town. The marshes are now hauntedby the marsh phantoms, these skeleton ghost
writers. So it's more of likea narrative element connection. Plus also being
a Hammer film and under ninety minutes, so I think it would work great
for a double feature. Here perfectone another Peter Cushing? Yes, all

(01:41:54):
right, next pick where are yougoing? Where we go on? Lance?
Okay? So for anyone who listenedto the june'splitation at the very long
one, I dropped a few hintsof potential picks for future episodes, and
I'm going to go ahead and pickone right now. I want to pick
one from the cars theme, andthat was Death Car on the Freeway from
nineteen seventy nine. Oh yeah,yes, I was. You seemed excited

(01:42:17):
when I mentioned it, so itwas a no brainer. It's a TV
movie directed by stuntman Hal Needham,who directed the first two Smoky in the
Bandit films. But it's about ablack glove wearing maniac who drives a rate
van on the LA Freeway and selectslone women drivers on the road to harass
and cause them to crash, killingthem. And a reporter starts investigating and

(01:42:42):
guess what she likes to drive aloneon the freeway? So could she be
the mysterious driver's next victim? Watchit and find it out. A great
cast, great action. I calledit a Giallo on wheels, and I
had mentioned in our june'splitation episode thatno one will figure out who the killer
is. I can't wait. It'sthe car. Okay, so death Car

(01:43:02):
on the Freeway currently has three hundredand fifty nine VI's on letterbox, and
there are a few decent uploads towatch on YouTube. Okay, I think
some better than others. Pick yourfavorite. Okay. We'll put on a
link to one of them in shownotes as well as our discord which you
should join. We have a linkto that in show notes. Also where
you can follow us on Twitter,Instagram and Facebook at Unsigned Whorrors. You

(01:43:25):
can follow me at Hex Massacre Letterbox, Instagram and Twitter. Follow me at
Lshiby Instagram and letterbox. Thanks everyonefor listening. Thanks again to Craig and
Dennis for joining us. We hopeeveryone checks out some of the stuff that
Deff Crocodile's doing. They're doing greatwork over there, yes for sure.
Thanks everyone for listening, and we'llsee you in next episode. Bye fifteen

(01:44:31):
about fifteen three sixteen fifteen about two. I am Adam Lundy, co host

(01:45:09):
of They Live by Film, apodcast dedicated to bringing you film discussion and
interviews from around the world every week. My co hosts Chris Haskell, Zack
Bryant, and I discuss a widerange of films, from monumental classics like
Vertigo and the Rules of the Gameto the craziest schlockiest movies ever made like
Deathbed and everything in between. Weare also lucky enough to have sat down

(01:45:30):
with some of the biggest players inthe boutique blu ray and film restoration game.
If this is your thing, thencome hang out with us every Thursday
at seven pm Eastern wherever you normallystream your podcasts, and now as part
of the Someone's Favorite Productions podcast network,

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