Episode 9 - Partner Month Special Episode with Heather Drain - Punk Vacation: An Unofficial Vinegar Syndrome Podcast

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

Speaker 2 (00:46):
Yale, episode nine of Punk Vacation and Unofficial Vinegar Syndrome Podcast.
Apologies for those of y'all that have heard this eight
times already, but I want to say it again. I'm
looking to find the joy in unfre bettered creativity through
this podcast. I want to try to bring awareness and
context to movies of any budget, from anywhere in the

(01:06):
world during any time in history. I think to me
that captures the spirit of Vinegar Syndrome fairly well. Personally.
I've been a subscriber since Black Friday of twenty twenty one,
and through a different podcast, I've interviewed a lot of
the OC and partner labels, so I just love this label.
I've been watching Vinegar Syndrome become a little bit of
an industry powerhouse in the distribution game and publishing game,

(01:29):
and I want to track to see how high they
can go. So, as always, I have a guest, and
I'm extremely excited to be talking for the first time
to a film historian and a writer of esoteric and
outrage culture, Heather Drain. Heather, thank you for joining.

Speaker 3 (01:48):
Thank you so much for having me. It's a pleasure.

Speaker 2 (01:50):
Yes, I can't remember exactly how long We've been looking
for schedules to line up, and a big part of
it is my fault because my work got busy. But
thank you so much for doing this.

Speaker 3 (02:00):
Oh my god, no, no, this is this is awesome
and I love what you're doing and I love Vindergars syndrome.
You your intro there. It just made me realize, you know,
one of the first things I ever saw at them,
it was and I think this is one of the
first things they released several years ago was the original
Blueway release of the Lost Films of Herschel Gordon Lewis

(02:22):
and I. At the time, I was writing for Dangerous
Minds and I had written them being like, hey, I
would love to write about this movie, and they sent me.
They very generally sent me a copy. Some places will
just at this point, I think, send you like screeners
via links, which makes sense. It's it's way more money.
But and I was just immediately floored, like I'm you

(02:46):
know today, I was like, wow, this this label, it's
a valentine continually to I think, to people that love
anything that is off the beaten track with cinema.

Speaker 2 (02:57):
Yeah, my within the first time releases. My story that's
similar to yours was when I saw The Telephone Book.

Speaker 3 (03:04):
Oh I love that film so much.

Speaker 2 (03:06):
Yes, how do people to talk about that more?

Speaker 1 (03:09):
Like?

Speaker 2 (03:09):
That movie is legitimately an amazing film.

Speaker 3 (03:13):
Oh my god, Now it's brilliant. It is brilliant. That's one.
There's certain films that I've written about, but it's been
like so many years that I kind of have in
the back of my head where I love them so
much I want to like return and do like new
article work about them, And that's one of them. Yeah,
that is an absolutely just stunner, absolutely stunner of a film.

Speaker 2 (03:34):
Yep. Yeah. I want to get into you a lot
and have people give a chance to learn more about
you and your work, both in and outside of Vinegar Syndrome.
But before I do, I guess I want to set
the stage because this is going to be a little
bit of a different episode. So typically the episode around
the first of the month is specifically targeted to come

(03:55):
out around announcements, but because this is Partner month, they
don't have standard announcements. So what I thought we would
do if you're okay with this Heather is just basically
have this as a chance to look at the work
you've done with Vinegar Syndrome, and because you've done work
with some of the partner labels, also bring in some

(04:15):
of that flavor. So instead of just focusing on the
December releases, maybe open it up a little bit because
they put out eighteen to twenty a month, So there
are so many movies even in twenty twenty four that
have come out on these partner labels that are worth
talking about and putting some light on and then using
it as an episode to do that and then just

(04:36):
get to know you better. Okay, if we go that route.

Speaker 3 (04:38):
That sounds fun.

Speaker 2 (04:39):
Great. So before we jump into the movies, you mentioned
you've been a rider, so mentioned dangerous minds. Can you
if you have it in your in your mental palace
or your mental castle.

Speaker 3 (04:57):
I like that mental palace. Yeah, that's better, and the
mental do drop in that I usually think of my brain.
So Pallas gives me way more a sense of regalness
that I deserve, so I'll take it.

Speaker 2 (05:11):
Do you remember all the different publications that you've kind
of been a part of.

Speaker 3 (05:15):
Yes, that I do that I do especially print, but
also I mean Dangerous Mindse's Web. But yeah, no, I
mean I got my start in the pretty much I
mean Zee. The print scenes at that point were pretty
much dying, if not almost only dead. But I got
into the very first one that ever published me was

(05:37):
the Exploitation Journal by Keith Crocker, who's a absolutely one
of the most generous editors, were one of the most
generous friends, also independent director in his own right, and
he encouraged me. I was already writing fiction, and I
I wrote an article about David Schmoller's cross Space, which

(06:03):
which a few years later I sent to David Schmoeller,
which I can't believe I did that now, that's the
but he liked it, so it all worked out, thank God,
sweet man. But yeah no, I've did some article works
for ultra violent magazine Scream that's with two e's. I
did some work for them. I did work for Dangerous

(06:26):
Minds video Watchdog.

Speaker 4 (06:30):
I was.

Speaker 3 (06:31):
I was on their staff for a little bit Dia
Balique later on print work. I have more print magazines,
Jeremy Richie's Sola Dad Magazine, as well as Art Decades
and Chris Jemmy Richie. Everybody doesn't know He's gone on
to do this amazing book on Sylvia Cristelle that Cold Epics,

(06:52):
speaking of boutique labels, have released. It's a gorgeous book
in Jeremy's wonderful writer and wonderful researcher. So but yeah,
oh I did a I've also I even got to
write for Room Org. I think that was last year.
I did an article on Vern Langdon. Yeah, who, I'm
a huge one of my art heroes. Famous monster, maskmaker,

(07:16):
professional magician, clown, a musician, a wrestler. Vern Langdon was
literally one of the most fascinating human beings ever lived,
and I enjoy him. But yeah, and that's that covers
most of them. I'm sure when we get done recruiting,
I'll remember something really obvious and I'll feel like a
complete dumbass. But but that that covers the bulk, the

(07:40):
bulk of it. I've done a few like things for
like other blogs and stuff too. I have a piece
on the realto Report when they interviewed Jerry Butler. They
published as a little like bonus my piece on raw Talent.
I'm really proud of that actually, because I love the
Realta Report and I think they do absolutely stunning work.

(08:01):
Ashley and April are also just like sweethearts, and they're
really uh doing doing I think the Lord's work with
trying to get the stories behind the scenes of classic
adults cinema out there, and that's the That's the thing
to me. All of this is all about preservation, whether

(08:23):
it's writing about it and trying to keep these things
fresh in people's minds, you know. Getting to see companies
like Vinegar Syndrome, I mean, think about how many films
they have like kind of pulled up from obscurity and
dusted them off and have given them, you know, the
love and treatment that I think anybody and any of

(08:44):
us like film lovers, that it just makes our hearts
happy to see.

Speaker 2 (08:48):
Yeah, I mean, even if you think about the spirit
of Vinegar Syndrome, even the seven Forgotten Jelly Sets, I mean,
that's very much in line with the spirit of what
they're trying to do, right, these ones that don't get
the same they don't get eight releases a year or whatever.

Speaker 3 (09:02):
Oh my gosh, I know it. Shasilla thing is like,
I don't know about you, but sometimes I'm like, God,
I need to like start selling a kidney or something
because it's I like, I just got the latest Forgotten
JIOLLI one. I'd love to get the older ones, like,
but I had to get the one that's got obsession
a taste for fear on it because I've wanted to
see that movie literally for years.

Speaker 2 (09:23):
Have you seen it?

Speaker 3 (09:24):
No, because I just got this set recently, but.

Speaker 2 (09:28):
Holy co that movie, Like there's you know, I watch
a lot of movies just for not only the podcast stuff,
but also I just like movies. Right, once or twice
a year there's a movie that actually like floors me
and I'm just like, what the fuck have how I
that was? That's what obsession did to me.

Speaker 3 (09:47):
Yeah, see, I That's what I've been no pun intended
obsessed with. I remember reading a little tiny synopsis about
it when I was a kid, because it aired on
like I'm sure Cinemax deficit back I think the nineties,
and of course anything that like looked a little lerd
you remember as a kid because that's like the Forbidden

(10:08):
you know. And but of course I never got to
see it. And then years later I saw a trailer
and I was like, fuck, I need this the babe,
but it was like really out of print, for a
long time, and so then I saw it was on
this beautiful, gorgeous box that but two other films, like
because I know Miss Steer, Yeah, and what is the
third one? Because that one also I saw a trailer

(10:31):
or like some clips at the third one, and that
one looks great too, Like I was like, God, this
like banger after banger.

Speaker 2 (10:36):
It's good. Although I will say i'm looking it up
right now because I don't remember the name, I will
say that there's in my mind there was a pretty
big job job. Oh shoot, they're not showing their titles
right now.

Speaker 3 (10:47):
Oh that's right, we got blocked.

Speaker 2 (10:52):
Wait is it Crystal? Anyways, I'll go pull it off
my shelf in just a second. But I think Obsession
and Miss Steraire are honestly fairly equal to me, Like
the what Terrol Bouquet is able to do in Miss
Staire is amazing. She I was kind of I really

(11:13):
liked her in her roles in Luis Bonwell's movies. She
was fine in Bond. I mean, you know whatever, she
was serviceable in Bond.

Speaker 3 (11:21):
I always forgot she was a Bond girl. I always
think of her asbend Well, and I think she was
also oh god, this one shopped upper Do movie I
remember seen as a kid, something called like too Beautiful
for You. I don't know, but yeah, no, I always
forget about the bond thing with her because I'm just
like she did all all these other bigger movies.

Speaker 2 (11:43):
But she's really good in Mystair. It's a really good movie,
very very good, jolly and anyways, but yeah, Obsession, holy cow,
like that's just that anyways, by chance. I don't mean
to put you on the spot by like specific movies.
But two years ago, def crock Dell had a release
called The Chakra Mookery Set, and one of the movies

(12:03):
was called Fishing Cat as an Iranian movie about six
or seven years anyways, I need to I need to
get that.

Speaker 3 (12:11):
So I need to I need to write this stuff down.
There's somebody that's the thing. It's like an obscene bounty.

Speaker 2 (12:18):
That's I was gonna say, going back to your wallea comment,
don't write it down because it's okay, you'll see there's
always a million things to watch, yeah, but this, that
was one of the last times where I remember just
being completely floored like this watching Obsession. So okay, So
vinegar syndrome is great and conguess. So you you wrote

(12:40):
for all these zines and publications and online publications and blogs,
and and why film, like is it? Have you just
always kind of been obsessed with movies? Like like why
are you writing so much about film as opposed to
other things? So you write about music a lot as well, right.

Speaker 3 (12:59):
Yeah, Now, I mean ever since I can remember, I
mean art when I say art to me, that compass
is like film music, literature, but film particular. Like some
of the earliest books I remember ever reading as a child,
like as a little little girl, were film books, because

(13:19):
you know, and back then, of course, it was like
stuff about like old Hollywood. Because my mom she loves
she still does, but she's always loved like old Hollywood
and like Clark Gables, one of her fair directors, and
she I'm very blessed because I was raised in a
household where she really you know, she always listened to music.

(13:40):
There was always this talk of film. Chris. We were
really we were really poor, so it'd be like, you know,
but the library would be like selling like overstock or
books that weren't getting checked out as much, and so
that's how we'd get like film books, and you know,
of course later on like cable and video stores some
very much of that era. But I there's something about

(14:01):
the language of cinema that just instinctively, it's almost like
you know, when you when you find something that's like
it feels like it matches a little part of your DNA.
Like it's like you sense like this is a part
of me, this is like my tribe. That's how reading
about film and watching film and discovering all of these

(14:23):
different cinematic worlds for me, And it also showed me
a way that the world was so much bigger than
just this this little sort of like you know, existence
in this in a working class, you know, kind of
town that's very conservative, you know. Like I got into

(14:44):
silent film my first my very first favorite actor and
the biggest crush, uh was Bella Lagosi. I think it
was like four or five. I saw a picture of
him and that was all she wrote. And then I
got a little like you know then I think at
like seven, I was gifted like a good Times VHS
copy of Return of the Vampire, which honestly holds up

(15:07):
that's a really great underrated Belico See movie. But uh,
but there's just it's it's always pulled. It's always pulled
to me. And as I got a little bit older,
discovering cult cinema, and then that was that was all
she wrote, because I was always I was always instinctively

(15:28):
interested and stuff that was a little different and like horror.
You know, I was always a monster kid, you know,
Silent cinema has its own kind of like so many
of the silent films have such a beautiful, like visual
language to them. I think people overlook like there's a
lot of a lot of gifts in silent films. But

(15:48):
uh yeah, I never like I never was super I mean,
there were mainstam films I loved. I'm not a total leadist,
but but what always interested me was like the things
that were a little on the outer edges because it
was different and and it tells. You know, It's also
like storytelling too, because I'm a you know, I'm being

(16:09):
a writer, Like I write a lot of prose too,
and you know, I love I love great storytelling, but
I also love it when you can do that with
an image. Film is the perfect multi media.

Speaker 5 (16:22):
I like that.

Speaker 2 (16:23):
I think you're right. I think I feel the same way.
I think that's what's always kind of drawn me into movies.
As you can be you can do the exposition thing,
and sometimes you can make that work and not rely
on the image as much, or sometimes you can do
you can tell a lot without any any dialogue, and
you can tell just as much a lot of times,

(16:44):
and sometimes both, like some films do both very well.
But there's there's a million different ways to sort of
communicate a message and convey a feeling and an emotion,
and that's what's always drawn me in as well. Which
as we were geeking out on Scooter McCrae, be where
we join. That's one of the reasons his movies are
so interesting to me is because he you know, he

(17:04):
does honestly have quite a lot of dialogue in the movies.
It's you wouldn't think it would be they would be
as good as they are by having so much dialogue
in them. But I think he's able to do something
visually in the background and keep it interesting while there's
a lot of this dialogue going on and convey a lot.

Speaker 3 (17:23):
Yeah, oh, absolutely well. And he's he's such a great
writer too, Like that's the that's the thing that's so
hard with film too, because it's like it's so many
you have to have so many elements working together, because
like you could have a great screenplay, but if the
director's bored and doesn't give a shit, if the cinematographers
not you know, if he's not into it or she's

(17:43):
not into it, or they's not into it, it's not
going to be good. You know, if the actors are terrible,
you know what I mean. It's like it's like everything
is almost like a chess game or something. You have
to have like everything kind of aligned in this ceremonious
way for it to really be be powerful, and you
really have to have director and an editor. I think

(18:03):
editors are often editors are like the rhythm section, like
people always are, people always underwrate basis and drummers, even
though the rhythm section is so important to so many
types of music. But like if a great editor, in
some ways, the editor is just as much as a
storyteller as any as the director and actors and writer.

Speaker 2 (18:22):
I fully agree, because you it's I think, if I've
said before, if I ever could go back to film
school and pick like a job to do in film,
it would probably be the editing room because I don't
think it's the pressure. To me, the pressure of a
director is hard of having to kind of coordinate everything
live and like have a vision in your head and
fight with people to hold a vision and all that.

(18:44):
Like that's not really me. But like the ability to
sit back in a room with this is like chaos
and just try to make sense of it. It has
always seemed really interesting to me.

Speaker 3 (18:52):
Oh oh for sure, and build that rhythm. I mean
I have a very much a musical prank too, obviously,
but to me, it's like great editing is like it's
like building a great song too, because you have to
find that rhythm. You have to find that that fluidity
of telling you.

Speaker 2 (19:07):
There's a lot of good YouTube videos about what a
producer can do for music and how how how much
impact they have on a song. So I think it's
very similar in that way, right, Yeah, you're right, Yeah,
got to build it, okay. So you you have this
background in the arts and then writing about movies for
a long time, and then I transitioned into becoming more

(19:29):
and more of a go to for people that need
special features because they starting with kind of anchor, Bay
I think was a big pioneer in this Oh, I
mean Criterion, let's I mean to give them credit. Criterion
and Anchor Bay were big pioneers in special features and
supplements on a disc, but I feel like Blu Ray
has kind of taking it up almost to like another

(19:50):
level where oh yeah, you're getting totally histories of these
of these things, and so you are now one of
the main voices that a lot of companies go to
for these which is amazing. Do you remember that transition
at all, sort of like how that was to like
when you first started getting those calls and kind of

(20:10):
how that process was of getting used to writing an
essay for a booklet, or putting a video essay together,
or a commentary, you know, all these different things.

Speaker 3 (20:18):
Oh my god, completely are you because like I loved it.
I love as mnually mentioned Anchor Bake because and even
though I mean, you're right, Criterion were doing supplements like
in the back of the laser disc Ero and I
think if I think some of the other companies were
a laser disc were kind of that format for it,
but laser discs never took off like DVD and and
you know, and Blu Ray and most of us didn't

(20:40):
really have access to laser discs, so no, because I
remember getting an effect. To this date, it's one of
my favorite commentaries ever anchor based release of Gluccio Fulci's
The Beyond, which is also coincidently one of my favorite
Luccio Folci movies, and that commentary track with David Warbeck
and Catrianna Recall is so great. It's so hilarious. I

(21:01):
love David Warback, I love her too, but he is like,
oh my god, I would have loved to have gotten
to just you know, sit down and just hear that
man talking person what a jem. But but no, of course,
I mean if you're a filled person, you know, those
getting to hear commentary tracks and the occasional like behind
the scenes or a little mini documentary was like, oh

(21:24):
my god, heaven, you were in absolute heaven. And and
I'm sure like I mean, like a lot of us,
I would daydream, you know, I've ever been like, gotta
be awesome one of these people. And then and I
still feel like that because I still kind of feel like,
uh that, I'm like, anytime I get to do anything

(21:44):
like this, I'm like, I'm like, WHOA like me? Like
I feel like not like not you know, not trying
to be like precious about everything. It's just like I
still very much feel like I'm like the person in
the front you know, in the in the front row
watching the show and just being excited about it. And
then but but yeah, no, and especially getting to do

(22:07):
like the commentaries were really the big deal, because that's
I mean, I mean, can do essays. It's cool too,
and I'm I'm I'm not, you know, writing has always
been my main thing. But but starting to get to
the commentary tracks and like actually the first solo one
I did I will never forget because it was for Firestorm,

(22:30):
which originally was put out by Distrip Picks and now
may Luzine see I can I can tie this in
beautifully to the partner, but are now releasing that because
they have partnered with distrip Picks. But but that Stephen
Morwitz who writes to Strip Picks, and he's a sweet guy.
I've known him for years, uh Steven. He knew about

(22:51):
my work as a writer, and he also knew that
I was a huge fan of Cecil Howard the director
and in fact, I think like the original like ad
when they were promoting the I don't know if it's
still up there now, but the original when they first
put it on Blu Ray, like I think I was
called like Cecil Howard like like fail like free fan,

(23:14):
free super fan or something, but up like fuck it,
I'll take it, Ulysses Loward. It was brilliant. To this day,
I'm that's probably one of the things I'm most proud
of doing because that was it was like it was
terrifying because it was like the you know, doing doing
the joint one because like the first one I ever

(23:36):
did was the joint one for flesh Pot of forty
second Street for calenjer in Santiago, and that was so
much fun. And those those two are so brilliant, and
it just both of them are very much individuals and
have these like they're like each like a little like
kind of like super like super heroin and and you know,

(23:56):
and I got to kind of I was like, cool,
I'm joining for the right, you know, because they already
also had done stuff. I think that already both of
them had already done commentaries and stuff. But that was
so much fun. And I love Andy Milligan. I love
that film. I definitely would like to kind of do
more on Milligan at some point to be honest, because

(24:17):
he's such a such a I think, misunderstood filmmaker. But
there's also really something glorious about these three like kind
of very strong, kind of wild women with me and
Kat and Sam talking about a filmmaker who notoriously kind
of did not like women and had a lot of

(24:37):
issues start with. But we love but we also love
him as an artist. And that's kind of the cool
thing about this journey with cinemas that, you know, I
think for us who are into like weird films, we've
never a lot of us haven't had that problem so much.
We could separate art from artists to people Simes get
hung up on that. I'm like, I always say, don't

(24:59):
date him, don't marry them, for God's sake, Jesus, Like,
don't room with them. At this point, a lot of
the ones we're talking about our dead. So you know what,
if you're like, oh, they're canceled, honey, death canceled them, Okay,
their life got canceled, Okay, just enjoy the art, enjoy
the good things about them. It's kind of like having
sometimes it's like having a relative that you know, if

(25:22):
you don't talk about politics with You'll they'll tell you
like some cool old story and you're like that, yeah,
and you're like, oh, that's so wonderful. But then they
tell you then they say some like joke and you're like, oh, god,
here are we But I digress. But no, I mean,
you know everything, I've every little thing I've gotten to

(25:42):
do on any of this release, and there are people
that I have done a lot more. I'm kind of
like the trying to think like a musical analogy. I'm
not Pete Best that Pete Best. I don't know, No,
I'm very I always feel honored because there there are
so many talented people, uh that do a lot of

(26:07):
the supplements that so anytime I get invited to do
an essay or a commentary like that, I'm it's always
it's always an honor. I always feel like, holy shit me, okay, cool.

Speaker 2 (26:21):
Holy shit moment. You've had three non Vinegger syndrome releases
that I want to mention and just ask you about,
because I think there are movies where your your voice
really shines well. So you've done two for Umbrella right
and Intruder, and then Colloguila and then one for Second
Site called well, not called the Hitcher, like people don't

(26:43):
know thet but I mean, you were able to do
The Hitcher for a second site. Can you talk a
little bit about working on those and end with Caligula
because I have like a million questions on.

Speaker 4 (26:50):
That, but.

Speaker 3 (26:53):
Absolutely, well, I'll start with the I'll start with the
Hitcher and then we'll get to Umbrella because there's also
an upcoming one I should mention too, uh now, the
Hitcher that one had been I actually wrote that essay
I think like two years ago, like a year or
two ago, and the whole thing of like seeing how
hard they were working on trying to get everything, you know,

(27:15):
buttoned up properly. And I think some of these companies,
I don't know if people realize how hard they work.
Sometimes you see people getting kind of a little touchy,
and I think a lot of them are coming from
a good place because they're excited. I mean, and The
Hitcher was a film that's been out of print for
years and it's it's a masterpiece. This is one of
the best horror movies from the eighties, if not just period.

(27:36):
It's a fantastic film. Rucker howerd is I mean, and
I'm probably biased. He is one of my favorite actors,
but he Oh my god, that performance holy you know,
holy smokes. So but when that finally got announced, it's like,
oh my god, things are finally lighting up because that's
the that was so exciting to see, not even just becase.

(28:00):
I was like, oh, you know, my essay. I'm just
like just as again, just as a lover of a film.
Finally this, this beautiful movie is going to get out.
And this, I mean, that sets unreal. They have the
script in it, you know, it's like it's it's a
box set. It's like literally just this like gorgeous box set.
They did such a great job and getting to be

(28:21):
with so many other writers and people that are just
brilliant too, and that will Oh go ahead, I'm.

Speaker 2 (28:29):
Sorry, No started to interrupt. I was just gonna say
I had the benefit of Uh. There's this company called
Fractured Visions. This only put out like three or four releases,
and I emailed the guy that was led Fractured Visions,
this guy named Phil Escott, and he happens to be
just by coincidence and happy Happy look. He happens to
be the guy that does all the special feature stuff.

(28:50):
For Second Sight. So oh right on good way through
this interview, I was like, wait, oh shit, I didn't
realize I was talking to like the guy is making
all these beautiful sets and all this stuff, and so anyways,
I don't know if you worked with him or not.
I think it's bigger than just two people, but yeah,
it is.

Speaker 3 (29:08):
I just but I just checked my email and he
is the one that made sure to send me the
comp copy.

Speaker 2 (29:15):
Oh cool.

Speaker 3 (29:16):
So I did kind of work with him. But I
don't think it's been here. It's been a few years.
I'm trying to remember.

Speaker 2 (29:22):
I mean, the main person is a guy named Chris
who's notoriously quiet and doesn't really like do interviews and stuff.
Because everybody's been trying anybody who talk to you, they've
been trying to get Chris on their show. But I'm
sure the company is bigger. Anyways, I don't mean them
to get into the inner workings of Second Site. I
was just it was just a fun little connection that.

Speaker 6 (29:39):
I was right.

Speaker 3 (29:40):
It's such a small world really.

Speaker 2 (29:44):
Totally. But I interrupted you. You were saying about the
release itself, So you so you were doing the essay
for it?

Speaker 3 (29:50):
Yeah, I did. I did an essay for that and
it's part of it's part of a nice little booklet.
And then like going into the stuff with Umbrella, uh,
which I'll end with Colliguial, I'll start with Intruder and
which it's so funny because when I was asked like, oh,
would you like to contribute an essay and Intruder? And

(30:11):
I made sure because I got here and I'm like, wait,
are we are we talking about like the the one
like with the ramis in it, like the grocery store
slasher film, And I was and I was told indeed,
and I was like, fuck, yes, I would love to
do to say are you kidding? Of course? And I

(30:32):
love that movie so much, like it's such a cool
movie and that set is beautiful. It comes with like
a replica Gore Zone. I mean, it's it's amazing. And
that was a Jack Sergeant. I have Jack Sergeant to
thank hugely for that one. So don't Jack, if you're

(30:53):
hear this, thank you. Is this a great a great man?
Very easy. And that's the thing. I think it's important
any anything, any work, especially that you're doing out of love,
like make sure you you know it's good to work
with good people. And that's the thing I've I've really
enjoyed is you know, pretty much like getting to work

(31:14):
with such a variety of people with some of these
I mean, it hasn't been a huge writing because I've
you know, it's you know, uh, because I've worked mainly
with like a lot of the same ones for the
most part. But everybody's like very like you know, just
loves Everybody loves what they're doing. And that's and that's
awesome and uh and it's actually thanks to Jack I

(31:36):
because there's an upcoming Umbrella release for House of the Devil. Okay,
and I have a video essay and what's cool on
that is that's my first video essay that I have.
I have edited, no greated. I don't know if they've
added b roll to it, so I might not be
the only editor. But as far as all of the
stuff with me, I I edited that. I wrote it

(31:59):
and edited and I and that was cool because that
was also me learning or relearning Final Cut pro after
several years because I do video editing as part of
my day job, but at the day job, I do
Adobe Premiere. I try not to get too geeky here,
but I had trained on Final Cut Pro back in

(32:21):
the like mid to late two thousands, and but Final
Cut Pro from like that era versus Final Cut Pro now,
it is very different. So I was very very proud
of being able to like, okay, like I can do
this and and I uh and of course I mean
House the Devil speaks for itself. So it was that

(32:41):
was an honor kind of did to be asked to
do to do that film. And of course, I guess
do you want me to lead to Caligula? Am I
talking over you? I know, I'm a little bit of
a chatty Kathy.

Speaker 2 (32:54):
Yeah, be a chatty Heather. I mean, yeah, I want
to hear about that because I remember I was in
college when I first saw it, like two thousand and two,
two thousand and three, and it was not the longer cut.
It was just like the standard you know, with hardcore
edits interns, and I didn't get it at first. I

(33:17):
was like, what the fuck is this movie happened? But
then as things go, I saw it a few more
times over the next twenty years, and I think, you
know what was a big moment for me. Actually I
saw Fellini's Casanova and Fellini satirri Coan and really liked
those and Colleaguila again afterwards, and I was like, oh, okay,

(33:41):
I get it, like it just kind of clicked for me,
like they're so similar and visually that it clicked for me.
So when this set was announced, I was so pumped
and then I saw your name is just like it's
basically like the Heather Drain release the congratulations first of all.

Speaker 3 (33:56):
Oh my gosh, thank you, I've that one still floors me.
And by the way, I love you invoking like Satira
con and cast it over with that, because that's the cool.
That would be a cool I think, like double a
triple feature, like particularly with the Guccioni cut, maybe a
little more than the Ultimate cut Stiltman cut's a little different,
but but no, I mean, and this one, I have

(34:18):
to give a shout out to Alexander Helen Nichols, who's
i've fucking goddess in general, but she basically she's the
one that mentioned me to Umbrella and suggested. And then James,
which I'm probably gonna mispronounce james last name because I've
never heard anybody say it out loud, and James Keo,

(34:42):
James Cow I have James. God, I'm sorry. I know
I'm a buncher. I'm so sorry, sir. And I worked
with him on that and and he pretty much gave
me free rain, which which was good because I, you know,
got caligulous is a dicey. It's it's weird to think
like a film that's forty plus years old at this

(35:02):
point still has so much controversy and so much like
weird energy to it, Like there's still a like all
kinds of like just kind of I won't go into it,
but like dramatics attached to it behind the scenes, including
with the Ultimate Kite. But it was such a cool
I still can't believe we have to do that, to

(35:23):
be honest, that was such a cool journey to go
as somebody who's been fascinated with the film for years
and all of its forms, and also being a Tinto
Brass fan as well, because I love Tinto.

Speaker 2 (35:36):
You introduced Tinto as an art house filmmaker. I think
that was very refreshing to hear because I don't know,
I don't know what everybody thinks about him, but I think,
you know, it's easy to dismiss him as like a
softcore kind of you know it's a skin imax direct. Yeah,

(36:00):
but he really there's a lot of artistry in his work.

Speaker 3 (36:03):
Oh, I mean, including the more like sort of like
erotic sort of eighties and nineties era. No Tinto is
such a like he's to me, he's a great artistic anarchist.
He's a sexual anarchist as well. And I adore even
like the fluffiest you know, like non deep Tinto film

(36:27):
still will have something about it like yeah, like Paro
is it Parma Fa Tinto Brass, which is just like
a little anthology film, and and some of it's just
kind of cute, little just little like saucy stories. But
then it has this wrap around segment with him as
himself and there's a dream Seacots where a girl unbuttons
his pants and a literal elephant chart comes out of it.

Speaker 4 (36:51):
Like what.

Speaker 3 (36:54):
But I've loved that it's a realist he he's a
surrealist and he's very like anti established, which made him
so perfect to do Currigula. It's still.

Speaker 4 (37:07):
I do.

Speaker 3 (37:07):
I do like I do like the Ultimate cut a
lot and the hard work that that Aaron shops. The
editor you'll talk about you want to talk about editing,
you imagine going through all that raw, like several hours
upon hours of raw footage putting that together, and him
and Thomas and the Govin they're they're hard work shines,

(37:28):
and it's great to have that. But but I the
reason I love the Umbrella even if I wasn't on
it is that a little evil laugh there. But seriously,
it's because it has all the other cuts too, so
people they umbrella are giving people to kind of make
a chance to make up their own minds, which I
think is so cool. Because the Gooccioni stuff, I mean,

(37:49):
good Unity never should have sucked with anything. He never
should have or sipped anything from Tito to begin with that.
That can never be said enough. But the Guccione stuff
and him being a part of it is such an
inherent part of that films legend, to be honest, And
and some of the I mean, I think some of
the pets are good, like I mean, Laurie Wagner and

(38:12):
anneka Anika di Lorenzo. You still see them quite a
bit a little, and Laurie more so, and the Ultimate
Cut and she's great, like I think she's Yeah, I
just don't give a lot to do. I mean, she's pretty,
she's there to be pretty, but she has kind of
a little like spiciness about her that I like that.

Speaker 2 (38:31):
There's the theory called I think it's called death of
the artist, Is that right? Or when you release something
to the public, it's no longer yours, it's however the
public perceives.

Speaker 3 (38:41):
It, is, ah right, right, I've heard.

Speaker 5 (38:44):
Yeah.

Speaker 2 (38:45):
To me, collogial is like the best example of that,
because if whatever the intent was back in nineteen seventy
six with that ultimate cut, that's it's just not how
people know colliguilia, right, ninety nine percent of the world
or whatever knows it from the nineteen eighty cut, and
it's just the releasing the ultimate cut now is is

(39:08):
fascinating and important from a preservation standpoint and from a
like rewriting history to kind of like to kind of say, like, well,
this is what the original intent was.

Speaker 3 (39:18):
Right.

Speaker 2 (39:18):
There's a reason that Helen Miron doesn't talk about it
and all these things, right, But like it's interesting to there.
Colliguilal is like a thing to so many people now
for so long, one thing, so it's really hard to
separate that. Even if the ultimate cut is better or
worse even seeing the I guess the original cut you're

(39:39):
calling the GUCCIONI cut, Is that right?

Speaker 5 (39:41):
Is that that? I?

Speaker 3 (39:42):
Yeah, no, yeah, because basically that was the first finished cut. Yeah,
there was never a completed tinto cut because Gucciani like
basically marked he marked things up and intervened. But uh,
but it's part of the lore. And I mean what's

(40:04):
interesting is like the hardcore stuff in it. If you can,
you know, it's it's it's unneeded. I mean the film. Actually,
it's so funny when the ultimate cut was announced, somebody
on Twitter because I had I had shared something about
the Umbrella release, and I think a guy was like, oh, well,
there's not going to be any sex in this one,

(40:25):
and I'm like, dude, it's still about caligular, Okay, you
still have him like fisting a guy at his wedding.
I mean, I don't. This isn't the kids Bopped version. Okay,
it's curlecula. You know, Thomas and Aaron didn't go in
and cut out every and they cut out all the nudity.
I mean, the film would be probably like what fifteen

(40:46):
minutes long, maybe maybe even then probably not like I
mean deep throat censored would be probably bad as long.
I love Deep Throat too, but you know what I mean,
like it's it's it's you know, so I don't know.
I love the fact that I you know, and getting
to explore I mean, honestly, the amount of notes I

(41:06):
did on that commentary, I'm like, god, I could, you know,
you could, you could write books, like probably more than
one book on just like because you go into the
history of Caligul and then you go into the history
of you know what was, you know, the multiple scripts
that were originally and just I don't know, it's like,

(41:27):
you know, it's like a Matrushka doll after a while.
So it's it was and that set, I mean, I
knew it was going to be when I got my
contributor copy, I was like, I was florid. I'd seen
pictures online, but it's like, holy smokes, its gorgeous. Yeah
they Yeah. I would say of the two more recent things,

(41:48):
that and the getting to do the commentary tracks, I
honestly my number one probably supplement thing. If you asked
me to pick one, like a favorite, it would be
the Flesh Trilogy, yeah, which yeah, yeah, because that was
because I did all three commentaries so and I did
those all like I did two because we were on

(42:11):
a tight deadline. I recorded here's some inside baseball, I
guess I recorded the first two in one day and
I did the third one the next day. Yeah, I
don't recomm I don't recommend doing things that way if
you don't have to, by the way, But but it
was like, but you know, deadlines get tight and you

(42:32):
got to step up to the plate, and I, you know,
and I was prepared. I love I mean I I
literally have a framed picture of Michael Finley on my desk,
like this is a huge, a huge labor love Lisa Petrucci.
God bless her, God bless Stephen more with God bless
Elijah Drenner. Because it was those three that basically, you know, uh,

(42:57):
really gave me the support. You they they they wanted,
they vetted for me, and they believe because that was
a huge undertaking. Like they're they're probably they're definitely bigger
names they could have put on that release, uh than mine.
That would probably get maybe more eyes and more clicks
that probably have more pedigree to it, you know. Uh,

(43:18):
and uh and that's fine. You know, I always say,
like never don't present somebody else for getting a job
you want, just as long as they're kicking ass, because
at the end of the day, that's what matters, is
the work, you know, because.

Speaker 2 (43:31):
Now you're I think you're at that upreschelon now because
of just even the titles were mentioning, right.

Speaker 3 (43:37):
Oh well you th thank you.

Speaker 2 (43:39):
I don't.

Speaker 3 (43:39):
I don't. That is not my place to say, but
I appreciate that. But but I'm always a firm believer
and the only person you should ever compete with is yourself,
you know.

Speaker 2 (43:49):
Uh but that was that Arkansas fight coming out and
you read that Southern Oh my god.

Speaker 3 (43:55):
Yeah, yeah, yeah, I know.

Speaker 2 (43:59):
I feel this same way a lot of things. So,
but speaking of getting onto a lot of like amazing releases,
one of the ones I was I had heard about
for years but never seen was Shanks.

Speaker 5 (44:11):
Malcolm Shanks Here is no evil. He speaks no evil
because he's too busy making good people walk. The great
artist Marcel Marceau plays Malcolm Shanks and many other forms
of life rated peachy.

Speaker 2 (44:28):
Is it October?

Speaker 7 (44:29):
Right?

Speaker 2 (44:29):
It was the October release for them, I believe, So, yeah,
this is another one of these movies, Heather, I was
watching this and I was just like, I'm in love
with this.

Speaker 3 (44:39):
It's so beautiful, isn't it. Like it's such a like
such a great kind of dark fairy tale, but it
has such a sweet heart to it, you know, like
it's it's such a kind of pure sweetness about it
with all the sadness surrounded it. It's it's it's that
was I know, it's a it's a it's a beautiful
bomber it it really. I was honored, like when Justin

(45:02):
a chat, huge props to Justin Liberty because that was
like Justin had reached out to me and it's like,
would you like to do Shanks? And I was like, yeah,
again another my life.

Speaker 2 (45:14):
Fuck.

Speaker 4 (45:14):
Yeah.

Speaker 3 (45:14):
Like I probably was a little more professional responding to
him than that, just a little bit, but that No,
that was getting to kind of like root you know,
like there are certain films you get to kind of
root around in as a writer and just process and
be like how can you you know, you want to
do your best to honor sort of that films language

(45:35):
and spirit, and I'm god, William Castle, I think William
Castle is really it's gonna sound weird to say he's
underrated because he's a huge name, but I think people
always just focus on like, oh, he did all these
crazy gimmicks. They don't talk about They don't talk at
least enough for my blood, about his talent and his
his love. This man really loves storytelling and he loved uh,

(45:59):
he loved And I think that show was in so
many of his films, I mean even some of the
lesser ones, Like I mean, twelve Frightened Girls is like
a masterpiece, but it's it's got some great kind of
visual language to it.

Speaker 2 (46:11):
Well, it's interesting because there's a certain I don't even
know what you would call this, like a subgenre or
a sub sub subgenre of movies about aging clowns. And
I think I've always been really drawn to this because,
like Jacques Tati did it in there's a story he
did called The Illusionists, which is is an animated movie

(46:32):
made by the guy that did Triplets to Belleville His
Oh Wow. He had a follow up called The Illusionist,
which was based on a Jacques Tatis script, and it's
all about this artist who no longer has an audience,
and he's like very sad and he's kind of like
what happens in a world where there's no clowns or
there's no mimes. And then Felini touched on this a
couple of times in his work. He had literally made

(46:53):
a pseudo documentary called Clowns and then Shanks is up there,
like Shanks is right there. Because it's like this, I
think in a way, it's there's a layer to it
of knowing who Marcel mars Soul was to the world.
Seeing him play that role is fascinating because you're just like,
you know, there's he has this empathy and the sadness

(47:15):
that he conveys so well from being a mime all
those years that I don't think many people could pull
that off. So in my mind, it's like a similar
type of movie about this, just like this like aging
sort of this, like you know, this art that's been
there throughout history that's sort of aging out, like there's
no new mimes coming up. Really, you know, it's more

(47:38):
of a fringe thing now as opposed to like a
very popular culture. But that extra layer of it to
me of watching this, I mean, he was sell out
stadiums back in the day, right, and now nobody even
knows the name of Marcel Marso, so there's that extra
layer there for me, that was just like kind of
sad even watching him do that role.

Speaker 3 (47:55):
Yeah, but see, but the cool thing is releases like
that and it's talking about is like that's gonna get people.
I always think that anything you do in life is
like a seed, okay, you know, like and especially with
anything creative, like if you write something, if you like
what you're doing with with with this show, with your podcast,
you're planning seeds and think about it. It just takes

(48:18):
that one person listening to be like I don't know
who this person is, I don't know who this director is,
but I'm intrigued and check it out, and like you
are spreading that knowledge and then it's like then things
aren't forgotten anymore. And I mean that's how we all learn,
I mean most of the I mean, nobody's born into
this world knowing anything. You know, It's it's that curiosity

(48:39):
and it's that openness, which so yeah, that's uh so
now I'm so glad that like Shank's connected with you
because it's a beautiful film and and it's so cool
like that it's on like especially that sub label because
that one they've been doing so so much. I mean
all of these labels are younger works, all these sub

(49:00):
labels that the cool The cool thing with that one
is they're really kind of taking you know, either independent
films or films that are that were part of the
Hollywood system, you know, or part of the studio system,
but have been very neglected and kind of forgotten a
little bit, or you know, if not forgotten, kind of
you know, a little dusty. They gathered some dust on
the shelves and so, you know, and in true form

(49:23):
and fashion, what we're talking about dusting them off, beautifying
them and not even beautifying them, but getting them restored
to their original beauty.

Speaker 2 (49:33):
Yeah. Yeah, there's there's a there's restoration work, and then
there's you know, there's that Japanese art where you have
broken pottery and you can put gold to kind of
like fill in the gaps to make Oh yeah, I
think it's called konsugi. But that's more of like what
New York Ninja was, right, you're taking this thing that
was completely shattered and like reconstructing it into something new

(49:54):
and different. But a lot of what we're talking about
is more just putting a good polish on it. And
then the important part is the context around it, which
is where, which is why your role is so important
and why I'm so glad you're getting more popular Because
I don't know you mentioned Sam Degan. I think she's
probably another one. But the amount of research you do

(50:14):
for these releases is amazing. Because I was mentioning this
about Colligulia, I forgot to mention it, but Coligula and Shanks,
I'm learning something every time I'm I'm reading or listening
to you and I and I really appreciate that because
it adds another layer the next time I see the movie.

Speaker 3 (50:30):
Right, Oh cool, I think that's now. That's so cool
to hear. That's always the goal, you know, is especially
because like I I to me, that's like, that's my
Part of the fun with doing like nonfiction is the
little I love going these little like like rabbit rabbit holes.
In fact, I probably would get more done, but I

(50:51):
sometimes distract myself with like side rabbit holes. Like I
literally posted something this evening about because I'm working.

Speaker 4 (50:59):
I've been.

Speaker 3 (50:59):
I've started doing video essays for my YouTube and I'm
working on one right now, and something adjacent to the
one I'm working on right now had me all of
a sudden looking up, Like you know, Tori Amos, like
her first album Why Can't Tory Read, which is not
really considered canon for Tory fans, I think because it
was kind of like her like rock album that she

(51:21):
did when she was like, you know, like an eighties
baby kind of thing. But like I just found out
tonight that like this insane amount of like name power
we're on that album, like and behind the scenes like
half a cheap trick or doing backing vocals. That's yeah,
Mary Clayton who does the amazing vocal and the Rolling

(51:41):
Stones give me shelter like Matt Soorm's on drum to
all kinds of people, I'm like, holy shit, like and
I love Toy. I'm a listening to the Toy, but
I never really got into why Can't Tory Reid, because
you know, that wasn't like Cannon Tori. It's kind of
like how I don't really like, you know, I don't
really want to talk about Hortowski. I don't mention like

(52:03):
Tusk or The Rainbirth because I don't personally really consider
it like pure Hodo and that's just maybe me, but whatever,
Like I gotta be true to I gotta be true
to my heart.

Speaker 2 (52:15):
If I cut on this wait quick, quick, five second tangent. Uh,
there's a whole conversation I separately, I want to have
a sight about Yodorowsky because he's just such an amazing director.
But uh, I had I'll just quickly say the commentary
for Santa Sung Gra if you haven't heard it, I
was crying during it because, oh man as he was
watching the movie during the commentary, it was the only

(52:37):
time he had seen the movie after his son died.
And oh, he's such an open heart.

Speaker 3 (52:43):
Yeah, he's so beautiful talking about it.

Speaker 2 (52:45):
He's just saying, like, this scene is really difficult for me,
and he like takes a pause and you're just like
living this moment with him. It's like, fuck, oh my god,
so good.

Speaker 6 (52:55):
He is so.

Speaker 3 (52:57):
Like, I don't I'll maake this crack. I don't want
to get too far off the read, far into the weeds,
I should say. But when I was writing for Dangerous Minds,
I had the chance to do a phone interview with
Hordarowski because yeah, because Dance of Dance of Reality was
coming out, and that was I don't think I have

(53:18):
ever been more terrified in a non medical situation in
my life. I was literally I feel like I was
having anxiety. I was having like twenty anxiety attacks. And
on top of that one because it took forever to connect,
there was a delay, and then when we did, the
connection was shit. It was awful. And he and then

(53:40):
but he was so patient with me. He stayed on
the phone with me for thirty minutes with a bad connection,
and half the time he was speaking in French, and
I my French is yeah, let's just say it's a
it's not it's not very good.

Speaker 7 (53:55):
It is.

Speaker 3 (53:57):
I can say, I can oh. God, see, I took
German and I have whatever, I guess speak a tiny
bit of French, but not enough to talk with anybody.
But he was still like so patient, and he asked questions.
He was like asking me like do you have any children?

Speaker 6 (54:12):
You know?

Speaker 3 (54:12):
It was like asking these like like questions just wanted
to know about and and I mean it ended up
not being very usable because of the difficulties like the recording,
but he was so patient and so sweet, and he
literally ended it by saying a brazos and I was
I was friends with a writer a the Tain named
David Arapte who was it was a really great writer

(54:35):
and very cool guy. But he he listened to the
rock because he was able to translate some of the
because it was like French and Spanish. A lot of
it was Spanish, but there was French too. And and
he's like Heather, he said a Brasos like that's like
a term of endearment, like and I was like, oh
my god, I was like crying. I mean because I

(54:59):
hold her. Rowski is one of the most impactful artists
for me, like as a as a just as a person,
like I find this stuff. His stuff so deeply like
personal and spiritual. And you're talking about that openness about him,
I think is so beautiful because you're right. And I
love the fact that he and interviews will say I'm

(55:21):
not a Sean, I'm not this wise man, and to me,
that's an artist. You can trust Anybody that presents themselves
as Oh, I'm this big deal or I'm this wise person,
I'm this or that, anybody and this is just for life.
Anybody that presents himself is any sort of big wheel
to you, watch your ass because it's a because they're

(55:44):
full of shit.

Speaker 4 (55:45):
It's a yeah.

Speaker 3 (55:47):
So especially with anybody in, you know, like particularly anybody
in power, and that's not a political statement, just anybody
any power position, including in the arts. So it's like
when you say that great interview with Nicholas, that's between
Nicholas Ruffin and William Freakin and reference like tatting his
own horn and Freakin this great a tour, one of

(56:10):
the best American autours ever is looking at the camp.
Oh my god, I had a screenshot of freaking Space
on my phone forever. That was my wallpaper. That's why
your freakin is the band I digress. But anyways, No,
I need to and I have that. I have that
Blue with Santasangra. I need to listen to that commentary

(56:31):
and make sure I have some tissues good night, because
I'll be shattered.

Speaker 2 (56:35):
It's worth it. Yeah, something less sad. And another release
that you have that actually is announced today, speaking of
Partner month and speaking of Scooter that we were mentioning earlier,
is a Saturn's Core release, so y work with them,

(56:56):
which is Russ or Ross Ross.

Speaker 3 (57:00):
It's Ross Ross. Yes, super nice guy the man, Love
love him. He is so easy to work with and
just truly the good lord. He knows his shit. He
knows the stuff and then the brain on him.

Speaker 2 (57:20):
And his discs are I think of all the partner
labels in general, his discs are usually the most stacked,
and I think he said there's a technical reason for
that because they're just the digital file of these films
is not as robust when they're shot on video. But
it doesn't matter. I mean, I think he just really
cares about this stuff a lot as well.

Speaker 3 (57:42):
Oh No, his passion when when I was working with
them on doing because I did an essay for the
films of Richard Baylor and that was so much fun
to do because Richard and it's fake. As before we
start recording, I'd mentioned to you about Scooter and how
I learned about Scooter as a teenager when I would

(58:03):
when I was reading like Film Threat Video magazine, which
is weird because there was a chain in the in
the series called Hastings at that time period that was
kind of like a cool alternative like you could find
like all kinds of cool stuff there, and the one
in Fayetteville had they didn't have Film Threat Magazine, but

(58:24):
they had Film Threat Video and so I picked those
up just on a lark, and that's how I learned
about huge book Geright, who's now one of my favorite
directors and has been for years. I love him. You know,
you learned about people like all the Siem transgression, people
like Lydia Lunch, Richard Kern Nick Zed But I remember
seeing ads and reviews for Baylor stuff.

Speaker 4 (58:48):
Uh.

Speaker 3 (58:49):
And but I again, kind of like like with Scoter,
I'd get to see a lot a lot of this
stuff years later because I mean, were my parents were open,
but I did in our open mind. There's no way
how anybody in the right mind just kind of be like,
but they're like teenage you know, especially teenage girl back then,
be like, so you want to order this movie called

(59:09):
Necromantic about a necro file, And it's yeah, no, they were,
you know, they were really going to be that, you know,
so open. But but but no, but I've and but
then I finally, thanks to you know, working on that
release about Richard, like got to watch all of Richard's

(59:31):
stuff and do this essay and I did a commentary
track as well, and and man, what a what a joy.
But it's so cool because like, yeah, rosswitzend me like
scans of stuff like old reviews, and he just he
had that stuff on file and and then you know,

(59:51):
the cool thing about the internet is now like you know,
I get to like I've heard from Richard Baylor, like
that the director is surfaced with all this and he's
a sweetheart and such a cool guy. And that's a
release I really can't recommend enough to people. And I
actually and I would say this if I didn't know
anybody involved. If you love underground cinema, and particularly I

(01:00:14):
think richard stuff's better than some of the cinema. The bigger,
the bigger dogs in the cinema of transgression, Richard's are
He's more than that. I don't really can sometime part
of that movement, to be honest, because he was he
was in Britain and he's still in Britain. He's American,
but he was making stuff in Britain. But uh, but
like his stuff, and that's the thing. Saturn's core really

(01:00:35):
like they're releasing some truly like cool underground films and
I like with this one that got announced today with
Dogs in quicksand which I'm so excited about. And this
is when I went into blind because I'm to be honest,
like Russ is like he's sent me like a screener

(01:00:55):
and he's like, watch this and tell me if you
want to do an essay, and I'm like okay, And
I watched it and I'm like, yes, I loved it
and it's a quirky comedy r. And that's the thing, Like,
I love it that he's taking chances. It'd be easy
for him just to cater and I love all the
like gore stuff and effect. There'll be a release coming

(01:01:17):
up that I won't name yet because it's not it
hasn't been announced formally, but there is there. There is
one on the Rise, and that is very that's fun
and very like got all kinds of cool practical effects.
That's all I'm gonna say on it. And I live
for that ship too. I'm a horror kid completely, but
you know, you know, man cannot survive on bread alone.

(01:01:39):
You need a variety in your diet and dogs and
quick say it's so fun and that's Mike TRIPI EDDI Yeah,
and uh, great cast, fun writing, Mike hass this great
theatrical background and so like he actually did like this
play before and the and there's going to be there's
a I think the play is on this release. You

(01:02:01):
get to see video put to this play that's about
women in prison, like you know, so obviously Mike is
one of us. Like and uh, I just I love
it because this is such a fun, fun movie. It's
so good, and you know, I love the fact that
more people are kind of more and more opening their
minds to shot on video stuff because I mean, I

(01:02:22):
won't like, you know, when I you know, especially when
I was a teenager, you know, I I when I
thought about me being like I want to be a filmmaker.
You know, I I probably was, you know, wouldn't have
been ballsy enough to just grab a camcorder and do it,
you know, because I kind of bought the bullshit of
oh no, no, to make a film, you got to

(01:02:43):
do this and this and this and that's a that's
a lie to make a film, Make the fucking movie,
write the script, grab a camera, get it done. It's
punk rock. These these are these, all of these filmmakers
are doing the punk rock ethos and it's beautiful.

Speaker 2 (01:03:00):
So if we can pause on that for one second
and talk about another label. As far as I know,
you don't have any work with them. But I'm sorry
if I'm wrong, but there's another partner label called VHS Hitfest,
and I.

Speaker 3 (01:03:13):
Think, oh, they are so cool. I have one of
the releases. Yeah, I haven't done anything for them, but no,
they I do. Is it Blood Blood Hunger. It's the
vampire indie film from like I think Georgia. I think
it was shot in Georgia or North Carolina. I was
going to do an article on it when I saw
the film on YouTube a few years ago because a

(01:03:35):
guy I was friends with on Instagram had shared it
and I was like.

Speaker 5 (01:03:37):
What that?

Speaker 3 (01:03:38):
What is this?

Speaker 2 (01:03:39):
Yes?

Speaker 3 (01:03:41):
Blood Hunter? Yeah, no, they're they're They're doing some cool
stuff too. I want to get more of the releases,
but I think.

Speaker 2 (01:03:47):
They are another one similar to Sadam's Core, where they're
like when I first saw Cornshucker. So the first release
is called Cornshucker like it could if you told me
it was a David Lynch film, like student film, more
experimental film that he made just on a Camquarterer, I
would totally believe it. It's it's it's quirky. It's got
that same spirit of what David Lynch has in his

(01:04:08):
movies where it's kind of it's dark without being scary,
like it's kinda. He has like a whimsy almost everything
he does, even when he gets dark. I mean, except
for the stuff he makes that is horrific, which he
can do as well, but like a lot of the
times in his scenes, there's almost like this weird kind
of light, light like levity or whimsy to the making.

(01:04:31):
And corn Shucker I think has a lot of that too,
and it's just it's a little bit surreal. It's just
it's amazing and you're like, Okay, this is miles away
from what I expected in s OV to be.

Speaker 3 (01:04:45):
Oh my god, Okay, yeah, I gotta I gotta get that. Yeah,
I I need to pick up more. There are a
lab of iriries like it, Like I'm always keeping an
extra eye on, especially because they did Blood Hunter. Have
you seen Blood Hunter?

Speaker 5 (01:04:57):
No?

Speaker 2 (01:04:58):
I haven't yet. I haven't.

Speaker 3 (01:04:59):
Oh it, Oh my god. Yeah, it's it's gotta some
cool Like I'm a big pan of vampire cinema and
vampire like pathology and fiction and because of course, because
I'm like eighty percent goth, of course I love vampire
but uh but no, but it does like it's so southern,
and not just because it's made in the South, because

(01:05:21):
there's I've always said you can tell the difference between
horror films that, yeah, maybe they're set in the South,
but the people making it aren't Southern. They don't understand
actual like real culture, or it's just a bunch of
stereotypes versus the people that work in the genuine weirdness
of this region, like Toby Hooper, you could tell you,

(01:05:41):
and especially Texas weird, like Texas Southern is like a
different type of Southern than and it's beautiful, like he's
a great sef Brownrig is another one, you know who
nailed kind of the weird Southern gothicness and his stuff
like with you know, especially keep my Grave Open. That's

(01:06:02):
the one I think gets talked about. The leaves, like
don't look in the Basement. I know, it's like the
big one, and it's great. It's come of the Earth's
fucking fantastic. Oh my god, it's so good. But no,
Blood Hunter does some really cool things with that mythology.
And there's a scene I've seen people make fun of
this movie for this scene. I think it's fucking cool.

(01:06:22):
The vampire literally vomits up blood on the wall and
it reveals a message like he's helter skeltering the wall
with his own blood vomit. Okay, I'm sorry. That's like
complaining you've got too much cheese on your pizza.

Speaker 7 (01:06:36):
Are you?

Speaker 3 (01:06:37):
Are you kidding me? This is a gift. This is
part of the reason why we watch, like, you know,
independent films and cult films is to see something that
bends your brain. You know, you're like, Hollywood ain't gonna
do that.

Speaker 5 (01:06:54):
You know.

Speaker 2 (01:06:56):
I have to think of a new name for it.
But I call it the bat Pussy effect because, oh
my god, yeah, your reactions.

Speaker 3 (01:07:03):
I have, Oh my god, continue but oh.

Speaker 2 (01:07:05):
Yeah, speaking of partner labels if you haven't. But I
remember just sitting there being like, how is this mad?
But I'm so glad it was.

Speaker 3 (01:07:17):
Oh no, I I have. This is something I should
not be proud of, but I have no shame. I
have three copies of Bout Pussy. I have the original
something where double feature, which was bat Possy with baby Bubbles, which, God,
that Baby Bubbles is terrible because that's just like a general,
just really shitty, low budget adult film where people are

(01:07:42):
actually able to get things inserted. I like Bats that
Pussy is not porn because it tries yeah, it tries
to be porn that the poor man valiantly tries to
get a direction. It ain't happening, So waiting There used

(01:08:04):
to be a sight year sen years ago called brains
on Film and Professor tread was one of the writers,
Larry Treadwell, I think this is actually he had the
best descript of that movie ever and he called it
John Waters, Who's afraid of Virginia woolf I I wish
I would have written that line, but I always believe

(01:08:24):
in giving credit recredits due that's tread That's not my line,
but it's a great line and nails it right because
the dialogue where it's like, you know you you wouldn't
it's not terrible, but you wouldn't know how to eat
pussy if it was your dead grandmother. And yet we're
surprised that anybody surprises me and couldn't get a boner?

(01:08:45):
You kidding? You know, Like, no, of course he couldn't.
And then like darling, darling, you don't love me, motherfucker.
I'm probably related to these people. By the way. This
is why I don't believe in doing family trees.

Speaker 2 (01:08:59):
Uh, you don't know what you'll buy Texas you're safe.

Speaker 3 (01:09:05):
Well, every but on my hair for a lot of simes.
There's a lot of transplants in the South. But but no,
I mean no, but I got the first eggly right,
but then I had to get the second one because
that one had different supplements. And including my friend, a
friend of mine who's done all this great him and
his partner have done all this amazing research on t exploitation,

(01:09:29):
like the and the main guy is Dennis Kampa and uh.
And the fact I knew I was going to get
along with Dennis when I was like, you're researching bat pussy.

Speaker 4 (01:09:40):
My name is Heather.

Speaker 2 (01:09:43):
Can we be friends?

Speaker 3 (01:09:45):
We'd be friends. That is so amazing because specially because
my husband and I used to joke that if if
you ever did a word they now on bat pussy,
you would just when it says now, it would just
be the shot of an underpass in Dallas. That's terrible
and zo but funny. No, I love that possy it
is like it's I Probably the reason we probably would

(01:10:07):
have people come over anymore is because, like I I
have forced people in the past to watch it because
I obviously have a lot of issues, and but I
think it's tremendous. I mean the dialogue, the fact that,
like you hear crew members burping, I think they it's

(01:10:28):
like I mean, and not just like a little like
you know, like oh t he I mean we're talking
like like like gottural, like there was natural ice on
that set, Like somebody had a six pack let's be real,
twenty pack, multi twelve multiple twelve packs of Natty Eyes
or PBR Schlitz, probably Schlitz, Yeah, probably Schlitz. We're talking. Yeah,

(01:10:57):
it's a fascinating film. God bless Can you imagine the
poor guys that went to that dirty movie theater back then,
you know, just hoping to have a little hand party
before they have to go back to work or whatever.
You can't you can't. I would be I would almost
be afraid to meet the person I could get aroused

(01:11:19):
to that I would be. I'd be fascinated. I would
be like, I don't know where you are on the
Kinsey scale of what, but I am riveted. Uh yeah, no,
God bless agva they are. Yeah that at least the
Patrucci like something weird. I mean, something weird. It's like
one of the mothers of all this great of all

(01:11:43):
this great preservation.

Speaker 2 (01:11:44):
So there's ever a fourth release of it?

Speaker 3 (01:11:48):
You know, I can do the commentary for yes, Oh god,
can you imagine like if any booby like we got
the four K but about.

Speaker 2 (01:12:01):
But staying on ag for for a second. They have
a really good release in December, so they have quite
a few movies they're putting out. So it's they're calling
it a triple frightenmer have you seen the have you
seen anything about this release yet? Have you had a
chance to see there? It's Love Goddess is a Blood Island,

(01:12:26):
follow that skirt and then the Undertaker and his pals
all coming.

Speaker 3 (01:12:29):
Oh my god, I've seen I know there were like
some lost elements that were found recently that go for
this release. I saw Lisa posting about it, and I mean,
I'm sorry if Lisa Lisa protrude to somebody, if she
if she's on something, if she's working on it, I
want to get it because Lisa is the lady. She

(01:12:49):
is awesome. And also late two of those films are
films I haven't seen that. I've always I've heard of
Follow that Skirt, I've never seen it. That title is amazing.
Anything called Love Goddesses of Blood Island. Just how too
that Inside my heart, of course, I want to see that.
I'm just taking his palace as classic. It's got one
of the one of my most favorite sort of final

(01:13:10):
sequences in any movie that's a musical sequence. I won't
spoil it, but it's fantastic.

Speaker 2 (01:13:17):
Let's see it.

Speaker 3 (01:13:18):
It's there's some great gags. I mean, it's kind of
it's a great like horror comedy, and you know, I
don't know how many of those we got in the sixties,
and then we got a few, but I mean, I
feel like that one, and I don't know how some
Bear Mountain counts, but that one has Frankenstein spiking the
punch and there's a bunch of boobs, so at least,

(01:13:41):
I mean.

Speaker 2 (01:13:42):
All the horror comedy in the sixties was cartoons for
the most part, right, But hg. Lewis just comedy stuff,
I guess.

Speaker 3 (01:13:48):
I mean, there's Oh God, I love herschel to be
is like a whole other category. I love Oh, I
love herschel Goring loads so much.

Speaker 2 (01:13:57):
But the interesting thing this release has a common with
Patton Oswald, which is interesting because I don't know if
you're listening patent no offense. I haven't like loved the
stuff that he's made, but the guy I love, like,
he's awesome. He'sn't like you you mentioned earlier. He's one
of us, like Petton Oswald loves movies, oh.

Speaker 3 (01:14:17):
Yeah, and honestly he I'm I'm always intrigued when people
that are kind of from I shouldn't see the outside world.
It makes me like you, right, But I'm always kind
of intrigued because it's like it's kind of like finding
out being like oh wow. Like it's it's like, you know,

(01:14:38):
finding out that Bill Hayter, you know, liked Sallow, where
I was like, whoa, Okay, I knew, I knew you
were funny. I didn't know yet such a good taste.
So I'm bean, I'm intrigued now I'm what I've seen.
I've always liked him in a comedic aspect. I mean,
he's great on Roast. I loved his supporting character on
Brino nol Onue one unfair, So no, I'm definitely curious.

(01:15:06):
Another one like that is, oh god, why am I blanking?
Oh god, Dana, why am I not remember your name?
He was also like good friends with Vampira, like Mylin Ermie,
Dana Gould. Dana Gould Like he's another one of those

(01:15:27):
like I've I've discovered more recently, is like has a
cool kind of like underground sort of tie to it.

Speaker 2 (01:15:35):
There's something good about comedians. Maybe comedians get it.

Speaker 3 (01:15:39):
They're dark. A lot of them are very dark, twisted souls,
which we are too, So it's like cool.

Speaker 2 (01:15:49):
There's there's a It's interesting that after Altered Innocence left,
there was this gap at OCN for labels that kind
of focused on LGBTQ plus and that gap is now
filled and there's a new label called Sinophobia that's made
it their mandate to promote these filmmakers.

Speaker 3 (01:16:12):
Oh right on, which is great.

Speaker 2 (01:16:14):
Yeah yeah, And the first release has a essay or
video essay or commentary I'll check right now. Oh, commentary
from Unsung Horrores. So both Lance and Erica from Unsong
Horrors do the commentary for the release.

Speaker 3 (01:16:30):
Oh hell yeah, which they I love Erica and Lance
spoke so much and they they do fantastic work. These
are people I love seeing get to do supplements. Of course,
Erica recently put out that amazing book, The s Greatest
Taboo about Child death and me face, I just got

(01:16:52):
ess Lance is amazing. I got to be on their
show once earlier this year and that was so much.
That was so much fun and get to talk like
they really like I love it. I love seeing people
that are like not only just like genuinely like good people,
like they're nice, these are not you know, these are

(01:17:12):
good humans, but they're also like they love they love
the deep cut. They're celebrating the deep cut, you know,
like they're doing they're doing that hard like nitty gritty
work and getting getting the word out about all of
these cool films that people don't really talk about.

Speaker 2 (01:17:28):
Yep.

Speaker 5 (01:17:28):
And her.

Speaker 2 (01:17:31):
She Erica did on Chinese torture chambers Story one two,
there's a she did a piece on the history of
torture in China that's amazing, Like it's so well researched,
it's so well constructed. It's very very good. So yeah,
big fan of Erica.

Speaker 3 (01:17:51):
Oh she's yeah, no, she she is awesome. And I
definitely yeah, that's always the name. Like if she's on something,
it's like, oh, okay, in my bank accounts, like drain
stop it, get away, we got payran. I know, yeah,

(01:18:13):
I know. That's Unfortunately that's what happened.

Speaker 2 (01:18:15):
But the other two that I wanted to call out
and then I'd be curious if there's any more that
are that are interesting to you from this month. I'm
always a big fan of the films that Connie puts
out just sort of in general, but every once in
a while, I would say, like maybe three or four
times a year they put out like a truly one

(01:18:36):
of these like foundational pieces of Asian cinema. And they
did it. They got one. They got another one. So
Angie Chen, they who was the first female director at
Shaw Brothers Studios, they got one of her movies, which
is amazing nineteen eighty four movie called Maybe It's Love,
and it's already sold six hundred copies as in the

(01:19:00):
first day, which I'm excited about. I hope that people
get this one because Angie Chen is a name that
probably should be spoken of more. She's extremely talented and
she's very kind of revolutionary for breaking through that boys club.

Speaker 3 (01:19:14):
Mm hm, that looks okay, yeah, you've you've I am
pulling this up, so anybody listening. I made sure to
have like a little tab so I could look at
these releases with Chris. Yeah, yeah, good. The touches that
are put to with even just like the design, everything

(01:19:37):
is so appealing on so many different levels. Excuse me,
but also like seeing like seeing that, because that's honestly,
like I've always wanted to learn more about, Like I
have a lot of cinematic blind spots, and there's a
lot of cinema blind spots for me, particularly with like

(01:19:57):
with Japanese cinema and just Asian cinema in general. I've
been slowly but surely kind of working through that, the
like Cheruli this year and and so now and yeah,
and of course, like some of that is tied to
what we're talking about, because like the you know, getting
the Ebola syndrome and getting the untold story which the

(01:20:20):
ant told story so good, so fucking good, and it
actually if I knew then what I knew now when
I crowdfund, like because I supported the crowdfund for Sweetest Taboo,
I originally like I did the package where you get
like a little I think it's like a coaster, and
I picked them on with Alice Sweet Alice, which I

(01:20:42):
do love, Yeah, I mean, oh love Alice Sweet Alice.
But if I knew then when I knew now, I
would have gone for the thing with Anthony Wong. I'm
in love with Anthony Why now he's so awesome.

Speaker 2 (01:20:53):
Yeah, amazing, And it's crazy some of these ones that
were based off true stories to something anyways.

Speaker 3 (01:21:01):
Yeah, that's a whole other podcast.

Speaker 4 (01:21:02):
Yeah, exactly.

Speaker 2 (01:21:05):
And the other big one for me, anytime Chantal Ackerman
gets love, I'm very excited about it because to me,
it's not fair that she's not spoken of in the
same way that Gadar just casually, like people can just
name like four or five good art films, like I think,
in my mind, Akerman should be that way. Like I
think she's just such a master at them composing a

(01:21:26):
story and like letting a story, you know, like the
best arteurs can kind of you just trust them and
they sort of let this story unfold it and you
just even if you don't get it immediately, you just
sit with them because you know it's going somewhere. Yeah,
she's another one of these that spoken that should be
in that same light. And this is her final film,
and it's a very personal film for her about all

(01:21:48):
about the relationship with her mother, who was a Holocaust survivor.
So it's just it's touching and sweet at times and
sad at times, and it's just but it's very it's
a very chantal Ackerman way of telling the story. So
it's I can't believe that this is getting a release.
And I've said this before a hundred times, but it's
just amazing to me that we're buying this through the
Vinegar Syndrome website. I love that so much.

Speaker 3 (01:22:10):
That is that is amazing. No, And I mean, and
I think that takes the point that it gives you
something like that they've always been so good about trying,
you know, but about not trying but doing having art house.
But also I think with that it kind of helps people,
I think, better define what art house truly is. That's
something I've always really tried to work at with the

(01:22:32):
films I write about in general, is to try and
kind of get the I think there's always a lot
of classism, yes, personally, with how people regard art and
regard like, oh, you know, like like saying, well, we
were talking about like Colligilar Artino Brass about art house,
and it's like, well, his latter of stuff especially isn't

(01:22:54):
called art house because it didn't play to I, let's
just say a higher ticket craft. You know, if something
is aimed at working class people, it's automatically like, oh,
that's not our house, that's that smut or that's b booby,
or that's this or that. But it's like, but you know,
art house to me just means like I mean, it

(01:23:14):
technically means stuff that played in our houses. But if
we're going to redefine it as we should, to me,
it's like art house is something that's made artfully with
a vision.

Speaker 2 (01:23:26):
Yeah. Yeah, I've never really thought to define it before.
I think the word art, the term art house, and
the word our tour in my mind are interchangeable.

Speaker 3 (01:23:37):
Yeah oh well no, absolutely, yeah, I mean there you know,
one is one can't live with the without the other, right,
And that's one of.

Speaker 2 (01:23:45):
The beautiful things about all like the sov films we're
talking about, and obviously Sean Talker fits into that too,
But these are people that can hold a vision and
like see it through all the way. They're not encumbered
by studios, and it's not totally fair to say that
the person who's in the Marvel Cinematic universe is not
in our tour, Like maybe that's not fair because there's

(01:24:05):
three thousand people that have an opinion on that movie
before it gets released.

Speaker 3 (01:24:09):
So I haven't heard of these. I'm sorry, I'm just
being I'm just being upse for no, no, but no,
I see. I see your point though, And I mean,
I mean, you could do the whole Deuchamp thing or
you know, Deschampoi said, you know what, it's art. You
point at a table, I call it. You know, I'll
call it art now. It is art, like it's like

(01:24:30):
a transformative thing. Which I kind of like that approach too,
I mean, I think, but I like, I like where
you're going with that because I do think, you know,
I love the fact that we live in a world
or maybe something that I wouldn't that's not art to me.
You know what if that if that expression genuinely moves
somebody on a deep level, on a profound level, then

(01:24:53):
I'm not gonna I don't want to shit on that
for them, you know, it's just not for me. And
that's the thing, like, yeah, why am I trying to
go back to bappost? But I mean, but for eximple,
I think one of my favorite tours is Durrut, Damiano
and he's an on tour. He is the real deal.

(01:25:14):
I will go to the grave with that fight. And
in fact I still bristled his day. Like when he died,
people were like, oh, pornographer. This way, wasn't a pornographer.
Like he made films that were sexually explicit, but so
did Lars Montreer. I don't see them calling him bortographer.
You know, so have a number of noted filmmakers, but

(01:25:34):
there they were considered art house because there's stuff played
to people that you know, critics regarded as all. These
are people that have that can afford college degrees, which
for anybody Europe listening, like to get a college degree
in or in America, you you generally either have to
either get a lot of grants or go in debt,

(01:25:54):
or have rich or have a lot family that's got
some money. It's a privilege. It is a privilege in
all ways in this country. So they have that attitude,
to me is kind of shitty and it's classist, and
I to me, I want to see that broken down.
Artists for people, artists for all of us. And Damiano
to me, was a working class artist and he made

(01:26:17):
films that were heavy. I mean watching Memories within Miss Aggie,
which was released by Vinegar Syndrome. See I get, but god,
I would have killed a bit on that release. But
that's art. It's our devil. Missus Jones is art. Skin
Flix is art. This man was an artist, and yeah,

(01:26:38):
is something with explicit sex sex going to be for everybody?

Speaker 4 (01:26:41):
No?

Speaker 3 (01:26:41):
And that's understandable.

Speaker 8 (01:26:43):
You know.

Speaker 3 (01:26:43):
I don't want to see a rom com. That shit
ain't for me. I don't want to see something inspiring
in a sensitive fun way that's like, oh gross, No,
it's not for me. Don't even come at me with
the forest Gump. I don't want to see that twenty
mile near me. But has that moved and touched a
lot of people? Of course obviously it has, and that's

(01:27:06):
genuinely beautiful. I'm not gonna be I don't want to
be a dick about it. I may have some snark,
it's all in good fun. Seriously, I hate that movie,
but I but I mean, but you know, justin aside,
like I do love the attitude of being like, you know,
if this is art to you, if a Marvel movie

(01:27:26):
is inspiring to you, generally, that's beautiful. It's just not
for me. There's so many other artists and films that
I would rather shine a light on personally.

Speaker 2 (01:27:35):
Yeah, that's exactly where we're completely aligned on that. I
get shipped for. I get shipped for not liking biopics
is one that I get a lot of grief for
it because most most biopics are just like a reenactment.
It's not like there's nothing creative happening. It's just like,

(01:27:58):
let's let's recreate something, and to me, like, I don't
I don't need to see that story. I'll just read
the Wikipedia page and like I get it. And then
the other one is like overly sentimental films, like like
Driving Miss Daisy, I guess is one recently I saw
finally and I.

Speaker 4 (01:28:15):
Was like, oh, but.

Speaker 2 (01:28:18):
I just can't, like, you know, if it's if it's
I don't know, like if it's small sy or I
just I can't do it. I just if it's not
how humans talk and it's this weird unless it's like
I have this weird love for love. Actually I get it.
It's like the worst example of what I'm talking about.
But it's like everybody that made it new exactly what
they were making and just like went for it, and

(01:28:39):
to me, it's it gets an exception, it gets a
pass in this discussion.

Speaker 3 (01:28:42):
But well, no, I mean that's it's it's honestly everybody.
Everybody's got something different in their life, and there's nothing
wrong with that at all. I will say. With bio
picts or biopics, I've heard it it's like turmeric for
is toomeric. But yeah, and this Finneger Center put this

(01:29:04):
one out recently. Kinski's Paganini, which is what I filming
directed That one is a fascinating approach to the biopic
because it's to me, it's like a fever dream. But
it's also I felt like that's what I wrote about
years ago when I think Maya released it on DVD.

(01:29:24):
I think that was labeled back then. I need to
get this Blu ray though. But it's like he's trying
to encompass Paganini as a spirit into the film. To me,
it's almost like like he's trying to channel him or something.
It's it's it's a really fascinating approach. It's also all
natural light with candle light. Yeah, it's a I think

(01:29:47):
it's a really cool film. I I know it's again
that's Obviously, I know Kinski's not going to beat everybody's tea,
especially as a director, but I think it's I think
it's a beautiful film. I think it's a really cool film.

Speaker 2 (01:30:03):
But Vinegar Syndrome Labs release, Is that right?

Speaker 3 (01:30:06):
I believe?

Speaker 2 (01:30:07):
So yeah, I'm pretty sure that's cool. That's that's what
I've seen. If they've put out ten, I've seen seven
of them, but I haven't got to that one yet,
So that's Oh, make sure I see it. Are there
any other partner labels you want to call out? I'm
excited for uh Hdeo Ghosha film. We don't We don't

(01:30:27):
hear a lot about him, but he's the director. I
think if if people put out more of his stuff,
he would be spoken of as a good Japanese director.
The release is called Cash Calls Hell. This is one
of his a pretty well known work of his from
the sixties, right when Stage and Suzuki was kind of
in his prime. So that's what I'm excited about.

Speaker 4 (01:30:48):
What about you?

Speaker 2 (01:30:49):
Are there any that you're excited about? Oh?

Speaker 3 (01:30:51):
God, especially looking like having this pulled up. They I
almost feel bad like neglecting any because they all look
they all look great, like personally, like looking at this,
I know Factory twenty five seem to do like a
lot of cool kind of documentaries. I love a great documentary.

(01:31:15):
I know they've got better than something about Jay and
he's Canadian retard oh reatart. Yes, And and in fact,
and the fact that Film Movement is putting out Bent,
which is a film I've wanted to see for a
long time. I definitely want to Yeah, I definitely want

(01:31:38):
to get that. And of course, as a wrestling fan,
I would be remiss not to mention Canadian International Pictures
because they put out that Brett Hart documentary Wrestling with Shadows.
So but honestly, like god, I'm just like if I
just if I ever win the lottery or something, I

(01:32:00):
do want to mention it. Actually because I have pre
ordered from may Luzine because they've got the early work
of Ron Sullivan. Later on when he went to adult
worked on the name Henry Puchard, but this is his
early like sexploitation work, and the trailer for that I

(01:32:22):
immediately was like, oh, I need this, I need this
in my life right now. It looks it looks really great.
And of course Jennifer Wells, who was a great actress
of that era. She worked both in s exploitation and
later on adult for like. An earlier example of her work,
she was in Uh Joel Joel m Reid's Career Bed,

(01:32:45):
which is a really depressing movie. It's a downer, but
I love it because it is a downer, because it's
like it's one of those where you hear the term
career bed and you're expecting, like, you know, oh, this
is going to be tawdry, and it's dead. It's just nihilistic.
It's like so like, and Jennifer Wells is so good
in it. She was such a good actress. Of course,

(01:33:07):
they recently announced Sean Costello's The Passions of Carol and Alexandra.

Speaker 7 (01:33:17):
Well Heather.

Speaker 2 (01:33:18):
So this has been an amazing introduction to your personality.
White people I think are drawn to you when they
hear you talk. I'm so glad they're getting a chance
to hear more of you today. I think you know,
we've we've covered a lot of Inner Syndrome releases as
well as OCN partner labels and and other outside releases
where you're featured. Is if somebody wants to hear more

(01:33:41):
of you or or be you know around you more.
Do you have places online they can find you? Where
do you want to direct people?

Speaker 4 (01:33:49):
Oh?

Speaker 3 (01:33:49):
Well, I have right now. That's kind of an umbrella
or my various little octopus like tentacles were culture. You
can go to my link tree, which is linktree dot com,
forward slash Monto Heather. There you will find my patreon,
my website Mondoheather dot com, other podcasts, I appear on articles,

(01:34:16):
some of the supplement work I've been doing, as well
as I've recently on my YouTube channel did a video
essay that's sort of a little love love song slash,
a little primer to the joys and inspirational nature of
grindhouse and uh and I definitely am working on some
more stuff to do in that vicinity. But yeah, in

(01:34:37):
the meantime, Yeah, just find me over at linktree dot
com for it slash Mondo Heather.

Speaker 2 (01:34:42):
Wonderful and hopefully more vinegar syndrome related releases in the future.

Speaker 3 (01:34:48):
God will and please, I'll take it. I'll take it.

Speaker 6 (01:34:54):
So much.

Speaker 3 (01:34:55):
Thank you so much. This has been a pleasure.

Speaker 2 (01:34:58):
Yeah.

Speaker 6 (01:34:58):
Great texting, Okay, Elissa, you will Lisba Cambi labda a.

Speaker 5 (01:35:12):
Liz.

Speaker 2 (01:35:17):
That is what I mean, I always feel so lucky

(01:35:43):
to get a chance to talk to people like Heather. Heather,
thank you so much for doing that. What a what
a great conversation, what a what a great person. I
vinegar syndrome. If you're listening, please hire her from more stuff.
She's just awesome. And we have a special special treat
that I did it on Instagram today because she has

(01:36:03):
not one, but two releases featured this month. Erica Schultz
of many things including on songhors and film historian and
just all around badass. Thank you so much for coming
in for a few minutes.

Speaker 3 (01:36:15):
Thanks for having me.

Speaker 4 (01:36:16):
Chris.

Speaker 2 (01:36:17):
Absolutely, We've been talking about this for a while because
you don't get insight into when your releases are driving.
But I'm so glad that to hit it once.

Speaker 3 (01:36:26):
Yeah, No, I never know. I mean I have, you know,
one that I have an essay that I wrote, like
back in February, and I'm like, is that ever coming out?
Like I don't know, Like I just you know, you
lose track and then it comes out and you're like, oh, okay,
gotta promote, you know. So I mean I suppose I
could ask. I just don't. I'm just you know, I

(01:36:48):
don't know. I just like it'll come out when it
comes out.

Speaker 2 (01:36:54):
Yeah, if it's okay, excuse me, if it's okay. I'd
like to talk about the Coffee Table first, because I'm
really interested in this label. After Altered Innocence left, there
was there was not a label that specifically called out
a focus on LGBTQ plus cinema, so it's cool that
OCN has one now again Senophobia. Do you know much

(01:37:17):
about the label at all? Were you working with the
people in the label a bit for the release?

Speaker 3 (01:37:22):
No, not directly. I worked with Justin low Liberty on
it because he handles a lot of the production and
producing of some of the discs for that, So I
know that they're they're kind of like all over the place,
like self admittedly though, and one of their focus is
one of their focuses is queer cinema, but also just

(01:37:44):
like some really fucked up stuff. So I feel like
it's like Altered Innocence meets oh God, what's the one
that released.

Speaker 2 (01:37:57):
Oh my god, I'm you thinking of another partner label?

Speaker 6 (01:38:00):
No?

Speaker 3 (01:38:00):
No, no, just like the one that did no oh god, whoops? No,
the one that released Untold Story in a Serbian film,
Oh Unearthed, Thank you Unearthed.

Speaker 4 (01:38:17):
Yeah.

Speaker 3 (01:38:18):
So I think cenophobia is like alternate innocence meets unearthed,
Like it's got really fucked up shit like The Coffee Table,
which is an excellent movie outside of like it being
really fucked up. Like I think, if you have a child,
you know, I probably am not your friend because I
wrote a book about kids dying in movies. And that's

(01:38:41):
really like what got me. The sort of opened the door,
like Justin approached me and is like, hey, you haven't
seen this yet. I know because it's a new film.
I don't tend to watch new films. I'm usually stuck
in like you know, or nineties or earlier. Even though Yeah,
but he had messaged me and he was like, hey,

(01:39:01):
would you be interested in contributing to this? And I
was like, Eh, I'll watch it and I'll let you know.
And you know, when I do like new films, they
tend to be foreign films. And this is a Spanish
film directed by Kaya Cassas. I pulled my co host
from the podcast on Sung Horrors and Lance Shivey to

(01:39:22):
do it with me, and we had a great time
talking about you know, Bambakina, who did the score for it,
and I actually was messaging with the director, Kaye Cossas
and I and I asked him a bunch of questions
about like killing kids, and that was super fun. And
you know, I'll teach you about you know, Spanish omelets

(01:39:44):
in the commentary and I'll get into a lot of
like doomsday shit about you know, population control and like
killing kids. Like you know, we we got a little
bit of everything in there. So I hope people enjoy
the film. I think it's a really great film. It's
a super super dark comedy that I hope you enjoy

(01:40:05):
the commentary as well.

Speaker 2 (01:40:07):
Oh that's awesome. Sold me on super dark comedies I have.
I have a particular like interest in people that can
do that pull that off. Well, yeah, that's a very
hard line to walk, I think, yeah, very opposite end
of the spectrum. I think is a film that I'm
very excited to see you on because I know you

(01:40:29):
have a love for Asian cinema in general, but like
you know, especially a lot of the I think it's
a Hong Kong film, right yep. So Women on the
Run came out as well, you want to talk a
little bit about that one.

Speaker 3 (01:40:42):
Yeah, so Women on the Run. I think a lot
of people think CAT three first, but really I look
at it as like a you know, in the girls
with Guns genre, and I watched a lot of girls
with guns movies for this. So the essay itself is
more of an overview of the genre, but really sort

(01:41:03):
of picks starts picking up on tropes and familiar faces
that you see throughout the genre, and then it sort
of ends with this particular film and like ties it
into some of those tropes that you'll see within the
genre itself. But my elevator pitch for this movie is
it's Hong Kong, Thelma and Louise.

Speaker 5 (01:41:26):
Hell.

Speaker 3 (01:41:26):
Yeah, that's it. Like, I mean, if you're not sold
on that, then you know. The director is korey Un,
who is you know, very well known. He passed. We
found out he passed like during COVID, but we only
found out recently about it. But you know, he his
work is fantastic. So there's a lot of great action
in it. It can get a little you know, dicey

(01:41:50):
with some sexual assault in it, but if you WATCHCAT
three films, that's nothing new. So yeah, I mean, just
just expected to it's going to be in there. If
it's got a Cathree label on it from Hong Kong,
it's just it's gonna happen. So yeah, I definitely recommend

(01:42:10):
folks picking it up. I know it's not going to
be available when this episode drops, but you know, come January,
come the next sale, you know, throw it in your
throw it in there. It's it's a lot of fun
if you like, especially if you like any kind of
action films from the nineties. I think anyone really enjoyed
this one.

Speaker 2 (01:42:29):
Oh yeah, well this is a big treat, just to
get you on for a few minutes. Thanks for selling
these films, and thanks Erica.

Speaker 3 (01:42:36):
Yeah, thanks for having me talks.

Speaker 2 (01:42:39):
Banks. Awesome, what a fun surprise. Thanks Erica for joining.
And uh, let's see what's left merchantmates, Ryan, Jeremy, tell
us what's going on this month with the merch.

Speaker 7 (01:42:53):
Are welcome back, merch mates? How are we doing, Jeremy?
You stole my bit?

Speaker 4 (01:43:00):
Are good to be back me? Merch made right?

Speaker 7 (01:43:04):
Well? It is one of the best times of the
year for everybody. The Black Friday sales are intense. This
year seems overwhelming on a myriad of different levels, especially
with stuff selling out after only thirty nine hours. But
let's get into the merch selection that has come up
during this sale. First, the Gausser we have three different

(01:43:25):
VHS variants. How many of those three did you purchase her?

Speaker 4 (01:43:28):
I purchased zero.

Speaker 7 (01:43:30):
That is somehow more than I expected. We got the
Beast Master, We've got feed To I mean, maybe you
never know you might be able to sell the one.

Speaker 4 (01:43:41):
I'm very tempted by. The Cannibal the Musical one. I
have to admit I have very few VHS's in my collection,
and even less that light up. Well, oh that's true.
I forgot that that. Well, maybe I'll have to buy
it for just that reason.

Speaker 7 (01:43:59):
So we have the better, we have Fade to Black,
and we have Cannibal the Musical. Of these any thoughts
on the arts or the way that they are putting
these outs.

Speaker 4 (01:44:10):
I like all the art actually, I mean, aside from
the fact that two of them light up. The one
that I would maybe get just because I like the
film so much is Cannibal the Musical.

Speaker 7 (01:44:23):
Sure they all light up, don't light to our listeners?

Speaker 4 (01:44:27):
Oh I didn't see that they were.

Speaker 7 (01:44:28):
Sorry, all of the Degausser VHS releases are deluxe led
VHS releases.

Speaker 4 (01:44:36):
Well, you see the led for Cannibal the musical is
on a separate line, and my eyes don't go down
that far.

Speaker 7 (01:44:43):
What a fair excuse, I gonna admit. I am not
a fan of the fad of black arts. We also,
for the first time in a long time.

Speaker 4 (01:44:51):
I love our brutal honesty on Merchantman.

Speaker 7 (01:44:53):
We have to We got a brand new hoodie, a
Medusa skull hoodie, which, funny enough, several films is selling
a Medusa branded item this month as well. Coincidence. Yeah, absolutely,
there's no conspiracy there, but hey, this is pretty nice.
If I needed a zippered hoodie and one could fit
over my giant, fat body, this might be one I

(01:45:15):
would choose.

Speaker 4 (01:45:17):
This hoodie. I already have too many hoodies I don't
wear already, but I do like the art on it
a lot and always been a big fan of Medusa.
I have didn't They put out a shirt at one
point with the Medusa thing.

Speaker 7 (01:45:34):
Yes, it wasn't this exact design, but it was a
similar theme. And on that note, many of the designs
this month are like schools. I'm a badass type of designs,
and I gotta admit I had a friend shout out
to Daniel if he's listening to this, that texted me
and said, you know, I wish Vinegar Syndrome would release
a shirt I could wear. I can't pull off the

(01:45:55):
satanic vibes. And I just laughed because none of these
feel satanic.

Speaker 4 (01:46:01):
Not only that, but the majority of their sharts aren't that.
It just happens that this month is all skulls and stuff.

Speaker 7 (01:46:08):
I say, none of them feel satanic, but one of
them is legitimately blatantly satanic. We'll get to that in
just a minute. From VS Press, they put out some
screen prints of this skull design in different colors, and
then this very holographic rainbow screen print that looks pretty
damn red. I don't think you and I have ever
talked about the posters. Have you ever been one to

(01:46:30):
pick up the posters from VS or anybody like this?

Speaker 4 (01:46:32):
First of all, I really do like this rainbow one
a lot more than the other one, I'll say now,
much like the amount of hoodies I have in my
closet that I don't wear. I also have way too
many posters and things hung up already, and running out
of wall space. So I do not collect the screen
prints and would not know where to put them or

(01:46:53):
what to do with them, even though I think this
one looks beautiful. The rainbow holographic screen print, I.

Speaker 7 (01:47:00):
Used to collect many of them, but I could to
admit my closet right now resembles many Californians in the
late eighties, and it's very tubular. Did that choke work?

Speaker 4 (01:47:08):
I don't know, Well, that's slide.

Speaker 7 (01:47:13):
Yeah, I don't.

Speaker 4 (01:47:15):
You won back the thing? The black artist Hell.

Speaker 7 (01:47:17):
Yeah, uh, thank goodness he stopped cutting himself. I really
enjoy these posters, and I'm definitely tempted by both of them.
I have never been able to be a skater, though,
but they're releasing a skate deck with this Vinegar Syndrome
sculluloid design that they're using. Miley, question, is man eighty
five dollars? Is that common price for a skate deck

(01:47:37):
from a company like Vinegar Syndrome and not one that's
putting huge engineering money into really great skate decks.

Speaker 4 (01:47:44):
You know what's extra funny is when I first saw this,
I automatically thought it was one of those you know
that you put that you do with your fingers, those
little ones that the kids, you know what I'm talking about?
What they call those?

Speaker 7 (01:47:55):
Yeah fingerboards?

Speaker 4 (01:47:57):
I get, Oh yeah, is that they're called?

Speaker 7 (01:47:58):
Yeah?

Speaker 4 (01:48:00):
Make sense? That's a board and were a tech deck
is the common Yeah, that's the word I was thinking about.
I remember, I remember the term tech deck from when
I was a kid and those were popular, and that
I was extra confused about the price.

Speaker 7 (01:48:14):
I was like, eighty for a little eighty five dollars
for a Vinigar Syndrome branded tech deck would be absolute insanity.

Speaker 4 (01:48:23):
I'm not a skateboarder, never have been, but never will be,
you know, or as Justin Bieber says, never say never.
So but I I wouldn't. I wouldn't know if this
is common price or not.

Speaker 7 (01:48:37):
To be honest, all right, onto shirts. We've got two
different versions of this Vinegar syndrome scull youalloid design, one
on a classic black shirt, one in a maroon shirt.
Both again good design. I really kind of want one
of these. And then we got this cosmic tear shirt,

(01:48:58):
the same design that was on the print that we
just talked about. This one is coming on a like
eight shell cream color shirt. And then we have a
yellow one that they're calling a vinegar variant of those two.
Are you getting any of these? You lean in towards
any of them?

Speaker 4 (01:49:14):
I wasn't going to get any of these, and now
I'm very tempted. I didn't, I admit, prior to recording
this segment, I didn't thoroughly look through everything quite yet.

Speaker 7 (01:49:22):
Classic Jeremy.

Speaker 4 (01:49:23):
Yeah, but yellow is my favorite color and I really
do like that design, as previously mentioned in the screen trend,
very tempting, very very tempting. I don't know what I'll do,
you know. I hate to sound like a broken record,
but much like my wall space and my hoodies, I
also have too many shirts, specifically vinegar syndrome shirts. I
think I could wear a different vinegars and drum shirt

(01:49:45):
every day and not repeat for at least half the month,
not more.

Speaker 5 (01:49:51):
So.

Speaker 4 (01:49:52):
I don't know. Do I need another vinegar syndrome shirt?

Speaker 6 (01:49:55):
No?

Speaker 4 (01:49:55):
Do I want this yellow one?

Speaker 7 (01:49:56):
Yes?

Speaker 4 (01:49:57):
So we'll see.

Speaker 7 (01:49:59):
Next. We don't get many of these, but they did
a release specific shirt. This one is for the three
films from Reuben Galindo Junior that also got the variant
slipcovers released this time. This is the one that is
blatant ly satanic. There is a pentagram on the front,
and I really dig the design on this shirt. If

(01:50:23):
I was able to defend those shirts more, I might
be able to purchase that one. But I'm probably going
to stay away from this one.

Speaker 4 (01:50:30):
You know what, I noticed no vaginas on any of
these shirts this month.

Speaker 7 (01:50:34):
I know it's quite a dry month. I don't get it.

Speaker 4 (01:50:37):
They're slipping well not anymore.

Speaker 7 (01:50:40):
Sorry, I don't know.

Speaker 4 (01:50:44):
I haven't seen these movies yet. I do like the design,
but I wouldn't wear something that I haven't you know,
seen and like slash support, So as a side, I'm
liking the design. I have no further comment on that shirt.
Which are any of these by the way, I sure
I am not okay, keep going.

Speaker 7 (01:51:04):
I really want like four of them though. Cinematograph we
got two different shirts this month. We've got the Beyond
the Infinite shirts that they're doing, which again is one
of the more cream color white shirts, and then You'll
Shoot your Eye Out shirt, which is a very funny
Santa Claus inspired shirts. Love the design scheme on the

(01:51:24):
Beyond the Infinite shirt, one that I would wear a lot.
I really dig that one. I might keep an eye
on that coming up.

Speaker 4 (01:51:33):
Yeah, I like both of these. I mean, they're really
killing it with the shirts. Again, it's not a question
of me liking them, it's a question of closet space
and having too many. Although I only have one Cinematograph
shirt and it was there what that camp one? Oh
the wringer t Yeah, so yeah, maybe I'll pick up
one of these. I don't know. The cream one is

(01:51:55):
very tempting. And also back to that yellow Vinegar syn
jump shirt because yellow was my favorite color. So we'll
see what I end up doing.

Speaker 7 (01:52:03):
And then we bring ourselves to the fun little gadgets
and all that crap that we get during a lot
of these sales. First, we got two enamel pins. These
are both Congo inspired. One is a gorilla face with
VS emboldened on the forehead and then the other one
is a volcano erupting and at the bottom it's it

(01:52:24):
is literally saying vinegar syndrome Black Friday, twenty twenty four.
So I gotta be honest, I don't see the purpose
in branding a sale to a point where you want
a customer to purchase like a memorial pin to commemorate
a sale. Now it feels hyper capitalist to me.

Speaker 4 (01:52:49):
Yeah, it does. You know how much I hate capitalism.
I mean, I'm wearing a shirt from the New Beverly
that says annual horthon twenty twenty four. But that's something
you want to remember. So that's a branding that's like, yeah,
people are gonna get that, and many people did. I
don't know how many people are buying these pins, but
you're right, Branding a sale versus branding an event or

(01:53:13):
something like that does seem a little overboard.

Speaker 7 (01:53:18):
The next item is a Congo inspired patch that they're
doing for this year, and this one's quite a bit better.
It's just got the name of the label and the
year around the gorilla head that brings up did you
did you pick up Congo? Or you a Congo fan?

Speaker 4 (01:53:31):
And in the very bottom of this patch it says
fuck you Ryan Vere.

Speaker 7 (01:53:37):
Yeah, that wouldn't surprise me at all.

Speaker 4 (01:53:41):
I did pick up Congo. I haven't seen it in years,
but I mean, I'm yeah, I pick up most Vinegar
Syndromes titles.

Speaker 7 (01:53:49):
I think what you mean is all Let's go to
the next item. The next item is a Vinegar Syndrome
branded Christmas card which.

Speaker 4 (01:53:58):
The patch of the pins.

Speaker 7 (01:54:01):
What am I no?

Speaker 4 (01:54:02):
I know you're a big pin guy. I remember talking
about that.

Speaker 7 (01:54:05):
I have pin boards displayed on my movie room wall.
The problem is they are full. I'm not buying pins
for the foreseeable.

Speaker 4 (01:54:13):
Future, Vinegar syndrome, black Fridays. They more on the bottom. Okay,
let's get.

Speaker 7 (01:54:21):
To those Christmas cards, because I got to be honest,
this might be my favorite item of this entire sale.
I really like that they're doing this. I think this
is really smart. I think at three dollars, it's cheap
enough to make something to go. Damn. I kind of
want like fourteen of those, which is great because they're
probably gonna make good money on it for selling it
for three bucks. I like how they put the logo

(01:54:43):
into the Christmas tree, made it look nice. The inside
is great if you follow the mili you've seen side
of things. What do you think of the Christmas card?

Speaker 4 (01:54:51):
I love it, I think. I mean, if I sent
Christmas cards, I would probably pick them up just to
be very different and unique with my Christmas cards I
send out and said, again, you know, crappy traditional ones
from Target, but I don't. But I do like it
and I like, you know, I think it's very creative.
Out of all the past, you know, holiday themed items

(01:55:15):
that they've done, I think this is a very practical,
creative one for them today.

Speaker 7 (01:55:20):
It is the funniest part to me, though, is nobody
will get them until probably December fifteenth or eighteenth, of
the absolute earliest, except for maybe some subscribers. So the
hard part is you're not gonna be able to use
them this year.

Speaker 4 (01:55:33):
That's a good point.

Speaker 7 (01:55:37):
I'd love to have seen those in October.

Speaker 4 (01:55:39):
I should have put them up last month, but then
it wasn't the Black Friday, say al So I don't know.

Speaker 7 (01:55:44):
Yep, October would have been perfect for that probably.

Speaker 4 (01:55:47):
Oh boy.

Speaker 7 (01:55:49):
Then we got some stickers going on. Love me some
vinegar syndrome stickers, usually pretty good designs, like these quite
a bit. They also copy one of the designs for
a slip mat. You listen to vinyl at your house,
you ever rock anither slip mats?

Speaker 4 (01:56:03):
I don't. I do rock a lot of vinyl at
my house. I have two record players, one in my
room and one in the living room, and they both
have slip mats on them already. One that will not
be replaced, which is a weird down slip mat. The
other one that I could replace because it's just an

(01:56:25):
audio technician slip matt that I got when I got
the record player. But so yeah, something like this to
rock a vinegar syndrome slip matt would be cool. I'd
consider it. How much is that eight box? Perhaps? Ryan? Perhaps?

Speaker 7 (01:56:41):
All right? Next is they've got a variance of their
now playing logo stand. I know that you've got an
even fancier customized now flowing stand, but I could definitely
see the appeal behind these. I've been one that's got
the recent arrival stand in my room that I've used
quite a few times, so I definitely get the appeal

(01:57:01):
behind this. This is this is pretty nice. I wish,
you know, shout out to all labels here if you
were looking for more merch ideas. I would love more
stuff like this, but you know, brand it for something
that we can use in our collection rooms. Most people
following these labels have collections for all kinds of labels.
Give us you know, I would love if each label

(01:57:22):
put out dividers for their company, even if they were
like that too, you know, emblazoned with your logo and
you gave us genres listed on you know, seven or
eight of them, and your your company name on one
of them. That would be super red.

Speaker 4 (01:57:37):
As speaking of someone who has my vinegar syndrome shelf
separated by of course vineger Syndrome proper and partner labels,
and then the partner labels are separated by partner label.
I would love some dividers like that. That'd be really
great to be able to put those in there. You're

(01:58:02):
right about. I really like the sleep design on this
stand for sure. I think it actually might be nicer
than the other one that they had done previously. But
as you mentioned, I have my own custom made sign
so I will not be purchasing this one.

Speaker 7 (01:58:16):
Another one I like is the de Gausser Christmas ornament. Here,
fun design, little VHS tape, good branding for something that's
literally only been around for like a year at this point,
but I like it. I think this is man the
third or fourth Christmas ornament that we've got, if you
count the partner labels one ones that we've had now.

(01:58:39):
I really like these again, practical ways to share our
love for the hobby and support is super nice in
my opinion.

Speaker 4 (01:58:46):
Yeah, I like it. I like the idea of it.
I'm not one that goes all out for Christmas, to
be honest, so I don't really put up decorations or
a tree here at my place. I'm also back usually
back in my hometown in Pennsylvania visiting for the holidays.
My mom puts up a tree, but it wouldn't make
much sense, I don't think. During this bat I don't know,

(01:59:10):
but otherwise I do like it. I really like the
idea and the concept and it's very cute.

Speaker 7 (01:59:15):
Final piece is the Eight Eyes LP. Did you watch
Eight Eyes yet?

Speaker 4 (01:59:21):
I have not watched it yet.

Speaker 7 (01:59:22):
Now it's a decent movie. I really enjoyed the score,
and I think people will appreciate that if they check
it out. I think it's a good choice. I'm glad
they're putting it out there and get more eyes on
the movie. And yeah, it's a win for everybody.

Speaker 4 (01:59:37):
I like the cover art on that vinyl too, looks great.

Speaker 7 (01:59:41):
All right, Jeremy. Final thoughts on the sale overall, we
didn't talk about any of the titles really, but how
are you feeling about Vinegar Syndrome this time?

Speaker 4 (01:59:47):
Well, Ryan, the sale will be really great this year. No,
I mean they released some really great stuff They Keep
and Cannibal the Musical, two titles that I I been
highly anticipating. Both sold out like that and Good.

Speaker 7 (02:00:04):
Bars on its way out at the time of this recording,
and Sliver's doing very well can dip under a thousand
before the end of the weekend.

Speaker 4 (02:00:11):
I'd argue that title wise, it's one of their best
sales in the while. I mean, these things are flying
off the shelves.

Speaker 7 (02:00:17):
I mean, I gotta be honest, if you are only
looking at you know, obscurity of titles that people have
said are impossible to get. Being able to do looking
for mister Goodbar, The Keep and Cannibal to Musical at
the same time in the same month is quite an
astonishing feat and one that absolutely should not be overlooked,
especially in the upcoming Shelf Shock Rewind Awards. Check that

(02:00:39):
out coming soon.

Speaker 4 (02:00:41):
Oh Little Plug, Yeah, I agree, I mean yeah, it's
a banger sale for them. I'm looking forward to getting
these in the mail and watching them. I'm super stoked
to check out the restoration on The Keep and excited
for partner Lavels a month coming up too. We got
that dropping tomorrow morning. A whole bunch of new titles,

(02:01:03):
including hundreds of Beavers, which I'm super stoked about, and
probably a bunch of other array of things that I'll
sell that'll sell out fast and that I'll buy, so
looking forward to well.

Speaker 7 (02:01:16):
At that rate, it seems like next time we will
talk with all of you is probably January during subscriber week.
At some point until next time, a vastly land lumbers.

Speaker 4 (02:01:27):
Oh, and don't forget to walk.

Speaker 2 (02:01:31):
Are Thank you Ryan and Jeremy for that, And well, y'all,
thank you for listening. If you made it this far
nine episodes in, we have something I'm really excited about
coming up in mid December. We're gonna do a year
interview with somebody that I guarantee has seen more Vinegar

(02:01:53):
Syndrome titles than you, and a few special guests. So
I can't wait and have a have a wonderful time
until we meet again.

Speaker 1 (02:02:46):
Thank you for listening to hear more shows from the
Someone's Favorite Productions podcast network. Please select the link in
the description.

Speaker 8 (02:03:00):
I am Adam Lundy, the host of the Radiance Films Podcast,
a show that is dedicated to all things Radiance Films.
Join me every month as myself and some varied and
interesting guests sit down to discuss the latest releases and
announcements from Radiance Films, now part of Someone's Favorite Productions
Podcast Network.

Speaker 3 (02:03:24):
Hello, my name is Kevin Tudor, and I'm one of
the three hosts of Almost Major Film podcast, dissecting many
major indie studios in the films they release. Every week, Myself,
Charlie Nash, and Brydon Doyle discuss overlooked, forgotten or bona
fide classic indie films via studio specific mini series. We've
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Speaker 8 (02:03:45):
And New Line Cinema titles, including The Blair Witch Project,
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Episode 9 - Partner Month Special Episode with Heather Drain

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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 9 - Partner Month Special Episode with Heather Drain