July 28, 2025 • 38 mins
Earlier this year, Petroglyph Media appeared on the scene with a double feature in their hands and ready to share with the world! So grateful that Anthony was able to take this time with me to go through the Jairo Pinilla titles he was able to source from Latin America. Please check out the links to support Petroglyph below. This is a literal one man team putting everything he can into a release and deserves some love for rescuing these films!
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Petroglyph Media website: https://petroglyphmedia.com
Trash Mex Podcast episode: https://www.trashmex.com/post/trash-mex-podcast-special-episode-colombian-b-films-w-petroglyph-media
Purchase in the UK: https://www.strangevice.co.uk/funeral-siniestro-triangulo-de-oro
Purchase at DiabolikDVD: https://diabolikdvd.com/product/jairo-pinilla-double-feature-funeral-siniestro-triangulo-de-oro-petroglyph-media-blu-ray/
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Buy The Physical Media Advocate (zine) on Amazon:
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Become a patron here: https://www.patreon.com/DiscConnected
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Shelf Shock Rewind: https://linktr.ee/shelfshockrewind
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Email: DiscConnectedMedia@gmail.com
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Merch: https://www.teepublic.com/user/the-disc-connected
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Podcast: https://www.spreaker.com/show/the-disc-connected
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If you happen to be shopping on Amazon for something and would like to share some of Lord Bezos' profits with my channel at no additional cost to you, please consider shopping through my link: https://amzn.to/39mcX1t
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Tip Jar: https://www.paypal.com/donate?hosted_button_id=TDEVSPJZ9EFCW
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Amazon wish list: https://www.amazon.com/hz/wishlist/ls/20CR2ZN456P1B?ref_=wl_share
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Music is by Michael J. LeRose- michaelxcreates@gmail.com.
Outro is K(NO)W by Crusoe via a Creative Commons Attribution License and verbal/written permission from the artist.
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Links above may be affiliate/promotional links that provide me a tiny commission to support the site and do not charge the consumer anything extra.
Become a supporter of this podcast: https://www.spreaker.com/podcast/the-disc-connected--6024210/support.
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Petroglyph Media website: https://petroglyphmedia.com
Trash Mex Podcast episode: https://www.trashmex.com/post/trash-mex-podcast-special-episode-colombian-b-films-w-petroglyph-media
Purchase in the UK: https://www.strangevice.co.uk/funeral-siniestro-triangulo-de-oro
Purchase at DiabolikDVD: https://diabolikdvd.com/product/jairo-pinilla-double-feature-funeral-siniestro-triangulo-de-oro-petroglyph-media-blu-ray/
-
Buy The Physical Media Advocate (zine) on Amazon:
https://l.linklyhq.com/l/1utJN
-
Become a patron here: https://www.patreon.com/DiscConnected
-
Disc-Connected: https://linktr.ee/discconnected
-
Someone's Favorite Productions: https://linktr.ee/someonesfavoriteproductions
-
Shelf Shock Rewind: https://linktr.ee/shelfshockrewind
-
Email: DiscConnectedMedia@gmail.com
--
Merch: https://www.teepublic.com/user/the-disc-connected
-
Podcast: https://www.spreaker.com/show/the-disc-connected
-
If you happen to be shopping on Amazon for something and would like to share some of Lord Bezos' profits with my channel at no additional cost to you, please consider shopping through my link: https://amzn.to/39mcX1t
-
Tip Jar: https://www.paypal.com/donate?hosted_button_id=TDEVSPJZ9EFCW
or
paypal.me/RVinls (friends and family only)
or
Amazon wish list: https://www.amazon.com/hz/wishlist/ls/20CR2ZN456P1B?ref_=wl_share
-
Music is by Michael J. LeRose- michaelxcreates@gmail.com.
Outro is K(NO)W by Crusoe via a Creative Commons Attribution License and verbal/written permission from the artist.
-
Links above may be affiliate/promotional links that provide me a tiny commission to support the site and do not charge the consumer anything extra.
Become a supporter of this podcast: https://www.spreaker.com/podcast/the-disc-connected--6024210/support.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:10):
Hello there, and welcome back to be disconnected here with
Anthony from Petroglyph Media, one of our youngest up and
coming boutique Blu Ray Companies, and Anthony so excited to
be able to share this inspiring story.
Speaker 2 (00:23):
So thanks for coming on, Thank you for having me.
Speaker 1 (00:25):
Ryan. I don't even know where to start. I mean,
one thing that we probably should say at the very
beginning is you've already talked a lot about the process
behind this, and so there's a link of the description below.
Everybody needs to go check out the episode of the
trash Backs podcast that you did. Fantastic conversation. I'm gonna
try to not double up in a lot of the
same questions and cover some other stuff, so please go
(00:48):
listen to that as well. You've got a lot of
really great points that you bring up there. But genuinely
excited to talk to you about this one thing that
you didn't go in too much on. There is a
lot about yourself. We talked about the process and what
went into the first release, which we're gonna be talking
about just a minute. But uh, how how did you
get here? What's the history of Anthony?
Speaker 3 (01:09):
Uh So, the history of Anthony is uh, you know,
I'm from New York City, I'm from Queens. Grew up
as a monster loving kid, you know, watched Monster Vision
as a child when it was like marathons, got Zilla marathons,
so really into monsters as a kid, and then kind
of transitioned into horror later on into my teen years.
(01:33):
I feel really, you know, grateful that I grew up
in that time when when physical media was was taking off,
when Anchor Bay was you know, starting to release all
these you know, European horror films, and really jumped on
that wave and got really into that at the time,
and I've just been collecting ever since, uh, you know,
(01:54):
since I was a teenager pretty much. So yeah, film
I mean, growing up as a kid, was super into
special effects. When I was young, I really thought I
was going to be you know, it was right before
Jurassic Park came out, so there was like still this
idea that stop motion might still be going on, and
then having to watch all those documentaries around the release
(02:16):
where Phil Tip is like, oh, this is the end
of it for us, and then you know, as I
got older, kind of getting into you know, the other
aspects of filmmaking. My mother was the one that introduced
me to Alfred Hitchcock. So that's when I, you know,
obsessed with what a director does. When I was young,
(02:37):
I was watching an episode of The X Files. I
think it was the one might have been the first
season where they go, uh, there's like there's like these
bugs in like the Pacific Northwest. I was watching that episode.
I was with my father and it said directed by
Joe Napolitano. So I was like, oh, Dad, somebody with
our last name. And he goes, oh, yeah, that's my cousin.
Speaker 2 (03:00):
And this was never really verified and I still have
no no garification of this if this is.
Speaker 3 (03:05):
True, but Joe Napplezano was from Brooklyn and apparently he
was my father's cousin.
Speaker 2 (03:11):
They moved out to California.
Speaker 3 (03:12):
When he was young, and he you know, when I
was when IMDb came out, I looked him up and
totally did not look at the rest of his filmography,
just saw that he worked on Kingdom of the Spiders
and I was like, amazing, that's great. Totally blew past
the fact that he was the first assistant director on
Scarface Blowout, but no.
Speaker 2 (03:32):
Kingdom of the Spider was what mattered to me at
the time.
Speaker 3 (03:37):
Having that idea planted in my head that somebody in
my family tree works in Hollywood made me feel like, no,
maybe that'll happen for me one day. And I honestly
think that all of us that collect these movies and
are really into the special features, deep down inside we
all want to make our own films, and I think
that's why we gravitate towards this stuff. The special features
(03:58):
are not for the average people that were buying them
from Walmart and Best Buy in the first place. They
were always meant for people like us want to be filmmakers.
So yeah, that's that's Uh, that's kind of me summed up.
Speaker 1 (04:12):
Well, as a surprise, here's cousin Joe. Let me bring
him in. I'm just kidding. That's incredible. I mean you
mentioned collecting. Everybody can see what's behind you that are
that's watching the video. I mean even got the super
rare Al Adams and set. What What what are you
into nowadays? Who are you buying from? What kind of
companies do you like supporting? Uh?
Speaker 3 (04:31):
Definitely, you know Vinegar Syndrome for sure, Arrow, all the
major ones, I mean all the major boutique labels.
Speaker 2 (04:39):
Uh, you know, I have two.
Speaker 3 (04:40):
Sons, so as a parent it gets difficult with tuition
to kind of make those big purchases.
Speaker 1 (04:49):
So the cheap right.
Speaker 2 (04:51):
Yeah. Well, at the.
Speaker 3 (04:55):
Same time, I'm in So I'm in bell Rose, Queen Rose,
Long Island.
Speaker 2 (05:01):
I grew up on the Queen's side.
Speaker 3 (05:03):
I never got a chance to live in Brooklyn where
things are really happening and cool. I am in the
same I'm literally like three blocks away from the house
I grew up in. But yeah, all all the major
boutique labels. I pretty much support anything that catches my eye.
The one thing that escaped me recently that I really
(05:24):
want to purchase is that that Eureka said about the
German crime movies. The crime I think that I want
to get my hands on. And yeah, just you know, nothing,
nothing in particular stands out outside of that recently, but yeah,
just whenever anything catches my eye, I'm on it.
Speaker 1 (05:42):
Are you Are you staying up to date with modern
films too, or do you mostly live in the the
class immediately the face change, Yeah.
Speaker 3 (05:51):
It's my uh my, and my film education is lacking
outside of these these genre films.
Speaker 2 (05:57):
Unfortunately, like if somebody were.
Speaker 3 (05:59):
To kind at me with like like, I don't even
know most of the films in the Criterion, the ones
that you're supposed to know if you have a really
well rounded film education. I mean, it's basically the stuff
that you see behind me is really what keeps me going.
Speaker 1 (06:13):
I mean, I get it. I'm a lot of the
same way. I've still never don't tell anybody this isn't public,
but I've never seen a Bergman movie still and I
want to just haven't gone around to it.
Speaker 2 (06:21):
That was the name that was coming up in my head.
Speaker 3 (06:24):
And whor's of all, for the longest time, I had
never seen The Godfather, and everyone would say, well, you're
Italian and that's a great piece of American cinema and
you've never seen that.
Speaker 2 (06:32):
What's wrong with you? I mean, I have seen it now,
but for a long time that was Did.
Speaker 1 (06:38):
It live up to the hype? That's the big question.
Speaker 2 (06:40):
Yeah, yeah, it lived up to the hype. The hype.
I could see why people consider it.
Speaker 1 (06:44):
It's all right, yeah, you know, well, we're talking about
names that come up, things like the Criterion stuff. A
name that most people are not going to raise when
just discussing film is Hydropenea And this is such a
cool double feature to come out with as your first release.
You got funerals in the estro, You've got Triangulo de Ororo.
(07:04):
This is the slip cover, double sided, two different titles.
For those that have not heard the trash Mechs podcast?
Who is Hydra Wow, that's not the name. Who is Hydroa?
Speaker 3 (07:16):
So is Colombia's like genre Attur. He is when you
think of genre cinema in Colombia, it's him. He's a
one man industry basically started out in the seventies. He
has a pretty lengthy filmography, pretty much sticking with horror
or action adventure. And you know, he comes from a
(07:41):
country where there really isn't a very robust film industry.
It's not like Mexico or Argentina where there's like these
big international films that played across all of Latin America.
So for you know, in America we used to like
people like George Romero and Toby Hooper that.
Speaker 2 (07:59):
You know a lot of people that went out and
did it on their own.
Speaker 3 (08:03):
There's there's uh, there's that history. In Colombia, there is
not a lot of that, and right it really took
a lot for for him to break out on his own,
and it's really commendable. And he's definitely you know, he
is known there because he inspires you know, new generations
of film lovers and filmmakers, uh there. So within Columbia
(08:25):
he's pretty well known in the film circles. Film students
know about him, revere him. But outside of that, you know,
not known really in America. You know, I think some
of his films have played in festivals, probably in Europe
and Spain, but really.
Speaker 2 (08:41):
No play here at all in the US.
Speaker 3 (08:43):
Although I did state that, you know, the these were
the first ever American releases, but tri Angelo Lero apparently
did get a US VHS release back in the eighties,
which I was not aware of, but no subtitles, uh
though unfortunately because those negatives were lost, our print probably
looks like that, exactly the same as the VHS. But
(09:06):
this show is restored. So yeah, he's you know, when
you I think he should be not maybe as well
known as Sey Coffin Joe or Narcisio, even as Menta
in terms of South American horror, but he's up there,
I would say, if you're thinking of like three names
from South America in terms of horror genre and higher opened.
(09:27):
You should be up on that list because he's done
a lot well.
Speaker 1 (09:33):
And one thing that's getting more and more important nowadays,
especially with something like Letterbox, a lot of people are
paying attention to, uh, you know, crossing off list or
the big thing is with something like this, crossing off
countries of films that they've been able to watch from.
And I don't think I mean, i'ven't logged everything I've
ever watched, but before this, I don't think I'd even
had a Colombian film on my list, which just really
(09:55):
goes to show lack of distribution, lack of attention, lack
of access to many of these films. And this is
just such a cool entry point for somebody that is
already into physical media because it's such a physical media,
like already coded cult type of film. It's such a
great double feature for that.
Speaker 3 (10:14):
Yeah, yeah, absolutely, I mean, you know, unfortunately, so it's
it's gonna be the genre films that travel the most
from from from foreign countries. They there's a there's a
line in the documentary not quite Hollywood. I forget who
says it, but you know, a good punch up needs
no translation, like fights sell anywhere in the world, and
(10:37):
I think gore genre films sell anywhere in the world
no matter where they come from. So they're the easiest
access points to kind of getting people from the outside
to look in and see what your country has to offer.
So it's a it's a good cinema is a great
soft power to have to to let people know about
your country, your culture and things like that. And for
(11:00):
anyone who doesn't know anything about Columbia or hasn't seen
a Colombian film, this is a good entry way. One
of the things that I say on the on the
back cover of the disc is that you know, one
of the people who was really inspired by Hydro Benja
is Sierro Guierra, who is the first Colombian director to
be nominated for an OSCAR for Best Foreign Film for
Embrace of the Serpent. So you know that lineage right
(11:21):
there from Hydro Benice to this guy, it's he inspired
a lot of people.
Speaker 1 (11:27):
One thing that I don't know it means more and
more to me is I've watched more of these movies.
Roger Ebert was quoted once as saying movies are empathy
machines and for me, which is hilarious because I currently
my day job, I work for immigration and I've never
been fortunate enough to be able to travel outside of
the country and so being able to see like traditions
(11:51):
and part of people's culture through something like this really
is for a privileged white cyst male, like the direct
access to this form of empathy with Colombian specifically if
they are in their home country. At least, you know,
I can meet Columbians here just the same to speak
to them, but it's not quite the same. And being
able to literally see a funeral procession or you know,
(12:15):
how their their filmmaking history came to be. It's such
a unique way to envelop yourself in that.
Speaker 2 (12:21):
Yeah.
Speaker 3 (12:21):
No, I mean, film is like it's it's it's your
first passport, you know, going to the video store, as
you know, as a young teenager being able to rent
films from around the world.
Speaker 2 (12:33):
You have access.
Speaker 3 (12:34):
That's your that's your travel before you can you know,
freely leave the country. You're you're visiting the world through
the lens of other filmmakers and how they viewed their
country and how they viewed certain topics and things going
on there. So yeah, it definitely gives you insight into
into other cultures.
Speaker 1 (12:52):
The physical release itself. We got to get into this.
Obviously you're excited about these films, you are excited with
the film, or you're inspired by the story, you want
to get it out. How do you go from that
just saying, well, shit, I got to do this myself.
Speaker 2 (13:08):
So big inspiration for me, Bill Olson from quote, Oh wow, nice.
And I'll tell you why.
Speaker 3 (13:13):
Why Because he let so much of his persona be
on the Internet that you kind of got a real
feel for the guy. And you can kind of walk
away and say, this process might not be as mysterious
as I'm imagining in it to be late. You know,
this sounds like a regular guy who doesn't necessarily have
to have like some business degree or film education.
Speaker 2 (13:35):
Like he just probably went out and just did it
and just gumption.
Speaker 3 (13:39):
And maybe I can do the same because I've collected enough,
I've listened, I've read enough, you know, the Blu ray
boards and whatnot. Maybe I have enough knowledge that I
can give this a shot. And that was kind of
like the impetus. I just felt like I could do it,
so let me see what happens. And yeah, I just
made that initial outreach to this website in Columbia that
(14:00):
was host was streaming his films because I couldn't see
them and I was really dying to see them. And
one of my friends has joked that, like this was
like the most expensive way to ever just like get
a movie subtitle.
Speaker 2 (14:10):
So you could just watch it. Like that's what it was,
This is passion project.
Speaker 3 (14:13):
I could just finally see it because I didn't see
the movie until it was like restored, Like I no,
I did not watch it beforehand, like I licensed it blind,
just going off of yeah, significant it was historically and
just from the few clips I had seen from it,
just I just kind of knew off the bat that
this was going to be something I would enjoy. So
(14:33):
it didn't feel like too much of a risk, Like
I knew I was gonna love it no matter why.
But yeah, it was just a leap of faith, I.
Speaker 1 (14:43):
Guess inspired by Bill Olson. And then the actual physical product,
obviously there's a lot of uniqueness in this. You've got
the double sided slip cover, you've got the really great
double sided original art here. Is there anybody you were
trying to emulate with your actual physical product?
Speaker 3 (15:02):
Just I mean, obviously with the slip cover, trying to
be like vinegar syndrome.
Speaker 2 (15:06):
Of course with the artwork.
Speaker 3 (15:07):
So I kind of like just pulled out all my
all my favorite Blu rays that and looked through the
artists and one of them was the Suspiria, the four
k Uh and it's the same artist.
Speaker 2 (15:20):
I reached out to him because I found out that
he was from Columbia. He had done he had done Suspiria,
he had done Demons, and I was like this, I like,
this guy's are artwork, he's from Colombia. It just feels
like it has to be him. And he was. He
was very, you know, very eager to do it.
Speaker 3 (15:36):
He knew of hydrophenigia and he was like, wow, he'd
be honored to do it.
Speaker 2 (15:39):
So I was glad that that worked out.
Speaker 3 (15:41):
And he was a huge help because I, you know,
I don't know how these things get formatted. He he
helped with the layout of the uh, the paper that
goes into the sleeve. I didn't know how to do
any of that. He he offered to help me on that,
and you know, when the next release comes about, we're
gonna be working together on that next release because I
(16:03):
he was just such a huge help getting this release to.
Speaker 2 (16:07):
Where it is to looking as professional as it does.
Speaker 1 (16:10):
Honestly. I mean the art was the first thing I
saw obviously when you go to the website, but he
captures the faces in this so perfectly. It is crazy
how much the likeness is exactly what it looks like
on both sides of the slip cover. I mean both
of the films. It's immaculate what he did.
Speaker 2 (16:28):
Yeah, no, it's it was incredible.
Speaker 1 (16:29):
I was.
Speaker 3 (16:30):
I was overjoyed when I saw the results and we
worked on it a few days. Like I was, I
was giving him like so for tri Angelo Lero, like
the points of reference, I'm like, just look at all
those Italian ripoffs of Indiana Jones, like the posters for those, Like,
that's our point of reference when we're trying to create
this thing and come up with how we.
Speaker 2 (16:47):
Wanted it everybody positioned. So that was that was a
really fun process. But yeah, really happy with the results.
Speaker 1 (16:56):
On the the Trashbacks podcast episode, you mentioned a lot
of things that you know, you just talked about that
it was a risk, but during this process, you're losing
your job, You're unemployed for parts of it you're trying
to figure out how to handle, you know, translating over
the phone while signing agreements. What was a you know,
(17:17):
like the biggest thing in this that you never saw
coming that just shook you in the process.
Speaker 3 (17:23):
The price for the restoration, because I had I had
a certain budget in mind, and I didn't really you know,
I think I had seen somebody else quote how much
it costs to produce a Blu ray and it was
somebody saying, oh, Kino said this at one time, that
this is how much it costs. I was like, well,
I just happened to have that now because my mother
had sold her house and you know, me, my brother
(17:46):
and my sisters, we all got a little chunk of that.
And I asked my wife, I said, would you be
gracious enough that I kind of pursue my dream with
this this bit of change, and she said yes. And
you know, it obviously ended up costing more than that, which.
Speaker 2 (18:00):
Is why it took so long, because I had to
wait until I had the next round of funds to
keep going. But yeah, when I saw the price for
the restoration, I was like, oh my god. I was like,
I think the next release I'm definitely gonna look for
a film that has already got an HD transfer already made,
probably because I don't know if I'll be able to
do this right away again. That was yeah, that was
(18:24):
the biggest thing.
Speaker 4 (18:25):
Uh.
Speaker 3 (18:25):
And there were one other thing that happened was and
I don't want to make it sound like the.
Speaker 2 (18:30):
Company did that did the restoration, did the bed job.
It's Metropolis Posts who did a razorhead, Gray Gardens, Pink Flamingo.
They're amazing.
Speaker 3 (18:37):
But when they scanned the film, apparently somebody's eyelash fell
into it and they discovered that once we had already
sent it back to Columbia, so then I had to
ask for the Archives to release it again and send
it back.
Speaker 2 (18:51):
To the US so they could rescan it. And that
was I was like, I.
Speaker 3 (18:55):
Was freaking out when that happened. I was like, oh
my god, they're gonna they're gonna hate me for this.
And because I was just so nervous that something would
happen because it was the last copy of this film available,
like there's no other cerials for it. I'm like, if
I'm the one that loses it, I'll feel horrible. But
luckily that wasn't the case. Metropolis Post took care of it.
They were amazing, But that was one thing that popped
(19:19):
up that.
Speaker 2 (19:19):
Would like really scared me, Like, oh really.
Speaker 1 (19:25):
That's a lot to ship it back and forth twice,
and I mean, gosh, that's terrifying in so many different ways.
I understand if you want me to cut it, but
I am going to ask for anybody that's inspired by
your story, can you share how much the restoration cost
or ballpark at.
Speaker 5 (19:43):
Least I'm gonna say ballpark the costs of a brand
new twenty twenty five, all right, if.
Speaker 3 (19:58):
I want that, the company would want me to Yeah,
there right, I'll say this. I chose them because I
wanted to go with somebody in New York so I
could come and keep an eye on the prospect that
did reach out to act for. Their prices were around
the same, I think, but I wanted it to be
in New York so that way I could come in
and you know, yeah, going so and I was really happy.
Speaker 2 (20:20):
With the with the work.
Speaker 3 (20:21):
It took a while, like I said in the other interview,
I don't know if that was because that's how long
it really took to do it, or because a twenty.
Speaker 2 (20:28):
Four just like took preference over my stuff. I don't know, right,
but yeah, so the cost of a brand new car
was just the uh, just the restoration itself, and that's
my initial budget was, right.
Speaker 1 (20:44):
So yeah, that leads to something that makes me very
worried for more to come out of your brilliant mind.
I mean, you go on your website right now and
this pretty incredible, rare package of two movies is twenty dollars, Anthony,
How could you afford to sell this for only twenty dollars? Right?
Speaker 3 (21:04):
Basically, there's a thousand copies sitting in my bedroom and
my wife needs to see them.
Speaker 2 (21:08):
Gone touche.
Speaker 1 (21:10):
That checks out, Seriously.
Speaker 3 (21:13):
I have priced it at thirty initially when when it
first came out and nobody saw it, and I just
thought to myself, this might be a hard ask because yeah,
you can charge you know, today's.
Speaker 2 (21:25):
Lucio fuol Cheese Birthday, Happy birthday, Lucio ful Chee.
Speaker 3 (21:28):
You could release a four K of Luccio fool Chee
right now and charge whatever you want.
Speaker 2 (21:33):
It's built in name recognition. People pay that price. Nobody
knows who Hydropnedia is. How could I dare ask somebody
even for a double feature, to pay thirty. I didn't
feel like I was really going to get anywhere with it,
and it was at that price for about a month.
I probably didn't do enough promotion at that time either.
Speaker 3 (21:51):
The part about me losing my job was right when
the promotion started kicking in, because I suddenly had a
bunch of time.
Speaker 2 (21:58):
But I just felt like twenty, like you can't say
no to twenty.
Speaker 3 (22:02):
And my main thing was I want this guy to
get exposure more so than anything, you know, I'm not.
Speaker 2 (22:09):
I did not do this to get rich. Obviously, I
would like to.
Speaker 3 (22:14):
I would like it to eventually become profitable so I
can continue to do it doing this and make this
my thing. But that was money was not my main focus.
My main focus was kind of preserving this film for
my sons, getting this director exposure in the United States.
He has a lot more films, and like I said
(22:35):
in the other podcast, I don't want to just be
the Hydropniga guy. I want to branch out and do
other things. So if anybody else, any other labels are listening,
he's got a lot of other stuff to offer and
to be great. If somebody put together a box set
of his films because I want him.
Speaker 2 (22:47):
To be more well known.
Speaker 3 (22:50):
There's very few figures like him who are just you know,
from outside of the US that have a genre filmography
and they're just doing it themselves. You don't see that
very often.
Speaker 1 (23:03):
Especially in Latin America. I mean it's been mentioned time
and time again, but we are sorely missing on entire
countries filmographies, let alone like some of these very like
high regarded filmmakers that have entire careers just waiting to
be resuscitated and granted, you know, like discussing these funeral
(23:26):
is from a theatrical print and then Triangulo is from
a one inch tape master. But there are so many
of these countries where the elements are not perfect. We
still deserve to do something with their films and archive
in a way where they can be seen for generations.
Speaker 2 (23:42):
Absolutely.
Speaker 1 (23:44):
Okay, so people getting into this and inspired by you
need to have a shit ton of money. We get that.
The other thing for a lot of people's curation. You
don't want to just do Penia films. If this is
something that somebody watches this and they say, you know what,
I want to fund your next five releases. What are
what are dream things that you want to do? Is
(24:04):
there like a theme for the label that you want
to keep to or.
Speaker 3 (24:07):
So a lot of people have just assumed that it
will be Latin American genre films, which I'm I'm okay
with that.
Speaker 2 (24:14):
I do want to dip my my my.
Speaker 3 (24:17):
Feet in that again, but I also had it in
mind that I would kind of in my mind, I
wanted to go all over the world. Yeah, there's there's
just so many countries where there's just so many films
in my head.
Speaker 2 (24:31):
That have not gotten releases that I that I want
to hit up, and I just I have I'm afraid
to mention them. It might be an unreasonable fear, Like
I get it.
Speaker 3 (24:41):
There was a show you where I forgot I think
it was Celeste had the copy of it. We're showing it,
and then I saw that Deaf Crocodile was like, we're
looking into South American films as we speak.
Speaker 2 (24:50):
I was like, oh my god, I guess something that
I have my mind on. So like, what is it?
There is a film I'll say it because I don't
think it's the thing.
Speaker 3 (25:02):
I'm going to probably get my hands up but there's
a film from Poland called like Curs of Snake Valley
that I believe has an HD restoration that was on
it played in New York a few years back. It's
like Indiana Jones type film with UFOs and a monster
in it, and it's pretty enjoyable, and that was one
(25:24):
of the films that I had considered. I also like
thought of kind of expanding into just like world cinem
in general, you know, not genre films. Like there's other
films from South America that I want to release, specifically Argentina.
There's a film called Dark Side of the Heart with
Dario Grandinetti, who was in the Amadovar's talked to her.
(25:45):
So that is a film that I love that I
would love to see get, you know, a restoration. So yeah,
not just harror. So that's why I named the Petroglyph
because it's kind of like unnameable. It's not like a
horror specific name, so it kind of allows like a
latitude to just kind of release anything. So all I
can say is whatever I release, it'll be very personal
(26:07):
to me. So it's you're getting it's gonna be a
line that's very personally curated. So it's not I don't
foresee this company growing at such an enormous rate where
there's gonna be lots of people and I'm going to
have an acquisitions department and people are gonna be making decision.
Speaker 2 (26:20):
It's probably gonna be me, just me for a very
long time, if anything. And so whatever you're getting is
something that I personally like and I feel that you
need to see.
Speaker 1 (26:30):
So for anybody watching, he's going to get an MGM
deal and we'll be seeing seven of those starting next month.
Speaker 3 (26:38):
There's like so many studio films that I'm just like
waiting for that I haven't seen, and I'm like.
Speaker 2 (26:43):
What is the hold up? I don't want to ramble it,
but yeah.
Speaker 1 (26:46):
Okay, my big thing is I want to see you succeed.
So I'm really suggesting to anybody that's watching this to
go in. And I don't normally do this because I
really hate saying just buy something to support, but this
is the sort of thing that we need to speak
with a twenty dollars bill to be able to say
this is something that we deserve to have restored, we
(27:09):
deserve to have archived, and not just we as the community,
but the filmmaker deserves to be honored like this, and
to see more of this come from somebody like you
is immense And I really hope that people will see
this and respond by going to the website and purchasing.
But for those that are somehow not convinced yet, why
don't you try to elevate or pitch funeral first?
Speaker 3 (27:32):
So Funanazinestro involves a young girl whose father has just
passed away. She has to stay at their the family
hacienda with her stepmother while her uncle goes in clears
up legal issues regarding his death and the transfer of
his money and whatnot. And there's suspicious things going on
(27:53):
at the hacienda regarding the stepmother.
Speaker 2 (27:55):
She may have been involved in the father's death.
Speaker 3 (27:58):
And this young girl is very afraid of being alone,
very afraid of the supernatural, and without giving away too much,
things escalate from there. Some people see things they're not
supposed to see, and some murders take place, and yeah,
it's a very it's a slow burn, but it's got
a lot of atmosphere. Definitely, I think Armando from trash
(28:23):
mach set at best. It's like it's a film that
you have to watch for the lights off in the
dark at night to get the full effect.
Speaker 1 (28:29):
It is one I rewatched last night to be able
to talk about it again. And sure, it's not the
greatest movie ever, but there's so much to enjoy about it.
I mean, first off, the restoration for being from a
theatrical print looks pretty damn great for how old it is.
One thing I really wanted to point out that didn't
get into a lot of detail in that episode is
(28:50):
the sound in this movie is so good. Like there's
not just atmospheric sounds either, there's like iconic sounds that
you So I will probably never forget a couple of
the things that you hear in this movie.
Speaker 2 (29:05):
It's great, that's awesome. That's great to hear.
Speaker 1 (29:08):
There's the stepmother. One scene, she goes to laugh and
she does this really like throaty and it's so funny
in the moment that she does it. It's great. So
that's our first one, but our second one, which is
a really great By the way, this is an incredible
choice for double feature, but it pretty much could not
be more different than Funeral. So tell us about what
(29:31):
we're getting on the other side of this.
Speaker 3 (29:32):
So Ti Anglolero is a very pulpy adventure film, very
much probably trying to ride the waves of Indiana.
Speaker 2 (29:39):
Jones.
Speaker 3 (29:40):
We have an island, a treasure map. There are radioactive plants,
man eating plants. Basically this woman and I forget if
it's Sara. I think it's her brother that goes treasure
hunting on some island that they've heard about since they
were a kid. He comes back, he's got all these
burns on him, and these other people that are looking
(30:01):
for this map, they get it. They kidnap her, they
take her to the island, and it's up to her
brother to come and save her and his nephew.
Speaker 2 (30:11):
From what dangers they encounter on Ghost Island.
Speaker 3 (30:15):
So really fast paced, much faster different totally, like you said,
very different from Funanasinstro, much more fast paced. It's got
a great bar bar room kung fu battle in the
middle of it. But yeah, I chose that because I
felt like they these were the two films from his
filmography that would stand out the most. You have one
(30:36):
that's the first Colombian horror film, and you have this
action film, and I felt like these were the these
had the elements that they could put together they could
sell really well.
Speaker 1 (30:46):
Well, speaking of that, one of the main things I
wanted to hear near the end of this is the
reception to this. So first of all, how how has
it sold? Are you? Are you pretty happy with what
you've gotten out there so far?
Speaker 2 (30:57):
Yeah?
Speaker 3 (30:57):
Yeah, So it's a limited edition thousand copies and we're
close to the halfway points and it's only been selling
some March. So for a film that no, you know,
nobody's really heard of beforehand, I feel that's that's pretty good.
Speaker 2 (31:12):
So I'm very happy with it. And if I can
be gone with.
Speaker 3 (31:15):
All the copies by the end of the year, I'll
be extremely happy, and my wife will be happy.
Speaker 1 (31:19):
I was about to say the wife loved that.
Speaker 2 (31:22):
They have more space to play in in the house,
but yet, No, the reception has been great.
Speaker 3 (31:28):
I've been getting a lot of messages on Instagram. I
was never like on social media at all because I
really hate it, but I have.
Speaker 2 (31:34):
To for promotion and whatnot.
Speaker 3 (31:35):
And people write me messages, people who are from you know,
Colombian lineage or background saying, you know, they had never
heard of it and this is what they had always
been looking for because they're genre fans.
Speaker 2 (31:46):
And they always wondered about this, So to hear that
is is just amazing.
Speaker 3 (31:50):
That really really makes me happy that because that was
what I kind of aim to do, because that's important.
It's important to see people from your culture doing the
things that you want to do, because it kind of
gives you permission to do it as well.
Speaker 2 (32:06):
In a sense.
Speaker 1 (32:09):
What about the receptions of the films themselves? Have you
been paying attention to, like letterbox reviews exploding and people
finally starting to talk about Pania.
Speaker 2 (32:18):
Most of what I saw in letterbox was good.
Speaker 3 (32:19):
I think there was like one review that was kind
of negative, and I was like, I shouldn't look at
this anymore because it's going to hurt me as if
I made the film myself, I shouldn't take it so personally.
Speaker 2 (32:30):
But no, everything has been pretty good.
Speaker 3 (32:32):
I've been I was very, you know, careful to not
try to oversell the films, like this is not a
gore fest. Somebody had written that it's like it might
not be even classifiable as a horror, but you know what,
everybody else online has spoken about it as a horror film.
Speaker 1 (32:46):
So I have no problem a horror film.
Speaker 2 (32:48):
As considering it horror.
Speaker 3 (32:51):
But Everything that I've read has been pretty pretty positive,
so I'm happy that people have enjoyed it. The link
on phone naucing Thatshra is a bit much. People comment
about that, but that's understandable, totally understandable.
Speaker 1 (33:05):
The big thing though, is just seeing the access, Like
I imagine this has to be super gratifying to see,
you know, your film come out and then suddenly, oh, yeah,
the letterbox reviews are going to shoot up because people
couldn't see this before.
Speaker 3 (33:19):
Yeah, you know, I was, and it occurred to me
like maybe two or three weeks after I had started
selling copies. I was like, I should check letterbox and
see what's going on there because I had, you know, previously,
there had only been like three reviews each for both films,
so it really wasn't much out there. And then yet
to see it slowly, you know, start to rise up
(33:40):
in number was gratifying.
Speaker 1 (33:42):
Yeah. I don't remember how soon after you launched I
even discovered that you were a thing. Yet, how did
you first get the name out about Patrick Cliff?
Speaker 3 (33:52):
So basically just got on Instagram. I had a friend
make a really kind of really nice trailer and I
think I was telling the guys from trash macs. Like
the algorithm worked because I had always, like I said,
I've never been on social media, but I kind of
always like cyberstalked Armando because he just puts such amazing
(34:13):
stuff on.
Speaker 2 (34:13):
So I was like, as soon.
Speaker 3 (34:14):
As I got on Instagram, I'm going to follow this guy,
and I guess through following him, it kind of went
out to everybody that follows him, and I guess it
just kind of worked that way.
Speaker 2 (34:22):
And as I started putting.
Speaker 3 (34:23):
Up ads, I started getting more and more you know,
people into it. And then when you posted about it
on Instagram, that shut up. Like it was crazy that
that weekend. So I really appreciate that. Like I came
home and I was like, oh, I got a sale,
and I was like, wait, I got another one. I'm like,
what the hell's going on the other like, this wasn't happening.
(34:44):
It was like before that, it had been slow, like
maybe one or two a day, but then won every
like ten minutes, I'm like, something happened.
Speaker 2 (34:52):
I was checking.
Speaker 3 (34:52):
I was like, oh, the Disconnected wrote about it, So
thank you for that. That was a huge course.
Speaker 1 (34:57):
That's that's literally all I try to do is help small,
small groups like this, and funny enough, I think you
mentioned him in the Trash Mix podcast Mondo Micabre Jared
Honor from Mondo Micabre, don't. I don't think I told
you this yet. He's the one that let me know
that the release existed. He found out through some way
and he went, did you know about this? Because I'm
sure you want to post about it? I went, hell, yeah,
you know, I want to post about this. This sounds
(35:19):
great and post about it immediately, and then it has exploded.
I mean, we've talked about it. I've got my own discord.
Many many people in the discord have purchased it, so
we've all talked about the films in there, and it
really seemed to just word of mouth, keep keep going thankfully.
Speaker 2 (35:34):
That's awesome. Yeah, no, I'm really happy with the reception.
Speaker 1 (35:39):
That's great. So yeah, no plans for a second release
or anything. We got to get this one out of
out of the bedroom. But other than that, other than
purchasing it, I'm assuming that sharing the information about this
and word of mouth is the best way for people
to support you right now.
Speaker 3 (35:54):
Yeah, it's available directly through me through my website. Diabolic
DVD has copies of it.
Speaker 2 (36:02):
There was some other company in the UK that has
it now.
Speaker 1 (36:05):
To the Treasured Films. Probably I think that's the name
of the film Treasures is the name of their online side.
Speaker 2 (36:10):
I think possibly it was his Strange Devices.
Speaker 1 (36:13):
Oh maybe maybe, I don't know.
Speaker 2 (36:15):
But if you're in the UK, there's somebody, there's a
there's somebody.
Speaker 1 (36:18):
There that I'll find it in the links of the description.
Anything else that you want to hype up or promo
or anything else that I can do to help.
Speaker 3 (36:29):
No, I just want to say to everyone who's already
purchased a copy, thank you so much. You have no
idea what it means to me. Anybody who's on the fence.
Twenty dollars, you can't go wrong. And yeah, once once,
I uh, once all these copies are gone. I don't
I don't know if there's going to be like a standard,
you know, edition of it just depends on how how
(36:50):
how quickly I run out. But then I, you know,
hopefully soon I will start working on what that next
release is. And I do not plan, even though I
know it will.
Speaker 2 (36:59):
Be just as difficult as this first release. I do
not plan to disappear into the ether. You will hear
from me again.
Speaker 1 (37:08):
Amazing and yet I mean you can tell on the
spine it is petroglyph media number one, so that there
has to be a number two. That's the rule.
Speaker 2 (37:15):
Absolutely.
Speaker 1 (37:17):
Well, on that note, Anthony, thanks so much for your time.
I mean, I as somebody that works in physical media,
I dream of being able to start a label and
hearing hearing that story of just yeah, nobody else is
gonna do it. I got to go do it. I
knew I had to talk to you. So this has
been incredible and just appreciate your time.
Speaker 2 (37:35):
Thank you again for having me on.
Speaker 1 (37:37):
Well, hopefully we'll chat again soon. Everybody, go go purchase
from the link of description below. We'll see you next time.
Thank you for listening to the Disconnected podcast. There's one
big thing that you could do to help the show,
and that is to leave a rating and review on
the podcast service of your choice.
Speaker 4 (38:00):
Toss Times, Times, Times, tist, species, instats, don'ts
Speaker 5 (38:23):
Sho
Hello there, and welcome back to be disconnected here with
Anthony from Petroglyph Media, one of our youngest up and
coming boutique Blu Ray Companies, and Anthony so excited to
be able to share this inspiring story.
Speaker 2 (00:23):
So thanks for coming on, Thank you for having me.
Speaker 1 (00:25):
Ryan. I don't even know where to start. I mean,
one thing that we probably should say at the very
beginning is you've already talked a lot about the process
behind this, and so there's a link of the description below.
Everybody needs to go check out the episode of the
trash Backs podcast that you did. Fantastic conversation. I'm gonna
try to not double up in a lot of the
same questions and cover some other stuff, so please go
(00:48):
listen to that as well. You've got a lot of
really great points that you bring up there. But genuinely
excited to talk to you about this one thing that
you didn't go in too much on. There is a
lot about yourself. We talked about the process and what
went into the first release, which we're gonna be talking
about just a minute. But uh, how how did you
get here? What's the history of Anthony?
Speaker 3 (01:09):
Uh So, the history of Anthony is uh, you know,
I'm from New York City, I'm from Queens. Grew up
as a monster loving kid, you know, watched Monster Vision
as a child when it was like marathons, got Zilla marathons,
so really into monsters as a kid, and then kind
of transitioned into horror later on into my teen years.
(01:33):
I feel really, you know, grateful that I grew up
in that time when when physical media was was taking off,
when Anchor Bay was you know, starting to release all
these you know, European horror films, and really jumped on
that wave and got really into that at the time,
and I've just been collecting ever since, uh, you know,
(01:54):
since I was a teenager pretty much. So yeah, film
I mean, growing up as a kid, was super into
special effects. When I was young, I really thought I
was going to be you know, it was right before
Jurassic Park came out, so there was like still this
idea that stop motion might still be going on, and
then having to watch all those documentaries around the release
(02:16):
where Phil Tip is like, oh, this is the end
of it for us, and then you know, as I
got older, kind of getting into you know, the other
aspects of filmmaking. My mother was the one that introduced
me to Alfred Hitchcock. So that's when I, you know,
obsessed with what a director does. When I was young,
(02:37):
I was watching an episode of The X Files. I
think it was the one might have been the first
season where they go, uh, there's like there's like these
bugs in like the Pacific Northwest. I was watching that episode.
I was with my father and it said directed by
Joe Napolitano. So I was like, oh, Dad, somebody with
our last name. And he goes, oh, yeah, that's my cousin.
Speaker 2 (03:00):
And this was never really verified and I still have
no no garification of this if this is.
Speaker 3 (03:05):
True, but Joe Napplezano was from Brooklyn and apparently he
was my father's cousin.
Speaker 2 (03:11):
They moved out to California.
Speaker 3 (03:12):
When he was young, and he you know, when I
was when IMDb came out, I looked him up and
totally did not look at the rest of his filmography,
just saw that he worked on Kingdom of the Spiders
and I was like, amazing, that's great. Totally blew past
the fact that he was the first assistant director on
Scarface Blowout, but no.
Speaker 2 (03:32):
Kingdom of the Spider was what mattered to me at
the time.
Speaker 3 (03:37):
Having that idea planted in my head that somebody in
my family tree works in Hollywood made me feel like, no,
maybe that'll happen for me one day. And I honestly
think that all of us that collect these movies and
are really into the special features, deep down inside we
all want to make our own films, and I think
that's why we gravitate towards this stuff. The special features
(03:58):
are not for the average people that were buying them
from Walmart and Best Buy in the first place. They
were always meant for people like us want to be filmmakers.
So yeah, that's that's Uh, that's kind of me summed up.
Speaker 1 (04:12):
Well, as a surprise, here's cousin Joe. Let me bring
him in. I'm just kidding. That's incredible. I mean you
mentioned collecting. Everybody can see what's behind you that are
that's watching the video. I mean even got the super
rare Al Adams and set. What What what are you
into nowadays? Who are you buying from? What kind of
companies do you like supporting? Uh?
Speaker 3 (04:31):
Definitely, you know Vinegar Syndrome for sure, Arrow, all the
major ones, I mean all the major boutique labels.
Speaker 2 (04:39):
Uh, you know, I have two.
Speaker 3 (04:40):
Sons, so as a parent it gets difficult with tuition
to kind of make those big purchases.
Speaker 1 (04:49):
So the cheap right.
Speaker 2 (04:51):
Yeah. Well, at the.
Speaker 3 (04:55):
Same time, I'm in So I'm in bell Rose, Queen Rose,
Long Island.
Speaker 2 (05:01):
I grew up on the Queen's side.
Speaker 3 (05:03):
I never got a chance to live in Brooklyn where
things are really happening and cool. I am in the
same I'm literally like three blocks away from the house
I grew up in. But yeah, all all the major
boutique labels. I pretty much support anything that catches my eye.
The one thing that escaped me recently that I really
(05:24):
want to purchase is that that Eureka said about the
German crime movies. The crime I think that I want
to get my hands on. And yeah, just you know, nothing,
nothing in particular stands out outside of that recently, but yeah,
just whenever anything catches my eye, I'm on it.
Speaker 1 (05:42):
Are you Are you staying up to date with modern
films too, or do you mostly live in the the
class immediately the face change, Yeah.
Speaker 3 (05:51):
It's my uh my, and my film education is lacking
outside of these these genre films.
Speaker 2 (05:57):
Unfortunately, like if somebody were.
Speaker 3 (05:59):
To kind at me with like like, I don't even
know most of the films in the Criterion, the ones
that you're supposed to know if you have a really
well rounded film education. I mean, it's basically the stuff
that you see behind me is really what keeps me going.
Speaker 1 (06:13):
I mean, I get it. I'm a lot of the
same way. I've still never don't tell anybody this isn't public,
but I've never seen a Bergman movie still and I
want to just haven't gone around to it.
Speaker 2 (06:21):
That was the name that was coming up in my head.
Speaker 3 (06:24):
And whor's of all, for the longest time, I had
never seen The Godfather, and everyone would say, well, you're
Italian and that's a great piece of American cinema and
you've never seen that.
Speaker 2 (06:32):
What's wrong with you? I mean, I have seen it now,
but for a long time that was Did.
Speaker 1 (06:38):
It live up to the hype? That's the big question.
Speaker 2 (06:40):
Yeah, yeah, it lived up to the hype. The hype.
I could see why people consider it.
Speaker 1 (06:44):
It's all right, yeah, you know, well, we're talking about
names that come up, things like the Criterion stuff. A
name that most people are not going to raise when
just discussing film is Hydropenea And this is such a
cool double feature to come out with as your first release.
You got funerals in the estro, You've got Triangulo de Ororo.
(07:04):
This is the slip cover, double sided, two different titles.
For those that have not heard the trash Mechs podcast?
Who is Hydra Wow, that's not the name. Who is Hydroa?
Speaker 3 (07:16):
So is Colombia's like genre Attur. He is when you
think of genre cinema in Colombia, it's him. He's a
one man industry basically started out in the seventies. He
has a pretty lengthy filmography, pretty much sticking with horror
or action adventure. And you know, he comes from a
(07:41):
country where there really isn't a very robust film industry.
It's not like Mexico or Argentina where there's like these
big international films that played across all of Latin America.
So for you know, in America we used to like
people like George Romero and Toby Hooper that.
Speaker 2 (07:59):
You know a lot of people that went out and
did it on their own.
Speaker 3 (08:03):
There's there's uh, there's that history. In Colombia, there is
not a lot of that, and right it really took
a lot for for him to break out on his own,
and it's really commendable. And he's definitely you know, he
is known there because he inspires you know, new generations
of film lovers and filmmakers, uh there. So within Columbia
(08:25):
he's pretty well known in the film circles. Film students
know about him, revere him. But outside of that, you know,
not known really in America. You know, I think some
of his films have played in festivals, probably in Europe
and Spain, but really.
Speaker 2 (08:41):
No play here at all in the US.
Speaker 3 (08:43):
Although I did state that, you know, the these were
the first ever American releases, but tri Angelo Lero apparently
did get a US VHS release back in the eighties,
which I was not aware of, but no subtitles, uh
though unfortunately because those negatives were lost, our print probably
looks like that, exactly the same as the VHS. But
(09:06):
this show is restored. So yeah, he's you know, when
you I think he should be not maybe as well
known as Sey Coffin Joe or Narcisio, even as Menta
in terms of South American horror, but he's up there,
I would say, if you're thinking of like three names
from South America in terms of horror genre and higher opened.
(09:27):
You should be up on that list because he's done
a lot well.
Speaker 1 (09:33):
And one thing that's getting more and more important nowadays,
especially with something like Letterbox, a lot of people are
paying attention to, uh, you know, crossing off list or
the big thing is with something like this, crossing off
countries of films that they've been able to watch from.
And I don't think I mean, i'ven't logged everything I've
ever watched, but before this, I don't think I'd even
had a Colombian film on my list, which just really
(09:55):
goes to show lack of distribution, lack of attention, lack
of access to many of these films. And this is
just such a cool entry point for somebody that is
already into physical media because it's such a physical media,
like already coded cult type of film. It's such a
great double feature for that.
Speaker 3 (10:14):
Yeah, yeah, absolutely, I mean, you know, unfortunately, so it's
it's gonna be the genre films that travel the most
from from from foreign countries. They there's a there's a
line in the documentary not quite Hollywood. I forget who
says it, but you know, a good punch up needs
no translation, like fights sell anywhere in the world, and
(10:37):
I think gore genre films sell anywhere in the world
no matter where they come from. So they're the easiest
access points to kind of getting people from the outside
to look in and see what your country has to offer.
So it's a it's a good cinema is a great
soft power to have to to let people know about
your country, your culture and things like that. And for
(11:00):
anyone who doesn't know anything about Columbia or hasn't seen
a Colombian film, this is a good entry way. One
of the things that I say on the on the
back cover of the disc is that you know, one
of the people who was really inspired by Hydro Benja
is Sierro Guierra, who is the first Colombian director to
be nominated for an OSCAR for Best Foreign Film for
Embrace of the Serpent. So you know that lineage right
(11:21):
there from Hydro Benice to this guy, it's he inspired
a lot of people.
Speaker 1 (11:27):
One thing that I don't know it means more and
more to me is I've watched more of these movies.
Roger Ebert was quoted once as saying movies are empathy
machines and for me, which is hilarious because I currently
my day job, I work for immigration and I've never
been fortunate enough to be able to travel outside of
the country and so being able to see like traditions
(11:51):
and part of people's culture through something like this really
is for a privileged white cyst male, like the direct
access to this form of empathy with Colombian specifically if
they are in their home country. At least, you know,
I can meet Columbians here just the same to speak
to them, but it's not quite the same. And being
able to literally see a funeral procession or you know,
(12:15):
how their their filmmaking history came to be. It's such
a unique way to envelop yourself in that.
Speaker 2 (12:21):
Yeah.
Speaker 3 (12:21):
No, I mean, film is like it's it's it's your
first passport, you know, going to the video store, as
you know, as a young teenager being able to rent
films from around the world.
Speaker 2 (12:33):
You have access.
Speaker 3 (12:34):
That's your that's your travel before you can you know,
freely leave the country. You're you're visiting the world through
the lens of other filmmakers and how they viewed their
country and how they viewed certain topics and things going
on there. So yeah, it definitely gives you insight into
into other cultures.
Speaker 1 (12:52):
The physical release itself. We got to get into this.
Obviously you're excited about these films, you are excited with
the film, or you're inspired by the story, you want
to get it out. How do you go from that
just saying, well, shit, I got to do this myself.
Speaker 2 (13:08):
So big inspiration for me, Bill Olson from quote, Oh wow, nice.
And I'll tell you why.
Speaker 3 (13:13):
Why Because he let so much of his persona be
on the Internet that you kind of got a real
feel for the guy. And you can kind of walk
away and say, this process might not be as mysterious
as I'm imagining in it to be late. You know,
this sounds like a regular guy who doesn't necessarily have
to have like some business degree or film education.
Speaker 2 (13:35):
Like he just probably went out and just did it
and just gumption.
Speaker 3 (13:39):
And maybe I can do the same because I've collected enough,
I've listened, I've read enough, you know, the Blu ray
boards and whatnot. Maybe I have enough knowledge that I
can give this a shot. And that was kind of
like the impetus. I just felt like I could do it,
so let me see what happens. And yeah, I just
made that initial outreach to this website in Columbia that
(14:00):
was host was streaming his films because I couldn't see
them and I was really dying to see them. And
one of my friends has joked that, like this was
like the most expensive way to ever just like get
a movie subtitle.
Speaker 2 (14:10):
So you could just watch it. Like that's what it was,
This is passion project.
Speaker 3 (14:13):
I could just finally see it because I didn't see
the movie until it was like restored, Like I no,
I did not watch it beforehand, like I licensed it blind,
just going off of yeah, significant it was historically and
just from the few clips I had seen from it,
just I just kind of knew off the bat that
this was going to be something I would enjoy. So
(14:33):
it didn't feel like too much of a risk, Like
I knew I was gonna love it no matter why.
But yeah, it was just a leap of faith, I.
Speaker 1 (14:43):
Guess inspired by Bill Olson. And then the actual physical product,
obviously there's a lot of uniqueness in this. You've got
the double sided slip cover, you've got the really great
double sided original art here. Is there anybody you were
trying to emulate with your actual physical product?
Speaker 3 (15:02):
Just I mean, obviously with the slip cover, trying to
be like vinegar syndrome.
Speaker 2 (15:06):
Of course with the artwork.
Speaker 3 (15:07):
So I kind of like just pulled out all my
all my favorite Blu rays that and looked through the
artists and one of them was the Suspiria, the four
k Uh and it's the same artist.
Speaker 2 (15:20):
I reached out to him because I found out that
he was from Columbia. He had done he had done Suspiria,
he had done Demons, and I was like this, I like,
this guy's are artwork, he's from Colombia. It just feels
like it has to be him. And he was. He
was very, you know, very eager to do it.
Speaker 3 (15:36):
He knew of hydrophenigia and he was like, wow, he'd
be honored to do it.
Speaker 2 (15:39):
So I was glad that that worked out.
Speaker 3 (15:41):
And he was a huge help because I, you know,
I don't know how these things get formatted. He he
helped with the layout of the uh, the paper that
goes into the sleeve. I didn't know how to do
any of that. He he offered to help me on that,
and you know, when the next release comes about, we're
gonna be working together on that next release because I
(16:03):
he was just such a huge help getting this release to.
Speaker 2 (16:07):
Where it is to looking as professional as it does.
Speaker 1 (16:10):
Honestly. I mean the art was the first thing I
saw obviously when you go to the website, but he
captures the faces in this so perfectly. It is crazy
how much the likeness is exactly what it looks like
on both sides of the slip cover. I mean both
of the films. It's immaculate what he did.
Speaker 2 (16:28):
Yeah, no, it's it was incredible.
Speaker 1 (16:29):
I was.
Speaker 3 (16:30):
I was overjoyed when I saw the results and we
worked on it a few days. Like I was, I
was giving him like so for tri Angelo Lero, like
the points of reference, I'm like, just look at all
those Italian ripoffs of Indiana Jones, like the posters for those, Like,
that's our point of reference when we're trying to create
this thing and come up with how we.
Speaker 2 (16:47):
Wanted it everybody positioned. So that was that was a
really fun process. But yeah, really happy with the results.
Speaker 1 (16:56):
On the the Trashbacks podcast episode, you mentioned a lot
of things that you know, you just talked about that
it was a risk, but during this process, you're losing
your job, You're unemployed for parts of it you're trying
to figure out how to handle, you know, translating over
the phone while signing agreements. What was a you know,
(17:17):
like the biggest thing in this that you never saw
coming that just shook you in the process.
Speaker 3 (17:23):
The price for the restoration, because I had I had
a certain budget in mind, and I didn't really you know,
I think I had seen somebody else quote how much
it costs to produce a Blu ray and it was
somebody saying, oh, Kino said this at one time, that
this is how much it costs. I was like, well,
I just happened to have that now because my mother
had sold her house and you know, me, my brother
(17:46):
and my sisters, we all got a little chunk of that.
And I asked my wife, I said, would you be
gracious enough that I kind of pursue my dream with
this this bit of change, and she said yes. And
you know, it obviously ended up costing more than that, which.
Speaker 2 (18:00):
Is why it took so long, because I had to
wait until I had the next round of funds to
keep going. But yeah, when I saw the price for
the restoration, I was like, oh my god. I was like,
I think the next release I'm definitely gonna look for
a film that has already got an HD transfer already made,
probably because I don't know if I'll be able to
do this right away again. That was yeah, that was
(18:24):
the biggest thing.
Speaker 4 (18:25):
Uh.
Speaker 3 (18:25):
And there were one other thing that happened was and
I don't want to make it sound like the.
Speaker 2 (18:30):
Company did that did the restoration, did the bed job.
It's Metropolis Posts who did a razorhead, Gray Gardens, Pink Flamingo.
They're amazing.
Speaker 3 (18:37):
But when they scanned the film, apparently somebody's eyelash fell
into it and they discovered that once we had already
sent it back to Columbia, so then I had to
ask for the Archives to release it again and send
it back.
Speaker 2 (18:51):
To the US so they could rescan it. And that
was I was like, I.
Speaker 3 (18:55):
Was freaking out when that happened. I was like, oh
my god, they're gonna they're gonna hate me for this.
And because I was just so nervous that something would
happen because it was the last copy of this film available,
like there's no other cerials for it. I'm like, if
I'm the one that loses it, I'll feel horrible. But
luckily that wasn't the case. Metropolis Post took care of it.
They were amazing, But that was one thing that popped
(19:19):
up that.
Speaker 2 (19:19):
Would like really scared me, Like, oh really.
Speaker 1 (19:25):
That's a lot to ship it back and forth twice,
and I mean, gosh, that's terrifying in so many different ways.
I understand if you want me to cut it, but
I am going to ask for anybody that's inspired by
your story, can you share how much the restoration cost
or ballpark at.
Speaker 5 (19:43):
Least I'm gonna say ballpark the costs of a brand
new twenty twenty five, all right, if.
Speaker 3 (19:58):
I want that, the company would want me to Yeah,
there right, I'll say this. I chose them because I
wanted to go with somebody in New York so I
could come and keep an eye on the prospect that
did reach out to act for. Their prices were around
the same, I think, but I wanted it to be
in New York so that way I could come in
and you know, yeah, going so and I was really happy.
Speaker 2 (20:20):
With the with the work.
Speaker 3 (20:21):
It took a while, like I said in the other interview,
I don't know if that was because that's how long
it really took to do it, or because a twenty.
Speaker 2 (20:28):
Four just like took preference over my stuff. I don't know, right,
but yeah, so the cost of a brand new car
was just the uh, just the restoration itself, and that's
my initial budget was, right.
Speaker 1 (20:44):
So yeah, that leads to something that makes me very
worried for more to come out of your brilliant mind.
I mean, you go on your website right now and
this pretty incredible, rare package of two movies is twenty dollars, Anthony,
How could you afford to sell this for only twenty dollars? Right?
Speaker 3 (21:04):
Basically, there's a thousand copies sitting in my bedroom and
my wife needs to see them.
Speaker 2 (21:08):
Gone touche.
Speaker 1 (21:10):
That checks out, Seriously.
Speaker 3 (21:13):
I have priced it at thirty initially when when it
first came out and nobody saw it, and I just
thought to myself, this might be a hard ask because yeah,
you can charge you know, today's.
Speaker 2 (21:25):
Lucio fuol Cheese Birthday, Happy birthday, Lucio ful Chee.
Speaker 3 (21:28):
You could release a four K of Luccio fool Chee
right now and charge whatever you want.
Speaker 2 (21:33):
It's built in name recognition. People pay that price. Nobody
knows who Hydropnedia is. How could I dare ask somebody
even for a double feature, to pay thirty. I didn't
feel like I was really going to get anywhere with it,
and it was at that price for about a month.
I probably didn't do enough promotion at that time either.
Speaker 3 (21:51):
The part about me losing my job was right when
the promotion started kicking in, because I suddenly had a
bunch of time.
Speaker 2 (21:58):
But I just felt like twenty, like you can't say
no to twenty.
Speaker 3 (22:02):
And my main thing was I want this guy to
get exposure more so than anything, you know, I'm not.
Speaker 2 (22:09):
I did not do this to get rich. Obviously, I
would like to.
Speaker 3 (22:14):
I would like it to eventually become profitable so I
can continue to do it doing this and make this
my thing. But that was money was not my main focus.
My main focus was kind of preserving this film for
my sons, getting this director exposure in the United States.
He has a lot more films, and like I said
(22:35):
in the other podcast, I don't want to just be
the Hydropniga guy. I want to branch out and do
other things. So if anybody else, any other labels are listening,
he's got a lot of other stuff to offer and
to be great. If somebody put together a box set
of his films because I want him.
Speaker 2 (22:47):
To be more well known.
Speaker 3 (22:50):
There's very few figures like him who are just you know,
from outside of the US that have a genre filmography
and they're just doing it themselves. You don't see that
very often.
Speaker 1 (23:03):
Especially in Latin America. I mean it's been mentioned time
and time again, but we are sorely missing on entire
countries filmographies, let alone like some of these very like
high regarded filmmakers that have entire careers just waiting to
be resuscitated and granted, you know, like discussing these funeral
(23:26):
is from a theatrical print and then Triangulo is from
a one inch tape master. But there are so many
of these countries where the elements are not perfect. We
still deserve to do something with their films and archive
in a way where they can be seen for generations.
Speaker 2 (23:42):
Absolutely.
Speaker 1 (23:44):
Okay, so people getting into this and inspired by you
need to have a shit ton of money. We get that.
The other thing for a lot of people's curation. You
don't want to just do Penia films. If this is
something that somebody watches this and they say, you know what,
I want to fund your next five releases. What are
what are dream things that you want to do? Is
(24:04):
there like a theme for the label that you want
to keep to or.
Speaker 3 (24:07):
So a lot of people have just assumed that it
will be Latin American genre films, which I'm I'm okay
with that.
Speaker 2 (24:14):
I do want to dip my my my.
Speaker 3 (24:17):
Feet in that again, but I also had it in
mind that I would kind of in my mind, I
wanted to go all over the world. Yeah, there's there's
just so many countries where there's just so many films
in my head.
Speaker 2 (24:31):
That have not gotten releases that I that I want
to hit up, and I just I have I'm afraid
to mention them. It might be an unreasonable fear, Like
I get it.
Speaker 3 (24:41):
There was a show you where I forgot I think
it was Celeste had the copy of it. We're showing it,
and then I saw that Deaf Crocodile was like, we're
looking into South American films as we speak.
Speaker 2 (24:50):
I was like, oh my god, I guess something that
I have my mind on. So like, what is it?
There is a film I'll say it because I don't
think it's the thing.
Speaker 3 (25:02):
I'm going to probably get my hands up but there's
a film from Poland called like Curs of Snake Valley
that I believe has an HD restoration that was on
it played in New York a few years back. It's
like Indiana Jones type film with UFOs and a monster
in it, and it's pretty enjoyable, and that was one
(25:24):
of the films that I had considered. I also like
thought of kind of expanding into just like world cinem
in general, you know, not genre films. Like there's other
films from South America that I want to release, specifically Argentina.
There's a film called Dark Side of the Heart with
Dario Grandinetti, who was in the Amadovar's talked to her.
(25:45):
So that is a film that I love that I
would love to see get, you know, a restoration. So yeah,
not just harror. So that's why I named the Petroglyph
because it's kind of like unnameable. It's not like a
horror specific name, so it kind of allows like a
latitude to just kind of release anything. So all I
can say is whatever I release, it'll be very personal
(26:07):
to me. So it's you're getting it's gonna be a
line that's very personally curated. So it's not I don't
foresee this company growing at such an enormous rate where
there's gonna be lots of people and I'm going to
have an acquisitions department and people are gonna be making decision.
Speaker 2 (26:20):
It's probably gonna be me, just me for a very
long time, if anything. And so whatever you're getting is
something that I personally like and I feel that you
need to see.
Speaker 1 (26:30):
So for anybody watching, he's going to get an MGM
deal and we'll be seeing seven of those starting next month.
Speaker 3 (26:38):
There's like so many studio films that I'm just like
waiting for that I haven't seen, and I'm like.
Speaker 2 (26:43):
What is the hold up? I don't want to ramble it,
but yeah.
Speaker 1 (26:46):
Okay, my big thing is I want to see you succeed.
So I'm really suggesting to anybody that's watching this to
go in. And I don't normally do this because I
really hate saying just buy something to support, but this
is the sort of thing that we need to speak
with a twenty dollars bill to be able to say
this is something that we deserve to have restored, we
(27:09):
deserve to have archived, and not just we as the community,
but the filmmaker deserves to be honored like this, and
to see more of this come from somebody like you
is immense And I really hope that people will see
this and respond by going to the website and purchasing.
But for those that are somehow not convinced yet, why
don't you try to elevate or pitch funeral first?
Speaker 3 (27:32):
So Funanazinestro involves a young girl whose father has just
passed away. She has to stay at their the family
hacienda with her stepmother while her uncle goes in clears
up legal issues regarding his death and the transfer of
his money and whatnot. And there's suspicious things going on
(27:53):
at the hacienda regarding the stepmother.
Speaker 2 (27:55):
She may have been involved in the father's death.
Speaker 3 (27:58):
And this young girl is very afraid of being alone,
very afraid of the supernatural, and without giving away too much,
things escalate from there. Some people see things they're not
supposed to see, and some murders take place, and yeah,
it's a very it's a slow burn, but it's got
a lot of atmosphere. Definitely, I think Armando from trash
(28:23):
mach set at best. It's like it's a film that
you have to watch for the lights off in the
dark at night to get the full effect.
Speaker 1 (28:29):
It is one I rewatched last night to be able
to talk about it again. And sure, it's not the
greatest movie ever, but there's so much to enjoy about it.
I mean, first off, the restoration for being from a
theatrical print looks pretty damn great for how old it is.
One thing I really wanted to point out that didn't
get into a lot of detail in that episode is
(28:50):
the sound in this movie is so good. Like there's
not just atmospheric sounds either, there's like iconic sounds that
you So I will probably never forget a couple of
the things that you hear in this movie.
Speaker 2 (29:05):
It's great, that's awesome. That's great to hear.
Speaker 1 (29:08):
There's the stepmother. One scene, she goes to laugh and
she does this really like throaty and it's so funny
in the moment that she does it. It's great. So
that's our first one, but our second one, which is
a really great By the way, this is an incredible
choice for double feature, but it pretty much could not
be more different than Funeral. So tell us about what
(29:31):
we're getting on the other side of this.
Speaker 3 (29:32):
So Ti Anglolero is a very pulpy adventure film, very
much probably trying to ride the waves of Indiana.
Speaker 2 (29:39):
Jones.
Speaker 3 (29:40):
We have an island, a treasure map. There are radioactive plants,
man eating plants. Basically this woman and I forget if
it's Sara. I think it's her brother that goes treasure
hunting on some island that they've heard about since they
were a kid. He comes back, he's got all these
burns on him, and these other people that are looking
(30:01):
for this map, they get it. They kidnap her, they
take her to the island, and it's up to her
brother to come and save her and his nephew.
Speaker 2 (30:11):
From what dangers they encounter on Ghost Island.
Speaker 3 (30:15):
So really fast paced, much faster different totally, like you said,
very different from Funanasinstro, much more fast paced. It's got
a great bar bar room kung fu battle in the
middle of it. But yeah, I chose that because I
felt like they these were the two films from his
filmography that would stand out the most. You have one
(30:36):
that's the first Colombian horror film, and you have this
action film, and I felt like these were the these
had the elements that they could put together they could
sell really well.
Speaker 1 (30:46):
Well, speaking of that, one of the main things I
wanted to hear near the end of this is the
reception to this. So first of all, how how has
it sold? Are you? Are you pretty happy with what
you've gotten out there so far?
Speaker 2 (30:57):
Yeah?
Speaker 3 (30:57):
Yeah, So it's a limited edition thousand copies and we're
close to the halfway points and it's only been selling
some March. So for a film that no, you know,
nobody's really heard of beforehand, I feel that's that's pretty good.
Speaker 2 (31:12):
So I'm very happy with it. And if I can
be gone with.
Speaker 3 (31:15):
All the copies by the end of the year, I'll
be extremely happy, and my wife will be happy.
Speaker 1 (31:19):
I was about to say the wife loved that.
Speaker 2 (31:22):
They have more space to play in in the house,
but yet, No, the reception has been great.
Speaker 3 (31:28):
I've been getting a lot of messages on Instagram. I
was never like on social media at all because I
really hate it, but I have.
Speaker 2 (31:34):
To for promotion and whatnot.
Speaker 3 (31:35):
And people write me messages, people who are from you know,
Colombian lineage or background saying, you know, they had never
heard of it and this is what they had always
been looking for because they're genre fans.
Speaker 2 (31:46):
And they always wondered about this, So to hear that
is is just amazing.
Speaker 3 (31:50):
That really really makes me happy that because that was
what I kind of aim to do, because that's important.
It's important to see people from your culture doing the
things that you want to do, because it kind of
gives you permission to do it as well.
Speaker 2 (32:06):
In a sense.
Speaker 1 (32:09):
What about the receptions of the films themselves? Have you
been paying attention to, like letterbox reviews exploding and people
finally starting to talk about Pania.
Speaker 2 (32:18):
Most of what I saw in letterbox was good.
Speaker 3 (32:19):
I think there was like one review that was kind
of negative, and I was like, I shouldn't look at
this anymore because it's going to hurt me as if
I made the film myself, I shouldn't take it so personally.
Speaker 2 (32:30):
But no, everything has been pretty good.
Speaker 3 (32:32):
I've been I was very, you know, careful to not
try to oversell the films, like this is not a
gore fest. Somebody had written that it's like it might
not be even classifiable as a horror, but you know what,
everybody else online has spoken about it as a horror film.
Speaker 1 (32:46):
So I have no problem a horror film.
Speaker 2 (32:48):
As considering it horror.
Speaker 3 (32:51):
But Everything that I've read has been pretty pretty positive,
so I'm happy that people have enjoyed it. The link
on phone naucing Thatshra is a bit much. People comment
about that, but that's understandable, totally understandable.
Speaker 1 (33:05):
The big thing though, is just seeing the access, Like
I imagine this has to be super gratifying to see,
you know, your film come out and then suddenly, oh, yeah,
the letterbox reviews are going to shoot up because people
couldn't see this before.
Speaker 3 (33:19):
Yeah, you know, I was, and it occurred to me
like maybe two or three weeks after I had started
selling copies. I was like, I should check letterbox and
see what's going on there because I had, you know, previously,
there had only been like three reviews each for both films,
so it really wasn't much out there. And then yet
to see it slowly, you know, start to rise up
(33:40):
in number was gratifying.
Speaker 1 (33:42):
Yeah. I don't remember how soon after you launched I
even discovered that you were a thing. Yet, how did
you first get the name out about Patrick Cliff?
Speaker 3 (33:52):
So basically just got on Instagram. I had a friend
make a really kind of really nice trailer and I
think I was telling the guys from trash macs. Like
the algorithm worked because I had always, like I said,
I've never been on social media, but I kind of
always like cyberstalked Armando because he just puts such amazing
(34:13):
stuff on.
Speaker 2 (34:13):
So I was like, as soon.
Speaker 3 (34:14):
As I got on Instagram, I'm going to follow this guy,
and I guess through following him, it kind of went
out to everybody that follows him, and I guess it
just kind of worked that way.
Speaker 2 (34:22):
And as I started putting.
Speaker 3 (34:23):
Up ads, I started getting more and more you know,
people into it. And then when you posted about it
on Instagram, that shut up. Like it was crazy that
that weekend. So I really appreciate that. Like I came
home and I was like, oh, I got a sale,
and I was like, wait, I got another one. I'm like,
what the hell's going on the other like, this wasn't happening.
(34:44):
It was like before that, it had been slow, like
maybe one or two a day, but then won every
like ten minutes, I'm like, something happened.
Speaker 2 (34:52):
I was checking.
Speaker 3 (34:52):
I was like, oh, the Disconnected wrote about it, So
thank you for that. That was a huge course.
Speaker 1 (34:57):
That's that's literally all I try to do is help small,
small groups like this, and funny enough, I think you
mentioned him in the Trash Mix podcast Mondo Micabre Jared
Honor from Mondo Micabre, don't. I don't think I told
you this yet. He's the one that let me know
that the release existed. He found out through some way
and he went, did you know about this? Because I'm
sure you want to post about it? I went, hell, yeah,
you know, I want to post about this. This sounds
(35:19):
great and post about it immediately, and then it has exploded.
I mean, we've talked about it. I've got my own discord.
Many many people in the discord have purchased it, so
we've all talked about the films in there, and it
really seemed to just word of mouth, keep keep going thankfully.
Speaker 2 (35:34):
That's awesome. Yeah, no, I'm really happy with the reception.
Speaker 1 (35:39):
That's great. So yeah, no plans for a second release
or anything. We got to get this one out of
out of the bedroom. But other than that, other than
purchasing it, I'm assuming that sharing the information about this
and word of mouth is the best way for people
to support you right now.
Speaker 3 (35:54):
Yeah, it's available directly through me through my website. Diabolic
DVD has copies of it.
Speaker 2 (36:02):
There was some other company in the UK that has
it now.
Speaker 1 (36:05):
To the Treasured Films. Probably I think that's the name
of the film Treasures is the name of their online side.
Speaker 2 (36:10):
I think possibly it was his Strange Devices.
Speaker 1 (36:13):
Oh maybe maybe, I don't know.
Speaker 2 (36:15):
But if you're in the UK, there's somebody, there's a
there's somebody.
Speaker 1 (36:18):
There that I'll find it in the links of the description.
Anything else that you want to hype up or promo
or anything else that I can do to help.
Speaker 3 (36:29):
No, I just want to say to everyone who's already
purchased a copy, thank you so much. You have no
idea what it means to me. Anybody who's on the fence.
Twenty dollars, you can't go wrong. And yeah, once once,
I uh, once all these copies are gone. I don't
I don't know if there's going to be like a standard,
you know, edition of it just depends on how how
(36:50):
how quickly I run out. But then I, you know,
hopefully soon I will start working on what that next
release is. And I do not plan, even though I
know it will.
Speaker 2 (36:59):
Be just as difficult as this first release. I do
not plan to disappear into the ether. You will hear
from me again.
Speaker 1 (37:08):
Amazing and yet I mean you can tell on the
spine it is petroglyph media number one, so that there
has to be a number two. That's the rule.
Speaker 2 (37:15):
Absolutely.
Speaker 1 (37:17):
Well, on that note, Anthony, thanks so much for your time.
I mean, I as somebody that works in physical media,
I dream of being able to start a label and
hearing hearing that story of just yeah, nobody else is
gonna do it. I got to go do it. I
knew I had to talk to you. So this has
been incredible and just appreciate your time.
Speaker 2 (37:35):
Thank you again for having me on.
Speaker 1 (37:37):
Well, hopefully we'll chat again soon. Everybody, go go purchase
from the link of description below. We'll see you next time.
Thank you for listening to the Disconnected podcast. There's one
big thing that you could do to help the show,
and that is to leave a rating and review on
the podcast service of your choice.
Speaker 4 (38:00):
Toss Times, Times, Times, tist, species, instats, don'ts
Speaker 5 (38:23):
Sho
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