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June 23, 2025 31 mins
Beth Morris is an artist that has inspired creativity in my work for a while. I loved being able to sit down with her and spend some time discussing her process, inspirations, and what the future of art mixed with AI holds for all of us. 
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Beth's Website: https://www.bamcreate.co.uk/
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Transcript

Episode Transcript

Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
You are now listening to the Someone's Favorite Productions podcast network.

Speaker 2 (00:17):
Hello there, and.

Speaker 3 (00:18):
Welcome back to the Disconnected here with the artist and
graphic designer MS Beth Morris. Beth, thanks for coming on
here and sharing your information with everybody.

Speaker 4 (00:26):
It's okay, it's great to be on here.

Speaker 3 (00:29):
I have admired your work from AFAR for a long time,
so it's just simply an honor to meet you. I
appreciate everything that I've seen that you do. For those
that don't know any of your work, could you sum
up what you do in graphic design?

Speaker 5 (00:42):
Yeah, so, yeah, I mainly may kind of it's usually
just like kind of in like the indie film related artworks,
either like posters and kyr.

Speaker 4 (00:54):
Or quite a lot of.

Speaker 5 (00:57):
Blu ray signs. I work with Deaf Crocodile primarily now
kind of doing most of the layout work and the
rock covers, and I also I've also worked with like OCN, Alder,
Dinnercence and Arrow as well.

Speaker 3 (01:16):
Yeah, You've done a couple for Altered Innocence that I've
truly loved. You've also done some stuff with Utopia that
I think are just absolutely brilliant designs. One thing that
I just as an artist, I am battled by what
you can do, what inspires you behind some of these titles,

(01:36):
Like with Deaf Crocodile stuff, for example, you seem to
pull just the most perfect elements out of a story
to make something that is captivating to the.

Speaker 4 (01:45):
A thanks.

Speaker 5 (01:50):
A lot of the time with I guess I like
how I work. It's usually just kind of like a
feeling of something or if there's something that's really like
stood up to me while watching the film. Yeah, Like
I mean, particularly with Adele has not had suffer yet.
I just really loved the bit with the class and

(02:10):
I kind of just got obsessed, like that would be
such a great way to include all the kind of
crazy elements from that film in one piece that kind
of gives you the right idea of kind of like
the what the kind of like tone of the film
is like. And then still kind of also like pulling
from kind of all those like Eastern European posted design
styles as well, which like I'm a.

Speaker 4 (02:30):
Huge fan of.

Speaker 3 (02:32):
That's I think that's one aspect that a lot of
people don't ever consider when even like thinking of the
idea of an artist. For many of them, the historical
aspects whether it be of a genre, or of a country,
or of a filmmaker. There's a lot to consider there.
Is that something that you you frequently research or is

(02:52):
that just something that you've always been enamored with.

Speaker 5 (02:56):
Yeah, I've always been like a huge kind of like
a fan of Collarge like photomontage. Anyway, I did it.
So I did my undergrad just as like a fine
art degree and primarily did a lot of like college
book art using like found objects and found things. So
I always kind of been obsessed with it. And then

(03:17):
once I start started kind of doing more, I guess
like all film posters. Yeah, I think between a lot
of stuff from like art school looking at how stuff
and a lot of that kind of like protest kind
of college photomontage from me, and then discovering kind of
all the kind of like polish poster scene, and then

(03:38):
like check posters as well. Yeah, it's just like I
just kind of level all that kind of stuff, just
being able to like play around with loads of images
and just kind of see what what pops out and
like what feels right for the tone.

Speaker 3 (03:51):
This is this is another thing that I see a
lot of people not fully understanding what goes into specifically
on physical media. How how does plays a key part
in this because a lot of people, especially nowadays, and
I'm sure we're going to talk about AI in just
a little bit because it's the hot button topic of today,
but a lot of people don't understand, you know, the

(04:11):
idea of graphic design not necessarily coming from a I'm
going to bring out a brush and colors or a
pencil and do everything, not grasping that you can literally
do a collage of clippings from the film in a
way that is meaningful. And actually you brought up one
of my favorites that you've done, which is Adella has
Not had Supper Yet, which is just it captures the

(04:34):
tone of that movie so perfect, which is very difficult
because that movie is such a silly.

Speaker 2 (04:41):
Like montage in its own way actually.

Speaker 3 (04:45):
And then the other one that I think is just
astonishing is the savage Hunt of King Stack that you
did for def Crocodile is just gorgeous. Everything about that
makes me just want to live in the visual world
that you created is beautiful. So with with collage, could
you share a little bit of your process, like how
do you how do you go about creating something like that.

Speaker 5 (05:08):
Yeah, it can. It kind of like depends from like
film to film. Sometimes I might be watching it and
have like a really really strong kind of idea of like, oh,
I think this would be really cool as like a
fun little collage or cut out thing. And at other
times it is just like very slowly kind of going
through like stills or images from the film that have

(05:29):
like stood out to me and just kind of playing
around with again kind of like what feels right.

Speaker 4 (05:38):
Yeah, Like with.

Speaker 5 (05:41):
King Stack, it was quite it felt quite difficult trying
to find the right image for that film because it
is such a beautiful film, but it's it's very kind
of like quiet as well at times, and it was
like quite difficult, like you didn't want to show too
much because I kind of because it's like a kind
of like, yeah, it's like a ghost story. It was

(06:03):
again just kind of getting the tone rights that you
can get a feel of like what the film might
be without yeah, it kind of being like too like
in your face.

Speaker 4 (06:13):
So yeah, it just completely depends.

Speaker 5 (06:14):
It can either be you know, I can think of
loads of like really over the top of collages, or
it might be something a bit more simple and like
minimal that I feel might work better for the film.

Speaker 2 (06:25):
Yeah.

Speaker 3 (06:26):
Uh an example of that that I I mean, it
was completely taken by because it almost tells a story
by itself. You have this beautiful, minimal design for the
film another body for Utopia, and anybody that has seen
the film or even just seen the art, there's so
much that you can take away from what that is
telling in itself, and it feels really personal. I just bravo,

(06:50):
like there's so much built into that art. It's it's incredible.

Speaker 4 (06:53):
Thanks.

Speaker 5 (06:55):
Yeah, it was just because I love like the original
artwork as well, like the original post it is amazing,
And I didn't know whether or not maybe that would
the design end is doing for it, whether it would
be too simple, whether they wouldn't go for it because
it was really minimal. Yeah, I just felt like that
was like enough for the film.

Speaker 3 (07:14):
You know that That brings up a good point that
I kind of wanted to ask about your stuff, specifically
because I've been lucky enough to work with that crocodile,
so I've seen some of the early stages of what
you're submitting as ideas behind it, and it's long before
it's final. It's not a complete project. It's not something
that you can if you've not been doing this a while,
you can't even visualize what it's going to be when

(07:37):
you've turned in these in a way, I guess we'll
say dailies. It's not really a good word for that.
But is there anybody that's ever like pushed back on
something simply because they don't have the ability to fully
picture what it's going to be when it's all done.

Speaker 5 (07:54):
I'm trying to think. I'm sure it definitely has happened
a few times. I think I usually, like pre war like,
depending if it's like new people i'm working with, the
will be like these aren't completed versions. He's hopefully going
to give you like a rough idea of like what
the final concept will be. Yeah, I'm trying to think
of anyone's really kind of pushed back against Sometimes. You know,

(08:14):
if people really are like this is not the kind
of style we had in mind, I'll go back right.
It might end up being something completely different. But usually
at least there's something in one of the designs that
they might be, you know, gravitated towards, and then I
can kind of work from that.

Speaker 3 (08:30):
There's there's one of those in the works right now
that people are they know they're coming, So saying this
exists is not spilling the beans or anything. But there's
a reprint coming for Deaf Crocodile's Bubble Bath. And I
saw one of the early iterations of the slipcover, I
was like, Oh, that's going to be neat. And then
I saw the final slipcover and I'm like, damn, this
is incredible. It looks gorgeous. I mean, even somebody that's

(08:53):
been doing this for a while, I was able to
kind of picture what doesn't even look like, but man,
that final is an incredible piece of art. So it's
it's kind of like a like a tool. You got
to be able to reference. Hey, i've seen what this
person's artwork is going to look like. I should be
able to glean what I think it might look like
at the end. So that's it's a skill almost at

(09:14):
that point. With what you've been doing, You've got so
many different poster styles and arts inspirations that you can
clearly see on your website. The amount of things that
you've worked on is huge. Are there any projects that
felt like this was a dream project? This was one
that I had absolutely wished that I could be a

(09:35):
part of and I'm so glad to have my name
associated with it.

Speaker 5 (09:38):
Probably the still probably the biggest thing for me was
like getting to work with Peter Strickland for his teaser
a flex Scoremet Yeah, because I was such a huge.

Speaker 4 (09:49):
Fan and like the whole like.

Speaker 5 (09:54):
How I ended up even working with him was because
I had entered like a it was like a movie
student competition to design an alternative poster for his short
film Cole Meridian.

Speaker 4 (10:06):
That was one I.

Speaker 5 (10:09):
Entered it, and I think it was I jointly won
it with someone else, and then a couple of weeks
later I got an email from Peter Strickland because someone
had sent the design to him, and he he he
wanted just just like a copy that he could print out.
And then it was like, I know, maybe half a
year later, I'd think he recommended me to like his

(10:32):
producers to do a teaser poster, which was crazy. I
still can't really believe it happened.

Speaker 2 (10:42):
Contest that's so cool.

Speaker 4 (10:43):
Yeah, and yeah it was it was a yeah, really big. Yeah.

Speaker 5 (10:50):
Still probably one of the biggest things I've worked on,
I think in terms of like, like who.

Speaker 4 (10:54):
Was in the film as well.

Speaker 5 (10:58):
Yeah, I just really loved and just playing around with
all the different options.

Speaker 4 (11:04):
That one is like a big one.

Speaker 5 (11:05):
And then I also loved working on the alternative post
of a Horde again just like getting to like kind
of work with like Lunar Caar Moon and like look
at all of her like visual references. I kind of
really like because I do love kind of like seventies
post design and like like British films in the seventies

(11:26):
that are a bit like odd all that kind of thing.
It's like my favorite kind of stuff that I just
like to watch and get inspired by. So it was
really lovely to work with someone who's kind of on
the same way with length and like understands kind of
what you're going for.

Speaker 4 (11:42):
So that was really nice, right, And that got ended up.

Speaker 5 (11:45):
Getting used as a BlueBay cover for the Like release
in the The Like released by Plumeria in the UK
as well, which was really lovely. So it's nice again
to see it like printed because it was just originally
digital own.

Speaker 3 (12:01):
The Flux score may it's it's such a unique piece
and I mean that film pardon the pun with this,
I guess, but it's such a visual feast of really
great choice. I mean it's strickling. Everything is going to
be just masterful. And yeah, I can't imagine getting that
email and not pinching yourself.

Speaker 5 (12:20):
Yeah, having like phone calls with him and being like
this is like so strange.

Speaker 4 (12:28):
But yeah, that was amazing.

Speaker 3 (12:31):
For those that are inspired by your work, could you
share what kind of tools you use?

Speaker 5 (12:36):
Are?

Speaker 3 (12:37):
What are some of the programs that you use, what
kind of hardware you working on it? It sounds like
a nerdy question, but a lot of people like to
know stuff like that.

Speaker 5 (12:45):
Yeah, still kind of like mainly and mainly just using
Photoshop for most stuff. And then yeah, just like a
selection of by the textures that and things I might
scan in, and then I also use It's a couple
of really good websites for textures and also what else.

(13:07):
Whenever I've done I've only done a few kind of
like animated bits like I used to do. I did
a couple a couple of years ago for like ur
player and stuff, and I use like after effects as well,
and again just playing around with different textures and things.

Speaker 3 (13:25):
Yeah, uh, this is probably a good point to bring
in now because Photoshop and Adobe specifically has started embracing
the use of AI and the the generative AI specifically,
where it's essentially creating something out of what you've already
put in or what they've already had into the system.
And it's controversial. There's a lot of people out there

(13:47):
that are fully against it. There's a lot of people
out there that are fully supportive of it. There's a
lot of people that are starting to use it in
design choices. And just first of all, how do you
how do you feel about the landscape of that whole
arena in twenty twenty five.

Speaker 5 (14:01):
Yeah, like, obviously with a lot of stuff in photoshop,
even if it's just using to like cut it out
using AI in some form. But yeah, the whole like
generative AI thing is I kind of like the whole
thing for me is that I feel like it's it
like homogenizes everything because eventually it's not you know, actually thinking,

(14:24):
it's not coming up with new ideas, it's rehashing certain things,
and everyone starts using it, everything's going to end up
kind of looking the same. But I do, yeah, I
know other you know people use it to help kind
of like generate ideas and things. But yeah, at the moment,

(14:44):
I'm still I pretty much just don't use generatively. I
I know, obviously like AI is within certain tools that
I use, but I, yeah, I don't really use anything
like that at the moment because I know it obviously
affects a lot of other people that I know that
more illustrative work, and it's clearly affecting jobs that they

(15:07):
can get because people are just being like, I'm just
going to use AI to a poster quickly for my
short film or whatever.

Speaker 3 (15:14):
Yeah, you did bring up a good point, which I
think is something that not enough people are discussing, and
that's so many are staunchly against just the I don't
even know the concept.

Speaker 2 (15:26):
Of AI, I guess, but in not reality, Like.

Speaker 3 (15:29):
If you're typing in Microsoft word and their spell check,
that literally is AI. You're already using it in tons
of different areas in your life. You just don't even
realize that it's like that. I think specifically, especially artists
really need to hone in on if it's generative AI
that they're against. We need to talk with proper terms

(15:50):
and spell it out, because yeah, like you said, clipping
something in photoshop technically is using a form of AI
because of the way.

Speaker 2 (15:58):
That it identifies it.

Speaker 3 (16:00):
Yeah, there's so many of these software companies that are
building companies on the work of others that I can
see that being a very difficult touch point for.

Speaker 2 (16:11):
A lot of people.

Speaker 3 (16:12):
So AI not the creative powerhouse that it thinks it is,
but also it does a lot that we already use
in our lives everything.

Speaker 4 (16:21):
Yeah.

Speaker 5 (16:22):
Yeah, there's currently a big kind of thing at the
moment in the UK to do with like copyright and
AI and whether or not people are still going to
be able to have control over what they have written,
whether it's like music or artwork, or whether AI will

(16:46):
just be able to like use it for free. Just
still kind of ongoing whether or not that's going to
be allowed hopefully hopefully not.

Speaker 3 (16:58):
That was happening. That's fascinating. That's going to set a
big Yeah.

Speaker 5 (17:03):
So there has been a lot of debate, Yeah, petitions
and things signed and like quite a lot of like
big artists and musicians against it, but still don't really
know whether or not the government are going to stay
on the side of like artists and their rights or
whether kind of big business will win.

Speaker 4 (17:24):
Hopefully.

Speaker 3 (17:26):
The world has not had a great track record with
all this over the last ten years. Definitely a little
worried about that, Brent, all of all of this film
stuff that you are now embroiled in. Have you always
been a fan of film or is that something that
you came to through art eventually.

Speaker 5 (17:44):
I think I've always been a fan of film, But yeah,
I think definitely more over the last Yeah, probably would
have been maybe when I started You Need, but maybe
I think just before is that actual lea Weirdly, when
I was in school for I think it was like

(18:04):
a gcs C graphic design project. I made kind of
like a Soul Baths inspired poster that really obviously at
the time I didn't know because I would have been
about like forteen or fifteen, but I kind of did

(18:25):
made up a film that basically sounded a bit like
Peeping Tom. So it was like a like a like
a cereal color movie that was killing people to do
with a camera, but I didn't know people Tom was,
you know, existed A few years later then I was like, oh,
I kind of like weirdly made an entire art.

Speaker 4 (18:45):
Project about that film without knowing about it.

Speaker 2 (18:47):
It's awesome.

Speaker 5 (18:49):
So yeah, and then I went to You Needed. A
lot of like college stuff and was inspired by a
lot of all the beautiful kind of like on set
or like still photography that was made around like the
forties and fifties, when you know that they would using
kind of all the lovely like magazine books and film books,

(19:12):
and then yeah, we're kind of just stayed kind of
like interested in film. Then did a masters in graphic
design just before kind of like the pandemic happened, and
that's kind of like that's partially how I ended up
getting into it because my job, I was working at

(19:34):
a pollstyrene studio that basically made big letters and like
it glittered things for like visual merchandising, and obviously you
can't really work from home for a job like that,
so I was like stuck at home, had way more
time and started making more like alternative posts as while
I was doing this graphic design eme. And then things

(19:56):
started slowly, like slowly happened from there. So I ended
up doing like a poster and title design for my
friend Seline's short stagger and then yeah, I think I
don't I think it was just stuff I was interested in,
people I was following, and things like slowly kind of

(20:18):
built up. So it's been quite a natural progression, but like, yeah,
I don't know how to explain it following to people
and like child back and forth, and then yeah, I.

Speaker 3 (20:34):
Know a lot of people to get inspired by some
of this work kind of you know, take it upon
themselves to wish that they could.

Speaker 2 (20:40):
Get in the industry.

Speaker 3 (20:41):
And one of the big questions is always how did
you get here? And you mentioned you know a couple
of these like a contest or your friend shorts. Is
there any any certain thing that you feel like was
a big breakthrough where suddenly, oh, like I am going
to be somebody that people can actually come to and
I can keep getting this work.

Speaker 4 (21:01):
I think.

Speaker 5 (21:03):
I'm not sure, Like I like because I started doing
a few small bits and then I was still working
at the at studio, but I was kind of I
went down like part time because I was getting a
couple of jobs in here and there with the graphic
design stuff. I always thought, oh, I'll get like a
I guess of all serious graphic design job and like

(21:24):
the film stuff will be like occasional probably because like there,
you know, I don't know how else how am I
going to get into this. All of the big agencies
are based in London and I live in Cardiff, which
is you know it well, yes it's the couple of
City of Wales.

Speaker 2 (21:39):
But it's it's.

Speaker 4 (21:41):
Not really fulfilmed, I mean Doctor Hughes film.

Speaker 5 (21:43):
But but yeah, I never thought that it would end
up becoming my full time job and it just kind
of I think the biggest thing I feel is definitely
kind of like showing your enthusias, showing what you want
to work on, because I've managed to kind of keep

(22:08):
working within kind of like in you know, primarily like
indie film scene, which is like stuff that I love,
and it also means there's a lot more freedom to
play around with designs, which if you work on bigger films,
it gets more specific and also kind of a lot
of things like local to me, so like my local

(22:29):
independent cinema chapter. I've done a couple of posters for
like some of their seasons and things like recently they're
showing all of Twin Peaks over the Next World. I
think they started a couple of months ago, but they're
showing the whole like all three seasons and fire Walk

(22:49):
with Me as well, so I did some artwork for that.
And then there's also a film festival not too far
from me in Bristol called Simer. We discover that I've
done artworks for like some of the seasons that they
have in the festival for the last couple of years,

(23:09):
and I've just been working on one for like this year,
which again I'm quite excited for that to go life.
I don't know when it will, probably soon, But it
was because of that, like a couple of years ago
they'd done like a pre Code Cinema season as part
of the festival, and because I kind of love like

(23:30):
twenties and thirties imagery, it was like so much fun
to work on. So Justin from OCN saw the poster
and I think I was following him maybe, but he
hid it on his stories and I dropped him a
message and that's how I ended up ended up kind
of like working with him. So it's kind of Yeah,

(23:52):
I think showing your enthusiasm is like the biggest thing.

Speaker 3 (23:55):
Yeah for me, that's awesome. You have a lot of
examples of stuff that you've done. There's probably twenty posters
that I would just love to hear the stories behind
or what they were used for something. But there's a
couple specifically that I really want to hear what they
were used for. One being, this is going to be

(24:16):
probably super odd to focus on this one, but the
Bruce Lee film Fist of Fury. The Bruce Lee films
historically have had very very similar and specific art style
pretty much across everything. But your poster for Fist of
Fury is the most unique poster for any Bruce Lee

(24:37):
thing that I've ever seen, and I love it. What
was that used for, like a local cinema thing?

Speaker 5 (24:42):
No, it was so I get my local cinema was
showing I think they showed all three films and I
hadn't seen it. Actually, I hadn't seen any of them,
I think. But yeah, so I went to see Fist
Fury and I absolutely loved it. It was amazing. It
was great to see at cinema. I'm so happy I

(25:03):
could see it.

Speaker 2 (25:04):
Yeah.

Speaker 5 (25:06):
Yeah, And I was like, I'm going to make a
little like fun poster. So that was like again kind
of like a that was relatively quick. I think we're
working on it and it was really fun and then
everybody loved it.

Speaker 2 (25:18):
It's so good, So.

Speaker 3 (25:25):
I guess taking that does that mean that pretty much
everything on the personal work side of your website. Is
that all just for you for fun? Basically?

Speaker 4 (25:34):
Yeah? Usually, damn kind of. I mean, I haven't done
many alternate puss for a while. I think the last
one I did might have been Green Night, which was
partly thing.

Speaker 2 (25:47):
Was like, sign look what I'm wearing right now?

Speaker 3 (25:51):
Amazing? That was incredible. Wow that was that was serendipitous.
What one film that is on here not a lot
of people in the world have seen. So I'm just
stoked to be able to see somebody else that truly
loved it enough to make a poster just for fun
dinner in America? Where where did where did the inspiration
for that one come from? Because I adore that.

Speaker 4 (26:12):
Movie Oh so good. I can't remember. I think it
must have been I must have heard it on.

Speaker 5 (26:23):
Yeah, I think maybe. I think it was like some Ashes,
some Ashes was going on about on the like our podcast.

Speaker 2 (26:31):
They did release it and.

Speaker 5 (26:32):
Then it was on our play so I think I
must have watched it on the and I was like
obsessed with it. I was like, if I had seen
this as a teenager, I would have been obsessed. And yeah,
I just really wanted to make I think I ended
up making two posters, but Yeah, I just really wanted
to make something kind of like fun and kind of punk.
And yeah, again I had like an idea of like

(26:54):
what I kind of wanted to do with all these
kind of like broken like dinner plates and things, and yeah, yeah,
it was just Yeah, it's just such a great film.

Speaker 3 (27:03):
It's so fun, so fun. Other than that, not much
else I could ask. But I'm sure there's a lot
of companies out there that you'd love to work for.
Is there any any that you're like, Man, I hope
eventually they contact me because I would love to do
some layout work for them.

Speaker 5 (27:18):
Obviously, Criteria it's still like right up, they have like
the top ones. I would love to work with Eureka
as well because kind of like the range of films
they release is always amazing. Yeah, and Second Site maybe
as well would be cool.

Speaker 2 (27:38):
I also feel like BFI kind of fits your style.

Speaker 4 (27:43):
Amazing.

Speaker 5 (27:44):
I have been like not, yeah, I've kind of been
like trying, but yeah, I should probably try again see
if I can end up working on something with them.
The Flip Side releases would be really cool.

Speaker 3 (27:56):
Yeah, that would fit your style perfect because there's so
many different things to pull from.

Speaker 2 (28:01):
Yes, that's perfect. Yeah, all right, Well, thank you for
doing this, Beth.

Speaker 3 (28:07):
I really hope people look at this and, you know,
get inspired to check out your website. The work that
you've done is genuinely magnificent. Every single time that I
get art from Craig that's going to be on one
of the upcoming releases, I'm just blown away. And I've
seen so many people for Deaf Crocodile stuff that specifically
looking at the standard art, get drawn into buying from

(28:30):
Deaf Crocodile for the first time, and it really shows
how valuable art can be, not only to appeal to
the eye for certain people, but it allows you to
open your mind to something else. Many of these Deaf
Crocodile films specifically are so out there, they're so there
are things that no one has ever heard of except
for this who runs the company, who's incredible and knows everything.

Speaker 5 (28:51):
It's like everything almost every film I have never heard of,
most of them.

Speaker 4 (28:56):
Which I love.

Speaker 5 (28:57):
It's always like such a wide variety of films is like,
I just love that you just don't know what is going.

Speaker 4 (29:04):
To be released next.

Speaker 3 (29:05):
But I mean, you know, with the two titles specifically
that we talked about early on is with the Savage
Hunt of King Sack and Adele's not had supper yet.
Easily looking at that art, it's it's easily something that
somebody would say, well, I want to watch that. I
don't know what it is now, but I want to
watch that. And it's if you hear the titles, that's
not necessarily going to grab you immediately. But your art

(29:27):
is a huge part in that. So just incredible.

Speaker 2 (29:31):
Keep it up.

Speaker 3 (29:32):
I appreciate what you've done for physical media, for Deaf Crocodile,
and for some of these films that I also love.

Speaker 2 (29:38):
It's it's inspiring.

Speaker 4 (29:40):
Thank you.

Speaker 2 (29:41):
Thanks, have a good one and we'll talk soon.

Speaker 3 (29:46):
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. Thank you.

Speaker 1 (30:23):
No, Hello, This is Aaron West. I am the author
of the A twenty four New Wave. In this book,
I look at A twenty four's output and I make
the argument that we are in a new wave movement
right now. A twenty four plays a major role. This

(30:44):
book has a supplemental podcast where each episode is a
brief conversation about an A twenty four related topic, whether
an actor, director, or even a genre. As I continue
research for the book and conduct interviews, I expect to
record podcasts episodes with involved with the company. You can
find the podcast at Sendjourneys dot com or wherever you

(31:05):
find podcasts. And we are proud to be members of
the Someone's Favorite Productions Podcast Network.

Speaker 4 (31:19):
Thank you for listening.

Speaker 1 (31:21):
To hear more shows from the Someone's Favorite Productions Podcast Network,
Please select the link in the description.
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