Episode 18 - May announcements with Oscar Becher, plus Ross Snyder and 15 Minutes With You - Punk Vacation: An Unofficial Vinegar Syndrome Podcast

Episode Transcript
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Speaker 1 (00:00):
Mh.

Speaker 2 (00:01):
You are now listening to the Someone's Favorite Productions podcast network.

Speaker 3 (00:50):
Just like that, May is here. I know it's cliche
to say, but this year is gone so crazy fast,
I can't believe we're at the halfway to Black Friday
flash pre order. This is episode eighteen of Punk Vacation.
This is an unofficial Vinegar Syndrome podcast. You know y'all
have heard this now many times, but I set this

(01:12):
up to try to really use a podcast as like
a discussion platform because Vinegar Syndrome is so good at
finding the joy and unfettered creativity, and I want to
celebrate that and try to just dedicate these discussions to
bringing awareness and context to movies of any budget, from
anywhere and during any time. And nobody brings this excitement

(01:35):
around this mission statement more than Oscar Bescher, archivist and
vault manager at Vinegar Syndrome. Oscar, welcome back.

Speaker 4 (01:44):
Ah. Sorry, I'm so sorry. Yes, I am bringing the excitement.
I am very excited. Sorry.

Speaker 3 (01:50):
Perfect. Yeah, man, I'm so glad to have you back.

Speaker 4 (01:55):
Yeah, it's very exciting to be back. I'm happy. I
wish I could have broken Curtis's record is being the
first return BS employee. But the fact that I was
beaten by Curtis is fitting. He is the best.

Speaker 3 (02:09):
Well, I'll make sure you get the trifecta in before
anybody else.

Speaker 4 (02:13):
Yeah, oh yeah, trio. Yeah.

Speaker 5 (02:17):
Men.

Speaker 3 (02:17):
So I'm just staring at a page of like massive
Hollywood titles and I want to get to that in
just a second because holy hell. But before we get
into that, just how you been.

Speaker 4 (02:32):
You know, Yeah, it's interesting. You know, you may hear
at some point over my mic a lot of noises
every once in a while. We're currently in the stage
of moving everything to our new warehouse, which is like
maybe it's gonna be where everything goes, and basically every
Blu Ray that ships out to people, and the backstock

(02:53):
and everything that's you know, straight to people's, all the
new stuff, everything is going over there. So we're kind
of in a really stressful time while also completing all
these enormous projects. So, and it's really ambitious. I think
I've said before that's ambitious. I think this one's particularly
ambitious from a studio perspective, Like we have a crazy

(03:14):
amount of studio titles for the Flash preorder. Yeah, and
I think, you know, normally my heart is with the
unsung titles, the things which are like, you know, a
little closer to the archive, because nothing here exists in
the archive. But these particular titles are you know, at
least two of them are like I mean, ill, you know.

(03:37):
Two of them are some of the some incredibly ambitious
alternate cut projects which are kind of like mind blowing
all from OCN. And yeah, I'm very pumped about this
flash perorder. But other than that, you know, my therapist said, no, no, no,
I'm just not gonna pretty good, pretty good. How are

(03:57):
you doing.

Speaker 3 (03:58):
I'm doing good man. Thanks. Yeah, work has been killing
me lately, but these are nice little reprieves and this
I love talking about this kind of stuff. And you know,
I think I'm a huge fan of every time one
of your videos pops up as the trailer or on
the page for a new release. You've been doing some
good work with the editing and the video team over there.

Speaker 4 (04:21):
Oh yeah, major credit to We do them all in
like with a trio of people. So it's me the
lovable idiot, and there's Dave who films me and covers
my ibags because I'm always doing them on no sleep,

(04:42):
because I'm researching and prepping the night before, and in
addition to that, I'm usually doing them on the week
because I work during the week. And then finally Benjamin,
who kind of really forms them into fun things and
when I get something wrong he fixes it in post,
which I would never say in a public forum, but
it happens. So yeah, thank you very much.

Speaker 3 (05:05):
Man.

Speaker 4 (05:05):
Yeah, we've been kind of ramping up now.

Speaker 3 (05:08):
You're you're like the perfect personality to be the face
of a company, just in the sense that, like it
just seems like you're loving what you're doing. And I mean,
I don't know if it's still true, but it comes
off that way.

Speaker 4 (05:18):
I hate it. Every second of this fucking job drives
me further into the ground with a shovel of throwing
more dirt on top of me. I no, no, I
love I obviously. Really, I'm very lucky to be one
of the I'm very very fortunate to be one. Like
you know, everybody, I feel like everybody is meant to
do one thing. I'm very thankful to be doing the

(05:41):
one thing that I'm meant to be doing. So yeah, yeah,
great man.

Speaker 3 (05:46):
Well, this is a the this isn't a crazy month.
So before we get into the titles, we'll jump straight in.
But the eventual Black Halfway to Black Friday is going
to have seven releases, right, So it's going to have
the ones we're going to talk about, the three we're
gonna talk about today, and then Cinematograph is not included

(06:07):
in that. We'll talk about four today total. But as
far as the mainline stuff or the VS stuff, it's
going to be three plus two horror movies and then
a trilogy on VSA and then another VSL. So it's
going to be what is that six C seven plus

(06:29):
three is ten movies?

Speaker 4 (06:30):
Is that right?

Speaker 3 (06:30):
Seven?

Speaker 1 (06:31):
Eight ninety Yes, I'm looking at the two wait nine movies, Yeah,
it sounds about right.

Speaker 3 (06:40):
With cinematograph ten, I guess, yeah.

Speaker 4 (06:43):
Yeah, something around that. There's no way to really tell
in these sus. Well, they're also like weird little things
that we'll kind of do, like you know, special alternate stuff,
and so I feel like it's around that, but I
never know. That's that's about my pay grade.

Speaker 3 (06:58):
With all the alternative that's it's like twenty movies coming out.

Speaker 4 (07:01):
We'll get yes, exactly, we'll get into that.

Speaker 3 (07:04):
Now right away. So I'm trying to think of where
to start. But we have just the way that my
OCD or autism works, depending on how you want to
call it. The I like to think about VS first,
So we're we're at VS. Five oh two and five
oh four were released today, which was terrible for my OCD.

(07:26):
By the way, I would like to file a complaint
that it wasn't one in two.

Speaker 4 (07:33):
Yes, yes, if I had to say, I would just
all list them a sixty nine. So that wouldn't help mut.

Speaker 3 (07:40):
Just five hundred titles that are just sixty nine four twenty.

Speaker 4 (07:44):
It would be the worst label of all time.

Speaker 3 (07:46):
Yeah, well, difficult for inventory purposes, but funny.

Speaker 4 (07:50):
Yes, yes, but yeah, yeah, which one do you have
to tell me? Which is is five oh two?

Speaker 3 (07:57):
No, it's okay, So five o two. We're gonna talk
about it in the sense of it being a William
Friedkin project, and that's great, but like, at the core,
this is a Joe ester House project, right, Yes, So
the movie is a nineteen ninety five erotic thriller from

(08:18):
Friedkin's catalog called Jade, with the very steamy Linda Fiorentino
as the lead. Here man, this is a huge git.

Speaker 4 (08:30):
Yeah, it's a really big get and I think it
gets you know it, it forms like I think, the
ideal of what we want with like a studio title.
Obviously it ties back into a lot of films that
we already have a lineage with with the Estra Ask,
we already have you know, the fucking we have a sliver,
we have show Girls, Hey, so we're kind of building

(08:51):
out a little you know, a corner of the company.
So and in addition to that, we have like everybody
has been like stressing out about this one because of
the director's cut. I think, I oh, I can say this.
I remember being there when Joe was talking with Friedkin

(09:15):
and his people where as he was when he was
still alive and signed off on us to actually do this,
and it was really exciting just to be in the
room because you're, you know, you're somehow in the same
presence of one of the greatest filmmakers of all time.
Ye Sorcerer is one of my favorite films. And yeah,

(09:39):
so I think even even Joe was like it looked
like he was very nervous, and which I never see
him nervous. So it was very cool to actually be
able to do this director's cut and really difficult. Basically,
we took it from the O c N which was
cut to the theatrical cut, and then there's also you know,

(10:03):
we had to use IP cut sections for like the
cut dialogue, and then there is a release IP for
the Euro version which comprised the rest of like the
sexual scenes, and there were certain scenes that we couldn't
locate and we had to kind of get creative and
you know, with the help of the editors, we figured

(10:25):
out some solution. So hopefully people, you know, people appreciate
how much work was put into it, even though you know,
we're not being too you know, oftentimes I wish we
were more like we just talked about how difficult these
projects were and how much work was put into them.
But you know, it is what it is. It's a

(10:46):
director's cut. It's really exciting.

Speaker 3 (10:49):
That's that's really cool. And is this I'm just digging
through to make sure that I'm not wrong, But this
is your first Friedkin movie too, right?

Speaker 4 (10:56):
Yes? Yeah, so back to say anything else after that?

Speaker 3 (11:02):
Oh it's okay, but back to back. You've got the
first Fulcu movie and now the first Freakin movie.

Speaker 4 (11:07):
Yeah we're expanding. Yeah, VS is expanding throughout all the film,
which is not good in an archival field, but you know,
for distribution I think is pretty good.

Speaker 3 (11:20):
Well, the I mean I have to imagine that stuff
like Jade and the other releases we're going to talk
about here in just a moment, fund like whatever archives
stuff y'all want to put out right, because that's like
this is I mean, this movie is going to sell
well I know, Oh.

Speaker 4 (11:34):
Yeah, no, totally, I really hope. So, I think and
Jada is a really great movie. I think the different
cuts are really interesting too. I like, I like when
things are like, you know, we have kind of like
a weird trifecta this time of like different cuts of things.
I mean, the in this particular instance this film is

(11:57):
a lot of it was being around the sexual scenes.
So that's always interesting for us. But yeah, yeah, I
think it's really good. And for funding the archival stuff, yeah,
it definitely does. It helps that enormous bit when we're
able to actually actually do these restoration projects and not

(12:17):
just you know, just scanning the OC and re scanning
the OC and like we do for every project. Every
studio project is I think has preservation value, but especially
when we do something that we kind of know that
we're best suited for because no one else would do it,
because no one else is as crazy about this stuff
or you know, I mean, other people care about the

(12:38):
preservation side. It's just their corners that may be cut
if other people do it, which may not be cut here.

Speaker 3 (12:46):
Well, I do agree with something you said. You're building
out a little like Estherhouse Corner. But like, there is
a particular type of Hollywood movie that feels like it
fits very well into the VS sort of catalog, and
this one certainly slips right in there.

Speaker 4 (13:05):
Totally.

Speaker 3 (13:05):
There's a there's just a quick shout out to one
of the dark Star titles that came out last month
called Sapio Sexual. Have you seen it by chance?

Speaker 4 (13:14):
No? No, I haven't.

Speaker 3 (13:16):
So it's fun. Like there's I feel like we're in
kind of like a good time and vinegar Syndrome is
leading this. But there's a good era right now for
these nineties like erotic thrillers to get a nice release,
and Sapio Sexual is another one. It's made in that style,
although it was made like a year or two ago,
it's it's made in that style, and it's kind of

(13:37):
a fun. It's a fun release I had. I had
a lot of fun with it.

Speaker 4 (13:40):
Actually, okay, I'll check it out. So I've been I've
been lacking on my partner label things as a flight.

Speaker 3 (13:46):
So well, to be fair, there's twenty one a month.

Speaker 4 (13:50):
Yeah, yeah, there's so much. It's okay, it's crazy.

Speaker 3 (13:56):
I have I for I would say the first year
of partnerly stuff, I just bought whatever was on there
just because I was curious. But like, yeah, I'm having
to be selective now, which I kind of hate. It
doesn't really feed into my that OCD said I was
talking about, but it's better for me overall.

Speaker 4 (14:16):
Yeah, I mean, at the beginning of the partner lable
stuff with you had some ules. I mean still to
this day. But like the there's some heavy hitters, like
you would Jonathan's work with Fun City Editions and everyone's
work at AGFA. They always do amazing stuff, really cool,
ambitious shit. But yeah, yeah, no, totally. Yeah, the nineties

(14:39):
erotic thrillers. I think we're definitely digging into those a lot.
You know, I think I may have I don't know
if I said it here, but I think normally I'm
not the biggest nineties movie person kind of in terms
of this type of film, But I think Jade is
like a kind of like different, it's a little bit different.

(14:59):
I like it better than Slipper, if I can be
totally honest.

Speaker 3 (15:03):
That's cool. No, I mean there's I'm not a huge
nineties person either, like the fifties and the nineties or
two decades for me, where it's the exception that I
like a movie, not the rule. But yeah, there are
some there are some good ones, and I think I'm
excited to see this because I this is one of
those movies. If I remember correctly, there was like a
small collection of movies that I used to rent the

(15:23):
old VHS tapes like around like late nineties, and I
would just watch. I would just fast forward until I
got to like certain scenes and then just watch those scenes.
And this was, you know, when I was like a
teenager basically right discovering nudity. I think this is one
of those ones that was on that short list for me.

Speaker 4 (15:43):
Oh yeah, very central, very uh yeah, very very close
to the edge. Lots of sex scenes without showing too much,
but we showed now a lot with the screens on
the on the that they keep watching the surveillance screens.
There's a lot more shown in this director's cut the previously,
which is fucking nuts.

Speaker 3 (16:05):
It's it's funny too, and like that's awesome, and it's
it's kind of funny to think about where this falls
and we can jump to the next movie because you know,
we'll go into depth, like after this comes out and
we don't watch it and everything, but like where this
falls in Friedkin's career is kind of interesting because he
made that movie with Shack like a year before, called
Blue Chips. Have you seen that?

Speaker 6 (16:25):
No?

Speaker 4 (16:25):
I have not seen that.

Speaker 3 (16:26):
It's just like AOD yeah, I mean, I mean I
haven't seen it probably since it came out, but I
remember loving it just because it was cool to see
Shack and like the stories, like I think it's Nick Nolty,
I believe, who plays like the coach who's trying to
put together a team, and like, you know, it talks
about like now college kids are getting paid openly and
they're like bragging about how much they're getting paid. But

(16:47):
back in the nineties it was like a controversial thing
where they're not athletes were getting paid in college. So
it just kind of walks through all that. But anyways,
and then there's there's this erotic thriller, and then he
goes on to make a remake of Twelve Angry Men.
I think it's a TV movie, like right after this, Yes.

Speaker 4 (17:07):
Yeah, I've seen that. Yeah that was you know, it's
it's okay.

Speaker 3 (17:12):
Yeah, I mean it's it's a good story, right it translates, yeah, yeah, totally.
And then the Roles of Engagement, which is like a
courtroom drama. And then The Hunted, which I did not
have any interest in, but then I saw it and
I was like totally blown away, and I remember it
was one of the first times I wanted to get
into special features because The Hunted they do a lot

(17:33):
of this like really close combat with like knives, Like
I think it's it's what's his name, I guess Benny
Shield del Toro is the guy in it and Tommy
Lee Jones and they get into these like fights with
these sharp hunting knives. I was like, how the hell
did they do that? And there was a feature that
came out on it, so that was like The Hunted

(17:55):
is one of the movies that kind of got me
into special features in a way because they broke through
like they actually train these dudes in close combat and
suff feels pretty cool.

Speaker 4 (18:02):
So you had a question and they actually provided the answer.

Speaker 3 (18:05):
Yeah, yeah, yeah, exactly.

Speaker 4 (18:08):
I think that's the best way to if you're making
something supplemental, if you're thinking about, like this is something
that like interests may what or who can I find
who will answer that problem? But very rarely is it done.

Speaker 3 (18:23):
Yeah I know, I know, but yeah, no, that was anyways, Yes,
I'm pumped about Jade. I don't know, there's too much
else to say about it at this point. I imagine
it's going to sell really well for y'all, but probably
nowhere near as well as the next one I want
to talk about. Unless you have anything else to say
on Jade. No, so VS five oh four, Holy hell,

(18:50):
and y'all have got into nineties comedies now, and an
amazing way to start out with dirty work.

Speaker 4 (19:01):
Dirty work. Yeah, so, yes, I'm very excited about this one.
I've been working on this for what seems like it
is really one of our most I'm not even just
saying that because it's kind of my project, but this
is something that everybody here at VS has been working
on for a really really long time.

Speaker 3 (19:22):
Okay, it's taken.

Speaker 4 (19:25):
I love the film Dirty Work. I've when I first
came here, and I was too green to really be
suggesting movies, even though I was, you know, I'm already
as like a film obsessive. I was always basically, when
when when is the next when's the next MGM deal?
When is the next MGM deal? Can we put this

(19:47):
on it? And the truth of the matter is, I
just don't think we're ready to delve into and just
in terms of content and creation, I think it was
a bit too early on to really get in to
a film like Dirty Work, and I think people didn't
really everybody here needed a little convincing as to like

(20:08):
I thought, there's archival value to it, just because there's
this really famous what people like to call incorrectly but
the R rated cut, which is basically is R rated
style content. It was never rated by the NPAA, but
it has very raunchy material, or supposedly it didn't, and

(20:31):
people had seen it who were involved in the cast
and crew and a few previous screenings, so I kind
of found out about that a long long time ago.
I had two interests when I was growing up. I
had film and film my history and on the other side,
I had Norm MacDonald and it was the weird intersection

(20:51):
of those two which kind of, you know, being here
and finally being able to kind of man this and
kind of, yeah, bring this to people. Who's really exciting
because I genuinely love this movie. It's incredibly offensive. Not
that I love the offensive stuff, but I think it's

(21:11):
really intelligently offensive, which is very rare to do for
a comedy and without being overtly ugly. And yeah, I'm
happy to Yeah, So basically I can also talk about
the special features. We kind of tried to get everyone
we did, like feature length documentary technically speaking. Also a sidebar,

(21:38):
this is technically my first time producing a VS release
besides the infamous side Roads April Fool's Day last year.
So this is my first real attempt with an established
budget to do exactly what I want with a project.
So I'm also especially nervous because because you know, a

(22:02):
little bit of everything has a little bit of my
heart deeply wedged into it. But yeah, we have a
feature length documentary where I kind of wanted to approach
every single person who had even I tried to get
every person who had one line or anything that made
me laugh. So we we approached a bunch of people

(22:26):
who are still character actors in Toronto. I'm going to
get to the fa the really enormous people soon. But
we got the person who comes in after already laying
peas on him and says, why are you? I forgot
what he says. I'm gonna kill you. That is what
he says, and I thought that was funny. We got

(22:47):
the uh. We got Boyd Banks, who basically has the
line after Norm MacDonald opens all the with the dead
prostitutes and the trunks and says, I've never seen some
many dead hookers in all my life. And then the
Boyd Bank says, Lord knows I have we got. We
really tried to get everyone and through everything at the

(23:10):
wall to kind of give people a little bit of
insight into all the tiny little details that made raucous
comedy like this really I think function amazing against all odds,
and interviewed two former head writers of SNL with Fred
Wolf who is one of the co writers who was

(23:31):
really funny and Jim Downey, who's probably everyone calls I
agree with them. I tried to make him laugh and
I failed. The greatest the greatest comedy writer of all time.
I yeah, I tried to make him laugh. He made
a face at me afterwards because he didn't like my joke.
He oh another sidebark. He the day before they were

(23:56):
doing SNL fifty Oh wow, and that we actually planned
to do the interview, and he during the prepping of
that actual you know, that enormous thing, which a lot
of it was dedicated to Norm MacDonald, he basically had
an accident and a camera bashed into the side of

(24:18):
his face and he was injured. The night of Andre
and Me and Mike hunchback might cut al Ono. If
anybody that's the name is familiar with anybody, it should be.
But he was the one who kind of set up
the interview through his friendship with Frank Sebastiano. But we
were like, oh, that's we're fucked the interviews off, and

(24:40):
we were calling up until two am, and finally at
like two thirty, Jim basically wrote to us or wrote
to Mike and was like, no, no, no, please stop. I've
been looking forward to talking about Norm all week. Can
we please just do it. He comes in with an
eye patch and tells us the entire story he was
brought away in an ambulance. Beeause NBC was like, you

(25:01):
need to be checked out, even though he said he
was fine, but he was. He had an eye patch
on during the interview. It's really he looks really cool,
to be perfectly honest and and very like very escape
from New York. And at a certain point we kept
getting interrupted in the interview by ambulances and he kept

(25:25):
he starts getting angry and he's like, I can't fucking
stand these ambulances. And I like, take my moment. This
is my one moment to make the greatest comedy writer
laugh of all time. And I said, well, list, you
aren't in it this time, and he looks at me, grimacing,
and I'm like, oh fuckinghe no, you idiot, Oscar. But

(25:47):
we got him, we got Frank Sebastiano, we got you know,
a good portion of the people in this movie. Or unfortunately,
I have unfortunately passed away Norm McDonald a few years ago,
Bob Saget one year after, and we would have loved
to interview them. Chris Farley obviously passed away right after,

(26:09):
right before this film was released. During the editing process actually,
and which is covered, and we got Kevin Farley, his
brother who's also in the movie and who was also
a longtime touring partner of Norm. Everybody in this movie
is a very like a tight circle. Weirdly enough, Uni
Park Yes Got who plays the Sigon Horror Lynn Young

(26:34):
is her actual name, So we in this even in
the subtitles, we we you know her name has appeared
on screen. It's not just Sygon whore. But even she
was like, I love this movie. This is the movie
that like, I think it's just she was just so
incredibly positive, and I honestly kept bothering her and writing

(26:55):
to her, and Mike kept writing to her because the
fact that we wanted to senting opinion, we wanted somebody
who is basically like, we didn't want someone to say
this movie ruined my life, but we wanted someone like
who wasn't just saying this is the best movie of
all time. And then she gets in the chair and
it's like, I love this movie. This is this is like,
this is is so incredibly funny. I think it's so

(27:18):
funny that I'm the My first big credit is Saigon Horror.
That's hilarious. Everybody should watch this movie. And so it's
really like the whole project has been really inspiring. And yeah,
the dirtier cut. I'm sorry I should go on for
so long, but.

Speaker 3 (27:39):
This is amazing. You're kidding. I love it like that
what you're doing is with the way that you're walking
through this. I mean, what I'm getting is that y'all
now have connections and sort of like sentimental attachments with
some of the best comedy writers and actors of all time,
right nuts, and like you, that's amazing as a are

(28:00):
you personally and also for Winter Syndrome to have that,
because like the nineties comedy is like a treasure trove.
Like if this sells well, which I know it will,
there's a potential for like I mean, just endless stuff
coming out from that era, right.

Speaker 4 (28:16):
I genuinely hope so, because I think there's so many incredible,
fucking funny ass movies, which you know, comedy is like
oftentimes an R rated pool like to jump in, and
I think a lot of these comedians didn't really you know,
they didn't really want to go full into I don't know,

(28:38):
just you know, they wanted to dive into the R
rated pool and then the studio would kind of be
like it's not testing well. And they would test these comedy,
these comedies and basically say this is not hitting for
your audience, because they would test in like a wide
wides I don't know, a widespread audience like SNL or
some of the late night shows. Those were very reaching audiences,

(29:02):
very not too runchy. So I'm hoping that we can
dig deeper into these and unearthed some more R rated cuts.
But this one is like, it's really this one's really
tricky because it showed us how incredibly difficult it is
to deal with this era. You know, it's a nineteen

(29:24):
ninety eight film, and we made a little featurette to
show how difficult this was and why it's like the
first of its kind. But the yeah, the video work
print of the R rated cut or what we there's
no R rated cut dirty or cut.

Speaker 3 (29:43):
Oh look, man, you have done an amazing job producing
this disc and just by the stories you're telling and
by looking at how many dozens of features there are
on it, and you know, this is a kind of
a weird place in comedy in a good way. Because
Bob Saget, nobody really knew that he had this in him, right,
this was also the beginning of Bob Saget's sort of

(30:05):
like second personality outside of the funniest on videos totally
and yeah, very wholesome like dad, and then you saw
this other side of him, and this was kind of
the beginning of it.

Speaker 4 (30:17):
Yeah for sure. I mean, he'd definitely like he was
like he became like a bizarro Superman type situation where
he was that in the day he was this friendly
your dad's dad, you know, no, your kid's dad or whatever,
and suddenly you would see his stand up and he
got real runchy, real quick, yep, and like and he

(30:40):
indulged in. He was really funny and always go went
straight for the edge. And you know, I think this
movie is everybody who's on set would talk about how
incredibly kind and funny he was. And I think the
what I keep realizing is that a lot of these
people who like these dirty senses of humors are really raunchy,

(31:02):
are just like, like, genuinely speaking from everybody who spoke
to both Norm and Bob Saget, they were just certain
kindest people of all time, just really sweet, sensitive people
who also just flipped that switch, who were able to
automatically go into really raunchy mode. But yeah, I think

(31:25):
this is a great example of a movie which really
pushes every single button. You know. It's like and the
dirty are cut is like insane, it's pretty uh it
really you can tell why they didn't go as certain things,
but when you actually watch it, it makes the movie
makes more sense. It's strange. Yeah, you know, I can't

(31:50):
doughnuts some genitals and stuff like that, and yeah, it's crazy,
and it was a really ambitious, ambitious pro and I
think with this particular instance, normally we're doing a restoration
for the purposes of bringing back gore which has been
removed something very cinematic visual, and in this case, I

(32:13):
think it's been really interesting to test out the alternative,
which is we're bringing back earlier cuts of language where
things were removed because they were a little bit too
close to the edge or too close in terms of
content that if the wrong person saw it, they may think, oh,
this is this is this is a terrible thing. But

(32:35):
it's you know, all very purposeful and plot out or
thought out and plotted, so I don't know, I'm excited
for people to see it and give their responses. And yeah,
this has been a really long sought after project. It's
something that is like a childhood dream of mine and
Mike hunchback again, I'll say it from the rafters. He

(32:56):
did two commentaries for this, a commentary for the theat
Trickle Cut with Frank Sebastiano and a commentary with Fred
Wolf and Frank Sebastiano for The Dirty for the Dirty Cut,
which is like, was a like the fact that he
was able to do that. We've been planning that for

(33:18):
months and it was it was the first time failed.
The second time we actually did it. And Fred Wolf
is really funny and he keeps derailing the commentary in
really funny ways and bringing up these he brings up
like some crazy ship in the He's obsessed with this

(33:40):
one movie that I'm completely blanking on, but he keeps
bringing it up, and he maybe brings it up like
thirty times, and it became funnier every single time that
he mentioned it.

Speaker 3 (33:51):
That's a good teaser for it. Anyways, it's better to yes.

Speaker 4 (33:54):
Watch that, yeah, but yeah, yeah, that's that's that's dirty work.
Dirty work is like yeah, long, long, long projects and
people enjoy it.

Speaker 3 (34:05):
I can only I'm so happy that people are getting
to discover nineties comedy again. Like, that's of all the
stuff from the nineties that I think is the most
timeless for me, it's some of the comedy that that
kind of that whole like SNL movement where there was
all those amazing actors coming out and making stuff. Obviously
there's some stinkers, just like anything else, but there's also

(34:27):
some really good, just classic comedies come out of it.
So I'm super happy about this one. Man. That's exciting,
and congrats on all the work that you put into this,
and I just hope it sells out super fast. So
y'all get excited to continue to do this. Me too,
Me too, man, speaking of selling out, So I want
to make sure that this is right. But something happened

(34:54):
with Oh okay, So I was so confused that Swimming
to Cambo you already sold out. But the Swimming to
Cambodia is the cinematograph release for the month. So now
moving on away from strictly the mainline stuff and the
slip case. Plus the book is already gone and we're
doing this thirty minutes after the site went live.

Speaker 4 (35:15):
That's crazy. Wow, that's nuts.

Speaker 3 (35:20):
Yeah, So people are stoked about this movie. So this
is the Oh man, I'm just trying to think of
now because there's so many first every month from y'all.
Is this y'all's first Jonathan Demi project?

Speaker 4 (35:34):
I believe it is. Here's the deal. Some Yes, I
believe it is. I believe it's our first Jonathan Demi.

Speaker 3 (35:40):
Yeah.

Speaker 4 (35:40):
I could be wrong, but you know, if it's not
on cinematograph already, then if we haven't done on a cinematograph,
I don't feel like we would have been able to
do it.

Speaker 3 (35:50):
Exactly, yeah, exactly, yeah. Yeah, but this is a great one. Man.
This is a So this is a movie that people
are buzzed about. I was checking Reddit just a minute ago,
because you know, they they'll post the announcements from VS instantly,
right as soon as they know. And and there's a
couple of people that have said they've never bought something

(36:11):
from Vinegar Syndrome faster than swimming to Cambodia.

Speaker 4 (36:14):
Wow. Yeah, that's wild. I mean, that's the power of Demi, right.

Speaker 3 (36:18):
Yeah.

Speaker 4 (36:19):
It really brings people out of every corner.

Speaker 3 (36:22):
Oh yeah, for sure. And Spaulding Gray, I mean just
in terms of the quality of writing in this oh yeah, yeah.

Speaker 4 (36:29):
No, it's a The incredible thing is like, it's a
wild movie if you try to pitch it, you know.
So it's nuts that this movie or the other two,
not that they're by the same director or have much
in common with this one, because they're totally different thematically
and in terms of content. But the other two Spaulding
Gray movies that came after it, but there are movies

(36:51):
which are very I don't know how anybody would pitch it,
but it's makes sense that it's Demi after something like
Stopped making Sense or any of the other really groundbreaking
things that he did.

Speaker 3 (37:03):
Well, that's the thing. I mean, you know, the cinema again,
Like we'll go into this more in depth once it
hits and everybody gets a chance to see it. But like,
this movie is really good and it has the cinematographer
from Mishima, which is like, yeah, which is worth calling
out because like, you know, there's this is a very

(37:25):
interesting movie in addition to just the subject matter, just
in the way it shot. Yeah, And so like I
don't know, man I any any time that people get
to talk about the Khmer Rouge, yeah by it just
in general.

Speaker 4 (37:42):
Yeah, no, totally Yeah, And that whole story is just insane,
Like how we got involved with that shoot is just
like fucking nuts. But and it's told really really well,
Like the soundtrack is amazing, and yeah, you kind of
just it. It kind of is like the dream scenario
for anybody who's a storyteller to automatically have. You know,

(38:06):
it's very it's simp simply shot, even though it's in
thirty five, but it's like the way it kind of
progresses throughout the entire story and rises and falls with
the action is just incredibly iconic in and of itself,
but also just you know, it's a one of one
of its own kind type of movie. But yeah, it's

(38:26):
gonna be exciting. I mean, this is just like straight
up you get to see the best version ever. So
it's just always exciting for me.

Speaker 3 (38:33):
Yeah, I know that A twenty four just got stopped
making sense recently. Otherwise I would I would hope that
it would come to y'all. But this is the kind
of stuff that that Demi does best. In my mind,
I'm I'm not like, I'm not the world's biggest Demi
fan for his narrative features, like his narrative films, but

(38:55):
stop making sense of something I could have on repeat.
I just I love and all of his music videos.
I mean he's done like hundreds, right, so I just think, like,
I don't know, I love I love his visual style,
and I think this is exactly the way to to
to see it. So I'm so pumped about this. And
y'all got some amazing features on this. It's cool to hear.

(39:16):
So you got two full podcast episodes where Demi talks
about this movie.

Speaker 4 (39:23):
Cool.

Speaker 3 (39:23):
Yeah. And then there's a commentary by Scott Tafoya who
Scout Tafoya? Excuse me? Who's every single time that they speak,
it's it's just full of research and like passion. So
I love I love their commentaries. And then I think,
if I got this right, I think y'all even got
rolling Jaffey on here, which is pretty cool that.

Speaker 4 (39:46):
I didn't know that. That's really cool. Yeah, huh huh?
Is that how you? Also? I was just having a
debate with somebody about this, that's how you say? His
name is jeoffy Well and Joffey.

Speaker 3 (39:57):
Oh oh, I don't know for sure us I've said it.

Speaker 4 (40:00):
No, no, no, I mean that's what I was saying too.
The other person. The person I was talking to is like,
I don't know if that's how you say it, but no,
so I apologize. It's no, it's.

Speaker 3 (40:10):
Not it's interesting. How else would you say it, Jaffe?

Speaker 4 (40:13):
I don't know, maybe Josh No, but but it said
there's an accent anyway. Anyway, Yeah, that's that's crazy that
he actually got director of Killing Fields. That's crazy. Yeah,
perfectly fitting, perfectly fitting, of course.

Speaker 3 (40:28):
So yeah, Swing to Cambodia is the cinematograph release for
the month, and I think is there going to be
two this month? Is this one of two cinematograph announcements?
Do you know?

Speaker 4 (40:38):
Or is there you think there's another? I believe let
me let me say it.

Speaker 3 (40:44):
Because ye, there is, right, because this is number The
only reason I'm even asking is because, well, I mean,
it's interesting, but this is number eighteen, and I think
it's only up to sixteen before this, so I'm I'm
thinking that they're going to do so that you all
are going to do seventeen as well later on. But anyway, yes, So, okay,
so we're through. Oh there's one that I missed on

(41:07):
the VS mainline. Shoot, shame on me. Let's go back
to Oh no, no, we're good, re good. This is
a VSU. Okay, so the vs U for the month
is another massive one, so the.

Speaker 4 (41:23):
VS Can I derail this really quickly? Yes, I'm going
to derail really quickly because it was related to what
you said about Jonathan Demi. I'm also not the biggest
Demi fin in terms of the narrative stuff, and I
also really like the his documentary things too. But weirdly enough,
what you said about stop making sense, there was a

(41:45):
point when it was on our schedule, like it was
definitely like we were definitely planning on it, and because
it was just after the the negative was rediscovered a
technicolor and yeah, it was kind of a miracle, but
it never just never panned out. It didn't fit with
the you know what we're already doing at that point.

(42:07):
So but that's just a fun little derailment, a little
bit of lore regarding the A twenty four has it
now So it's good.

Speaker 3 (42:15):
Oh interesting, Okay, Yeah, that's really interesting. I mean I'm
not surprised at all, just knowing like how much Justin
loves music and I'm assuming music is a big part
of youall sidebar conversations in general, totally.

Speaker 4 (42:29):
So I think that one was like one that everybody
was kind of like, yeah, like even well, I mean
that was one of the breakthrough things like when something
you know, we're obviously wanted to put out things which
are kind of like people don't know about exactly. Yeah, sure,
but like that was an example of one which was
so big that you know, it would have just done
really well, and we could have done. But again, they

(42:52):
did a really great job with scanning us and I
saw the restoration. It looked really good. But that's the
end of my derailment.

Speaker 3 (43:00):
No, it's a good, good behind the scenes, a glimpse.
I'm into it. Yeah, but there this is a vs
U is the one that people guess correctly, and so
no one's going to be totally surprised by the fact
that the vs U for the month is the Golden Child. Yeah. Huge,

(43:21):
another huge, huge studio get and another great comedy from y'all.

Speaker 4 (43:26):
Yes, yeah, exactly. We're dipping our toes into the comedies. Yeah,
this one is by Michael Richie, who did a bunch
of you know, very famous comedies mainly from the I believe,
mostly from the eighties and nineties. Sure, like Fletch, and
there's just a bunch of a bunch.

Speaker 3 (43:45):
Of yeah, bad news Bears, Man Bad News Bears exactly.

Speaker 4 (43:49):
Yeah, there are a lot of great, great comedies. So
this is like a weird supernatural fantasy esque adventure thing
with Eddie Murphy, kind of like you know, it's right
after Beverly Hills Cop and so's like Eddie Murphy peek,
He's the person on the planet. He's literally the biggest person.

(44:11):
And yeah, you get to see it. It's a really
fun narrative. It's like it has really funny moments. Like
my favorite moment personally is when he jumps over the fence.
Eddie Murphy jumps over the fence and there's a family
grilling and he tries running by them and they're really
freaked out and they don't know what to do, and

(44:33):
they start backing away from him, thinking he's like a
random person like trying to break into their their space
or something. And then they back off and then he
goes no, no, no, no, no, go back to the you're
burning you're burning the burger. The dad goes back and
flips the burger, which is just a really funny joke

(44:57):
and like very Eddie Murphy.

Speaker 3 (44:59):
Exactly feels like he would improve a little bit.

Speaker 4 (45:02):
Yes, exactly right. It feels like something which is just
so off the cuff that either was the best written
script moment or is like really great off off the
cuff Eddie Murphy brilliance or something totally. But yeah, that's
a really fun one.

Speaker 3 (45:20):
This is great. And you know it's interesting because he
did he kind of was for a while. He was
like a studio comedy guy. Like there's you know he
if you just look at Richie's movies from like basically
I don't even know, like nineteen eighty one or nineteen
eighty three on. He's working with Walter Mathow a lot.
He's working with Robin Williams. He's working with Chevy Chase,

(45:43):
like he had that football movie with Goldie Han, like
he did Cool Runnings, which was such a fun movie,
or he at least developed the story for it. But anyways,
like he's just he's kind of all over the comedy scene.
And this is like such a weird, quirky story. Like
this is one of those ones where as you watch it,
you're like, how did this get greenlit?

Speaker 4 (46:03):
Yeah? Totally, this is like it's a very like you
know it. Yeah, but again it kind of has a
similar vibes as like last time. There's a weird echo
in terms of like what we're doing this time versus
last time. Like to me, this is like Congo from
last time that it has like a similar like supernatural

(46:28):
adventure vibe with like a specific type of B movie
back backsetting like what I called yeah, whereas like you know,
we Lever Jade, dirty work. I don't know what that one.
Throw that one out in terms of like an echo
from the past. But but yeah, this one is like

(46:48):
it's a very fun movie scam from the o CN
So it looks great. It kind of just snuck onto
the licensing contract thanks to the awesome people there. They're
just like, yeah, you guys should do this, and even
though yeah, it's kind of a miracle that it got
onto the schedule, so kind of just snuck on. But

(47:13):
but yeah, I'm pumped about it. I think it's a
fun movie. I always like it when a comedy gets
on because Joe is not a fan of comedy and
it takes a lot to convince them to do any
anything in comedy related.

Speaker 3 (47:28):
Okay, I mean I kind of get it. Though, like,
to be honest, a lot of comedies are really bad. Yes,
I mean so I'm not. I would never say that
I'm anti comedy, but you know, like I'll try to
go every every like other year or something. I'll try
to give stand up another chance. And I'm sitting through

(47:49):
these shows sometimes and I'm just like, man, like, you're
not funny.

Speaker 4 (47:52):
I hate stand I'm so sorry. I shouldn't say this publicly,
I guess, but I'm not a stand up fan. I
just can't watch. There's like the only people that I
can watch to stand up are Norm McDonald's. I think
I could do George Carlin or Richard pryor Yeah. Yeah,
I like I'm you know, I know that I should

(48:14):
like like people like John Mulaney and all these I'm
just not a stand up person. I know I can't
do it.

Speaker 3 (48:20):
It's okay, I'm not. I'm not either. I mean, I
know he's he's a tortured soul and a little bit.
But Luisy K's stand up is really good.

Speaker 4 (48:28):
But like his stand up is also great.

Speaker 3 (48:30):
Yeah, but yeah, like there's not It's kind of like
stand up to me is exactly the same as comedy
films like if it's done well, I like, I love
it and like I'll champion it, like I remember sitting.
I don't know if you've seen a movie called super Troopers. Yes, yes,
I remember seeing that in theaters with like three other
Stoners and we never laughed harder, like just ninety minutes

(48:55):
of just like gut busting. And I watch it now
and it's like, maybe not that funny, but as a
nineteen year old or twenty year old like lost my shit. Yeah,
there's those kind of comedies, but it's rare that they
get to me like that anyways. But but Golden Child
is fun because not only is it a comedy and

(49:15):
you get to see Eddie Murphy being like Eddie Murphy
in a very fun way, but there's like stop motion
I think they call it go motion in the movie,
and and the disc actually interviews the people that are
behind it, which is cool. Yeah, like that kind of
the people that create the demon are on the disc

(49:37):
talking about that, which is great. They like some of
the painters that created like the Matt paintings like in
the movie or on the disc. I don't know. There's
a feature of how you like sell something into Hollywood,
which is super interesting, especially for this film of like literally,
oh that's cool. That's literally what I just said, Like
how did this get greenlit? So I guess the person

(49:59):
that Dennis felt me and who got this greenlight is
on there talking about that, which is cool.

Speaker 4 (50:03):
That's wild. Yeah, I mean that's to be perfectness. This
is like the perfect Claudia project. Claudia is just really greated.
I'm a broken record now, but this is like, you know,
Claudy also did Congo, and Claudia is always just the
best at like answering those questions that, like what you
just said, like how did this get green lit? That

(50:25):
is a question that makes a really good special features extra.

Speaker 3 (50:30):
Yeah, sometimes she's.

Speaker 4 (50:31):
Able to find it seems so simple, but only a
good producer actually finds that. Also, I must give also
throw it because I didn't do this to Jade, but
Elijah Drenner did Jade, so he deserves all the credit
for the extras on that, which are pretty extensive too.

Speaker 3 (50:48):
Love Elijah, Yes, and Elijah is a bit of an
erotic thriller sort of expert, right, isn't it something that
he loves? Specifically?

Speaker 4 (50:56):
I believe so he's like, I mean, he also did
looking for mister goodbar I believe.

Speaker 3 (51:02):
Yeah, yeah, okay, so that kind of.

Speaker 4 (51:04):
Like hits that. Yeah, he's a very like, he's a
very good he's very good taste in movies, and he
doesn't share. It's difficult to get it out of him.
So I liked how you're like, Yeah, I'm glad you
talked to him because you probably got way more out
of him than I ever have been able to get
in terms of his personal taste on certain movies.

Speaker 3 (51:26):
That's awesome. No, Eliza is great, a huge, huge fan,
and it's nice to hear that Claudia is doing such
a good job for you. All two continues too, because
it's funny, like I think that Claudia everybody that I
talked to with Vinegar Syndrome who finds out that Claudia's
we're trying to schedule time to get her on here
is always like, oh, that's the one I want to hear.

(51:47):
Like she's sort of like like got like a cult
following inside Vinegar Syndrome.

Speaker 4 (51:52):
It seems totally Yeah, I think it's it's very weird
because she's like this mystery like she's the hairy lyon
of Vinegar season where basically everybody always mentions her as
like the MVP, she's the most important character in the
plot and who family appears in the third quarter, you know.

(52:13):
So I'm very excited to see her interview with you.
It's gonna be very nice.

Speaker 3 (52:17):
That's cool. Yeah, that's great. Well, okay, so there's I mean,
that gets us to two of the four VS titles,
the VSU title and one of the two we believe,
one of the two cinematograph titles. And so then in May,
like late May, twenty fourth, I believe twenty fifth in

(52:39):
that timeframe is going to be the full sale with
the full titles. You do have the ability to go
on right now and get the absolutely everything package, which
is three hundred and fifty nine bucks, which sounds like
it's not nothing, but for that, Okay, this is going

(53:02):
to answer the question we have. So yeah, there's another
there's two more VS titles, the one more cinematograph title,
the trilogy from VSA that we're talking about, VSL title
that we mentioned, and then a new Degausser title. So
what is that one, two, three, four, five, six, seven, eight, nine, ten,

(53:25):
eleven twelve movies four right now is selling for three
hundred and sixty bucks, which is I should be better
at math thirty bucks a title, which is and most
of these are UHD. So that's a pretty slamming deal
if you think about all the UHD stuff you're getting
for that.

Speaker 4 (53:44):
And in addition to that, if you get you know,
Dirty Work, both of the cuts of Dirty Work are
in UHD. It's kind of nuts. We're doing the theatrical
and then you get both of them. It's crazy. It's
the two uhds for one. Have you ever gotten such
a deal? It's ama as a ilsman.

Speaker 3 (54:00):
It's good up, Okay, I mean that there's I want
to talk briefly about the partner titles, but just damn man.

Speaker 4 (54:12):
Can I can I do one more thing? Sorry, I'm
gonna interrupt one more time. I'm very excited. I'm only
going to say this is my this is me being
like a tempting getting fired. But the Deguser Secret Deguster title,
I'm very excited about it. I'm like, you know, normally
I'm not really I'm sometimes I'm very into the show

(54:35):
on video stuff. In this particular instance, I'm a big
fan of this movie. I'm a big fan of the
filmmaker and the extras are going to be very cool. Wow,
that's all I'll say.

Speaker 3 (54:48):
Okay, well, I mean yeah, Degouser warmed my heart by
putting out Cannibal. Yes, but I'm they're They're on my
radar now for sure. Is they are like a person
at vs who runs the Gowser. Is that like something
that there's multiple contributors on.

Speaker 4 (55:06):
I think, like, I think the main brain of the
Gauser is Ryan. Ryan is the one who kind of
picks what kind of gets on, and he's done a
lot of the acquisitions and oftentimes everything through the film
side of things is pretty much determined, like it in

(55:27):
terms of like the studios and stuff like that goes
through generally goes through Joe, Like even the cinematograph kind
of like convinced Joe that it will do well and
then he'll submit it to the studios or large collections.
But then Ryan is really the one who's kind of
like you know, pushing for the dig Ouser titles to

(55:48):
get on. So like when we go to Trauma, oftentimes
that's how Cannibal happened. Basically we wanted we would have
wanted to do that if we had the original negative,
but the only way, it was probably one of the
biggest reasons why we actually did to Gausterer because we

(56:09):
wanted to do that title. And yeah, that's weirdly enough,
it's it's kind of you know. Yeah, So largely Ryan,
Ryan is the one who's the most invested in it,
but every once in a while other people submit things,
like I asked him about this one a long time ago,

(56:29):
the Surprise to Guster title, and I was just like,
when are we putting out this? And he's like soon,
and now it's finally coming out. But yeah, yeah, mostly Ryan.

Speaker 3 (56:42):
Well, uh, I appreciate the insight and that's cool man,
I I it's a it's a fun one to watch
anything else on the on the mainline stuff before we
get to OCN briefly.

Speaker 4 (56:56):
Are we going to go to malouson too? Oh?

Speaker 3 (56:59):
Of course we should. Yeah, yeah, yeah, So thank you
for calling that out. By the way, I'm still trying
to get in the habit of checking over there. So
one title this month from Melo you seine, and it's
a Radley Mesker classic, right Naked came the Stranger. Yes,

(57:22):
do you know much about the release here?

Speaker 4 (57:24):
So yes, So this kind of this one came from
the elements are not in the archive permanently, but they
came from the Academy, so they came through our you know,
the archive, and basically we're scanned here essentially shot on
Super sixteen and edited on thirty five. I know this

(57:45):
is not what people care about, but I don't know,
but then blown up to thirty five and a lot
of it was edited on thirty five. So basically it's
a really beautiful film. Anybody who's a fan of hardcore
movies kind of nose Radley Metzker. It also has a

(58:07):
unique tie in with one of the other films. Let
me let me just check this one, am, because I'm
maybe remembering it incorrectly. Yes, So, so we've put out

(58:29):
this uh Jonathan Demi movie, uh siming to Cambodia, Spalding Gray.
Spaulding Gray has appeared in marsh you know Cherry, which
is also by Radley Metzker. What a beautiful turn of
fate that we also are putting out another Radley Metzger movie.

(58:49):
So it's the two versions of the film are very
very like. We're including two different versions. Sometimes we'll not
put the soft version. I watched the soft version for
the first time last night. It's very like you know,
it's it's it's pretty good. And I really one of

(59:10):
the things that I really liked about the soft version
is compared to the hard version, which obviously is just dirty, dirty,
dirty people going going at each other. But they in
one scene, I thought it was really funny these very
precariously stacked books which cover people's generals, which you know,

(59:33):
with the hardcore films, it's always about these little details
about how people convert a film film's narrative from hard
to soft, and I thought that was one that I
just honestly never seen. It's such an area date way
of hiding penetration. But yeah, yeah, it has a lot
of famous people in it, like Derby, Lloyd Rains and

(59:56):
Mary Stuart and yeah, yeah, it's a pretty it's a
it's a good one.

Speaker 3 (01:00:03):
Well, if for folks that are going over to the
Melusine site, Last Tango and Paris still has a thousand
copies left too, so just PSA, do not pay eBay
prices for Last Tango in Paris, just go to Melusine
and buy it there for a regular price.

Speaker 4 (01:00:21):
And I think the VS version already sold out.

Speaker 3 (01:00:24):
I think, no, that's why I like that people are
putting the VS version on eBay, but it's like and
they're already charging like ninety bucks for it, but it's like, dude,
hold on, it's like literally right here, I guess if
you'd have to have that cover right. But okay, So
I'm gonna save the Saturn's Core last because we're gonna

(01:00:47):
be very very fortunate here to be joined by Ross
in just a moment talking about that, So I'll save
that one till last. But there's a couple of OCN
titles that I'm stoked about for this month. And if
there's any that I don't call out that you want
to feel free, I don't mean to limit it at all.
These are just the ones that I'm buying based off

(01:01:08):
of either some history with them or something that's exciting
about them.

Speaker 4 (01:01:12):
And so I can see where you switched to being
the experts. I want you to pitch them to me,
because I don't know. I don't know many of those titles, honestly, Okay, please.

Speaker 3 (01:01:21):
I'll do my best. So there's a there's a movie,
so one of the just as an aside, like I'm
love y'all's partnership with film Movement classics. They've been around
a long time. They're one of the you know, gray
hairs in this game from like an acquisition and theatrical

(01:01:42):
distribution standpoint. So I'm super happy that they're getting a
physical media label now. And they've primarily been releasing a
lot of the Asian films up until recently. Now they're
branching off into other areas. Uh, there's there's one in
particular that's coming out this month from them that it

(01:02:03):
was a big surprise because it's a movie that people
don't talk about a lot. But it's a film from
nineteen sixty six from a guy named Arturo Ripstein or Ripstein,
and it's called Time to Die. This is one of
those one that's like, you know, Bob Saget's like he's

(01:02:23):
like a comedians comedian, you know.

Speaker 7 (01:02:25):
Yes, like comedians reference by the way, Yes, yes, yeah,
I'm in locked in and like this Arturo Ripstein is
like a director's director, and there's not he doesn't have
the same probably the same his name doesn't have like
the cachet.

Speaker 3 (01:02:40):
But Film Movement got Alex Cox to come on and
gush about this movie as in a video introduction which
just shows the like cloud.

Speaker 4 (01:02:49):
That it has very cool.

Speaker 3 (01:02:51):
Yeah, and Erica Schultz does an essay here which is awesome,
Like she's just I love Erica Schultz. If you haven't
listened to Unsung Horrors, I'll shout that out again. But yeah,
Time to Die is a fantastic movie. I haven't seen
this in years. I saw it on a like one
of these what's it called, what do they call it?
Repertory kind of prints in a theater twenty years ago

(01:03:14):
or so. But it's like a m it's a Mexican
story and it's sort of like I guess spaghetty western ish,
and it's all about revenge. It's just a great story
on a great movie, and I can't wait to see
a good restoration of it.

Speaker 4 (01:03:33):
Leading So I'm so sorry. I'll stop.

Speaker 3 (01:03:37):
No, do it, do it, do it.

Speaker 4 (01:03:38):
I'll see that. I'm looking at the side too. I'm
along with you while you Yeah, this looks really fucking up,
my la.

Speaker 3 (01:03:45):
Yeah, it's great and our tour. Ripstein is somebody that
people need to know more and celebrate more, and it's great.
And this movie is great. There's a there's a movie
that people talk about sort of sort of in the
same line as Reanimator. It's not exactly the same, but
it's got a similar kind of crazy you know, mad Scientist,

(01:04:08):
and it's a Pat b Show movie from nineteen eighty seven.
AGFA put it out a while ago, and now Bleeding
Skull is getting it as a standalone release. It's the
Soul Tangler. Yes, it's a this is a fun movie
and it's very eighties but in a really fun way.

Speaker 4 (01:04:29):
Well yeah, I mean I've heard, I've heard tell of
this movie, but I think, yeah, this is one of
these ones which is going to be doomed always from
like a video source now.

Speaker 6 (01:04:41):
But yeah, but I.

Speaker 3 (01:04:44):
Mean that's okay. I think, you know, like in the
sense of.

Speaker 4 (01:04:46):
This feels shot on video.

Speaker 3 (01:04:48):
Yeah, it does, but it's like it I don't you know.
Sometimes we were talking a little bit about this before
we started recording certain SLV movies. It takes you a
minute to kind of get into it. You have to
like almost like adjust yourself in your brain. Yeah, and
maybe there's a little bit of that here, but it's
it's clear right away that this is going to be
a schlocky, gory, just messy horror movie, and it's super fun.

Speaker 4 (01:05:13):
Very cool extras are really good on this one too.

Speaker 3 (01:05:16):
Yeah, yeah, yeah. They actually get pat By Show to
come do a commentary, which is great, and I think, yeah,
that's right, there's a music video. Some of these reported
over from the other release, but very happy this is
getting a standalone release and it's a fun movie. So
Bleeding Skull always sells pretty well too, as far as
I know. Speaking of AGFA, I guess for a minute,

(01:05:41):
there's one like they always people are always really stoked
about these mixtapes that they kind of put together, and
now they're starting to put these mixtapes out on disc,
which is great. So they've gone back into something weird
and they have a second volume two of something that
called the Scare Film Archives.

Speaker 4 (01:06:03):
Very cool. Yes, scare films are awesome.

Speaker 3 (01:06:06):
Yeah, yeah, yeah they It's just like this one. I
love this sentence here prepared to learn everything you've ever
wanted to know about sentient flames, rebellious bicycles, and workplace dismemberment.

Speaker 4 (01:06:23):
You they love using the term dismemberment and uh, scare phones.

Speaker 3 (01:06:28):
I love I love reading it.

Speaker 1 (01:06:30):
Yeah, but yeah, it's just it's it's just such a
funny piece and quirky piece of Americana that a lot
of these were actually shown in classrooms and like workplaces
and stuff, and it's just I love these releases.

Speaker 4 (01:06:45):
Can I see something? I'm looking at it now. So
also shout out to uh scipe Alzheimer, who's like a
very famous, uh well known person in archiving, kind of
a legend.

Speaker 8 (01:06:59):
He a v geeks and uh he every single time
he goes to a miya he Uh he has this
project where he's trying to make a comprehensive list of
everything that's ever been on sixteen millimeter.

Speaker 4 (01:07:15):
So that's how you know that this guy is really
deep in the reads in terms of like film marketing.
He's a real one. That's crazy, so really cool to
see a commentary with him. And he's a board number
of AGFA.

Speaker 5 (01:07:28):
So M.

Speaker 3 (01:07:32):
There's a there's a like a bonus thing on here too.
It's worth calling out. So Brett. You get to see
the mind of Brett Berg a little bit. He puts
together a full length mixtape on here as his feature
as a special feature.

Speaker 4 (01:07:44):
Oh awesome, very cool.

Speaker 3 (01:07:46):
Yeah.

Speaker 4 (01:07:47):
So and tnan o'rourk Oh.

Speaker 3 (01:07:50):
Yeah that's right, we should call that out. Yeah, OK,
sits here for the call whole commentary, which is wild.

Speaker 4 (01:07:55):
Yes, Tiernan, who I'm now, We're I've been talking with
learning a lot about a new shipment of stuff which
is going from Austin to us. So yeah, shoutout turning.
He is the film film handling guy there, yep, right individual.

Speaker 3 (01:08:13):
Yeah, the people at A like for All are all
super good people.

Speaker 4 (01:08:16):
Mm hmm.

Speaker 3 (01:08:18):
Okay, so going on quickly, two, just three more and
then we'll call it a day here. So Connie continues
to put out, I just like they're one of my
low key favorite partner labels. It's hard to say favorite
because like, you know, we're just gushing about AGVA and
like we're just gushing about Saturn's Core or we're just

(01:08:40):
about to and like it's so easy to gush about
all the partner labels. But I love the just like
quiet consistency from Connie. M hm Pearl and uh and
oh shoot, my mind is going blank that her partner. Uh.
They're just such genuine, like fun any kind people, and

(01:09:02):
they find movies with this like Deep Heart and they
have a massive release this month. So as far as
Filipino cinema goes, there's very few bigger than Love Das
and in Love Dias catalog, there's very few films that
are more interesting, I think than the one they just

(01:09:23):
put out called Batang West Side, and they there was
a This movie is like a very personal one for
for Love. It was there was like, you know, it's
kind of hard to explain about spoilers and stuff, but

(01:09:44):
like it's it's sort of has a lot of questions
about immigration, and it goes into a certain part of
the country that's like very cold.

Speaker 4 (01:09:55):
And.

Speaker 3 (01:09:57):
It's I think this movie is shot in America. I
hope I'm not getting that wrong, but it talks, it
talks a lot of it or maybe both. Yeah, shot
in the United States. Yes, that's right. It's one that
is three hundred and one minutes long. It's not a
short effort at all. But it's a huge project and

(01:10:17):
it's all shot on sixteen millimeter. It's very much a
personal kind of passion project for Love Diaz, and it's
really cool they got this release out and they actually
get interviews with Love, they get interviews with the actors,
and there's a great well, I'm assuming it's a great
booklet that was written about the project and about Love Dias.

(01:10:37):
So here's a name that I wish, you know, more
people kind of had top of their tongue, tip of
their tongue. He's just a really interesting guy and it's
making a lot of very evocative, like bold movies. So
this is a this is a huge one. Very excited
about this.

Speaker 4 (01:10:53):
You hit a lot of different things that I would
be interested in checking out because I have to admit
I also don't know this a filmmaker. It's a blind
spot of mine. But I genuinely love Connie's work. I
feel like no one actually a lot of these you
know films from Asia which are more art house or documentary,

(01:11:14):
very few people would actually put the love and care
into these movies and actually market them in a way
which would gain interest. And you know, as they have.
So they do a really really amazing job and they
help us a lot with the with genuinely they they're great,
great people in terms of all of this stuff with

(01:11:34):
the Hong Kong films that we do. They're instrumental in
all they really care about preservation.

Speaker 3 (01:11:41):
Ariel, the name just came to me.

Speaker 4 (01:11:44):
Did I tell you? Did I did? I? She came
to the they both came to the archive, and then
she looked at me and said you're taller than I
would have expressed. And I was like, huh, that's I
guess that's nice to hear.

Speaker 3 (01:11:59):
I seem no, but Pearl does a lot of the
translations for subtitling, right, if I remember.

Speaker 4 (01:12:06):
It, I believe. So, Yeah, he's a few different people.
We always kind of like, you know, but if if
they're available, oftentimes they're you know, they're really busy with
their own stuff.

Speaker 6 (01:12:17):
Yeah.

Speaker 3 (01:12:19):
But anyways, Yeah, love love Pearl and Ariel, and I'm
very happy for this release. So there's one more that
I want to talk about, just because we're about to
transition into an interview with ros Schneider and I can't
I can't wait to get into it. So I won't

(01:12:39):
say too much other than to say you are Alone
is a film from VS alum Gorman Bishard MHM. So
y'all might know him from the Film's Disconnected and Psychos
in Love, which huge huge like classic VS you know releases,

(01:13:00):
and this movie is crazy. I think this is really
going to push people into what's possible through s OV
Because if you told me Richard link Later directed this movie,
I would totally believe you. It's very intimate, actor driven,
story driven, dialogue driven. It's it's not at all like

(01:13:21):
the typical s OV horror stuff, and it's awesome like
it it's a it's a quick eighty four minutes and
the movie is like good, good, good good, and in
the last three minutes it becomes great. I had a
similar reaction to this that I did for The Calling.
Have you ever seen the calling for Meal's catalog? No?

Speaker 4 (01:13:39):
Wait, the Calling? Yeah, I actually don't think so. I
think that's an old that I have.

Speaker 3 (01:13:44):
Yeah, yeah, yeah, done, So I hope that's I hope
I'm getting the name right. Hold on, I'm going to
double check just to make sure I'm not leading people astraight. Yeah,
the caller Coller, Sorry.

Speaker 4 (01:13:55):
I've seen the Collar.

Speaker 3 (01:13:56):
Yeah I knew I was closed. The Caller where it's
like it's a good movie and then it ends and
you're like, okay, no, this is a great movie.

Speaker 4 (01:14:03):
Yeah.

Speaker 3 (01:14:04):
This has a similar vibe. Totally different stories, completely different
tone and everything, but like similar in the way that
it just hooked you in the last little bit. It's like, damn,
this went from good to great. So I can't wait
to talk about this with Ross a little bit and
Gorman's all over the release, which is cool.

Speaker 4 (01:14:23):
Yeah, he's awesome. He just came to buy the building
a few maybe a few weeks back. Maybe not a
few weeks, maybe a few months. But he was really lovely. Okay, awesome,
I believe. But also fun fact, unrelated to this, but
but we're we're scanning a bunch of Carmine Coppo Bianco's

(01:14:45):
super eight millimeter okay, short films, who is the co
writer on Psychos and Love. It's a little fun fact.
I don't know if it's ever going to make a
release or anything, but that, you know, my brain is
just riffing here.

Speaker 3 (01:14:59):
That's cool. I love the connection. Yeah, no, it's cool.
It is one thing I guess probably worth calling out.
I just think it's interesting. Like there vinegar syndrome does
a good job. It seems like once you have connections
with somebody, like Scooter McCrae is a good example of this,
or like like once you're connected to somebody, they kind
of they want to keep coming back. Like it's clear

(01:15:20):
that y'all treat people well and like have formed good relationships,
because it seems like once they're in they kind of
get hooked, which is a good sign.

Speaker 4 (01:15:31):
I hope. So I feel like Scooters especially just a
lovely example everybody who kind of we've gotten to work with.
You know, I think Gorman still has his film materials here,
like I have them all on the database. So I tried.
I was about to ask him if he wanted his
materials back or if you wanted to put them onto

(01:15:53):
Posity or part like write it out, but he left
before I asked him. So, but yeah, yeah, everybody seems
to trust us, which is good. I'm like, I'm hoping, like,
you know, we're still seen as like the force for
good even as we get larger and you know, put

(01:16:13):
out bigger movies and stuff like that, because in the end,
I think everybody here, genuinely from everybody who makes these
decisions about what we put out and what we acquire
and release and all this stuff, we really do care
about these smaller movies that we fall in love with
before anybody else falls in love with them, you know. Yeah,
So not sure. This does look really cool. I'm looking

(01:16:37):
at more about it and looks fucking awesome, but.

Speaker 3 (01:16:40):
Just I mean the premise of a guy who has
known a girl her whole life until she becomes a
young woman, sees her at a party as an escort,
and then calls her to book an escort time with her.
Just that story in itself is interesting of like where

(01:17:01):
are they going to go here? Yeah, the way it
plays out is very well constructed from like a dialogue perspective,
and if I could see any knock on it at
all is some people don't love like super dialogue heavy movies,
which fair. I mean, there's no way to get around that.
It is that right, It's just constant dialogue between two people.

(01:17:23):
The whole thing takes place in one room basically, so
like there's no way around that. But the payoff is
just so good. It's so well done. So anyways, I
am a huge, huge fan of this and yeah.

Speaker 4 (01:17:38):
Oscar, I'll watch it. I'm a fan of a chamber
of peet.

Speaker 3 (01:17:43):
Good Oscar, I love having you on. This has been
a perfect example of why I love the energy you
bring and the intelligence you bring in thoughtfulness. So thank
you for doing this again.

Speaker 4 (01:17:55):
Well, thank you man. I was very excited when you
brought up the possible of it happening, and I'm happy
we're able to discuss these you know, this month's Slate.
It's crazy and I hope we get to do it
again soon and I get to beat Curtis's record, which
was so deviously stolen from me. But yeah, make it easy. Chris.

Speaker 3 (01:18:18):
Thanks asking for you too, all right, awesome, Well, Oscar,
thanks again for coming in. That's cool. Love that conversation.
And I am super lucky this month because I'm just
going from one person I love to another. Ross. We
met back in the Lava By film days when I

(01:18:42):
reached out and you were kind enough to come on
and interview a new podcast, and we've stayed kind of close,
and you've recommended some people to me over the years.
So so glad to officially get you on Punk Vacation.
Of course, I'm saying, Ross Snyder CEO and president and
a dictator of that in his core.

Speaker 6 (01:19:01):
Yeah, thanks for having me, Chris. It's great to be back.

Speaker 3 (01:19:06):
And I was telling you but when we first started recording,
but the amount of love that these filmmakers have after
they spend a few minutes with you and work with
you and see your passion is just amazing. It's so
cool what you're doing.

Speaker 6 (01:19:20):
I mean, that's great to hear, you know, I mean,
anything that comes out on Saturn's Core is one hundred
percent of movie that I love and a filmmaker that
I admire, so huge part of what we do is
just trying to focus the spotlight on, you know, the
filmmakers that I grew up having in affinity for, as

(01:19:42):
obscure as some of them may be.

Speaker 3 (01:19:45):
Well, that's the thing that I think is amazing that
you know, we're just talking to just picking one recently,
just talking to Richard Baylor and hearing about how like
he was telling me when you first reached out, he
was like, how does this guy even know about my stuff?
But then you were like reminding him and educat eating
him on why you loved it and specifics that he
had forgotten. And it's just very cool to hear you're

(01:20:05):
not only interest, but like depth of knowledge you have
in these kind of very obscure films.

Speaker 6 (01:20:10):
Oh well, yeah, thank you for that. Yeah. I mean
with Richard, probably surprising to him. He was somebody that
I had been searching for for for many years because
I was such a fan, and we had actually corresponded
in the nineties when he was making his movies through

(01:20:30):
snail mail. We used to write by you know, I
wrote to him as a fan, and you know, ordered
some of his tapes, and then we continued a small
correspondence and I actually saved some of that correspondence. I
was actually able to show him like, oh, look, you
know we we corresponded a bit in the nineties. I
still have these, you know, flyers that you sent me

(01:20:51):
for different videos and stuff. So yeah, that was a
great start off point for us.

Speaker 3 (01:20:57):
Instant trust.

Speaker 6 (01:20:57):
That's really yeah.

Speaker 3 (01:20:59):
And his I'm just looking at his slip is down
almost below three hundred now, which is great. I hope
people keep giving that a chance because that's a really,
very very cool retrospective. But before we get into the
main topic today, which I'm very very excited to talk about,
you are alone. But before we jump into that, it's

(01:21:21):
been fun to watch Saturn's Court growing Europe to god,
what is it now, like almost fifty titles right through.

Speaker 6 (01:21:29):
Us EN that's correct.

Speaker 3 (01:21:30):
Yeah, that's awesome, man, congrats. How's it going?

Speaker 6 (01:21:34):
I mean, super busy, as I'm sure people know. You know,
we put out a disc every month on the first
of the month, so you know, it's a NonStop grind
to get these things out. But it is a labor
of love, and so it comes with a great deal
of enjoyment for me to do and the fact that

(01:21:56):
I've been able to get you know, fifty movies that
I love back out into the world in these cool
additions is you know, a treat in itself. So yeah,
it's been super fun and and you know, I'm trying
to you know, obviously, the horror films, the gore, the splatter,

(01:22:19):
the weirdness, you know, David the Rock Nelson and Wave
movies and things like that. That's all sort of our
bread and butter. But I've always wanted to kind of
do other things, you know, in the world of shot
on video because it is more than just you know,
a lot of people equate shot on video with horror,
but there was a lot more out there. And so

(01:22:42):
obviously as the label has progressed, I've tried to diversify
a little bit and include things like Dogs and quicksand
which is more of like a black comedy, Ultra Megalopolis,
which is a low fi analog documentary, and uh, you know,
obviously the Lydia lunch Set, which is more of you know,

(01:23:04):
confrontational uh per formance art spoken word. So yeah, you know,
I still obviously we love doing horror films and and uh,
genre films, but I am always interested in pursuing other
avenues of the film world or video world as it

(01:23:28):
may be.

Speaker 3 (01:23:29):
It's like a format, it's not a genre.

Speaker 6 (01:23:31):
Right exactly. Yeah, yeah, I mean, we we've stayed true
to the fact that, you know, we only put out
movies that are shot on video, were solely devoted to
features that were created using video. So yeah, you know
that that's sort of our our little niche there.

Speaker 3 (01:23:54):
That's great man. Congrats to night. And I know I
was I was telling I can't remember which guess it
was now, but we were talking about how excited I
was for Bone Sickness and what a huge release that
was for you, and then I looked and it was
already salon, So yeah, I.

Speaker 6 (01:24:10):
Mean, oh, thank you so much. I mean, that was incredible.
And you know, it's been one of our most requested
titles ever since we did At Down They Sleep. It's
been one that constantly comes up in conversation, you know,
as I meet people at conventions and things like that.

(01:24:30):
So we knew that it was gonna have interest in
I think the interest in the filmmaker Brian Pallens has
grown extensively, you know, since we put out at don
They Sleep, and we've done screenings of at Down They Sleep,
and so I think he's garnered. He already has a
big fan base and interest, but I think that that's
just a groan over time. So it was just perfect

(01:24:54):
timing to to unleash bone Sickness, which you know a
lot of people consider his masterpiece.

Speaker 3 (01:25:00):
Well, and not to get too tactical, but the standard
edition is still out, do you know if there's any
more coming.

Speaker 6 (01:25:06):
I'm pretty sure that the standard edition will be repressed. Yeah, okay,
it's just a matter of that. It went so fast,
I'm sure it will. It's gonna load up again.

Speaker 3 (01:25:16):
So no, that's cool. Yeah, just just wanted people to
hear that in case they're debating buying it on eBay.
Just wait, just wait a few weeks.

Speaker 6 (01:25:23):
Oh yeah, it'll be back.

Speaker 3 (01:25:24):
Awesome. Yeah, that's great. Well, yeah, you already kind of
mentioned Lydia lunch. That was when I was going to
talk to you about. That's almost down below three hundred
as well, So that's great. I mean, she certainly has
a little bit a cult following anyways, but that's fun
to see her getting some more attention now.

Speaker 6 (01:25:43):
Oh yeah, well, I mean it was a dream come
true to put a Lydia Lunch release out on the label.
She's someone I've been a fan of since I was
a teenager, a huge fan, and have followed her career
all the way up until now. Well, and you know,
when the opportunity arose for us to get those video

(01:26:07):
features she did, especially the Gun Is Loaded, which is
a VHS tape that I played out quite a bit
in my teenage years, it was just a great opportunity
to get those restored and back out into the world.
So yeah, that was a that was a really fun
release and one that we worked on for a long

(01:26:28):
long time.

Speaker 3 (01:26:29):
So well, congrats. Thanks, I'm glad, and it's good to
see it's selling now too and going you know, I
guess speaking of ones that are selling well, so we've
got you know, there's a release this month that you
weren't sure about because it represents a little bit of

(01:26:50):
a departure from the genre side of filmmaking more into
just kind of straight narrative filmmaking and selling really well,
which is awesome. But it's it's vs favorite Gorman Bashard
back with one of his movies from nineteen ninety or

(01:27:10):
sorry two thousand and five. Two thousand and five, yeah,
called You Are Alone. So you want to talk about
that a little bit?

Speaker 8 (01:27:16):
Uh?

Speaker 6 (01:27:16):
Sure, Well, I've loved Gorman's work. I think I discovered
Psychos in Love at a sleepover party in the VHS days.
A friend and I rented it as teenagers, and it was,
you know, just what the doctor ordered. At that time.

(01:27:38):
We were bick evil Dead fans and Trauma fans and
Peter Jackson fans, and the wit and the humor and
you know, the fourth wall breaking of Psychos in Love
with the in gags were just incredible. So I've been
a huge fan of that movie for many years, and
I you know, continued to follow Gorman's filmmaking output. The

(01:28:04):
film he made after that galactic Jigglow for Charles Band,
which he despises, I actually quite enjoyed quite a bit
because it actually had jokes that carried over from Psycho's
in Love and it definitely gave you that feeling of
like an an insular world of a filmmaker creating a universe,

(01:28:26):
you know what I mean. And so I've liked that
a long time. And then after he made Cemetery High
and sort of dropped out of filmmaking a bit discouraged,
he started writing fiction novels, very acclaimed fiction novels, and

(01:28:46):
I knew this, and I would, you know, search through
the used bookstores in my area until I found these things.
His first was called The Second Greatest Story Ever Told,
which is an amazing novel that I would recommend everybody
check out. It's been optioned for the screen like seven times,

(01:29:09):
one time with Winona Ryder in the lead. It just
has never has never happened, but it would make a
great movie. And I continued to follow his novels and
was a huge fan of his fiction output. And you know,
he basically took a sabbatical for about ten years of
just focusing on writing novels. And as you mentioned, in

(01:29:33):
the early two thousands, he created this movie You Are Alone,
which at that time, you know, mini DV was the
new thing, and you could create a feature film for
a very small amount of money, and that's what he
chose to do. He created what is essentially almost a

(01:29:55):
two person chamber piece that's almost set in a single location,
which is the the hotel Duncan, which is a very
storied hotel in Connecticut. And yeah, he created this this drama,
which I loved right from the get go. I just

(01:30:16):
thought it was very powerful and strong and interesting, and
it's definitely a great testament to you know, the practicality
and of what can be done with a small amount
of money. You know, it's a great testament to that.
And so I knew that it would be a bit

(01:30:39):
of a learning curve, probably for the Saturn's core fans.
But I have stayed in contact with Gorman, and at
some point I just decided, you know what, I would
really like to have you, our alone, come out on
the label and hopefully our fans will give it a chance,
you know, which was what my hope was.

Speaker 3 (01:30:57):
Well, I want to you know, have you ever heard
of this? I'm going to take this right back to
what you said. I promise have you ever heard of
this Iranian filmmaker called Jafar Panahi? He recently The most
famous thing he did stayside recently is No Bears. Maybe
like a year or two ago.

Speaker 6 (01:31:15):
I saw No Bears.

Speaker 3 (01:31:16):
Yeah, okay, but likes he's sort of, you know, famous
for continuing to make movies even though the government of
Iran has told him he's not allowed to make any
more movies, right, right, and he finds these like loopholes
around it by getting other people to shoot for him,
and then he'll film the process of doing this as
if he's he's very like cheeky about it, but right,

(01:31:39):
But people, the reason I bring him up is people
always talk about him. They say he's proof that anybody
can make a movie if they have good ideas. Sure,
And as I'm watching you are alone, I kind of
feel the same, yeah, because like, well, yeah, go ahead,
there's that.

Speaker 6 (01:31:56):
And then you know, this movie also has uh a
very very striking performance by the lead actress, Jessica Bole,
who did not really appear to go on to do
more roles after that, but this this is quite a
performance in this movie, and she won several awards at

(01:32:18):
film festivals at the time. So you know, not only
is the ingenuity and the great writing of Gorman, but
also you know these very strong performances, which you know,
a strong performance can defy any format.

Speaker 3 (01:32:34):
Right, So no, it's it's crazy they hold because once
you and I want to be really careful because this
is a film that absolutely should not be spoiled. But
as the film progresses and you see how it ends,
the entire perform like the performance of the entire movie
makes sense, right, because there's these really important key facts

(01:32:56):
that are held from us as the audience that they
both know, and the whole movie you think they're talking
about one thing, and as that reveal happens, it just
puts a new light on everything. And I can't I
can't wait to watch it a second time knowing how
it ends right and seeing how those conversations played different

(01:33:18):
because the whole setup and I think, I mean, tell
me if this is too far, but I think just
even the setup is okay. Like they you think that
this guy who's basically known this escort girl his whole
her whole life since she was a child. You you
think that he's calling her in to use her services
as an escort. And it's just the whole movie plays

(01:33:41):
out that way, and it creates a little bit of
like an uncomfortable kind of tension. And then but they
both play it so well and so like you said,
they play it so straight, and it's it would be
a good movie. If that was all that happened, it
would still be an interesting story, and the writing would
carry it because the things they talk about you don't

(01:34:03):
normally hear talked about so openly and candidly. It's an
interesting glimpse into the escort lifestyle. Like, it's an interesting
glimpse into just a lot of different almost something that
like Screwed McCrae would typically cover or something you know,
like in his in the way that he's so candid
with sexuality, Like it has some of that totally, Yeah,

(01:34:26):
but then it just becomes something else entirely, and it's
so good. Uh. It reminds me a little bit of
the ending to The Caller, not not plot wise, but
just in how you know this movie you know what
I'm talking about. Have you seen that with Malcolm mcdell.

Speaker 6 (01:34:43):
I have.

Speaker 3 (01:34:44):
Yeah, So it's just another one of these that came
to mind for me where Malcolm mcdell's awesome and the
movie's interesting with him the whole time, but then the
last five minutes you're like, what this is incredible? Yeah,
and this had a This is one of the only
ones I can I remember that had that similar impact
on me, just strictly like two people just going at

(01:35:05):
it in a room and making an entire film out
of it.

Speaker 6 (01:35:09):
Yeah, and come to think of it, really, Gorman's debut film, Disconnected,
which came out on Vinegar Syndrome, has literally like a
one minute ending that kind of changes the whole dynamic
of the entire thing when you when you watch it back,
you know, it's, uh so he's kind of visited that

(01:35:32):
territory before. But I'm glad you. I'm glad you dug it.

Speaker 4 (01:35:36):
It's great.

Speaker 3 (01:35:37):
It just as a quick aside on both Disconnected and
Psychos in Love. I know some of them are long
out of print, but if you get a chance to
see them, the intros to those movies are really funny
because him and Carmine are very candid and like goofy. Yeah,

(01:35:58):
and it's just it's it's fun to see that difference
side of their personality. I mean, it makes a lot
of sense for Psychos and Love that they would be
like good comedians or like funny people. But you know,
Disconnected doesn't necessarily play like that. But I think he
calls it his eleventh favorite movie. Yeah, it's just a

(01:36:21):
I don't know, I like, he seems like he's a
really interesting guy.

Speaker 6 (01:36:24):
Yeah, And and as you said, I mean I got
to know Carmine rest in peace, and he was an
amazingly hilarious guy, you know, just a purer comedian, a
guy that always could bring a smile to your face

(01:36:46):
whenever you ran into.

Speaker 3 (01:36:47):
That's cool, Yeah, well I would. I was trying to
encourage anybody to give you Our Alone a chance. I
think it's it's one of those few movies that crosses
over even if you're a fan of horror or you know,
just a fan of genre films like so, there's something

(01:37:07):
that draws us all to the movies, I think initially,
and and a lot of it is down to like
stories that are told well, and I think this one
just wins on story for me. It's just so you
have to see it all. It's not that long, it's
not like a massive commitment, and and the ending just
pays off in such an incredible way. I can't wait
to watch it again.

Speaker 6 (01:37:30):
Yeah, I thought, you know, I do think it fits
into our cannon. And you know, it is a bit
of a reach, obviously compared to some of the stuff
we've done, but I'm very happy to get this back
out there. The DVD has been long out of print
and hard to find. So it's great to get it

(01:37:51):
back out there, and if you're a fan of his
other movies, I would recommend getting this because it's it's
great to see, you know, get a snapshot into the
further of Ovar of Uh. You know, one of the
great regional filmmakers. He's still making movies. He's shifted into

(01:38:14):
documentaries at this point, but he's still a very interesting,
awesome filmmaker. And we did a basically a career spanning
UH interview for the disc, so he talks about his
beginnings and all through Psychos of Love and the Charles
Band era and all of that leading up to, you know,

(01:38:36):
his descent into video filmmaking.

Speaker 3 (01:38:42):
Did you get did you get every one of his
short films as well? For this disc?

Speaker 6 (01:38:47):
Well, there's some of his actual films, short films that
I think maybe on some of the other Vineger Syndrome
releases that came out. But at the time, you know,
he was also a filmmaker that embraced the Internet very
early on. It's one of the first filmmakers I remember
that had a website, you know, where he obviously was

(01:39:10):
promoting his writing and stuff, but at that time he
you know, embraced not only making video shorts, but you know,
making them available on his website and entering them into
you know, online festivals and things like that. So at
one time you could buy this disc from his website

(01:39:31):
that was like the short films of Gorman Bashard. And
they were all things that were sort of made in
the era of R alone, some a little before, some
a little after, but in that same kind of vein,
you know, the dark, dark drama and mood pieces. And
I had that DVD and I was like, nobody has

(01:39:54):
that DVD anymore, so we should really put all of it,
poured all of these over onto the Blu rays so
that nerve of them and archive them and and then
as a bonus, he also threw on a very early
film uh uh you know, shot on film short from
his earliest days. That's on our disc too, that I
don't think appears anywhere else.

Speaker 3 (01:40:15):
So okay, that's good. It's called the Only Take, right,
that was.

Speaker 6 (01:40:17):
The only take?

Speaker 3 (01:40:18):
Yeah, that's right, okay, okay, well awesome. Well, typical is
that in his core, not only are the movies interesting,
but the special features are are stacked. And this one
has a commentary. Uh, an original commentary from the DVD,
and it also has a new one right that you.

Speaker 6 (01:40:36):
May Yeah, we put we poured it over the commentary
from the DVD and then he recorded a new one
with his current editor faith Mark moderating to discuss it
now because it's obviously been a lot of years since
the DVD came out.

Speaker 3 (01:40:54):
Sure, that's awesome. Well, well, Ross, if there were outside
of you are alone? You you have so many interesting
films in your catalog that are just kind of begging
to be discovered. Are there any that have come out
in the last year or so that you you want

(01:41:15):
to highlight? Like, I know, Living a Zombie Dream was
a pretty was a pretty big release obviously, David the
Ruck Nelson has got you a lot of attention. You
mentioned a few early on that that are maybe like
outside of the typical canon for for Saturn'score. Are there
any that you know you just either wish more people
were giving a chance or that you really love and

(01:41:37):
want to call out.

Speaker 6 (01:41:40):
Well, I think it probably depends more on like what
I was talking about before, is you know anything that
we release that has you know, zombies or slashers or
anything like that. You know, there's a built in audience
for that, but it's it's when we veer from that
that I think, you know, people are a little less

(01:42:02):
likely to check out. So, as I mentioned, you know,
Ultra Megalopolis is one that we did, I mean probably
ten releases ago. But this is by a filmmaker named
Larry Wessel and Larry makes documentaries or you know, in
the nineties he's still making documentaries, but throughout the nineties

(01:42:23):
he made almost like cinema verite Frederic Weismann style documentaries
with a camcorder, so you know, he would pick his
subject and then just you know, document them with video.
So he got a lot of very amazing images and

(01:42:48):
uncensored stories and things that you know, because it was
such a small production that he was able to really
get to the heart of things. And Ultra Megalopolis is
basically about Los Angeles, just posts the riots, and it's
almost like a Mondo movie, something like Mondo Khane, but

(01:43:12):
around Los Angeles, so you know, everything from street performers
to human mannequins to the McMartin pre school. He interviews
Charles Manson's cellmate, He follows around uh graffiti artists, he
follows around street musicians, he goes into uh, wrestling gymnasiums

(01:43:37):
and films the luchadors. So he's just it's two and
a half hours of just crazy you know on the street,
La Gonzo documentary and a great capsule of the nineties
Los Angeles posts the Riots. I think it's a masterpiece

(01:43:59):
and I would really push fans to check that one out.
And also Dogs in Quicksand, which I mentioned a little
while back. Mike Trippietti is a filmmaker but also a
known stage performer from the Illinois area, and he made

(01:44:26):
this movie in nineteen ninety nine called Dogs in Quicksand,
and this is a small town murder mystery with very
very black humor in it, kind of equate it somewhere
around like s ov Cohen Brothers, minor vibes of like
Twin Peaks, just with the quirkiness of the characters throughout

(01:44:49):
the town and their entanglements with one another. And again
we released it, you know, in conjunction with Mike, so
we did a restoration on it, and all of his
short works are on there. One of his entire stage
plays is on the disc. He did a notorious stage

(01:45:11):
play that was like a women in Prison movie but
on the stage, and we put that an entire filmed
version of that on the disc. It's got the twenty
eight page booklet with you know, a vintage interviews, current interviews,
and it's a damn fun movie. I think more people
should should give it a try. Although it has no

(01:45:32):
zombies in it and no extreme gore, it's definitely a
fun ride that's I think worth people's time.

Speaker 3 (01:45:41):
Well, I've been a big fan of y'all's for since
you came out, and I think it seems if I
look at sales numbers, it seems like you have a
pretty steady, like you know, consistent fan base, which is great.
But yeah, I hope that continues to build for you,
and and I hope all these titles sell out four years.

(01:46:02):
It looks like a lot of them are getting closer
to it, and I just I know some of them
are instantly, so it's like like bone sickness. But man,
I'm just ross. I just I'm it's so cool to
hear the way that people talk about you, and I'm
so glad you're getting to do this. And I don't know,
if you know, unless there's anything else you want to
talk about I just wanted to give people a chance

(01:46:23):
to get to meet you this way and get to
hear from you directly on kind of some stuff that
y'all are y'all put out and get to hear your
thoughts on it.

Speaker 6 (01:46:30):
Oh, I appreciate that. If I can't plug one more
thing while I'm here, thank you. One of the things
that we do annually is called Drive In VHS Fest.
We co host it every year with our friends at
Lunch Meet Magazine and it is at the Mahoning Drive
In in Lee Height and Pennsylvania. So if you are

(01:46:53):
on the East Coast, or if you're not and you
want to book your flight, come on out. It's again
this year and it's gonna be on July eleventh, twelfth,
and thirteenth, so Friday, Saturday, Sunday. What we do is
all weekend. It's basically a celebration of VHS format. We

(01:47:15):
have vendors all day selling and trading tapes, and then
when the sun goes down, we screen VHS tapes on
the giant outdoor drive in screen. So it's a once
in a lifetime thing. It's, you know, kind of become
the woodstock for VHS lovers. And we are doing it

(01:47:39):
again this year. Special guests are Frank Henenlauter, the director
of basket Case. Of course, Charles Pinion will be coming
out this year, the director of Red Spirit Lake and
We Await, and also Gorman Pashard, the director of Psychos
in Love and You Are Alone. So that those are
our guests this year, and we'll be screening a whole

(01:48:00):
weekend of films including basket Case, Brain Damage, Psychos and Love,
Charles's Twisted Issues, Flesh Eating Mothers, which Vinegar Syndrome put out,
Sleepway Camp two and three, so lots of great stuff
we'll be screening throughout the weekend. So Saturn's Core will

(01:48:21):
be set up as we always are. So if you're there,
come by and say.

Speaker 3 (01:48:25):
Hello, awesome, well well man, thank you so much, really
good to talk to you, Ross, and I hope everybody
goes July what do you say twelve thirteen.

Speaker 6 (01:48:35):
Fourteen, eleventh, twelfth, and thirteenth, eleven.

Speaker 3 (01:48:38):
Twelve thirteenth, I hope everyone goes. That sounds awesome.

Speaker 6 (01:48:40):
Thanks so much for doing this, Thanks for having me,
Chris heck.

Speaker 3 (01:48:43):
Yeah, okay, we are getting spoiled this month with just
amazing guests. After an amazing guests, thank you as good,
Thank you Ross, And now we get to a segment
that I always learn a lot from and I'm super
happy that Celesta has agreed to do this almost every
episode and just really own this segment. So let's switch

(01:49:05):
you out for us this time.

Speaker 5 (01:49:08):
Okay, good evening everyone. My name is Selesdale Lecavra. Welcome
to fifteen Minutes with You. This is the segment where
we review all of the new titles that appear monthly
on the Email you Scene site. Today we'll be going
over the March titles. It's going to be five films
across three releases, so I like to go through these

(01:49:28):
in the order that I watched them. So the first
one that I'm going to talk about is the Visitor.
This is from Circle Collective, the Partner label. It appears
on both Emili you Scene and Vineger Syndrome sites. First
thing I want to say about this is that there
are no subtitles on it, even though it says on
the website and on the back of the disc or
on the back of the case right that it includes

(01:49:49):
English SDH subtitles. So first I was just like mad
because I was like, why would you not put subtitles
on this? And then I saw that it was advertised
and I was like, oh, well, maybe it's a mistake.
Maybe there needs to be a replacement. I DMed Circle
Collective and I have not heard back, so I will
probably email Ocian about it, but I guess feel free
to reach out to me if your disc has the
same problem, or if yours does have subtitles, because it

(01:50:10):
might just be mine in any case. This is a
film directed by Bruce la Bruce who has been a
pretty iconoclastic queer director for quite some time, and it's
a remake of a Pasolini film. I'm not going to
attempt to attempt I'm not going to attempt to pronounce
the Italian, but it's theorem in English. So I went
ahead and watch that first so I can have the

(01:50:32):
proper context, and then I watched The Visitor. So essentially,
the premise of the Pasolini film is that a strange,
mysterious man visits a very rich sort of bourgeois family
and he fucks all of them. He fucks the parents
and the son, and the daughter and the maid, and
in doing so he essentially like changes their lives. Both

(01:50:54):
for the better and for the worse. So I won't
go into more than that, just to be mindful of spoilers.
But this sort of remake takes that same structure and
that same premise and inserts some really interesting themes. It
makes the visitor a black man who is birthed from

(01:51:16):
a suitcase that washes up on shore, and the film
opens with I didn't realize that this was a real speech.
I thought that this was just something that was written
to satirize the far right or sort of xenophobic nationalist ideas.
But no, this is a real speech given by a
real British politician. I guess that shouldn't be shocking, but
it's let's say, discouraging. So this film is not only

(01:51:41):
making comments about sex and class, but it is also
a specific comment on the refugee crisis, such that we
can call it a crisis. It's more so like people
intentionally shutting off their empathy and ramping up their own
capacity for cruelty. But you know, in any case, and
so it's the same sort of thing, except the there's
a few gender swaps, and there's at least one transperson

(01:52:05):
in the cast, which is very cool, and in this film,
the hardcore sex is ramped up quite a bit. There
are actual hardcore scenes in this, and you know in
the liner notes. In interviews and stuff, Brussel Bruce has
said that he intended to make this both titillating in
a very pornographic way, like it is supposed to get
you off, but it is also supposed to be stimulating

(01:52:27):
for your mind, as it is still also an art film.
I think he says in the extent of like, my
films are too pornographic for the art crowd and they're
too artsy for the porn crowd. Well, that perfect intersection
is me. That's that's me. I'm the audience for it.
So I'm very excited about it. And I really enjoyed this,
and I'm definitely going to be seeking out more of
his films. I had a chance to catch a screening

(01:52:49):
of The Raspberry Reich, but it was during a snow
day and I didn't really feel safe driving that day,
so I missed it, but definitely interested in catching more
of this complete free films. There's some really gross stuff
in this, like some stuff that I find to be
personally repulsive, but I think that's fun. I think that's
cool when you can go so far as to gross

(01:53:11):
me out right.

Speaker 4 (01:53:12):
Yeah.

Speaker 5 (01:53:12):
There's also a lot of really interesting like strobing sequences
in this, and I have come to realize that I'm
just a big fan of strobing like in films, Like
I think it gives me a kind of meditative ASMR effect.
And there's just all these like very extreme like slogans
that show up on screen. And it's definitely a pretty
bizarre experimental film, and it seems kind of it feels

(01:53:36):
kind of amateurish in some parts, but overall I really
enjoyed it. There's a really good video essay on this
by Sam Degan talking about this work as it relates
to the works of Pasolini. There's a really great written
essay by Alexandra Heller Nicholas talking about the political themes
of the film and how Bruce la Bruce uses sexuality

(01:53:59):
as a political act. I really enjoyed that interview. And
then there's a really good introduction by Brussel Bruce on it,
which is more like an interview. I guess. It's pretty long,
and it's pretty well edited in everything, and there's a
lot of clips from his other films in it, and
in this introduction, he makes the claim that if all
the great dictators throughout history were more comfortable with their
own assholes being played with, like if Hitler and Mussolini

(01:54:22):
got fucked in the ass, at least try to, you know,
maybe we wouldn't have had all these horrible things happen.
It's certainly a take, perhaps a touch reductive, but I
see the point he's making. So that's that one seven
out of ten from me, and I do highly recommend
the release, assuming that they get the subtitle thing worked out, okay.

(01:54:45):
Next is the double feature from Pikarama. The A feature
is All or Not I'm Sorry all Night Long, and
the B feature is Tapestry of Passion. All Night Long
is the one that I preferred of these two. It's
a fun one. It's just like it's essentially about like
a pornographic awards show, and so like a few women

(01:55:06):
get to win their awards, and then it shows the
clips they won the awards for, and then we come
to the best male performer, and there's two sort of candidates,
that's the word I'm looking for, and basically they're in
like a dead lock, so they have to do a
like game style competition to see who will win, and

(01:55:26):
then all of their activities are being shown on a
screen for the award ceremony attendees who get progressively hornier.
So essentially they're given like a piece of paper with
an address on it, and they're supposed to go to
that address, fulfill their mission, and then receive another address
and so forth until they circle their way back to
the ceremony. It's pretty funny. I think it's entertaining enough

(01:55:48):
and there's enough like it's a good setup to have
a lot of different types of sex scenes throughout and
to like kind of the filmmakers kind of challenge themselves
or at least give themselves an excuse to write in
and like all these sort of there's a large variety
of sex scenes going on here from you know, a
lot of different people, so you know, you're never watching
the same thing over and over again, which is fun.

(01:56:10):
These films are both directed by Alan Kohlberg, and they
both starred John Holmes, and I gotta say, I think
this is the one where I remember who John Holmes is,
because every time I see him in a movie, I'm
like actually taking him back at how monstrous this man's
dick Is. It's like a straight up like elephant trunk.

(01:56:32):
It's kind of insane. It's a touch intimidating, I suppose.
And I just got to say shout out to all
the all the women who either attempted or succeeded in
getting that in their mouths and other orifices. H Yeah,
it's it's a lot. So yeah, that's my review for
the first one. I enjoyed it six out of ten
for me. Uh, okay, So Tapestry of Passion it's sort

(01:56:55):
of the same thing. It's not at all the same thing.
It's it's similar in that it has the same director
and same star, right. Yeah, it's like sort of a
detective story about this guy Johnny wadd who's played by
uh who's played by John Holmes. He's sort of investigating
this racket that this woman and her this like white
female dom and her black male sub they have this

(01:57:18):
like racket going on where they like lure people in
to like pay to have sex with her and then
she kills them. So he's like on the case to
investigate it. The scenes with the two of them, I
don't know. I'm pretty well versed in kink stuff, and
you know, I've been to a number of these things
in person, but like trying to think of I've ever

(01:57:39):
seen this dynamic play out, because it was very uncomfortable,
and I think that it is going to be inherently
uncomfortable to watch, like a white woman like whipping a
black man like. And I understand that in the contact
of the film it's consensual, but yeah, there's just something
inherently pretty uncomfortable about that. In any case, it's almost fine.
It had some interesting stuff in it is worth a watch,

(01:58:01):
but I don't know, it's just like a lot of
Johnny wadd using some very very vitriolic and violent, misogynistic language,
and it just kind of gets uncomfortable after a while.

Speaker 3 (01:58:12):
I don't know.

Speaker 5 (01:58:13):
It's fine, but it's not the one of the two
that I would recommend. But it's worth a watch, I think.
So this one I landed on a five out of ten,
and there are no features on this disc, so that
saved me some time. And finally from Distre Picks, we
have a Jewel Read double feature career, bed and Sex
by advertisement. This is another that is also featured on
the Vinegar Syndrome site. So actually two or three of

(01:58:35):
their releases this month are also available on Vinegar Syndrome site,
So that's interesting. Okay, So Joel read you may be
familiar with as the uh O tour behind Bloodsucking Freaks,
a film that I have reviewed on my channel actually
and reviewed very positively. I think that it is maybe
more intelligent than it gets credit for, and it is

(01:58:57):
a little bit I mean it really it really is insane,
like it really go there, and it is one of
the most extreme films I've seen, but it's not just that,
Like I do think there are some interesting ideas there,
and I do think that it's pretty well made and
bold and in its filmmaking. So I actually really enjoy
that film and we'll defend it. But after going through
the special features on it, I came to the conclusion

(01:59:18):
that Joel Reid is not a good guy and like
some of the misogynistic elements of the film, even if
they can be read as critical or satirical maybe from
his perspective or more straightforward, because he just kind of
is like that in interviews, and he's very unlikable and
he seems to have an issue with women. So I
was trepidacious for sure about going into this double feature,

(01:59:43):
but you know, I was interested to see some of
his earlier sexploitation work before he was able to go
like full hog into the insane shit that he does
on Bloodsucking Freaks. And I gotta be honest, I just,
even though I don't like this person like as a person,
I like his movies, like I liked both of these films.
And one thing I'll quickly say is that the packaging
is really beautiful, Like I really like the color scheme

(02:00:06):
on this and the way everything is laid out. Like
typically I'm not a huge fan of the distritis packaging
because it's so cumbersome, but this is one that I
might actually want to procure the limited edition when I
do get my own copy, even though Okay, so there
is a book with an essay in it, and the
essay is good, but I don't know that I like,
need need it, But I just I just do really

(02:00:26):
like this box. I gotta be honest. Shout out to
the art director and the artist on this. Okay, so Careerbed.
This movie's kind of insane. It's about this like extremely abusive,
shitty woman who is essentially pimping out her daughter such
that it's like the more extreme version of like moms

(02:00:47):
who are like really invested in their kids becoming like
like actors, and like, you know, you usually hear about
a lot of psychological abuse that happens in those situations,
but for this, it's like just straightforward like sexual abuse
that's going on because she's like literally pimping out this.
It's unclear how old she is in the film. She's

(02:01:08):
played by Jennifer The daughter's played by Jennifer Wells, and
she's clearly an adult, but I think the character might
be like seventeen eighteen something like that. I don't remember exactly.
So yeah, there's this is sort of very uncomfortable, incestuous
sort of dynamic going on, and the mother is just
awful and threatening suicide to keep her in line and
all this. It's pretty This might be triggering for some

(02:01:31):
people that have had extremely abusive parents, you know, but
I gotta say, I just I did enjoy it. I
think that the story is compelling. I think the cinematography
is pretty good. I like the black and white New
York City photography going on here. And I don't know, man,
Jennifer Wells is just so good and so gorgeous, like
I could just watch her in anything, and she turns

(02:01:52):
in a genuinely great performance here, Like, this is a
pretty dialogue heavy movie, and it definitely feels like exploitation,
but it doesn't feel like porn to me. Like it
does feel like we're watching a movie here, you know.
And I shouldn't say that, because my whole thing here
is defending porn like as cinema, But like, it does
feel like there was more effort being put into the
script itself than just the sex scenes. Right, And the

(02:02:12):
woman who plays her mother, she wasn't in anything else,
but she's also gorgeous and does a good job. So
I don't know she but that was a good fine.
It's too bad she didn't do anything else. On the commentary,
I believe it stated that she was like the wife
of one of the producers, which is certainly interesting, but
I guess it didn't it didn't take for her because
she never did anything else. So I enjoyed it. I

(02:02:34):
gave it a six out of ten. I would I
would probably get this release, honestly. And the second one
is sex by Advertisement. I don't even know how to
categorize this, but it's definitely like exploitation in its purest form,
where like we are pretending to be educational to get
away with showing some pretty lurid stuff. So basically what
this purports to be is an investigation into illegal activities

(02:02:59):
going on in the classified ads at the local newspaper.
And so we get reenactments of like what a lot
of this stuff, a lot of the things that have happened, right, So,
like it says something like babysitter, there's an ad that's
like looking for a babysitter. It's like, ah, but if
you look at these code words, they're actually looking for,
I don't know, a dominatrix or something. It's it's ridiculous.

(02:03:19):
And then you'll go to the scene where it actually
reenacts that there's a lot of weird shit in here.
Like there's an orgy scene with like clown masks and stuff.
There's a there's just a sequence of there's a lot
of like whipping and stuff in this there's a weird
scene where like this girl is eating grass and shit.
I'm not gonna say this is a good movie, but
it is certainly interesting and it does have a vibe

(02:03:42):
to it, And there is again a lot of this,
like vintage cinematography fro New York City that I just
always enjoy, you know, I don't know, I don't know
if i'd watched this again, this is definitely a movie
that would be good to just like have on at
like a party or something. I don't know that this
is like the sort of thing you need to dedicate
your full attention to. But it's kind a great poster,

(02:04:02):
I'll say that. And I kind of also landed a
lot of six out of ten for this, even though
it's not my preference between the two. Like I said,
there was a really good essay in the book. It's
clearly being stretched out a bit because there's a lot
of photographs in the book too, but it's good. It's
uh informative for sure, and John, I don't know how
to pronounce this, Supooter s z p u n a R.

(02:04:26):
Who is Joel Read's biographer, does both the commentaries and
the essay, and he does a good job with all
of it. He also did the Bloodsucking Freeze commentary, which
I enjoyed quite a bit. So Yeah, it's overall a
very informative and well put together release and I do
highly recommend it, so check it out. And that's it.
That's March.

Speaker 3 (02:04:44):
Okay, yeah, well that's it. We made it. Thank you
all so much for doing this. For those that are
listening during the sale, if you have any specific questions
for me, I can do my best to get him
answered for you. If you're listening to this after the sale,
I hope you just enjoyed it. Got to hear the

(02:05:05):
passion that Oscar brings in the legendary career that Ross
is building up promoting these independent artists. I love it, y'all.
Thanks so much for sticking around. This was episode eighteen,
and May is going to be kind of a fun month.
I don't want to spoil it because it's still getting
planned so there's nothing to spoil. But if I have

(02:05:28):
it my way, we'll have three more guests in May
related to the Halfway sale coming up, and post a
special guest that I've been teasing for a while and
I think she's locked in, so we'll see if we
can't get her. Okay, y'all, Thank you so much. See
you online.

Speaker 2 (02:06:35):
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Speaker 5 (02:06:48):
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Episode 18 - May announcements with Oscar Becher, plus Ross Snyder and 15 Minutes With You

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Episode 18 - May announcements with Oscar Becher, plus Ross Snyder and 15 Minutes With You