Episode 16 - Kurtis Spieler is back! to talk about April releases

Finding the joy in unfettered creativity. A podcast dedicated to bringing awareness and context to movies of any budget, from anywhere, and during any time.

In Episode 16 I am joined by Kurtis Spieler, restoration specialist at Vinegar Syndrome. We discuss the April titles, Vinegar Syndrome's 500th release, and get a glimpse into how many hours are put into an excellent restoration.

Celeste de la Cabra is also back to discuss the hardcore titles in her recurring segment. If timing works out we'll be lucky enough to have her twice this month so fingers crossed.

Coming up next I hope we're able to secure time with a gooey, splooshy director that helmed one of the recent controversial VSP releases.

Thank you for those who continue to listen and please let me know how I can make this better!

Episode Transcript

Speaker 1 (00:01):
You are now listening to the Someone's Favorite Productions podcast network.

Speaker 2 (00:45):
Hey all, Happy April. Recording this on April Fools, but
I guess y'all won't be listening to it then, so
just happy April. I'll say, episode sixteen of Punk Vacation
and Unofficial Vinegar Syndrome podcast. Y'all know this by now,
but in case anyone's listening for the first time, I
started this out just to find the joy and unfettered creativity,

(01:07):
which I think really represents what Vinegar Syndrome is about,
trying to use this podcast to bring awareness and context
to movies of any budget, from anywhere in the world,
and during any time that particular mission is really going
to be put on tests Today, it's a fun month
for world cinema. I am super excited today to be

(01:29):
joined by our very first guest, Curtis Spieler, who does
a lot of work with restorations within Vinegar Syndrome as
well as a bunch of other stuff internally. Curtis, thank
you so much for doing this again.

Speaker 3 (01:42):
Yeah, thank you for having me back.

Speaker 2 (01:43):
Hell yeah, I love that first conversation and you know,
I think anyways, I'm glad you agreed to do it.
Are you at home today? Are you in the office still?

Speaker 3 (01:53):
No, I'm in the office. Okay, I practically live here.
It feels like home sometimes.

Speaker 2 (02:00):
I'm sure that. I'm sure, Like Roger Corman had a
bed in his office, right, like all the great ones
probably sleep at work. So yeah, yeah, so we'll the
you know, on the first of the month, we always
kind of go over the new releases and kind of
the ones that just dropped and between OCN and and
the mainline stuff from Vinegar Syndrome and the sub labels.

(02:21):
Just holy cow, Like what a month.

Speaker 3 (02:23):
Yeah, yeah, it's a big month. We're excited.

Speaker 2 (02:26):
Yeah, I mean, and you kind of mentioned this in passing,
but I think it's worth calling out, like this isn't
even a major month in the sense of like it's
just April.

Speaker 3 (02:34):
Right, holy cow. Yeah. Usually we do our halfway sail
in May, which is a big month for us as well,
but yeah, this is April, so you know, hopefully people
find May just as exciting.

Speaker 2 (02:46):
In addition to the Frisbee that the disc that's up
for sale there throwing disc, I guess throw It's up
for sale this month is stacked. And I think the
thing that just jumps out to me, is you know
the household name directors that y'all are just consistently getting
every month, Like it's just awesome to me, Like we're

(03:08):
gonna be talking about Bernardo Berto Lucci this month, Like.

Speaker 3 (03:11):
What the hell?

Speaker 2 (03:11):
This is crazy?

Speaker 4 (03:13):
Right?

Speaker 3 (03:14):
Yeah? So I'm and full Gi Fulgi.

Speaker 2 (03:17):
No, no, totally, not to bury the lead at all,
but no totally. I mean like, because this is now
the third release or fourth release of full third right
release of Fulci.

Speaker 3 (03:28):
No not for us, this is our first Fulcie.

Speaker 2 (03:31):
Wait, no shit, really yeah yeah, oh sorry, I was
thinking of Limberto Baba for a second. I'm sorry. Yeah yeah, yea, yeah, no,
oh shit, that's your first Fulcie Yeah whoa. I didn't
even make that connection when I saw today. No way,
that's great.

Speaker 3 (03:46):
Yeah, that's why. That's why I'm particularly excited.

Speaker 2 (03:48):
So oh yeah yeah yeah, hell yeah that's crazy, sou
But this is and this is also like right in
his kind of you know, it's a great era for
him in nineteen eighty four.

Speaker 3 (03:59):
Yeah, do we want to jump right into that one
and start talking about Yeah? Yeah, murder Rock, Yeah, murder Rock.
So I was particularly excited about this one. So you know, obviously,
you know, we do a lot of Italian horror. We've
done some Margento, you know, but Fulci for me, like
Folchi's Folchi's King when it comes to horror, Italian horror

(04:22):
for me at least, So I was very excited. And
Murder Rock is one of those titles that you know,
it's it's had a couple of releases, but no, not
like a really good release. So when I found out
we were doing this, I was very excited. Now you know,
it's a four K release Murder Rock. You know this,
Murder Rock has kind of mixed reviews amongst the fans,

(04:45):
which is kind of surprising to me because I actually
think it's one of his good films. I think it
just comes off of the heels of New York Ripper,
and you know, for those who seen New York Ripper,
you know, it's pretty gory and pretty sleazy, and of course,
you know, folks Gie's usually known for his gore. I

(05:05):
you know, Murder Rock is not as gory as his
other films. It's more back to like the roots of
like a traditional Giallo. But I like it. I like
the stuff that he shot in New York I'm a
big fan of Murder Rock, so I was very excited
to get it. You know, for those who've seen the movie,
and well actually for those who haven't seen the movie,

(05:25):
it takes place during like the winter, so it has
this like kind of grimy New York winter feel where
it's kind of slushy outside and not you know, and
I don't know, I kind of dig that vibe. The
way it shot, it's kind of has that like soft
look on the lens, so you know, it's kind of
gives that like dream like look, and the lights have

(05:46):
that kind of like soft look, and I don't know,
I really dig it, and I'm actually it's one that
I had seen before. I was excited to get. I
was excited to work on it, But the more I
worked on it, the more excited I became. So uh,
it gave me a new appreciation for it. So I hope,
like the fans check it out and give it another shot.

(06:06):
If if if you've seen it before and maybe it
didn't hit for you, like, definitely give it another shot,
because I think it's one of his more overlooked films.

Speaker 2 (06:16):
This is one that has a lot of a Ka's
as well, right, which is kind of fun because some
of the titles are pretty great, Like I love the
name Jallo at Disco.

Speaker 3 (06:26):
Yeah.

Speaker 2 (06:26):
Yeah, there's another one that jumped out to me with
slash Dance, which is funny because there's also an SLV
title with that, but but this was in Europe. I
think it was slash Dance the full It's also had
a dancing death as part of the title, which is fantastic.

Speaker 3 (06:44):
Yeah, And I think I think with those actually, with
those alternate titles, I think people will kind of expect
it maybe to be a little bit more like fun
or like campy, you know, because it's it's like girls
at a dance academy are getting them picked off one
by one and you know there it's eighties, so it's
like they're in like the eighties, like leotards and leg warmers,

(07:08):
and it's got that kind of feel. So I think
people are expecting it to almost be kind of more
like a fun slasher film. But it's fulcy, so it's not,
you know, it's it's it's not as much fun, but
it's an enjoyable movie. It's just it's more of a
straightforward Giallo. It has these dance sequences, and you know,
there's a lot of nudity and killing and all that

(07:30):
kind of stuff, But I think people expect it to
be like this eighties fun slasher and it's it's not.
It's a straightforward like Giallo. But it's one of the
good ones. So I hope, you know, like I said,
I hope people if you haven't seen it, definitely check
it out. But if you have and maybe it wasn't
your favorite, like watch it again because I think once
people kinda look at it for what it is, it's

(07:54):
very good. It's a well made Giallo, So I'm excited.

Speaker 2 (07:57):
Well Fulci's one that to me, I think it's important
to see like a lot of his work to understand
who he is as a director, because, like you said,
if you've seen The New York Ripper and maybe either
Beyond or something like, that's a very different like that
is one hundred percent a part of his or and
like those films are all amazing, but he's more than that, right,
Like he's had a very long career. He plays in

(08:19):
different kind of genres and so I would just recently
saw his Vertigo tribute one on top of the other. Yeah,
and that's a very different film for him too.

Speaker 3 (08:30):
Yeah, yeah, I mean he's got a pretty big filmography.
You know, people forget they kind of focus on Zombie
and Beyond and you know those movies and those are great.
I mean, I'm I'm a huge fan. Oh yeah. But
you know he's you know, even as spaghetti westerns. He's
got a lot of different films out there, and it's
nice to see some of them getting love again. And

(08:51):
you know from a technical standpoint too, like we put
a ton of work into this one. You know, some
times some of these Italian films like they didn't they
weren't always stored quite as well or whatever. Nothing against
like the Italian archives, it's just you know, they I've

(09:14):
heard from other companies. Again, this is our first Fultie,
but I've heard from other companies that some of like
the Fulchy films that they've had to restore, have always
been like a little rough, and you know, we we
want to present it well, which means we have to
put the work in. So they were long hours put
into this. There was there was overtime put into this one.

(09:34):
Let me just tell you. So we you know, we
were trying to get it looking as good as we
could for the fans out there.

Speaker 2 (09:40):
So well, if I have to mention in terms of
putting a lot of time into this, I mean, y'all
always do a good job on special features, but holy cow,
this release is stacked. I can tell that there's a
lot of passion put into this release from every angle.

Speaker 3 (09:57):
Yeah yeah, no, I mean, I mean I wasn't as
involved in the special features. I used to be involved
more in special features. But as you know, the company
progresses and gets bigger. You know, we we have a
whole team doing special features now. But you know, just
from a restoration standpoint, it's funny because when we first
jumped into it, I was like I was excited and

(10:19):
I was like, I'll restore the whole thing. I don't care,
I'll stay late and work on it whatever. And then
like now we were there. You know, there's a there's
three of us that handle the majority of the actual restoration,
and all three of us were working late hours and overtime.

Speaker 2 (10:34):
Wow, that's awesome.

Speaker 3 (10:37):
There was nights when all three of us were here
working on just just Murder Rock trying to get it done.

Speaker 2 (10:42):
So that's amazing. Well, thank you for your extra labor.
I can't wait to see this. I usually the ship's
hat around kind of late April, so I'll be yeah,
very anxiously waiting for this, and honestly we can we
can jump onto the next title. But I love this
era of his career, Like Enigma is wild, it's super interesting.
And Honey the Devil's Honey is just like they got

(11:05):
the craziest sexual stuff in it. That's like, I don't know,
he's like a he's like in his perverse air a
little bit. Yeah, but it's wonderful.

Speaker 3 (11:12):
Yeah, yeah one, So please if you haven't seen it,
check it out.

Speaker 2 (11:17):
Okay, wonderful, I would say, different type of exploitation. Director
Armand Weston y'all put out one of his only or anyways,
he didn't have very many films that were not erotic
or kind of pornographic. Right, he was a famous illustrator
as well, like an erotic illustrator, right, yeah, my Knowledgy

(11:37):
and do y'all have one of his kind of only
I believe, really major kind of mainstream releases in The Nesting,
just from nineteen eighty one. Yep, So did you work
on this one at all?

Speaker 3 (11:54):
Oh? Yeah, oh yeah yeah, The Nesting? Yes, yeah, because
you said he was like an illustrator. To my knowledge,
if you've seen The Nesting, there's like a it's about
a woman who's writing a novel and then she finds
a house that she decides to write in. There's like
a whole supernatural thing. But to my understanding, the cover

(12:16):
of the book that's in the movie he illustrated. If
if I if I've got my trivia correct. So this
is a little fun fact. But yes, The Nesting so
very good movie. I'm very excited. I actually did a
lot of work on that one as well too. We
were lucky to get access. So there's there's a longer

(12:38):
cut on this it's called the Phobia cut. The movie
was originally under the title Phobia and then was later
changed to The Nesting. We're releasing it under its original
Phobia cut, which is a little bit longer, has some
scenes that didn't appear in previous releases. I think some
of the scenes might have ended up as special features,

(12:58):
but we we had access to the cut, we knew
where they were supposed to go, and so we restored
it back to the basically original running time. Yeah. So, uh,
there's a lot of extras on this one. As well. Again,
we we were through Stephen Moore, what we're able to

(13:19):
have access to a lot of things. Uh uh. He
was able to get his access to stuff that other
people really didn't have access to prior. So that was
that was cool. It's a good movie, more of like
a kind of like a seventies supernatural type film, you know,

(13:41):
more deliberately paced, focuses more on like you know, kind
of like the tension, that kind of thing. I'm assuming
you've seen it. I have not seen The Nasty No.

Speaker 2 (13:52):
Okay, okay, I but I was about to say I
have a sweet spot or like a like a guilty
pleasure of finding movies that you wouldn't expec to see
the Carridians in. It gets like a weird like a
very specific kind of films I always want to watch,
and this is certainly fits that cinate ofgory.

Speaker 3 (14:07):
I think, yeah, it's it's really good. It's really well shot.
I think I think the problem and I'm just gonna
let viewers know this up front. If you because of
the cover, or at least the original cover with the
sickle and her face screaming, I think a lot of
people go into expecting it to kind of be like
a late seventies early eighties slasher, and it's not. It's

(14:28):
more of a supernatural like thriller. So again, it's more
it's more deliberately paced and uh, you know, focuses more
on like the tension and the scares. But I very
much enjoy it. I had to watch it a lot
of times here, and I grew to appreciate it the
more times I watch. You know, sometimes the more you
watch something a little, the more it kind of goes

(14:49):
down and sometimes it gets better. And this is one
that the more I watched it, the more I appreciated
how well it was shot, especially uh, you know, for
the time period. And it has a pretty kind of
I don't want to give away too much, but it
has a little bit more of a violent ending. That's uh,
that's that's kind of interesting. I'll just say that. So
I really like the ending is what I'm getting at.

Speaker 2 (15:13):
So awesome. I I'm excited. One of the things I've
seen recently, I think, with you all and maybe a
few others, I think there's a what's the What's the
one eighty eight Films does a good job with this,
and even Arrow to some degree, but I like when
y'all can get the writers on like that. There's something
interesting about I always obviously anytime you get the director,

(15:34):
fascinating interview. But I also like when you get the
rider on because it's sort of like they really talk
about the kernel of the idea and like sort of
how it got I don't know, the progression of it.
It seems like as opposed to making it. It's like
you get to a little bit more background on where
it came from and stuff. So I've like one of
the recently I was I was talking to you in
about the Ghost Dance, and the interview with those writers
are just awesome, Like it's so fascinating to hear them talk.

Speaker 3 (15:57):
So anyways, yeah, yeah, well, because you know, I mean,
you know, obviously some directors, right, some you know, just
get the material. But you know, again, every movie starts
with a blank page. So you know, if the jump,
if the director is kind of jumping in while the script,
after the script has already been written, you know, that's
great because then they can take what's on the page

(16:17):
and interpret it. But it is actually really interesting to see,
you know, get into the head of the person that
took the blank piece of paper and then started writing,
you know, so you really see it from its like genesis,
which I agree I find interesting as well too. That's
why I like writer directors, you know, because you know
they're starting from a vision that's a blank piece of

(16:38):
paper and carrying it all the way through to the finish,
which you know, I appreciate.

Speaker 2 (16:42):
So yeah, yeah, yeah, I totally agree. Well, so very
excited for that one. So we're at there's two out
of four mainline releases, well three releases, four movies. So
the third release for the month is one that I'm
gonna needs your help on because I don't know much

(17:04):
about British well Canadian born British filmmaker Lindsay Shantev. But
it sounds right up my alley, like as as I
was reading the description on this, he's kind of somebody
who's been in the underground film scene for a long
time in the UK. And there's a double feature y'all
did of Lindsay's movies, The Devil Doll and Curse of
the Voodoo. So do you know too much about this one?

Speaker 3 (17:27):
Yeah? I mean, you know, I worked on it. As
far as his background, I don't know a ton I
know I've actually learned a little bit more about him
while working on these releases. He kind of was like, yeah,
low budget director, genre director in the UK. Yeah, Devil
Doll that. So some people may be familiar with that

(17:52):
because that's probably one of his more known films because
it's an early Ventriloquist movie. Uh okay, So if you
find van Triloquist movie, you know, the dummy Ventriloquist Dummies,
if you find that creepy, uh, then this is I
don't know if it's a good or bad movie for you,
but uh, you know it's one of the early uh

(18:16):
because black and white and so it's it's an early
representation of that genre. Which Okay, I personally like ventriloquist movies.
I think they are kind of creepy, which I enjoy.
So yeah, if if you are into that sub genre,
I would give this one a watch because you get
to see kind of an early representation of that.

Speaker 2 (18:36):
Just b it's the way you're describing it. Do you
think you'd be a good double feature with like Shanks,
Because Shanks is not totally a Ventriloquist feature, but it's
got that kind of weird, creepy undertone to the whole
movie her.

Speaker 3 (18:47):
I mean, yes, but to be honest, uh, I mean,
Devil Dout plays more straightforward. Okay, Shanks. Shanks is a
little bit more like what's the word I'm looking for.

Speaker 2 (19:01):
It's kind of art house. I don't know if that's
our house.

Speaker 3 (19:03):
Yeah, yeah, a little bit more art house. This is.
This is a little bit more exploitation got it so
much so that there's so there was actually two cuts
of the movie. Initially there was one that was like
a straightforward cut, and then there was another cut later
that like nudity was put into. So obviously, because we're
Vinegar Syndrome, we're gonna present the full uncut version. So

(19:25):
which is you know, surprising for like a you know,
like a British film. Obviously this the nudity was added
more for like international releases, but so it's got a
little bit more of a genre appeal to it.

Speaker 2 (19:37):
So okay, yeah, cool. Well, you know, anytime Kim Newman
can talk about British history is always exciting. So he
does one of the commentaries and there's three total commentaries
on this, so yes, that's cool. This is another one
where there's a lot of love put into it.

Speaker 3 (19:53):
Yeah, and the commentaries, we will learn. I learned more
about the director through the commentaries, so you know, yeah, yeah.

Speaker 2 (20:00):
That's good. Well I'm excited. This is what's something I've
said the last two months, because you know, people were
kind of down on February a little bit when the
titles were announced, and I just was bragging about The
Carpenter because I was like, y'all, don't like that movie's
fucking awesome, Like like you should watch and own the Carpenter, Like,
holy hell. So I love when Vinegar Syndrome. I mean

(20:20):
that one was well known. Maybe it's not the perfect
example of this, but like, I love when you'll put
stuff out that's maybe not on people's radars as much
because I kind of have come to trust the curation
process a little bit and like, if this is passing
enough people's test to put it out, then I'm excited
for it. Yeah yeah, So, I mean, I guess that's
Those are the mainline releases. So that's all for if

(20:42):
you have the subscription, those are the four that are
coming out, And I just want to call it out
because it's kind of crazy. If you have a subscription
this year, that's nineteen movies in the first four months
that you get with this subscription, Like that's not a
bad start at all. Yeah, but yeah, I mean I'm
just like that's great though, Like I feel that y'all
are honoring the increase in price. I just try to

(21:04):
call it out because people are like, it keeps going
up every year, but like it's a lot of four
k's and nineteen movies already, which is wild.

Speaker 3 (21:13):
Yeah. I mean, you know, I listen, I people. I
understand when prices go up. You know, people aren't happy
about it. But you know, we try to if there's
an increase in price, make sure that there's a reason
that we're doing it. It's not just to make more
money or something like that. You know, it's cost of business.
It's the films that we're putting out, it's the number

(21:34):
of films, it's it's all of those things. And I mean,
you know, inflation. I hate to always you know, oh, inflation,
because I feel like people throw that around for everything
these days. But you know, I feel like, I know
the subscription is expensive, but I feel like you get
what you pay for, you know, And I mean you
get the movies a lot cheaper through the subscription than

(21:54):
you do if you were to buy them individually.

Speaker 2 (21:56):
So yeah, I mean I'm you know, I try to
be on by it and if you go back, there's
some movies that talk about where it didn't land with me,
and I try to be honest to me, the subscription
is awesome so far, I'm still in so I totally
just you know, want to call that out, Okay, but
speaking of holy hell, So we're about to get into
a few that I was just like what and then
opened up what and then what? So VSA has been

(22:22):
you know. The way that I describe VSA of kind
of what it's coming into is like I'm thinking of
it as like if you're walking at a video store,
you're going to see a collection of like different sections.

Speaker 3 (22:32):
Right.

Speaker 2 (22:32):
So there's been a whole bunch of stuff from Hong Kong.
There's obviously the Cynthia Rothrock section. There's like a lot
of the action stuff coming out, and then there's like
this trauma section that I think is being developed and
I personally love trauma and I am I've saw Igor
and the Lunatics it in like a little rinky dink

(22:54):
theater and that in you know, twenty years ago, and
that's the only time I've seen it, but the movie
stuck out to me. It's freaking odd. I love it.

Speaker 3 (23:02):
Yeah, yeah, and you're entirely right. So that's kind of
why VSA was developed. There's a number of reasons why
VSA was developed, but that was one of the intentions,
was to almost kind of give it that feel of
like video store, you know, video store feel, if you will. Now,
over time, we've put a lot of our action movies

(23:23):
and especially like our Hong Kong films in the VSA line.
So some people kind of assume it's are They think
VSA is like VS Action, but it's not. It's just
kind of where things sort of ended up. And it's
partly because, you know, for Vinegar Syndrome. For the main line,
you know, we try to keep it more genre. And

(23:43):
now I know, obviously action martial arts is very genre,
but we tend to lean a little bit more towards
like the horror side, not fully, but you know, obviously
exploitation all that other kind of stuff. But so it's
just kind of like a lot of the action stuff
just sort of ends up in the VSA. And there's
a number of reasons sort of why that is. But

(24:05):
we want to make sure every once in a while
that we remind people that no, no, there's other things
that are gonna be in VSA too. Don't just think
that it's always going to be you know, Hong Kong
films or action films, and yeah, Igor in the Lunatics, Man,
it's a it's a crazy movie. I know. I know,
sometimes some people like trauma films, some people don't. I

(24:26):
think people forget that there's two types of trauma films.
There's the trauma films that they produced, and there's the
trauma films that they you know, bought or licensed, and so,
you know, I think a lot of people they're familiar
with like Toxic Avenger and you know, classic nucom High
and all that other kind of stuff, which is great,
and then there's like, you know, but then you know

(24:49):
there's like Mother's Day. You know, Mother's Day, which we
put out was another trauma film, and you know, trauma produced.

Speaker 2 (24:57):
And what's the one with Samuel Jackson too, the Death
Bye Temptation.

Speaker 3 (25:01):
Death by Temptation. Yeah. So but yeah, so I think
you know, people forget that there's like, actually, I would
almost say there's three sides of trauma there's like there's
the Trauma Trauma branded you know, productions, then there's the
like just Trolla productions, and then there's the ones that
they buy. And I would say Igor kind of falls
in that middle one where you know, it's uh, well,

(25:25):
trying to think was it produced? Actually I can't remember
for you No.

Speaker 2 (25:28):
No, it's okay, So I think that this is a
I don't I'm not going to claim to be an
expert on egor, but if I remember correctly, they bought it,
but it wasn't good and so they spent a lot
of their own money to fix it.

Speaker 3 (25:40):
Yes, yes, yes, yes, that's how it went. Yeah, and
I believe the guys from Spooky's were involved with with
with Yeah. Okay, sorry, it's all coming back to me.
It's funny. We were talking about this today. So this
thing that happens, like obviously we're always working on stuff
like a little bit in advance, you know, because it's
got to get ready to come out for a certain month,
you know, So we we're working on stuff months prior,

(26:01):
and it's like this weird thing that happens that because
we're we're in this cycle and it's like as soon
as we like finished that group of films, it's like boom, done,
onto the next one, and it's like your our brains
almost get wiped clear because we're like we're so focused
on what's happening now that we're always talking about. It's
like movies that we worked on like a couple months
ago feels like a lifetime ago, you know.

Speaker 2 (26:23):
So, I mean, you know, the human I always think
of memory as like either hard drive or RAM, and
like the humans only have so much RAM, right, Like,
there's only we just like at some point if we're
not if it's not like pressing, we just have to
put it out of our put it in the hard drive,
right Yeah. Yeah, anyways, yeah.

Speaker 3 (26:41):
Well, and so one of the fascinating things about Egor
is that not only is Egor and the Lunatics on there,
but there's also an alternate cut which was called Bloodshed,
which up until now has not been released. It has
extended scenes and all that other kind of stuff. And actually,
do guys from Spookies, I believe were we're a big

(27:04):
part of us getting access to that alternate cut. So
for me, yeah, for me personally, I spent a lot
of time actually reassembling that cut to match what it
was supposed to be. So so yeah, a lot of
work kind of went into that one. And you know,
it Bloodshed is interesting. It's it's it's it has more

(27:29):
like kind of character development and all that kind of stuff.
And I think sometimes people hear that and they're like, Oh,
that's just the longer, more boring cut, But I don't.
I don't think so, you know, like, I think both
cuts have merit to it. You know, igor is I
think paced, probably a little bit faster, but the Bloodshed
cut I think actually gives some integral parts of the

(27:51):
story that I think helped kind of kind of flush
it all out a little bit.

Speaker 5 (27:55):
So, yeah, do you like being the expert it in
like re editing on movies like and like figuring out
how to tell that story again?

Speaker 2 (28:05):
Is that yeah?

Speaker 3 (28:07):
Created, I mean, that's that's kind of one of the
big things that I do here. So what this is
what happens a lot, so you know, just so like
the people listening kind of understand the process. There's like
a couple of things that happens, especially with like foreign
films that are released for different markets. There's different cuts
that are made for different versions and all that and

(28:28):
you know, vinegar syndrome. Our job is to try to
get it back to sort of like the original intended version,
and if there's you know, if there's like a let's
say there's an Italian movie and it was released in
Italy one way and then released internationally another way, we'll
probably put both cuts, because you know, it's not we
don't want to necessarily make like a a unofficial cut

(28:52):
if we can avoid it. Things were taken out for
censorship reasons, that's different, because that's more or less kind
of like saying, well, this is how the movie was
supposed to be, you know. But anyway, without going into
all those intricacies, the fact is that you end up
sometimes with multiple versions on, you know, multiple film elements
and things like that, and then we have to kind

(29:14):
of hunt these things down and kind of reassemble it
to get it back to the way that it was
originally supposed to be, And that kind of ends up
being my job a lot is to reassemble these things. So,
you know, with with Bloodshed, for example, like we had,
we ended up getting access to like a tape master,
which was the only like basically surviving version of the

(29:38):
Bloodshed cut yet we were able to access like the
some of the film elements, and then we were able
to take those film elements and like reassemble the Bloodshed cut.
So so yeah, so you know, I have to then
take that video master and use what's there, and then

(29:59):
take the film and and like piece it all back
together to make the cut that you see.

Speaker 2 (30:03):
So who had the video master?

Speaker 3 (30:06):
One of the guys from Spookies. I'm drunk. I got
his name right now. I only say it because I
didn't deal with him personally. Brandon did.

Speaker 2 (30:13):
But no, that's cool. I mean, that's that's cool. So
the Spookyes, the Spooky's team had it.

Speaker 3 (30:17):
Yeah, yeah, they had they were They still had like
a I don't know if it was a VHS or
a higher quality tape, but they had like a basically
a tape version of the Bloodshed cut. So I was able.
We were able to get that. We digitized it, and
then I had to sit there and go through and
find the cuts and match the cuts and reassemble the

(30:38):
Bloodshed version.

Speaker 2 (30:39):
Okay, oh that's awesome, and that is I forgot to
do this earlier. That is a VSA fifty three, and
in fact, that is something I meant to check on
because I think is this the month where you hit
five hundred or is that going to be next month?
Oh shit, that's what I meant to call it. No,

(30:59):
we have to call this out. So your five hundred
release is the ful Chie movie?

Speaker 3 (31:05):
Oh yes? Uh is Murder Rock?

Speaker 2 (31:07):
Yeah yeah yeah, what a beautiful way to usher in
the five hundred.

Speaker 3 (31:11):
Yeah well, that was one of the things that we
were trying to figure out. Man. That's like last year
we were talking about that, like what's going to be
like our five hundred release? Yeah yeah, man, I forgot
about that. I'm glad you brought that up.

Speaker 2 (31:22):
No, I've been I've been tracking it because I was like,
we're getting so close. What are they gonna do for
five hundred? And then I just got excited talking to you.
I forgot to bring it up. But that's so cool.
So your first FULCI film is your five hundred release?

Speaker 3 (31:33):
Yeah yeah, yeah, hell yeah.

Speaker 2 (31:36):
That's awesome man, and vasays chugging along too, which is great.
Already fifty three releases. Another one that is chugging along
pretty well for considering it's a it's a new sub
label is Justin's Baby Cinematograph yep, and it's kind of fun.

(31:57):
It seems like it's like a playground for him because
this month, well, I guess we should talk about the movie.
So Wesley Snipes had a nineteen ninety four actioner called
drop Zone, which I'm sure a lot of people will
know about, Yeah, mister Gary Busey as well. Yeah, and
with it there's some trinkets, there's some fun toys with it,

(32:19):
I think a parachute and then a book even yeah.

Speaker 3 (32:22):
Yeah, well, so yeah, we were having a little fun
with this one. In the spirit of April. I think
we were trying to sort of decide which month we
were going to put drop Zone in as a six
cinematograph title, and we kind of felt like April would
be a good month. We were kind of hoping that
people would not think it was serious, but it is,

(32:46):
because you're right, Cinemato there's you know, justin kind of
handles the curation for that for that label, and he's
a big fan of that movie. And the director whose
name on drawn blank out for Adam yeah.

Speaker 6 (33:02):
Uh.

Speaker 3 (33:02):
You know, if you've looked at his uh filmography, you
know he has a pretty respectable filmography. So you know,
I think people kind of look at Drop Zone and
the kind of see it as like, oh, it's just
this action movie that you know, Wesley Snipes did in
the nineties, but there's a little bit more to it,
and you know, we wrote a booklet on it and

(33:23):
all this other kind of stuff. And I'll be honest
for me as a fan, so the nineties is kind
of my era I was born. I was born in
the eighties, uh, but you know, I was a teenager
in the nineties. So going to the movies, you know,
a lot of these studio titles that we've been putting
out from the nineties, you know, I have, you know,
pure nostalgia for them, and drop Zone is one of

(33:45):
those ones.

Speaker 2 (33:45):
Man.

Speaker 3 (33:45):
I mean I remember going to the theater to see
it and renting it on VHS a bunch of times.
You know.

Speaker 2 (33:51):
Yeah, I mean it's probably worth calling out since since
you brought up John Badam's career, so you know, one
of the things that's included in release is a book,
you know, John Batham Undirecting, which may seem like almost
like a little bit of a sarcastic book for if
you only know him as like the Drop Zone director.
But this dude had an incredible career. So like most

(34:14):
famous probably Saturday Night Fever, right in terms of critical
success and all that, but a really popular Dracula movie,
War Games, which short circuit. Like, this guy was very big.
He had a huge eighties.

Speaker 3 (34:29):
Yeah, he had a big career and it wasn't just
stuck to like one genre. Like his work is very versatile,
and that's honestly, this is one of the things that
was talked about. I think that's why Justin decided to
put it in as a cinematograph title. Again having a
little fun but at the same time, like also sort
of being serious in the sense that like, you know,
take a look at this man's career. He's put out

(34:50):
some really good movies. And I think, to be honest,
if you if you actually look at Drop like rewatch
Drop Zone again. You know, because at the time that
it came out, you know, it was again nineties action flick,
also on the heels of other like skydiving movies that
were coming out around the time. It was kind of
hot in the nineties there for a little bit. You know,

(35:11):
it kind of looks like it's just one of those movies,
but if you actually watch it's it's a well shot movie.
It's very entertaining. Again, it's one of those movies you
know here because you know, we work on the restorations
for a lot of the cinematograph titles and so you know,
that's one that you know we had to watch multiple
times here. And like I said, there's some movies that

(35:32):
the more you watch them they get a little worse.
Others the more you watch them they get better. And
for me, Drop Zone was definitely one that like, every
time I watched it, I was like, man, it's a
fun movie. I had a good time every time I
had to watch it.

Speaker 2 (35:44):
Well, I mean, you know, you don't have to. So
we're probably pretty similar in age. If we haven't established
that on air, I think we established it off their
We're within a year or two of each other. But
I had the exact same experience, man, Like that my
kind of like Chicken Soup is just some cheesy ninetiestion movie,
Like I just love it, man, Like I grew like
I'm slowly collecting all of Steven Segall's movies and all

(36:06):
of what's JCBD and like just kind of I don't know, man,
It's it's not like I'm never gonna defend it. Like
if you don't like it, that's fine, But I just
I don't know. I love them, man. So this this
kind of stuff is my catnet.

Speaker 3 (36:18):
Yeah I know. I mean yeah, it's like uh yeah,
like nineties action eighties action eighties slasher movies. To me,
those are just like they're like feel good I put
any time, you know, like you know, I don't know,
like you said, like chicken soup. Man, If I'm just
like laying on couch or something not feel good or whatever,
it's like boom, I'm just put on an action flick.

Speaker 2 (36:40):
You know. I love it well. And I despite all
the like exciting movies we've talked about, in my mind,
I'm still kind of saving the biggest one for the last.
I people, you know, when they talk about Italian directors,
I feel like, in a weird way, although a lot

(37:00):
of people know the films that Bernando Bertolucci has made,
that they don't really talk about him in the same way.
And I think it's unfair because this man has been
he made films for decades and they were all high
quality work. And probably his most infamous movie is Last
Tango in Paris. For stuff that was kind of outside

(37:22):
of his control on some level. Yeah, and so I
was so excited that distrib Picks got the rights to
Last Tango in Paris. Holy cow.

Speaker 3 (37:32):
Yeah, no, that one. That one is exciting. So I
think some people may be kind of surprised that it's
under the district Picks slash like no you scene line.
But you know, it's uh, it's it's interesting. I don't
want to say too much for the people who haven't
seen it, but like, it is an erotic film, so

(37:55):
it kind of fits in that line. But again it's
it's like an it's an Oscar winning film, you know. Oh,
it's like so it's it's kind of surprising that it
might be in that label. Again, uh, you know, partly
having a little fun for April, but at the same
time trying to bring attention to the fact that, like,
you know, like erotic films can be more than just

(38:17):
like erotic films, and you know, again this being like
an Oscar winning film, Actually the subject matter is a
little bit difficult, to be honest. You know, it's it's
not like a fun erotic film. It's it's very serious
and has a lot of like it has a lot
of layers to it. Yea, it may not. It may

(38:38):
not be a film for everybody, but you know it's
because it can be a difficult watch, but it's, uh,
there are a lot of layers to that movie that
you can pick apart the more you watch it. So
I think every time I saw it, I came out
with like a little bit something more than I did before.

Speaker 2 (38:53):
So I mean, if I think it to me, really
sticks true to Yell's core mission, which is present preservation,
because like, if you look at this movie like it
is a if you can say, take apart some of
the like if you can get past the fact that
there's a lot of sexual assault and like sort of
you know, tough sexual content in the film, and especially

(39:14):
knowing that the backstory of what happened to some of
the actors in the movie and stuff, and like that's tough.
But this movie is, like, it's an excellent film and
it's something that should be preserved if nothing else, so
that that context around it can be maintained and you
understand the good and the bad of what was going
on around the movie.

Speaker 3 (39:33):
Right.

Speaker 2 (39:33):
I think that's and the amount of special features you'll
have on this again, it's just amazing, like long time
lifetime collaborators with Berta Lucci that are talking on this disc,
it's super exciting.

Speaker 3 (39:44):
Yeah, yeah, no, it's a fascinating film. And again not
for everybody, and you know, but I think I think
those that you know, give it a chance, you'll kind
of be surprised. And again I think it's it's good
that it kind of brings a little bit of a
sword of like elevates district picks a little bit more,

(40:05):
you know.

Speaker 2 (40:05):
Oh yeah, yeah, true, true. I just like in case
people don't know him by name, like you know, he
was winning awards for movies like The Last Emperor, which
is sort of like historical epics, and what was the
other one with Buddha It's called, oh Little Buddha. Yeah,
and then he was making sort of like he had
an Italian historical epic called nineteen hundred. And there's this

(40:26):
really amazing movie in two thousand and two or two
thousand and three that I got to see in theaters
called The Dreamers. Did you ever see that? You know?

Speaker 3 (40:34):
I didn't know. It's good.

Speaker 2 (40:35):
Yeah, it's just like it's like a basically about like
a what's it called manage too? I guess it's like
the whole film is kind of around that, but it
has some other kind of weird elements to it.

Speaker 3 (40:44):
You know.

Speaker 2 (40:44):
He liked to explore fetishes and different things in his
erotic films, but it's really just meticulously made. And he
was making that. He was like one hundred and twenty
when he made that stytle, Like, I've always been fascinated
by this guy. He's kind of like a like a
Valerian Bort would have had a few Academy Award winning
movies in his career or something like that. Yeah, he

(41:05):
would be spoken of differently. But anyways, so yeah, just
before we even get into the partner label, it's just
holy hell, like.

Speaker 3 (41:14):
What a month? Yeah, I mean, to be honest, sent
to partner labels, I don't even know. Sometimes I'm surprised
when I find out what's on the partner labels.

Speaker 2 (41:22):
No, I mean that's the nature of it, right, I mean,
that's there's no way you could possibly if you're not
doing the restoration work on it, Like how would you know?
And I mean to put it plainly right, Yeah, yeah,
I mean I'll just quickly go through a few that
jumped out to me. I know, ross Over at Saturn's
Court must be excited because he got a movie called

(41:42):
Bone Sickness to come out this month, and I know
he must be really geeking out about that. That's like,
I'd be shocked if that's not already sold out or
at least selling really well.

Speaker 3 (41:50):
Yeah, you know, like I said, you know, sometimes I
don't even know what's coming out with the partner labels.
And when I saw that release, I was like, oh,
I gotta get that one, dude.

Speaker 2 (41:59):
You know what's crazy. I was joking about that selling out.
But we're recording this seven hours, seven and a half
hours after the announcement, is only five left. Oh geez,
So it'll be sold out with these jobs, I mean
lista slow cover. Yeah yeah, but that's a huge release
for a Saturn'score. I mean, I love I don't I
love what Ross does anyways, but yeah, yeah, there's a
there's a I feel like I should mention it. I'm

(42:21):
not personally as into Artie Shaw, but the fact that
film Movement Classics is putting out that time is all
you've got. That's definitely like a classic movie that I
think a lot of people are going to be excited about. Yeah, yeah,
really fast, and I think there's some really good Yeah.
There's a commentary by bridget Berman, which is cool. So
I think that for Bridgie Berman, I mean, so that

(42:42):
that'll be I'm excited to nothing else here that commentary,
but I'm glad Artie Shaw is getting a little bit
of love. There's a did you ever see them? Trying
to think of which partner label did it. I think
it was Music Box that did it, or maybe Doppelganger.
But there was a movie that came out a few
years back called Heavy Trip.

Speaker 3 (43:01):
Yes, I did see it about that.

Speaker 2 (43:03):
Band Impilled Directum, which is just a great name, sort
of like this is spinal tap type spoof of death metal.
So they made a sequel. It was so popular, and
they made a sequel called Heavier Trip. Oh it must
have been music Bucks because Music Bucks got the sequel too. Yeah,
so I can't I can't wait to see that there
that that movie was one that kind of snuck up

(43:23):
on me because I I don't want to say I
don't like a lot of comedies because that's not totally true,
but sometimes some of the silly comedies are I don't know,
but just like I think they nailed it at the
death metal scene.

Speaker 3 (43:34):
Yeah, yeah, I know. That was another one when I
saw that the like I saw the announcements today on
the partner labels myself, so I was like, oh, oh
I gotta see that.

Speaker 2 (43:42):
Yeah.

Speaker 3 (43:43):
Yeah, sometimes I'll know some of the partner labels. It's
just it because like OCN is like its own working beast,
you know, so especially at this point. Yeah yeah, and
then obviously, like you said, I'm so focused on what
we've got going on in the restorations here that I
you know, But but it's actually fun that way because
then I get to be excited by by stuff and

(44:04):
I'm like, oh, I'll have to grab that myself.

Speaker 2 (44:06):
Yeah, No, totally that in that lens.

Speaker 7 (44:09):
You know.

Speaker 2 (44:09):
I think Film Movement Classics had a big run where
they're mostly doing Hong Kong cinema or like Asian cinema. Yeah,
so this one, neither one of them is Asian cinema.
But The Marquis of O is one I'm pretty excited
about because that's a film from Eric Romain. So Film
Movement Classics is like this interesting partner label. It's kind
of becoming one of my favorite ones because they're putting

(44:31):
out like Patrick Tam movies and they're putting out now
Eric Rome, Like he's truly like art house directors, which
is cool to be able to buy that stuff through
their line.

Speaker 3 (44:39):
Yeah, that one, I'm not I haven't seen that one
myself either, but that definitely it was one I was
interested in.

Speaker 2 (44:45):
Yeah. Then yeah, same. So I don't know as much
about this one. I'm gonna be totally honest, but that
the description of it was very interesting to me, and
something about the artwork really jumped out to me. So
there's a documentary about Gabora Matte that came out called
Physician Healed Itself.

Speaker 3 (45:04):
Yeah, I've just taken a look at that one of myself. Again,
I also not familiar, but.

Speaker 2 (45:10):
Yeah, just the I'll just say the line that kind
of hooked me was a searingly intimate portrait of the
celebrated expert on addiction, stress, and trauma. And I feel like,
I don't know, I don't want to get political on
a movie podcast, but like, I feel like that time
of timing of that could be good to kind of
if there's some any therapy in that, that could be nice.

(45:33):
A lot of people are some trauma right now on
the opposite end of trauma. For if you want to
one of the best escapism movies I think AGBA has
in their category or in their catalog is The Sword
in the Claw was an early release of theirs, but
asn't we still cover up?

Speaker 3 (45:48):
Yeah? I saw that too. Yeah, super fun movie. I'm
I'm a fan, so I would I'd recommend that one.

Speaker 2 (45:56):
And then there's a Korean that's a Turkish movie. And
then isn't that kind of I don't even know what
you call it, Turkish ploitation or something, but it's like
a there's some amazing movies that came out of Turkey,
the kind of action sure type movies, but they put
a Korean martial arts just kind of batchit movie called
The Brawlbusters in there, as well as a bonus feature. Yeah. Yeah,

(46:18):
it's sort in the clause, really fun. I love it.
Last one for me, so, I mean, there's a lot
that I'm not calling out, and just to be fair
to the viewers, I don't want to just call out
a name and read a description like if there's I'm
sure the catalog is excellent. But the last one that
jumped out to me was one from twenty nineteen and

(46:39):
it's called What We Left Unfinished and specifically it's looking
at the Ffghanistani communist era of the seventies and like,
to me, that's just fascinating, Like that's not how Afghanistan
is known today. I think people would be stunned to
see people in Afghanistan wearing like hippie like you know,
bell bottoms and just like a super western country and

(47:01):
kind of document the change from that to what it
is now. And I'm definitely I bought that. It's the
kind of log as the as the partner label they
put it out, but I bought that one for sure.
I'm gonna I Ca'm excited to see that.

Speaker 3 (47:14):
Yeah, that was one. I'm not too familiar with it,
but I was reading the description on it and I
was like, oh, that seems fascinating. Not to take a
look at that myself.

Speaker 2 (47:23):
Yeah. Yeah. So anyways, I mean there's another VHS hitfest,
which I I'm complete on them because I love Dan
and I love his taste. So yeah, Project Omnicron I'm
sure I'm gonna love. But I like always with him,
I've never heard of it before. Yeah, he's been fourteen
for fourteen so far from me, so I'm excited to

(47:43):
check this one out too.

Speaker 3 (47:44):
It's amazing how many movies are out there.

Speaker 2 (47:46):
I know, right, you know. The funny thing to me,
like if you look at AGFA, I think they're up
to they're in the sixties. Anyways. Yeah, getting close to
seventy releases, it's like, holy hell, Like they're like they're
fully like they're own label at this point. I mean
I know they are, but like you know, when you
think of the Vinegart as a partner label, I'm always
thinking of like ten to fifteen copies, but like them
in Saturn's Core, some of these ones, they're just like

(48:08):
they're just pumping these out every month. Yeah, well, Curtis,
I mean, this is exactly what I wanted when I
reached out to you. I think this is a fantastic
behind the scenes for the month, and you got me
super pumped on the restoration work that was done to
bring these titles to life and get to celebrate five
hundred titles with you. Yeah, thank you. Is there anything

(48:31):
else that I didn't ask you that you had in
mind to bring up?

Speaker 3 (48:36):
No, I think that's about it. I mean, I don't know.
It's funny, man, Like I just feel like when we
were talking earlier, I'm like, it's been a whirlwind, like
working at this company. I don't think people really realize.
It's like we are just you know, working on these movies,
and it's like as soon as that month is done,
it's like boom onto the next month. It's you know,

(48:58):
and it's nicely sit here for a minute and like
reflect back, even though it wasn't that long ago, like
a few months back, reflect back on the work that
we did, and I don't know, I just I hope
people appreciate it. I hope they like what we've put out,
what we're putting out, like you said, our subscription. We
try to make sure we offer things. Again, not every
movie is going to be for everybody, you know, but

(49:20):
we hope that we at least introduce people to maybe
some movies that they weren't familiar with and get to
see some new things, so you know, give them a
shot again. My my biggest recommendation for the month would
be obviously Murder Rock. But you know, igor I enjoyed it.
If you like, you know, low budget shot on sixteen films,

(49:42):
you know that little gore, little you know, trouble, craziness,
then that is definitely a movie for you. So those
are probably my two for the month.

Speaker 2 (49:51):
Awesome. Yeah, and I just can't encourage people enough to
try to check out Less Tango in Paris. Yeah, just
I think the cool thing about Berta luch for me
as he's in this small category of people that is
extremely horny but is also like a master filmmaker, and
he's an extremely intelligent guy, and so he like satisfies

(50:13):
like multiple itches at once, if you like to say, like, yeah,
you know, you're watching a beautiful film that's going to
be shot meticulously and planned perfectly, and like you know,
you're watching a master work, and it's you're also seeing
an exploitation movie a lot of times, right, So anyways, cool, Well, Curtis,

(50:33):
thank you so much.

Speaker 3 (50:34):
Sure, thank you for having me back.

Speaker 2 (50:36):
Yeah anytime. Thanks, yeah, just thank you Curtis man. That's awesome.
What a cool I always love it when Curtis comes on.
I love the perspective there. That's awesome. Thank you, Curtis. Well,
we I'm excited to bring back Celeste. So fifteen minutes

(50:58):
with you is back. So let's what do you got
for us?

Speaker 7 (51:03):
Okay, Hello, Punk Vacation listeners, Welcome back to fifteen Minutes
with You, the segment where on a semi monthly basis,
I go through all of the newest releases from Malu
Scene and their affiliated partner labels. As you can hear,
my cat Bigwig is joining us today. So we're a
little bit behind due to a combination of me being

(51:26):
slow and vinegar syndromes, shipping being slow, and because I'm
not a subscriber anymore. That continues to be the case.
So today, what we're going to do is we're going
to go through the three titles that were released in
the month of January twenty twenty five, and then I'm
hoping to get my segment from February done by the
mid month episode that Chris will put out, and then

(51:47):
on the first episode of May, I'll have the March
titles done, and then we'll be current because the way
that announcements in shipping work were like a month behind anyway,
so I'll have the April titles ready to go then.
So the titles that we'll be covering today are the
Image four K release from Melusine, The Ribbel Detales of Canterbury,

(52:10):
and Tasty Double Feature from Pickorama and The Neon Knights
blu Ray from Command Cinema. So let's start with the image.
This is a film by Radley Metzger, and it is
essentially a film about a pretty severe sort of sado masochistic,
kind of dumb sub relationship between a couple and their

(52:35):
female sort of plaything. I guess you could consider them
a thruple, though it's not entirely clear. This film is
very low on plot, but it is very high on vibes, aesthetics, eroticism,
and kinky freak shit. So I was a big fan
of this one. It is based upon a classy French novel,

(52:58):
so it has that kind of bona fides to it,
and I don't know, it's just really filled with really beautiful,
sumptuous cinematography, really excellent set design, and I don't know,
it's just like you're either into this or you're not.
And it might it seems to go a little far

(53:20):
to the extent that it's not one hundred percent clear
that this is entirely consensual, but I choose to read
it as that it is, and I think that that
is bared out in the text of the film. So,
like I said, there's not really much in the way
of plot to discuss here. It's really just, I think,
among the more famous and acclaimed adult films ever made,

(53:41):
just because of how beautifully shot it is and how
clearly well thought out all of the blocking and cinematography
and editing and set creation is on everything. There's no
special features on the disc unfortunately, other than an excellent
booklager Shot or I'm Sorry, written by our friend Ashley

(54:03):
West of the Rialta Report. He gives a really fascinating
in depth history. It's about fifty pages long about the
making of the film, and he starts off with some
anecdotes about Roy Cone, the infamous piece of shit lawyer
who represented Donald Trump to help him get away with
racist housing practices. You will be familiar with Roy Cone

(54:25):
and his let's call them antics if you saw the
recent film The Apprentice, which I actually highly recommend, but
I swear to god. You know, we try to emphasize
that the stories behind these films are just completely insane,
and I think that this might take the cake. The
writer and creator of Chicago, the original Broadway play, was

(54:48):
apparently in contact with Roy Cone and managed to book
his personal home slash law firm that he operated out
of such that Radley Mesker and crew could shoot their
film at roy Cone's house. And it was a big
public scandal, and he tried to deny that it had
ever happened, and he threatened to like ruin their lives

(55:08):
that the film came out and everything. But I don't know.
I wouldn't have guessed in a million years that this
was shot at roy Cone's house, not just because it's
a it's a adult film, but I mean it's also
a particularly depraved one. Like it's pretty much wall to
wall dom, sub scenes, girls, pissing, lesbianism, three sumes, you know,

(55:36):
the whole nine yards. And I really like it. I
highly recommend it. I'm going to give it a seven
out of ten. The transfer looks beautiful. I don't think
I have a list on my letterbox of all the
four K discs that I watch and I give them
a rating for their visual presentation. And I don't think
I've given a single Malia Scene release anything less than

(55:57):
a ten, and this was no exception. So definitely check
this out if you're into the freakier stuff, or if
you're just really into a gorgeous lighting and cinematography. Next
up is Let's Go with the Pikarama Release, two films
directed by Bud Lee and starring Hyapatia Lee, the Quarter

(56:19):
native American adult actress slash dancer, slash singer. In addition
to the I guess I mean honestly plentiful bonus features
on this disc, I also pulled up the rialto report
interview with Hyapacia Lee, and it's got to be one
of my favorite episodes that they've done. And she has
got to be one of my new favorite people in
this space. Her story is just really harrowing but also

(56:44):
like inspiring, and she's just such a cool person and
I don't know, I love her. She's like up there
with Annie Sprinkle now in like my list of favorite
adult actresses. But The Rebald Tales of Canterbury essentially is
just the Canterbury Tales, but a pornographic adaptation. High patially

(57:06):
actually co wrote the script or I think entirely wrote
the script on this one. It's one of the more
bigger budget productions of this era of filmmaking. I think
they said it was like three hundred thousand dollars or
something like that was the budget for this so you
definitely have like period costumes, sets, et cetera. And the

(57:29):
Canterbury Tales is in and of itself kind of well,
I guess we're two for two in sort of like
classy source material. But it is, in and of itself
sort of a crass, perverted text, so it lends itself
well to adaptation in this medium. And I know bud
Lee even said like there was and High patially too,

(57:50):
so it's like there's stuff in there that we didn't
want to put in our Peorn film, like we thought
went too far. So you know, the film itself is okay,
it's fine, like it gets the job done, and it's
an interesting watch just for the just for the classy
literary adaptation and for the period specific elements of it.

(58:11):
But I think I prefer the B feature.

Speaker 3 (58:17):
Tasty.

Speaker 7 (58:17):
This is a film about a failing radio station called
k n U T and I officially kind of has
the morning show, and then there's you know, there's just
different people running different programs and essentially they're too busy
fucking each other or whatever, and their ratings are plummeting
and they have they have an ultimatum to get their
ratings up by the end of the week or the

(58:37):
station is lost forever, you know, going under and all that.
So they decide, fuck it, why not fuck the FCC,
Let's just do sex programming the whole time. And so
they're like reading dirty stories and having sex, and I
guess the listeners at home get to listen to that
as supposed to watch it. There's a really weird sequence

(58:59):
where I guess they simultaneously broadcast one of Hypatia's I
forget our character. Oh her name is Tasty, Tasty Taste,
thems I think are something silly like that. She is
also a singer, and so they simulcast one of her
music videos, which is a kind of shoddy parody of
hit Me with Your Best Shot, and it's called hit
Me with Your Wet Shot. Yeah, not doing their best.

(59:22):
That sequence is a little bit painful and lasts for
a while. Other than that, I think this film is
very funny and charming and enjoyable to watch, you know.
Between the two features, I'd say that this is a
worthwhile release. And there's actually a really excellent commentary with
Joe Rubin and but Lee on the Ribeled Tales of

(59:45):
Canterbury feature, and it's actually quite insightful. He gives a
lot of insight into what it was like working on
these sets, has approached to filmmaking, what it's like working
in this industry now, and by now I mean over
ten years ago when the commentary was shot, versus you know,
then in the nineteen eighties. He gets into his relationship
with Hypatia, so it's interesting to hear both perspectives through

(01:00:07):
that and through the real to Report episode, which of
course is not on the disc, but I highly recommend
us supplemental listening. In fact, I recommend you go ahead
and listen to that regardless. And there's a really good
interview with Budley too, which repeats a lot of the
same information but is a lot more concise. So yeah, overall,

(01:00:29):
I really enjoyed this release. I recommend it if you're
a fan of this stuff. And then, finally, maybe my
favorite release of the three. I would say I like
the Image better as a film just a little bit,
but this release is better because it's just so stacked
with features. There's no booklet in this, but it does
come with a poster. But this contains an excellent commentary

(01:00:52):
with the director, and I forget Casey Scott. I think,
let me fact check myself real quick. Hell yah, Casey Scott, Indeed,
I got it right. And there's also a pretty lengthy
interviews with Veronica Hart, Jamie Gillis, Eric Edwards, and the
cinematographer C. Davis Smith. There's also about forty minutes of
outtakes with director's commentary too, So this is like a

(01:01:14):
surprisingly stacked release and I just really really liked the
audio commentary especially. So this film again is fairly plotless.
There's some kind of implied incests going on.

Speaker 3 (01:01:29):
I don't know.

Speaker 7 (01:01:30):
I really couldn't even give you a standard plot synopsis.
It's kind of just like artsy vignettes of these characters
in various sexual situations. But there's some really cool trick
photography in it. Again, it's clear that this was made
by like a real filmmaker with artistic intentions, and it's

(01:01:51):
basically an art film, just with a lot of sex
in it. I think the lighting is really beautiful. I
just again, I really love the cinematography. I think this
is just a gorgeous film to look at. And you
know you don't have to this would be you know,
if you're a straight edge king slash queen slash Royalty.

(01:02:12):
I respect that a lot, But if you're a person
who indulges in substances, this would be a really good
one because you really don't have to pay attention to
any plots such that it exists. You can just be
enraptured in the vibes. Something that Cecil Howard said in
the commentary, because Casey Scott asked him like, you know,

(01:02:32):
I've watched this film three times now and I'm still
not sure what it's about. Do you have any insight
on that? And he's like, good, that's on purpose. I'll
never tell you know. He was like, people ask me, hey, man,
what are your films about? And I never tell them
because they always say they watched it three times, And
I'm just like, well, if you knew what it was about,
you would have only watched it once.

Speaker 2 (01:02:51):
Right.

Speaker 7 (01:02:52):
It's I guess this was a strategy to get repeat
viewers in such things, But I think that's everything I
have to say about it. Again, I see we're only
at twelve minutes. I got to hit my fifteen minutes
for the segments. That makes sense, right, That's okay. Maybe
this can be a briefer one these films in particular,

(01:03:13):
felt like they were fairly light on plot and that
doesn't lend itself well to me talking a lot about them,
but they are just really gorgeous and beautiful to look at.
Oh my quick ratings for the Ripple Tales and for
Tasty I gave them both a six out of ten
and for Neon Nights. I'm gonna go with a seven
out of ten for this as well. But this is
one that I'll certainly be purchasing down the line and

(01:03:35):
be revisiting, you know, for the double feature. Maybe if
it was on a really good deal, I'd picked this
that one up, and also just because I love hypatially,
but the Image and Neon Knights are certainly future pickups
for me. So those are my recommendations. Those are my
quick little analyzes of these films. Enjoy all you degenerate

(01:03:56):
perverts and freaks, and I will see you next time,
hopefully in the middle of the month for fifteen minutes
with you.

Speaker 4 (01:04:02):
Bye. Okay, y'all, Well, that is the rap, the rap
and a rap. Thank you for sticking around for sixteen episodes.
I'm very excited for the guests we have in the
middle of the month and the one for May as well.

(01:04:25):
If we can actually get them on, it'll be I
think one that'll excited at y'all. So look forward to
seeing you in a few weeks.

Speaker 1 (01:05:18):
Thank you for listening to hear more shows from the
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Speaker 6 (01:05:33):
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 book has
a supplemental podcast where each episode is a brief conversation
about an A twenty four related topic, whether an actor, director,

(01:05:54):
or even a genre. As I continue research for the
book and conduct interviews, I expect for red podcast episodes
with people involved with the company. You can find the
podcast at sindjourneys dot com or wherever you find podcasts.
And we are proud to be members of the Someone's
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