Episode 18 - Bigfoot: The Unforgettable Encounter - The PM Entertainment Podcast

Episode Transcript
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Speaker 1 (00:00):
You have entered the PM Entertainment podcast. Well, hello there,

(00:32):
PM Entertainment fans, and boy have we got an episode
for you, fantastic interviews, incredible discussion about this movie. But
first up, I have to apologize because during the Rick
Peppen celebration episodes, I missed reading out three emails that
had come in to our inbox. And I really do

(00:55):
feel terrible about that because these wonderful people had written
in about Rick and I didn't include it in that episode.
So if you don't mind, and I really hope you don't,
I'm going to read three emails that we received from
our listeners and fans on Facebook that celebrate and talk
about Rick Peppin. So here we go, starting with the

(01:16):
first one. This is from Keith McAfee. You'll see him
commenting on the Facebook group all the time. He's incredibly
enthusiastic and one of our number one fans on there
and friends, and I can't believe I didn't read his emails,
So sorry, Keith. Here it goes an ode to Peppin.
A man is sometimes judged by what he leaves behind.
Pepin left us a legacy of films which include Tough

(01:39):
Guys with long flowing hair and cars flying through the air,
dudes going through plate glass windows as if they had
a buy one get eight free sale, guns with unlimited
bullets being shot by guys with mullets, sitting on the
edge of your seat while some scumbag is being dangled
over a ledge. I loved every moment of the PM
Entertainment ride with Rick as a fan and wouldn't change

(02:01):
a thing to be immortalized on the big screen with
the greats. It's an honor that you truly deserve. Good sir, well,
Thank you ever so much, Keith. That was a beautiful
tribute and I'm glad we finally got it up on
the show. Next, we got an email from Virginia Rout,
who is another person that you'll see commenting on the
Facebook page all the time, which makes me feel even

(02:21):
worse that we didn't include her email when the first
show went out, but here we go. I'm going to
read it now. We're also from everyone here at the
PEM Entertainment podcast sending great congratulations and celebrations as I
believe Virginny is getting married, so that's very exciting and
just wanted to say congratulations on that. Virginia. Okay, so

(02:43):
here we go. Some people make the world a special place,
and I truly believe Rick Peppin was one of those individuals.
I never knew him personally, but I saw the impact
his career had on so many people. He brought a
sense of wonder to true action movie diehards and launched
the careers of talented young act He also helped people
on his technical crew get their start. In fact, I

(03:04):
noticed that the same names would often return for different projects,
even for movies with very different concepts. Rick Peppin had
a knack for bringing back the same team to create
something new. He must have had incredible intuition and a
great rapport with everyone he worked with. The series he produced,
Elie Heat, actually changed my life. I can't even begin
to describe everything that that nineties action show gave me,

(03:26):
but for a long time my goal was to do
the same thing, not produce films, but write stories and
scripts for detective stories. I also had another more personal
reason for loving that show. Today I write professionally, though
not stories. Still, I'm convinced my entire life would have
been different without that show's influence. In a world that
can often film monotonous and ordinary. Rick had a knack

(03:47):
for bringing an extraordinary touch of entertainment, and that was
from Virgini Rout. And lastly we got an email from
Marco Freetests and he writes, hello, my name is Marco
Fretes and I've been a fan of the Pepin Mehe
universe since watching The Glass Jungle starring Lee Canalito back
in nineteen ninety. I was always amazed at how good

(04:10):
the company's action packed movies looked. They were like Tony
scott helmed features, but done on the budget Scott had
for catering. May mister Pepin, rest in peace, Hugs from
the South of Brazil, Marco Frites and that was it.
So we got three emails that I forgot to read
out because I'm a big loon, and also because sometimes
when you're editing these long shows with a lot of

(04:32):
stuff going on in them, they just simply skip your mind.
But if you want to email us and leave us
any commentary that I can also forget to read out
on the future show, you can always email us at
Pmentpod at gmail dot com. That's pm e Ntpod at
gmail dot com. You can call us and leave a

(04:53):
voicemail at three four seven sixty six nine zero zero
five to three. And please, if you're enjoying these shows
and you want to support the shows and you want
to encourage me to get them up quicker, please rate
and reviewers, rate and reviewers, share everything online. Share stuff
on Facebook, share stuff on Instagram, tell your friends, tell

(05:13):
your family, do all that good stuff because it really
really really helps and we need it so thanks so much.
And here is the show you've been waiting for. Hello,
and welcome to an all new episode of the PM
Entertainment Podcast. This episode, we are talking about Bigfoot, the
Unforgettable Encounter from nineteen ninety five, written and directed by

(05:36):
stuntman extraordinary Corey Michael Eubanks, who currently has a YouTube
channel I just discovered today where he talks to other
stunt people about ridiculous stunts that they've done. So that's
a great channel. Go check out Corey Eubanks's Stunt Stories.
I think it is on YouTube there. Its stars Clynn Howard,

(05:56):
Rance Howard Riff Hutton, Matt McCoy, David Rash, Oh my goodness,
David Rash, what a legend, and a whole bunch of
other people.

Speaker 2 (06:06):
And Zachary ty Bran Zachary.

Speaker 1 (06:09):
Ty Brian of course as the wonderful Cody. The possibly
have not annoying kid whatsoever. It has In terms of
PM Entertainment All Stars, it has the composer Louis Fabra,
which is a well known name at this point. On
the podcast, cinematographer Ken Blakey. You heard him last week

(06:31):
on the Dark Breed episode. But those are your PEM
Entertainment All Stars and our guests. You heard him just
now on the show this week is a returning champion actor, writer, producer, director,
the man behind Ride at the movies Terrible Fast in
Toronto and Video Hoses over at WC Archive on YouTube.

(06:53):
It's mister Adam Thorne, Life from Canada. So how you doing.

Speaker 2 (06:57):
Thank you for having me back, John. This is a
great movie to talk about on this wonderful day as
it is Bigfoot Awareness Day.

Speaker 1 (07:05):
It is it is National Sasquatch Awareness Day. I had
no idea tell my friend Owen, who is the largest
cryptid and sasquatch fan of all time, pointed it out
to me. I immediately dashed off to photoshop, made a
little posts so I could put it up on social media.

(07:27):
But how advantageous that we are talking about the first
in three film run of Sasquatch movies that PM would make.
None of them are related. Particularly Matt McCoy does crop
up in Little Bigfoot, but not as the same character.
I mean, he plays a sheriff, he plays a man

(07:49):
of the law, but not the same character that he
is in this. And apart from that, there are no
other connective tissue. I don't believe between Little Bigfoot, Little
Bigfoot two and Bigfoot The Unforgettable Encounter. However, PEM Entertainment
obviously saw money in them. They're Bigfoot Hills, and we

(08:10):
can only thank them that they did, because, my goodness,
what a lovely film we got out of it.

Speaker 2 (08:15):
I'm disappointed that they didn't make to Catch a Yetti
with meat loaf right. That feels right up their style
in ALLEI. It must have just been the Times, I guess.

Speaker 1 (08:25):
Or Sasquatch Cop where Bigfoot comes down from the mountains
right works.

Speaker 2 (08:32):
Don't give me ideas.

Speaker 1 (08:36):
Works in Los Angeles as a cop. It's one of
those movies, like it's one of those like Beverly Hills Cop,
like a Fish out of Water story where you know
he's used to patrolling the woods, but now he's patrolling
the mean streets of Los Angeles and it's him And
pick your like. Is it Gary Daniels he's partnered with?

(08:57):
Is it wings Howser? He's partnered with? Who are we partnering? Sasquatch?
In PM Entertainment's unmade Sasquatch Cup.

Speaker 2 (09:06):
It won't be someone as as cool and as tough
as Gary Daniels. It'll have to be a more like pside.
Well we mentioned oh or before we recorded mentioning T Force?
Why can't you think of his name? Who's the star
of that?

Speaker 1 (09:21):
Oh? Yes, Jack Scalia?

Speaker 2 (09:23):
Scalia, Yes, I think he should be the guy who's
really upset that he's been stuck with with Sasquatch the
whole time. At the end they learned to be friends.

Speaker 1 (09:31):
It's a remake of TE Force, but in modern day
Los Angeles, well modern day meaning the nineties nineties Los
Angeles with Jack Scalia and just like he's Robot racist
in T Force, he's Sasquatch racist for like the first
half of the movie. That's perfect. It's just the T
Force redo. But in modern day Los Angeles with Scalia

(09:53):
and Bigfoot and they have to solve a related like
cryptid crime.

Speaker 2 (09:58):
Now unlike his television series that were the Turner and
Hoot rip off known as Tequila and Benetti.

Speaker 1 (10:03):
Yes, indeed, and wasn't that a talking dog in.

Speaker 2 (10:05):
That one as well? But he only talked to us
the audience. Okay, but Eddie couldn't hear him?

Speaker 1 (10:12):
We just like the one with Peter Boyle where he talks.

Speaker 2 (10:15):
No, yeah, it's not not at that level of I'm
a dog now.

Speaker 1 (10:20):
Well well, sir as is customary on the PAYM Entertainment podcast,
let us get right to the chase and ask you,
our guest, to go through the plot of Bigfoot The Unforgettable.
It's so unforgettable that I keep forgetting what the full
title of the movie is Unforgettable counter.

Speaker 2 (10:41):
I always want to say adventure. That sounds more right.

Speaker 1 (10:44):
Journey. I always want to say journey, but then that's
little big Foot to the Journey Home.

Speaker 2 (10:49):
But they all feel like they are unreleased sequels to
Never Aning Story. But anyway, Yes, if you were to
take the actual just plot of this film, the basic
plot that you're advertised in this, it could be so
many films that are et ripoffs. It's little boy finds
a mystical creature which protects him from a bear. And

(11:14):
then the people, the adults, they want to exploit it,
so they take it away and he cries and has
to get other adults to understand him to save it
and let it run free, like any family oriented Bigfoot
film or again et.

Speaker 1 (11:30):
Right indeed, and what is particularly great though in this
movie is all the different groups of adults and they're
all trying to exploit it in their own way, except
maybe Matt McCoy and his partner maybe they're a little
bit more understanding to it. But in general, everyone is trying.
The scientists are trying to exploit it. David rash is

(11:53):
definitely trying to exploit it, and the mayor, Yeah, the
mayor is trying to everyone's trying to exploit Bigfoot. Uh.
And the and the wonderful scene is of course that
Bigfoot saves the boy not only from a bear foot
but from a bear trap, right and uh. And then
when Bigfoot himself is captured by the scientists, the little

(12:17):
boy looks at Bigfoot in the cage, tears in his
eyes and says, he saved me, but I did not
save him, which is.

Speaker 2 (12:28):
Just and it just really dark. Everything gets really upsetting
after that.

Speaker 1 (12:32):
It's really dark.

Speaker 2 (12:33):
Yeah, I almost want to go backwards with the film,
but but well, we'll go forward with him for now.
The one thing that is the selling point I at
our shop that we do a lot of events at
in Toronto. I saw cinema and we had on the
wall and not for sale copy just stuck onto the
wall of this tape for years and I had it

(12:58):
was always like someday I'll watch this with the one
of the three boys from Home Improvement that was not JTT,
but it still has three names. Zachree Ty Bryan to
me was the annoying, most annoying one of the three brothers.
So it was like, right, I'll wait.

Speaker 1 (13:17):
But then he is the most annoying thing about this movie.

Speaker 2 (13:21):
Yeah, even his like other youth character friend whose real
name is Jojo. I don't remember what his name was
in the film.

Speaker 1 (13:28):
It just is he his brother or friend or what
is he? Yeah?

Speaker 2 (13:32):
I think he's just a friend. But at first they
kind of allude as if he's his brother, but then
they don't seem to react the same way to their parents.
It's vague from when the last time I went through
that I had had to like, I'm pretty sure they
were just friends, because I had to rewind and go,
wait a minute, you don't care about your the same
parents anyway, that could just.

Speaker 1 (13:51):
Say entertainment movies. So they only have first names.

Speaker 2 (13:55):
Right, Yeah, and so it's hard to track. I was
kind of expecting there was going to be more of
a relationship with Sheriff guy, who was once also in
police Academy, so it.

Speaker 1 (14:06):
Was he he takes over from Steve Gutenberg the role
of the bugs Bunny esque character at the head of
that franchise.

Speaker 2 (14:15):
Well, if I remember right, people write in the comments
and let me know if I'm wrong. I believe he
was supposed to be the nephew of Lieutenant Lazarde, so
that was his way of writing him in. But then
he only lasted one movie as well. I think then
somebody else took over after that.

Speaker 1 (14:30):
Maybe I thought he did too.

Speaker 2 (14:32):
Maybe, but they're a couple and they all blur together
after that. They post a post Miami movie. I get
confused after that, Yes, but no.

Speaker 1 (14:42):
He He also had a wonderful run of soft core
erotic Thris in the nineties as well. That Matt McCoy
which is always odd to me because he seemed to
ping between you know, family friendly Fair Academy, which is
sort of teen young adult fare, and then like full

(15:05):
blown you know skin Amax.

Speaker 2 (15:08):
Well hitting it exactly nineteen ninety that boom of cable
stages that are coming out with HBO being the cool
new thing. Now you had actors who could just sort
of blur the line there, and I think that really
makes them a working actor. That's why he's not a
household name. Other than being from Police Academy. He's a
one time priest on an episode of Golden Girls on
one of their Christmas specials.

Speaker 1 (15:30):
Yes, he was in Police Academy five Assignment Miami Beach
and Police Academy six City under Siege.

Speaker 2 (15:36):
Ah all right, yeah.

Speaker 1 (15:37):
And then of course because by the time you get
to mission to Moscow, the I don't know how many
of the original crew left. I think there's only like
about four of the original five.

Speaker 2 (15:48):
Of the Tackleberry and that's it. Yeah.

Speaker 1 (15:50):
Yeah, it's like I think Bubba Smith came back. And
in fact, actually I don't know that Bubba Smith came
back now that I think about it. If he did
watch it till six, I don't watch Mission to Moscow Mission.

Speaker 2 (16:00):
Not a Ron Pearlman bad guy, and it's still a
terrible movie.

Speaker 1 (16:03):
It's still a terrible You've got You've got christ fah
Lee in that movie, and it's still a terrible movie.
Well but no, yeah, so he was I mean, he
did stuff like Fraternity Vacation, So he did get his
start in kind of sleazy TNA teen flex. He's obviously
in Hand the Rocks the Cradle, which was I think

(16:24):
a fairly big movie of its time, and and oft
ripped off and off the copied post that movie. But
then yeah, at the same time as doing Bigfoot the
Unforgettable Encounter, you've also got the wonderful movie In the
Heat of Passion to Colon Unfaithful.

Speaker 2 (16:43):
And that movie down.

Speaker 1 (16:47):
And don't worry, so Roger Corman sequel so you don't
have to watch In the Heat of Passion one because
Corman was just like, if the title works, let's just
make more movies and give it a sequel.

Speaker 2 (17:01):
There's so many times it should still be done, but
sometimes maybe not. Yes, the one and the other actor
that super stands out for me, h okay, you'd hear
it in your voice. The praise for David rash whom Yeah,
but then I thought I used to think all the
time what happened to him. But even in recent years,

(17:21):
he was in and I'm gonna say the show's name wrong,
but it was one of the biggest shows on TV
for the last couple of years, Succession con Session with Yeah,
with the with the mcculkin and with the original Handibal and.

Speaker 1 (17:34):
All these thirty one episodes of Succession, Succession Succession, Yeah,
and that was like it was almost the Sopranos of
its time for a little bit there co And it.

Speaker 2 (17:45):
Was one of those shows where I hadn't known anything
about it until the last season because everyone's like, oh
my god, I can't believe it's ending, So that that's
when I even found out about it.

Speaker 1 (17:54):
Yeah, he's like, he is amazing. He's also cropped up
in some Coen Brothers movies. He's in Burn After reading.
He has basically done at least one episode of every
TV show you've seen in the last forty years. As
we said, he was in The Wonderful Sledgehammer for two seasons,

(18:18):
one of which is a meme that's been going around
basically the one and it's sad that it's a meme
because it's the one sequence in Sledgehammer where they completely
ripped off Cluzo in The Pink Panther, where in I
think it's the Revenge of the Pink Panther, He's walking
around Octoberfest and there's all these assassins trying to kill

(18:38):
him and they all keep failing and end up killing themselves. Well,
there's a sequence in Sledgehammer that's very much the same
where people try to kill him and he doesn't, And
that's actually been doing the rounds lately as a meme.
I've seen that crop up on Instagram and Facebook and
various other places as a sort of funny clip from

(18:59):
an old show that nobody knows what it is, except
we do because we remember Sledgehammer and I have the
DVDs he's also in. I just watched the Wonderful John
Candy documentary, and although they did not speak kindly of
this movie, in fact, they just lumped it in with
a whole bunch of others as flops. He is in Delirious,

(19:20):
the very weird John Candy movie, where he writes himself
into a soap opera. So he's a soap opera writer.
Who's under Stress, hits his head, wakes up in his
own soap opera, and has to write his way into
becoming the hero of his own soap opera. And it's
one of those sort of early nineties, late eighties sort

(19:41):
of concept comedies. I love it because I love the
ones where John Candy, like I love Armed and Dangerous,
I love Who's Harry Crumb.

Speaker 2 (19:49):
Probably one of my favorite is Armed Dangerous, So underrated.
Not enough people know about that one.

Speaker 1 (19:53):
Yeah, And I love Delirious and other ones, but unfortunately
in the documentary they were lumped in as just the
flops and the didn't go too much into it. But
so he's look a great actor. He does comedy, he
does serious, he can spoof himself. In Delirious, he's definitely
doing a heightened version of kind of soap opera. David

(20:13):
rash And in this in Bigfoot, he is having an
absolute ball in this movie. I mean the sequence in
the study where he's talking to the guy about his
plans and what he wants to do with Bigfoot, and
one of his subordinates says, you know, this is ridiculous

(20:33):
or something like that. I says, this is a joke
or I don't believe this or something like that, and
Rash stops what he's doing. He's like, what do you
mean you don't believe? What do you mean you don't believe?
And then he just goes, what about the bones? Let
me get started on the bones. And he does this
big soliloquy about bigfoots and cryptids and bones and how
they they compose different in the wood than they do
in the desert and all this sort of stuff, and

(20:55):
the guy is just like dumbfound He's like, whatever, dude,
all right, the bones And then Ration immediately goes back
to the guy with the plans and goes, right, what
are we again, and just on a dime, goes straight
back to being straight faced and serious and whatever. So, yeah,
what a wonderful performance in this movie.

Speaker 2 (21:14):
He's playing it like a nineteen seventies com book villain.
It's like a Norman Osborne kind of character. Yeah, which
we'll know. And I don't know if you've ever brought
this up with other things about PM in general. A
lot of times when you get bonus stars in a film,
you'll find they'll have like one scene where everyone's together

(21:35):
in it, but throughout the movie you could tell that's
like the day they had that actor or something, so
you get all their scenes separately. You know, he doesn't
really have a lot of time on stream with other
people except for his thugs and then the mayor later on,
but which makes you think he decided this is how
I'm gonna act and they're like, yeah, sure, that's how

(21:57):
the movie's gonna go. And then the next day when
they filmed the other actors, they're like, maybe it should
be this kind of reality because he definitely seems like
he's as if you were supposed to know who he was.
He feels like when he first appears, as you said
the study scene, it's definitely missing a little bit of
an intro to who he is, as if you were
supposed to just already know that he was a character.

Speaker 1 (22:19):
Yeah, I mean we so we see him very briefly
at the very beginning when we introduce our interview guest
on this week's episode, Clint Howard, and he calls Clint
Howard up. And again I think this is great PM
like screenwriting in the sense that they're like, well, we've
got Clint Howard for two days, and we've got David
rash for maybe a day and a half and we've

(22:42):
got Matt McCoy for whatever three or four days. So
you know, normally David Rash would probably just show up
and be the you know, the big game hunter or
whatever who shows up and you know, starts annoying everyone.
But we don't have David Rash long enough, so he
sends Clint Howard. So then you separate character into like
two things. Clint Howard then becomes his like emissary on

(23:05):
the boots on the ground at the beginning of the
finding of Bigfoot for the first half of the movie,
before Rash is like, right, I guess I'd better show up,
you know, and it's but it's wonderful because you then
get Howard and Rash, you know, you get a little
bit of both. You get to sprinkle them throughout the movie.
And a wonderful thing that happens with Clint Howard in

(23:25):
this movie is that we see him wake up. Rash
calls him up in the middle of the night because
Rash has been waiting thirty years to find Bigfoot, right,
and when he finds out that someone's actually captured Bigfoot,
he calls Clint Howard up in the middle. Can't even
wait till the next morning, it's calling Clint Howard up
in the middle of the night. Clint Howard is sans tupe,
sans wig at this point, he's the Clint Howard we

(23:46):
know in love with the mighty scullet that he rocks
all the time. And I've got to love a Clint
Howard's scullet. It's fantastic. But then when we see him
boots on the ground, when we see him talking to
the local townsfolk, he's got this one, the full sick
black two pey on and it's this it's never mentioned,
it's never commented on. It's just this like extra layer

(24:08):
of well, if he's going to be talking to people,
he needs to look the pot, you know what I mean.

Speaker 2 (24:13):
That's why I thought he was a politician, because the
way when he's speaking to the town and he has
a wig on and he doesn't know what he's talking about,
it has this incredible freeze up in front of the
people he does. That's why in my brain I'm saying, like, oh,
he's the mayor, but he's he's just another guy in this.
I've thought in my brain he was because he's a

(24:34):
representative to the town at the beginning for him.

Speaker 1 (24:36):
He needs Smithers to mister David.

Speaker 2 (24:40):
Okay, I thought he was a politician in the town,
knew who he was. Okay, they seem to already be
prepared for him, and that's why they're asking him those
questions very early on. And maybe my favorite scene I
want to add, like do an edit where adding like
twin Peaks music in that scene where all of a
sudden when he has that like stumble and he just
sort of does and know what to say to the people,

(25:01):
and it's so real.

Speaker 1 (25:04):
The best thing. So my favorite thing about this movie
by far, and I have lots of things that I
love about this movie, but my favorite thing is obviously
because Bigfoot has been found, there is a gaggle of
reporters that are just around like throughout the movie, and
you see them, but then off screen when you see
the person who's talking to the reporters, they've eighty yard

(25:29):
a bunch of like lines that the reporters would say,
And there's this great bit where the scientist is saying, look,
calm down, be quiet. You're scaring him, calm down, and
you hear off camera one of the reporters go we're
trying to geez and it's so like obviously eighty and

(25:53):
it obviously makes he like the director obviously got like
a gaggle of people around a microphone in the studio
and during the Clint Howard seen where Clint Howard is
like talking to the thing. You hear all the people
in the background kind of going is this legal? Is
he an endangered species? Says the part that you know,
you hear all this stuff and it's it's clearly all
eighty yard lines, but it's kind of wonderful. And what

(26:18):
is what does the guy say that it's amazing when
he says, oh, yeah, what's he going to do? Stuff?
Bigfoot and place him on a big pedestal of some kind,
and it just cuts back to Clint how and he
just goes, yes, that's correct. Yeah, I think it's so phenomenal.

Speaker 2 (26:37):
Yeah, maybe I'm just living too much in a Trump
era again, where I see a man in a bad
tupey standing there just saying are you going to just
ruin the world? And he just says, yes.

Speaker 1 (26:48):
That's exactly what I'm gonna do. That's what I'm here for.
But no, and I know we're diving in and stuff.
Let's let's let's quickly go back. All right, here we go.

(27:17):
We have gunshots. Man in bigfoot suit runs through the woods.
Drunk throws knife into cabin wall. Bigfoot campsite attack sequence
or is it? Kid gets leg caught in bear trap,
Bigfoot and giant bear fight. Bigfoot traked by scientists and
a helicopter. Perilous ridge climbing. Bigfoot saves female scientist. She
fires a track dart and him twice. Car chase shots fired,

(27:40):
Truck goes up an embankment and flips over. David Rashie
goes to shoot Bigfoot. Rashi is tackled and arrested. We
have gratuitous stock footage, alert graturitus, drunk hunters around a
fireplace scene, gratuitous hippie Bob Ross, gratuitous misty veils, Clint
Howard's gratuitous toupe, gratuitous Bigfoot and shades, gratuitous comedic crowd reactions.

(28:01):
And that's it. It's not a particularly action packed movie,
but what there is is a delight. We start the
movie like all good Bigfoot movies need to start like
a horror movie, Like a horror movie with the drunks
around the campfire. I mean, how many times, I mean,
how many Bigfoot movies have we watched where there are

(28:21):
drunks around the campfire, probably the most starry of which
is the Abominable movie, which has Jeffrey Cobs and Larrence
Hendrickson and whatever is the bums around the campfire.

Speaker 2 (28:34):
That's the best scene in the entire movie.

Speaker 1 (28:36):
Yeah, right, right, it's it is a fantastic scene in
that film. We get a PM version of this, and
these guys are attacked, and it's it's implicated that they're
attacked by Bigfoot at that particular time. The family then
show up and just as the family, like having their

(28:57):
wonderful time in their cabin and stuff in the k
have gone off wandering by themselves in the woods, Riff
Hutton shows up and he's like, oh, no, you guys
are going to go. We've got something killing people on
the mountain. But unfortunately the two kids, Jojo, Andy Bright

(29:17):
Jojo and Zachary have done the wonderful thing that kids do.
They have got to a clearing and they've gone, hey,
I've got a great idea. Let's split up. And that's
literally a line of dialogue to which everyone in the
audience goes, Nope, that's a terrible idea. So they go
either way, and they're meant to meet on a ravine,
and what ends up happening is on a ridge line,

(29:40):
and what happens is, of course, Jojo gets to the
top of the ridge and it's just like, Ah, that
guy left me, you know, he must have must have
left me, or double back, I'll screw it, I'm going
back to the cabin. Goes back to the cabin, and
zachary Tye gets completely lost and is left on the
hillside overnight, which it means Matt McCoy and Riff Hutton

(30:03):
and of course the worried parents of zachary Tye Brian
then all stay on the mountain to try and find
the kid. Then the next morning we get the aforementioned
Bigfoot versus a bear sequence, which, like, I went into
this movie having never seen this movie before. I don't
even know that I watched the trailer. I went into

(30:26):
this movie and I was like, I want hoboes around
a fire, arguing and drinking and bickering about whether it's
Bigfoot or not. I want Bigfoot fighting another beast, a
bear or a crocodile or something like something you know
what I mean at King Kong beginning.

Speaker 2 (30:41):
Yeah, King Kong fights a monster for a second and
then you forget that scene happens.

Speaker 1 (30:46):
Right, and then I want, you know, a big wealthy
industrialist and or big game hunter or something to show up.
Those were the three requirements I have of a bigfoot movie.
I got all three in spades in this film, which
I was very happy about. But let's talk about Bigfoot
saving the boy. The boy is approached by a big bear,

(31:10):
gets scared, runs off onto the mountain, gets his foot
leg and a bear trap, and then Bigfoot shows up,
which seems to.

Speaker 2 (31:18):
Be one of the most humane bear traps I've ever witnessed. Yes,
because it did not leave Zachary ty Bryant's foot a
bloody mess.

Speaker 1 (31:26):
No, it left he had some Luckily he was wearing
industrial thick jeans. I think, yeah, because he had some blood.
He did have to go to the river afterwards and
wash off the blood, but yeah, he was fine. What
do we think then, about the bigfoot versus a bear scene.

Speaker 2 (31:43):
I mean, it's almost un level of the two times
Lufarino fought a bear, when one says the Hulk and
once says hercules jumping between real bear and back profile
of fake bear back into real bear. I was almost
expecting Bigfoot to just throw the bear into the sky.

Speaker 1 (32:03):
And what do we think about? How bold pm are here?
They have decided from the get go. Oh no, we
are showing Bigfoot like we are. This is our Harry
and the Hendersons. We're not being coy about this. We
are showing Bigfoot and all of his man in a
suit splendor. We're not showing a poor here and a

(32:24):
snarley face there and a you know, a bigfoot literally
a big single foot here and track. We're not building
this up. We're ten minutes in and we're gonna have
Bigfoot fighter bear in broad daylight.

Speaker 2 (32:38):
Well the beginning, when the drunks, the drunk hunters or
whatever get attacked by it. It does do the mystery
bit where it's like it's a clot over the shoulder,
and even even seem to make his arms shaggier than
he is when you see him. He's much more quaffed
when he shows up to save the kid. Because if

(32:58):
you did keep doing it as a mystery, it would
be a horror film. You have to just show it
one of the weaker parts of that, other than the
fact that as soon as you see him in this
very happy face that he has, you immediately think Harry
and Anderson's, which is unavoidable. But he has the craziest
eyebrows that I don't know what expression. He has a

(33:21):
very big mouse to show that he can smile, and
these sort of whoosh eyebrows that make it again it's
supposed to be. So he's not a scary monster. But
eventually I don't look at him as a Bigfoot anymore.
I don't know what I think he is, but he
becomes something else.

Speaker 1 (33:42):
Yeah, I mean so I respected the decision. I was like, Okay,
let's go full boy. It's a man in a suit.
I want a man in a suit. I don't necessarily
want a photo real Bigfoot. I certainly don't want to
see gi Bigfoot, and I you know, maybe if it
was a you know, they've never really done like a

(34:03):
big budget like Harry and Henderson's is the closest we
get to like a big budget, fully animatronic Jim Henson
puppet style Bigfoot. We've never had say like.

Speaker 2 (34:15):
Wasn't it.

Speaker 1 (34:18):
Okay?

Speaker 2 (34:19):
Well or either either of that level. It's at that level.

Speaker 1 (34:22):
That's what I mean.

Speaker 2 (34:23):
Nothing else, nothing else we get.

Speaker 1 (34:26):
Yeah, we've not had like the you know, the Godzilla
or the Jurassic Park or whatever version of a Bigfoot movie.
Most of the time, in as you say, horror movies,
especially low budget ones, you know, they'll spend some money
on a really great mask, and they'll you know, spend
the money on maybe like a good claw or a

(34:48):
good foot. But then, like I say, they film it
in pieces. You never really see the big more like
what PM Entertainment do in Dark Breed, where you see
the alien here and there, but you never really see
it in its full form in daylight. Because again that's scary,
right exactly, it's more scary rather than But this one's

(35:09):
got to, you know, it's got to pick up a
kid and put it on his shoulders. It's got to, like,
you know, learn how to shake hands with a kid.
It's got to be able to wear shades.

Speaker 2 (35:17):
At one point, they bond really quickly.

Speaker 1 (35:20):
Really quickly. What Bigfoot is I mean Bigfoot from the
get go is benevolent Bigfoot. This whole movie could just
be called Benevolent Bigfoot because even when he fights the bear,
he does so only to get it away from the boy.
You know what I mean, he doesn't you know, if

(35:41):
he wanted to kill it, he would have thrown the
rock at its head. Instead, he throws the rock at
its hind quarters and it runs off into the woods.
That's Bigfoot being benevolent Bigfoot.

Speaker 2 (35:52):
You know, or fights.

Speaker 1 (35:56):
He's picking fights, right, But I so, I I kind of.
In order to enjoy this movie, you have to respect
that about You have to expect that they've gone, yes,
it's a man in the suit. We're going to have
some animatronics in the face, but it's gonna be one
of those animatronics where it's like the guy who did

(36:17):
it is like, well, the lip moves and the eyebrow moves,
and that's all you can do. So throughout the movie,
every time it cuts to Bigfoot, his lips are just
going all over the place, and his eyebrows are going
all over the place because it's only it's the only
facial gesticulation that he's got.

Speaker 2 (36:33):
The only time throughout the entire film that an emotion
ever seems real. Seems that they set the face and
then looked at him. But when it moves in shot,
it's very wrong. Like it feels like some sort of
an AI glitch.

Speaker 1 (36:50):
Yes, it's Uncanny Valley Bigfoot.

Speaker 2 (36:52):
Yeah for sure.

Speaker 1 (36:53):
Oh we could be benevolent Bigfoot in the that's what
it can be. But again, you know, it's a PEM
entertainment joint and they've gone, right, we want to make
a family Bigfoot movie. That means it's got to be
mostly at daytime. We can't have too much gore, although weirdly, yes,
there's a little gore at the beginning with Bigfoot gets

(37:15):
clawed by the bear and we sort of see a
scar on his back and we see a little bit
of blood on Zacharytye's jeans. But then at the end
of the movie, you go through the movie and it's
a relatively blood free, action free, kind of very family.
You know, it's the machinations of human beings more than

(37:35):
it is a Bigfoot movie.

Speaker 2 (37:38):
And that or the Mac and Mes. Right, it's a
very tall Mac and Me film.

Speaker 1 (37:46):
Yes, And in fact, that's probably the closest to like
the facial gesticulation, like.

Speaker 2 (37:50):
Yeah, actually, yeah, a factor if Matt made met one
of the adult aliens, not the kid alien, and that's
what the film was.

Speaker 1 (37:58):
Yeah, it'd be this, right, it'd be this, and then
and then at the end of the movie where you
get sort of the final PM action sequence ration, his
hench people actually have like blood all over their faces,
you know what I mean when they get out of
the car, they're all bruised and bloody. And you know
it's not an a teen thing, Like they don't get

(38:18):
out of the car and dust, you know, some mud
off their shoulders. They're like all blooded up, you know.

Speaker 2 (38:23):
Well, and I'd say we're jumping ahead to get to
that part. But after you've got the bare fight, you've
got the bonding with the kid, and then yes, the
scientists have the bigfoot. There is a jumble of nineties
family movie character plots in the middle that do all
kind of slam together, which is probably the biggest weakness

(38:46):
of this film. Right, But yeah, we can't waste time
by saying when it comes to the final moment of
the like the big action sequence at the end of
the movie, like they said, well, we don't know what
to do, what would be with a bigfoot? And they
just said, wait, we're PM Entertainment crash cars at high
speed on the highway and direct it like you don't

(39:08):
know what film we're doing this in. Just do it
for any of the other films, because there's guys shooting
while hanging outside of the cars, moving from vehicles to others.
It it does everything that any except, you know, looking
a little bit more like a small town America instead
of like some neo noir highway somewhere. But other than that,

(39:30):
the stunts in the way that that's done is exactly like,
that's where you realize you're in a PM Entertainment film.
This is that's the lynchpin that connects them.

Speaker 1 (39:39):
But it's it's still for my money, it's still PM light,
Meaning you don't have Cole s McKay, you don't have Spirosados,
you don't have a Broadway Joe movie, you don't have
a big stunt crew.

Speaker 2 (39:51):
Right on this movie, a car doesn't explode and then
spin twice into the camera.

Speaker 1 (39:55):
That No, there are zero explosions in this movie, which
is very disappointing. And I have to say, although so,
what I liked about this movie was that it is
paced great. There isn't really even with all the muddled
middle bit, It's short enough scenes and enough is sort
of seemingly happening that the movie keeps going, you know

(40:19):
what I mean, It never feels like a slow movie,
or it certainly didn't to me, so I was I
was thankful about that. What I thought was my biggest
the biggest weakness of the movie is that of all
the PM Entertainment all stars or regulars that they have
on the shoot, the ones they don't have are the
stunt guys. Now it is written and directed by a

(40:39):
stunt guy, but I think clearly his the request of
Joe and Reck, I've got to imagine, was no, no, no,
this is going to be a family film, and not
a family film in the way that the martial art
stuff like A Dangerous Place, Magic Kid and those kind
of movies which still have a lot of action in them. No,
we want this to be you know, G. This isn't

(41:01):
even PG. This is gonna be like G. Maybe a
slight PG at the end because there's blood or whatever,
but like in general, this is a G.

Speaker 2 (41:08):
Is what we're going for here, Dangerous Places. That's such
a a PM mistake in a way, and I almost
you're right. I wish it did do that because as
an adult like me would remember it because some of
the greatest things about dangerous places. It's so by the books,
a family movie, a karate kid movie, and then about
three or four times really adult, dark, violent things happen,

(41:32):
so appropriate, but no one reacts to it in the
same way they don't react to Howard's wig, and so
it's like they didn't know that's what the ending of
the film is gonna be. But in this situation they have,
as much as it does turn into it on comparison
to the rest of the film, a big action set piece.
Yes it does. It's still a family movie.

Speaker 1 (41:54):
Yes, And what I'm saying is I understand like, even
if you made this movie exactly the way it is,
I would I would add two things. I would add
some form of action sequence, even if it's just a
five minutes, no blood, no death, whatever, but just a

(42:18):
some form of action sequence right in the middle of
the movie. I mean, I know, they have like the
scientists climbing the rock and she almost slips and Bigfoot
saves her. And they have like the guy hanging out
of the helicopter tranking Bigfoot or whatever. So they have
like a little thing.

Speaker 2 (42:34):
But but that does seem in the long run that
it gets it's not memorable. On comparison the rest of them.
It seems almost too easy. It seems like that should
have been the big build up to how once you've
got the scientists in place, once they've got there, there
should have been more chased. There should have been a fail, yes,
and then they'd get them later or something like that.

Speaker 1 (42:51):
But yeah, so what they needs to be in the
middle of the movie is Rash needs to get Bigfoot alive.
The scientists need to chase Rash, find Rash, break into
his compound whatever it is, and get Bigfoot back. And
then at the end of the movie you have Rash
chasing the scientists and it's a race to the finish

(43:11):
line to the government protected parkland or whatever it is
that they're going to take Bigfoot two. So that you
got like two extended chase sequences. I think the problem
here is that you don't have that action sequence in
the middle of the movie to like fully pm it,
you know. And then at the end of the movie,

(43:32):
while you do get like a mild PM kind of
car chase, like you say, guys hanging out of cars
and Roan's Howard shows up and nudges, you know, David
Rash's car a little bit, and then Matt McCoy comes
back and nudges his car a little bit. It's it's
not the if you're if you're going to do that

(43:54):
for your regular PM viewer, you're going to want to
go all out at least at the end of the movie.
And so if I if I give it any serious downgrades,
it's it's that. It's that's what I'm missing here in
the movie.

Speaker 2 (44:09):
Well, and even too, even if you weren't gonna make
it explosive or more dangerous, it is oddly dangerous driving
they're doing for this movie. But again as a team
entertainment fan, no, it's a Sunday driving. But if you
wanted what gets to me is if you took out
Bigfoot from that situation of that car chase, it would

(44:32):
be the same movie. At some point Bigfoot should have
done something that caused that, like he should have taken
over the truck and driven it himself and then he
stopped it, or he found a bigfoot car. They found
the Bigfoot and drove it with him. It was a
car chase with a bigfoot driving.

Speaker 1 (44:49):
A bigfoot or the guy literally says one of the scientists.
Because the scientist has lackeys as well. She has like
two or three. She has one oddly German guy with
her and then another guy. And at one point he says,
we don't have enough tranquilizer to keep him under for
the whole journey. And he's like, oh, I have an idea.
And they put him in this truck and then they

(45:09):
strap him down and blah blah blah blah blah. What
needs to happen in that final car chase is Bigfoot's
in the truck and the family's all there and blah
blah blah blah blah. Right, and it rash keeps rash.
Should have been like, keep banging on that car and
keep like almost knocking it off the mountaintop to the

(45:32):
point where Bigfoot when goes rah and like breaks his
straps and jumps PM style from that car to the
other car and starts throwing lackeys out the window.

Speaker 2 (45:44):
That's what needed to happen, just even just a horrific
If you want to do a cheap horrific bump scene
where he flies out of the truck and just smashes
window first right into the lackeys, then you get your explosion.

Speaker 1 (45:58):
Yes, exactly. So I agree with you. You either needed
Bigfoot to suddenly become a part of the fight, you
know what I mean. He's proved twice in the movie
already that when his people, the good people are under
attack or are threatened in some way, when the scientist
falls down the mountain side, when the kid gets his
leg caught in the bad trap, whatever it is, Bigfoot's there.

(46:21):
I'm gonna stand up. I'm gonna fight a bear. I'm
gonna jump down the mountain side and grab you and
save you. I'm gonna do that. I'm Bigfoot. I'm here, baby,
here I am. I'm gonna I'm gonna take so rash
threatening Bigfoot's new family, you know what I mean, he
should have got angry, he should have holked out and
uh you know, had that moment. Instead, what you get

(46:44):
is this very odd Again. They they kind of I
think PM knew that they were. They had kind of
a bit of a dud at the end, and they
were like, well, how do we how do we add
momentum to this car chase where it doesn't have it?
And so they then decide we are going to have
eight groups of different people around the country. Some people

(47:06):
in a newsroom, some people in an office block, some
people in a bar, some people in a whatever, who
are all watching this chase. Because of course the news
guy is also part of the chase, so all the
camera angles at pm A filming are apparently the news
guy filming. So you get that wonderful trope of we
now go live to the chase, and really it's just

(47:29):
the movie being played through a TV, as if the
news camera is somehow editing in real time.

Speaker 2 (47:36):
And you know what I mean, you know what I'm saying,
that trope of putting it in where everyone's watching. It's
this small town is now being viewed across the world.
We're giving it to me more of the ending of
Airplane two, when they're like showing different channels around the
world saying the lunar shuttle is going to crash because
the audience I think it's at a bar that are

(47:58):
looking up at the TV and it shows a car
zoom into the camera, but then it shows them watching
TV or the two cars driving away. But when the
car drives into the camera, the audience at the bar
all flailed backwards. He goes ah, as if they're watching
it in three D or something, so I feel.

Speaker 1 (48:18):
Like I'm not going to I feel like they watched
the end of this movie without the audience reactions. And
when we need something and we don't have the money
to film any more car chase, so let's just go
to three or four different locations that we have within
spinning distance of the PM officers, fill it with a
bunch of either PM workers, actors, stuntmen, whoever it is,

(48:42):
and just have them go, you know, at the TV
and that'll you know, because there's this whole thing where
Roance Howard out of nowhere. We meet Roan's Howard for
thirty seconds earlier in the movie, and then suddenly he's
back at the end to like save the day. And
a guy literally barges through a crowd goes, wait, what's

(49:04):
that Ron's Howard's name is Brandell and he he pushes
through the crowd and goes, wait is that Brandell?

Speaker 2 (49:13):
Like how do you know who?

Speaker 1 (49:17):
But Ryan's Howard shows up in his truck and it's
meant to be the like, here comes Ron Howard to
save the day. It's so weird they have so many
characters by the time this movie is wrapping up that
you have Ron's Howard is the hero, the young boy
is the hero. Matt McCoy is the hero. There's too

(49:37):
many heroes, so you get Roan's Howard and then you
get Matt McCoy turns his bronco around and manages to
get back in the chase, and everyone's like, he's coming back.
And we even cut to Riff Hutton, Matt McCoy's partner,
who goes, yeah, get him Sheriff, Like suddenly everyone's involved, Just.

Speaker 2 (49:58):
To remind you that it's irrelevant character other than just
a cameo of related actors. I had played this trailer
on one of my YouTube shows before. The main reason
to play it because really, like I said, it blurs
into the basic plot of any family movie about a

(50:18):
young boy who finds a mystical creature. But the trailer
really emphasizes on these cameos that are all the star
as opposed to a cameos and a star. Zachary ty
Bryant has actually a lot less screen time than all
these people. Granted, I think this might have been made

(50:39):
when Home Improvement has started, so he was probably the
most in demand actor on the show. I think they're
time very closely overlaps at least.

Speaker 1 (50:49):
But Zachary Tye Brian in Fast and Furious Tokyo Drift,
what he is talk about a movie like Fast and
Furious Tokyo Drift. That's one I need to like. That's
what I need to like, go back and watch again,
because it's a weird cast.

Speaker 2 (51:06):
And it's very weird that they would later in one
of the movies like it's like it was the secret
fan movie so ever so often they name drop it
in the later movies.

Speaker 1 (51:15):
Back, they bring the main guy back, the guy with
the thick Southern accent and the bad fitting teeth, Lucas Black.
They bring him back a few times in the later
movies to try and tie Vin Diesel right into the franchise.

Speaker 2 (51:29):
And they make it. There's a time skip somewhere in
there where they're like, oh, this movie took place before that.

Speaker 1 (51:35):
So that's five and six take place before Tokyo Drift.

Speaker 2 (51:39):
Right, because we later find out that's when the character
did whatever. Zachary ty Bryan does not show up, and
the rest of Ust and Furious and maybe is a loss.
I don't know.

Speaker 1 (51:49):
I would bring him back in X part two, Fast
and Furious Fast X Part two, but no, so he is. Yes,
he was slap bang in the middle of his run
of Home Improvement. Movement was ninety one through the ninety nine.
This movie comes out in ninety five, so yeah, and
his most prominent movies of past in Furious Tokyo, Drift Ray,

(52:12):
The Rage, Carry two, and Home Improvement. Those are what
He shows up on. One episode of Burn Notice.

Speaker 2 (52:22):
Probably as Zachary Tye Bryant. Someone's like, hey, aren't you
that kid from Home Approvement? Shut up? That's his cam.

Speaker 1 (52:28):
Yeah, he's in two episodes of Verona Kamas, one episode
of Buffy, one episode of Smallville, one episode of Yah.

Speaker 2 (52:40):
But if you were, if you did your well, the
problem was that famously a lot of those kids, especially
in the nineties, always had parents who were taking other money.
But I know the youngest kid had a big problem
with that. But if you did a show that level
through all of the nineties, yeah, I mean, what does
it matter? Sure, maybe show up in Sharknado seven later

(53:03):
on for a camera right, But yeah, how he was
able to get away to do this film must mean
they only had him for a day or two as well,
because it goes into like child labor laws. If he's
doing that show and then he is able to go
out somewhere. Probably I don't know, is his film in
Vancouver or something.

Speaker 1 (53:23):
Right, because it's not like Michael J. Fox when he
was doing Back to the Future and Family Ties, he
was already an adult playing a teen at that point,
right right, Well, Zachary ty Briant, Yeah, he was born
in eighty one.

Speaker 2 (53:38):
Five, he's still Yeah, he's still a young.

Speaker 1 (53:40):
Teen fourteen when this movie is made. So yeah, child
label laws for sure.

Speaker 2 (53:46):
It definitely. They weren't Home Improvement wasn't going to give
him a chance to be late. They weren't those those
studio sitcom shows in the nineties were like crack the
whip and you do what we tell you to do.

Speaker 1 (53:56):
So but also what's funny is I feel like if
this movie was made in nineteen eighty five, where in
the eighties kids movies like even the kid kiddliness of
kids movies, even ET originally, I know Spielberg went back
and Cegid in walkie talkies rather than guns, but even

(54:18):
in the original ET there are guns, and there is
like real peril. The kids are running away from the
military and people who are trying to you know, Kidnap
A Flight to the Navigator is another one that's like,
not only is it a spaceship full of weird mad
puppets and spooky, creepy beasties, but again at the final sequence,

(54:41):
like the military is trying to the military even tried
to kill alf the French the Aliens. So like, you know,
in the eighties, there wasn't there wasn't so much worry
that like most movies, even the g Ones were PG thirty,
Like even like Gremlins was a family movie. We all
sat around and watched it at Christmas time, and she

(55:03):
literally talks about how her dad dies in the movie.
In the Bleak Is a Dangerous Place again, the brother
is seen having hung himself from the basketball hoo like
a fucking teenager committing suicide.

Speaker 2 (55:18):
Although avid Streets and dangerous Place borderline way more levels
than you think they wore.

Speaker 1 (55:25):
Oh yeah, completely, So you know, there is definitely a
feeling that Bigfoot The Unforgettable Encounter could benefit greatly from
that PM. However, all that being said, because I like
to review it the movie that it is rather than
the movie I wished it was. Yeah, I am enjoying

(55:47):
all the cameos so I am enjoying you know, the
Clinton Howard's and the David Rashes and the Matt McCoy's
and whoever. The scientist woman is also the last line
of the movie trying to crowbar in some sexual tension
between Matt McCoy and the scientist woman that was never
there in the aff No, the last line of the

(56:11):
movie being well, I'll need your phone number, and then
she has like a sly look on her face. I'm like, wait,
when was that? When was that a thing? When was
the will they won't be? Weren't they between Matt McCoy
and Crystal Chappelle?

Speaker 2 (56:26):
Right, I remember looking her up to Apple, Crystal Champel Caple.
I believe that's how the trailer said it, because she
was the one person when they mentioned the names that
I didn't know offhand, but I'd recognized a couple of
things that she'd done. Again, I feel like the film
had maybe maybe I'll give you too much credit here,
but I feel it had like rough drafts of where

(56:46):
a possibility was that any character could have been in
the film more. Yeah, and she's done so many things,
but oh, you know, she really hasn't done that many things.
Because you look at just searching her on Google. Her
sixth film says Bigfoot do un forgettable accounters.

Speaker 1 (57:02):
So but get this. While so she was on Guiding Light,
a TV series, for four hundred and twenty six episodes.
She did eight hundred and sixty one episodes of Days
of Our Lives, which she was filming while this movie
was being made, unless it was jeering hiatus. She does
eighteen episodes of The Bold and the Beautiful Right and

(57:23):
eight episodes of Beacon Hill and sixty six episodes of
Venice the series whatever the hell that is?

Speaker 2 (57:29):
Right, I even came up at number one again. The
thing I respect and people on my shows will hear
me talk about a lot of just a working actor
that they are famous to a name, to a group,
but it's you look at us, the body that these
people were constantly working. So I mean that shows a

(57:50):
mature actor in there, which gives the possibility that they
probably thought, oh, you know, we could have had a
second storyline with her, They could have given her more.
They left it open and they're like, do you want.

Speaker 1 (58:00):
To do it?

Speaker 2 (58:01):
You got three hours left to work with us. No, okay,
look fine, we'll just put more David rash that's fine,
and he.

Speaker 1 (58:08):
Also appears in the two Days of Our Lives spin
off special episode movie length Ones Night Sins and One
Stormy Night.

Speaker 2 (58:20):
Oh but she wasn't in Passions where there might have
been a big Foot, So for not I'm yeah.

Speaker 1 (58:27):
But no, so yeah bigfoot. The I love that she
was doing seemingly, you know, at least two soap operas
at the same time, because she does three episodes on
One Life to Live as well. She's also in two
episodes of Silk Stalkings. And what's incredible is that almost
everyone in every PM film that I've ever talked about

(58:49):
has Silk Stalkings on their resume, whether they're a stunt person,
whether they're a secondeer actor, character actor, or a guest
silk Stalkings so many people did an episode of that
while doing PM film.

Speaker 2 (59:04):
So well, that was what I was talking about. The
early HBO sort of movement. There was a bit where
like and you know, being superstars being on tail from
the crypt, which again was being advertised by the If
you did a product like that now the studios would
now think of you less. But we talked about that

(59:25):
with Matt McCoy. He seemed like a guy who wouldn't
be shocked if he showed up in an episode of
Still Silks Talking.

Speaker 1 (59:31):
Oh, I've got to believe that Matt McCoy is. If
he's not in an episode, I would be very, very surprised,
because almost every single kind of person of that ilk
that we've talked about in the PM Entertainment podcast, Silk
Stalkings is sort of the ever present mid nineties you

(59:54):
know TV series that they all seem to show up on.
And it is on two I believe, or is it
on Amazon? It's on one of those.

Speaker 2 (01:00:02):
It was on TV one point. Even up here in
Canada's to B, which is different, it definitely was at
some point.

Speaker 1 (01:00:09):
Come on, dude, let's see. You gotta have been on
an episode of Silk Stalkings in La Low. You've got
to do an episode of Silk stocks.

Speaker 2 (01:00:18):
The Corden Burns seem to ever do an episode of Stalkings.

Speaker 3 (01:00:22):
I don't know.

Speaker 1 (01:00:23):
That doesn't look like he ever did Silk Stalkings.

Speaker 2 (01:00:26):
I'm shocked, But there's many look alike guys. Every decade
has a guy like him.

Speaker 1 (01:00:32):
Yes, he does do a snapdragon the uh yeah right?

Speaker 2 (01:00:39):
How can I forget that of course.

Speaker 1 (01:00:40):
With Chelsea Field and Stephen Bauer.

Speaker 2 (01:00:43):
M hmm, so he does.

Speaker 1 (01:00:45):
He is in Snap Dragon as Bernie as his other
Wait wait a second, as is Ron's Howard, as is
other PM alum Kenneth Tiger from Rage and Riot and
The Underground, I mean, and Kenneth Tiger also played the
police captain on La Heat, the TV show that PM

(01:01:08):
Entertainment spawned.

Speaker 2 (01:01:09):
Yeah, well again it's all the same time and again
feels like as a for Canadian listeners out there, we
had Showcase Entertainment, which was a channel that just played
that kind of stuff. It played the US up all
night kind of thing, but it also played silk stockings.
It was the chance to place where Canadians could see

(01:01:30):
tests of the crypt but it was also all of
those random nineties American produced shows probably filmed up here
that history sort of forgot. I recently went through a
run of watching the show Nightman and everything about that.
The same level of production feels, and a lot of
the same actors appear from it same some connection to

(01:01:53):
the studio or at least the same agency. They were
using the same agent for all these people because they
got a deal.

Speaker 1 (01:01:59):
So just to clarify earlier on, we were wrong on
both counts about who did Harry and the Hendersons. It
is actually a Rick Baker makeup.

Speaker 2 (01:02:08):
Oh right, right, yes, right, So Harry and.

Speaker 1 (01:02:11):
The Henderson's is actually a Rick Baker makeup. So I
just wanted to look that up because I know we
were talking around that subject. I just want to make
sure that we get that in there. Can even visualize
seeing him in some behind the scenes thing for it.
And it also features you know, Howard Berger works on it.
And he's of course from K and M. K and
BE Effects, who had done a bunch of stuff in

(01:02:34):
the horror movies in the eighties and then went on
to become literally the biggest practical effects house the Hollywood
has ever had. K and BE Effects, And Greg Nicotero
is the guy obviously behind The Walking Dead now and
is it creep Show that came back on Shutter? Yeah, yeah,
that came back on Shutter, So yeah that they are yeah, again,

(01:02:55):
top of the line special effects prosthetic artists. So no,
no disrespect to whoever did the makeup effects on Bigfoot,
the the Unforgettable Encounter, which, by the way, I will
always forget the name of that movie.

Speaker 2 (01:03:12):
The forgettable title.

Speaker 1 (01:03:13):
Yes, well, it just seems like the wrong words. Unforgettable
is not a good title word.

Speaker 2 (01:03:21):
You know what I mean? No, an encounter ironic as
that is, it's not it's not.

Speaker 1 (01:03:27):
No. I want who did do the makeup? So we
have we have Steve Fink, who is the prosthetics technician,
and we have Jory Jeanney maguire who is the makeup artist.
And the guy who was in the suit, which I've
got to believe is an off the peg bought suit

(01:03:47):
based on the fact that it almost during the fight,
the top half of the suit, which is very clearly
disconnected from the bottom half of the suit, almost rides
up and shows the T shirt he's wearing underneath the suit.
But Bigfoot is played by Gary Malan Coon or milon
Con I don't know how you pronounced his last name,

(01:04:09):
whose only other role was in Forget Paris as a
basketball player, and he was a basketball player, clearly because
he's also in Rebound The Legend of Earl the Goat Managult,
which was directed by Eric LaSalle. Of all people from
Er and from Coming to America, Steve Fink is known

(01:04:31):
for Star Trek Nemesis, the Rocketeer, Deep Rising, The League
of Extraordinary Gentleman, Buffy the Vampire Slayer for twenty eight episodes,
Galaxy Quest as part of stan Winston Studios Prosthetics. In
End of Days, he works on Angel as well as
Buffy Charmed. He works on for a while X Files, Ellen, Resurrection,

(01:04:52):
Men in Black, Batman, and Robin. So he went on
to bigger and better things at this.

Speaker 2 (01:04:57):
Time though, Oh he did was make the eyebrows he did.

Speaker 1 (01:05:02):
Interestingly, he did work on Harry and the Henderson's the
TV series as the prosthetics technician for that show. He
is the special effects makeup on Critics Three. He works
on Land of the Last, the nineties version of the
TV show. He does the special effects makeup for Ernest

(01:05:24):
Scared Stupid along with the Yodo Brothers. Yeah, and he
works on Army of Darkness. He works on Tails Form
the crypt Demon Knight. So yeah, he was a fairly
big deal. They probably spent some money in Old Finky
when they wanted to animateur have their prosthetics work.

Speaker 2 (01:05:46):
But he was the kind of thing where he built
part of the face for them and said there, do
what you want with it. So but put my name
on it.

Speaker 1 (01:05:52):
Yes, I mean, let's say that. Then let's say it.
He taught one of the gaffers how to move the remote.

Speaker 2 (01:06:02):
He built a thing and said stick a face on it. Here.
There you go. This is what it does. But if
you screw it up, it's your problem, not mine.

Speaker 1 (01:06:08):
But interestingly he does work with PM again, although this
was on a production that they did that had multiple
production companies. I mean, they still helped make it and
produce it, but it was in conjunction with a bunch
of other people. And that's a new PM kids film
that I've just recently discovered and purchased on VHS, and
that is Storybook, also from nineteen ninety five. He does

(01:06:31):
the special effects makeup on that, and that has Swoozy
Kurtz in it. Richard mal Milton, Burl, Jack Scalia, Jimmy
Douhan is in that movie. So yeah, again, filling their
kids films full of random cameos.

Speaker 2 (01:06:52):
I'm honoredly shocked that wait, you said rich Richard mall
As in like l from Micor, which he he's not
in more of their films because his like eighties horror
acting and non night court stuff really fits in especially
children's entertainment, spooky movies and things like that. I felt

(01:07:15):
like he if secretly he's in more than one of
these films that we talked about, I would not be surprised.

Speaker 1 (01:07:21):
I would not be surprised either. But yes, think those
two PM and entertainment movies, this and storybook and he,
as I say, has an illustrious career, so so good.

Speaker 2 (01:07:33):
Yea, yeah, just not a prime example probably no. Yeah,
I think specifically when we think back on the beginning
of the Crazy Chasing we talked about, yeah, and they
talk about tranquilizing the Bigfoot and in the cage in
the back of the van, and there's he's just laying
down face first, hey, and doesn't move. There might not

(01:07:57):
be anyone in the suit during a certain two shots
of that. It's just laying down and you don't even
see the face. So there's your reasons for cutting corners.
That's their answer to, we'll only show half the creature
for when we don't have a guy to get in
the suits. Well hid his faith.

Speaker 1 (01:08:14):
I've reached out to Corey Michael U Banks. So he's
a stunt guy. He's worked with other PM stunt guys
as well, because he does Fast five with Spirozatos, who
had gone on to Spiro, who had did a bunch
of PM went on to the Fast franchise. When the
Fast Franchise came back at last Fast four, Fast five
Past six. When they came back, Spiro jumped on those.

(01:08:37):
He's a boxing guy, saying a boxing tournament in southern California.
Corey was discovered in his gym and cast to play
the role of a young boxer in the feature film
The Sting Too. He is the son of actor and
TV personality Bob you Bank.

Speaker 2 (01:08:51):
That's what it is, right, Yes, he did.

Speaker 1 (01:08:53):
He was a professional stunt man on the television show
The Dukes of Hazzard. He also works on The eighteen
Hunter and the ends up doing a bunch of stunts
with Tom Cruise. He works on Far and Away, Mission
Impossible two, Vanilla Skai. He works with also Spirozatos, who
worked on Midnight Run with Robert de Niro. He does Backdraft,

(01:09:16):
he does Cobra, he does get Carter. So yeah, he's
a big time stunt guy who's worked with a whole
ton of people. What's interesting is and I want to
go to his directorial work because he's only directed eight
things an episode of Silk Stalkings. He in fact, he
directed nine episodes of Silk Stalkings. He directed one episode

(01:09:39):
of Renegade. The two movies though, that he makes for
PM Entertainment are decidedly kid friendly. He makes Bigfoot, the
Unforgettable in Cans that we're talking about today, and he
makes Two Bits and Pepper that has Joe Piscopo in it,
which is a movie about two kidnappers hold girls for ransom.

(01:10:00):
The kidnappers are outsmarted by the girls, along with horses
that can talk to each other.

Speaker 2 (01:10:05):
Well, of course they do, either that or someone's uncle
is an alien in it.

Speaker 1 (01:10:09):
But right, that's yeah, So yeah, Dennis Weaver and Joe
piscombo starring Corey Michael Eubanks's Two Bits and Pepper, And
to also bring it up to modern day's was one
of the stunt drivers on One Battle after Another, which
is obviously the big Paul Thomas Anderson action movie with
Leonardo DiCaprio that everyone will not stop banging on about online. Yeah, well,

(01:10:44):
as we were just talking about him, how about we
jump over to our interview. That's right, our interview with
Corey Michael eu Banks here on the PM Entertainment podcast.
We also have a chat with Clint Howard, so it's
another loaded episode. That sometimes why they take a little
longer to reach your ears is because we just keep

(01:11:05):
getting these incredible interviews and wanting to share them with you,
but also wanting to do them right and edit them
and get them all cleaned up and everything like that.
So I hope you appreciate that. I hope you appreciate
these two interviews that are coming up. And if you do,
and if you like this podcast, and if you want
to support us, and if you want it to continue,
then the first thing you need to need to do
is tell everybody. Tell all your film fan friends, tell

(01:11:27):
all your action film fan friends. Share it on social media,
talk about it on social media, regram it on the
Instagram whatever they do these days. I don't know what
kids do these days, but I put it up on
Instagram so you can share it if you want, on
your stories or something. But also rate and review us,
rate and review us, rate and review us wherever podcasts

(01:11:48):
are found, and just in general support us. It would
be wonderful if you could anyway, no problem, If you don't.
This content is still free and it is still amazing.
Here we go with our conversation with director Bigfoot, the
Unforgettable Encounter It's Corey Michael You Banks, and then following
that up with conversation with none other than Clint Howard,

(01:12:10):
the man himself. Joy, thanks ever so much Corey for
agreeing to do this interview today on the PM Entertainment podcast.
It's a real pleasure to talk to you, sir.

Speaker 4 (01:12:23):
Absolutely, Hey, thank you for inviting me. This is this
is to me kind of a kind of an honor.
I appreciate you me and reaching out.

Speaker 1 (01:12:32):
Oh, of course, man, No, of course, we were very
lucky to speak to spirozatas early on in our process
of doing this. I'm still trying to get hold of
Cole McKay. But obviously, with PM Entertainment being such a
you know, known for their stunt work, even on the
budgets they had, you know, speaking to you guys in

(01:12:52):
the stunt world is It's one of my favorite things
to do as a fan of the films and as
a fan of movies in general.

Speaker 4 (01:12:58):
That's awesome. Hey, just for a second, going back to
Spiro Yeah, he and I go back a long long way.

Speaker 2 (01:13:04):
Actually I was.

Speaker 4 (01:13:04):
I was one of the three DGA members who signed
his cards so he could become a director.

Speaker 1 (01:13:10):
Oh nice, very cool.

Speaker 4 (01:13:12):
But people don't know, man, when Spira was doing stunts,
he was phenomenal. He was an athlete and he did
some incredible Dar Robin dar Robinson style and caliber of stunts.
He was really an incredible athlete.

Speaker 1 (01:13:30):
Yeah, obviously I know that you guys worked on the
Maniac Cup franchise together, you worked on Midnight Run together,
and a few others, I think, yeah, And I was
gonna I was gonna first ask sort of how you
got into stunts in general and what kind of inspired you,
and then secondly kind of how you got in with
PM Entertainment, But initially, how did you get involved with stuntweb? Well?

Speaker 4 (01:13:53):
I was brought up around it.

Speaker 2 (01:13:54):
You know.

Speaker 4 (01:13:54):
My father, Bob Ebanks was a game show host. Yeah,
did the show called the Newlywood Game. But he was
a weekend rodeo cowboy, and he would take me out
to a place called Paramount Ranch in Agora Hills.

Speaker 1 (01:14:08):
Yep.

Speaker 4 (01:14:08):
I'm you know, five, six seven years old, and I
was exposed to hel Needham, Terry Leonard Billy Burton, all
these guys, James conn would be out there, Steve McLean
and I would see these guys at the Western Set
back there doing stunts and stare falls, and even saw
him roll a car one time and I'm like, Dad,

(01:14:29):
what are those guys? He goes, Oh, those are stuntman.
I'm like, that's what I want to do. I want
to be a stuntman. I didn't know you could make
a living at it though, I had no idea, you know,
but yeah, that's what got me. I mean from a
young kid watching them do their thing, I was exposed
to it. That just looked like it was in my dna.
I wanted to be a stuntman.

Speaker 1 (01:14:48):
And you were right in the right decade, I mean
eighties and nineties, Golden era of action. You know, millions
of movies being made every single year, both from the
big companies and also the independence. So I'm sure you
had you'll pick in a way of sort of all
the different movies that were being made. But how did
you come to PM We were talking about Sparrow. Obviously

(01:15:10):
he ended up his name kind of becomes synonymous with
them in a way at that point in his career,
as does coll S McKay and you did a couple
of things with him. Was that how you kind of
got to know of them? Or just did all stunt
guys at that time know that PM were heading in
that direction with the big set pieces and stunts and things.
I didn't know.

Speaker 4 (01:15:29):
To be honest with you, I didn't know that PM
Entertainment existed, Okay, I was determined to. I just finished
a film I wrote and played the lead and called
Payback with Michael Ironside, and we sold that off to
Republic Pictures. And I was getting ready to do another
film of my own that I wrote, and I was

(01:15:50):
going to play the lead, and I had Michael Ironside
again and Don Swayze. And I met an actor named
Brian Avery. I believe that was his name, I Avery,
and he was telling me about this movie he just
finished working for this production company because we were talking
about distribution, and he was like, who's gonna handle your
foreign distribution? I said, I don't know. I'm maybe Centatel

(01:16:14):
or I don't know. And he told me about PM Entertainment,
and so I started looking into it, and gosh, darn it,
I think it was Brian Avery who introduced me to
George Shami.

Speaker 1 (01:16:27):
Oh yeah, he was over sales agent. Yeah yeah.

Speaker 4 (01:16:31):
I had shot a trailer for that Force to Kill
a movie that's back over your left shoulder, and went
to show it to him and he says, hey, I
could I could take this and go do pre sales,
And that's how it all started.

Speaker 1 (01:16:47):
Yeah. No, I was gonna bring up for to Kill them.
In fact, I rewatched it again, say it's great, it's fantastic.

Speaker 4 (01:16:52):
It's you don't have to say that just because I'm here,
you know, dude.

Speaker 2 (01:16:56):
I'm not.

Speaker 1 (01:16:56):
I loved it. We'll get into it, but I'm that
I noticed that it was sort of you know, at
the very beginning, it sort of says the PM Intainment
Group and I think like the U Bank's Film group
or something. So it was obviously partially co produced by them,
but obviously there most of their regular crew and producers
and things. Their names are not on the film because

(01:17:17):
I presume you kind of brought them a finished thing
and they just sort of took it over. The finish line.
Is that what it was?

Speaker 4 (01:17:23):
That is correct. I brought them the finished product. But
I was able to fund the film because they went
and did pre sales yeah, okay, So I was using
the money that they got from the pre sales for
the production of it, right, ok So we were kind
of that's we were our partnership as far as on set,
it was all my crew members. I had been working

(01:17:44):
with Den and San Diego for Stu Siegel Productions doing
shows like Renegade and Silk Stockings.

Speaker 1 (01:17:50):
Yeah. Yeah, and you you had a fellow stunt person,
Russell Solberg, who I think you met. I don't know
if you met him then, but you worked with on
Pee Wee's Big Adventure. Was the first credit I could
find that you've kind of both worked on together.

Speaker 4 (01:18:03):
Well, look, let me just interjector wreck. He was John
Schneider's stunt double on the Dukes of Hazzard and I
was Tom Wilpat's stunt double on the Dukes of Hazard.
Oh nice, okay, And that's where we met back in
nineteen eighty one, we met.

Speaker 1 (01:18:17):
All wow, all right, So yeah, that's something that your
IMDb doesn't have on it. No, that's something I couldn't find,
so okay.

Speaker 4 (01:18:23):
All right. Yeah, my dad knew the executive producer guy
named Paul McCard, who had hired my father to do
the Newlywed game.

Speaker 1 (01:18:30):
Yeah.

Speaker 4 (01:18:31):
So when I said to my dad, God, I want
to work on that Dukes of Hazzard, I want to
jump that generally, my dad went into his office and
made a phone call. Yeah, calla Card, the executive producer.
It's called nepotism.

Speaker 1 (01:18:41):
No, that's listen, it's absolutely fine. No one questions it.
If if a butcher's son takes over being a butcher,
no one goes in with your nepotism. So why the
hell would it matter all this nepotism stuff. It's like, well,
of course, if you're into the same kind of stuff
and you want to go into the same kind of industry,
of course take whatever help you can get. Everyone is
helped by someone along the way in their careers. It's

(01:19:02):
never just it's never just their family. But if you
have family involved, have had it. I'm not a judgmental guy.
I think if you get the career that you want,
have the career you want. And I grew up watching
Jugs of Hazard Man, I mean jugsa Hazard, A Team Hulk,
Charlie's Angels, I mean night Rider, all those shows which
were shown in the UK, I mean they were shown

(01:19:23):
around the world. But they were shown in the UK
kind of as like Saturday evening kids viewing. They used
to come on at like four or five pm. I
know over here they were like weekday nights, but in
the UK it was like I always remembered as Saturday viewing,
and it was you know, I just feel like I
grew up watching those stunts, like watching cars jump ravines

(01:19:43):
and I mean the number of times they jumped the
eighteen van and you think, yeah, like that van could
ever get any air on it, you know what I mean.
It's a huge, great GMC thing. But still all those
kind of shows and Jukes of Hazard Man we go.
We used to watch that all the time.

Speaker 4 (01:19:58):
So yeah, I did for four years, jumped to generally
that was my weekly job. And yet you go on IMDb.
I don't even think they mentioned I worked on the show.

Speaker 1 (01:20:09):
I don't think so, not because it didn't even come up.
As I said, the first thing I could find that
you and Russell had done together in certainly in your
feature film work was Peewee. That was the first one
that I could find that you guys had worked on.
But oh, man, to know that you were behind the
wheel as some of those jumps on Jicks Hazard. That
just oh man, that takes me back, That warms my heart.
That's fantastic. Yeah, talk about sort of the relationship with

(01:20:31):
Russell and how because he obviously directed your first two
movies that you wrote, and was their thought at the
time of sort of setting up a kind of production
company as a side hustle just for you guys to
kind of make movies you wanted to write while also
working on stunts on bigger pictures of different pictures.

Speaker 4 (01:20:48):
Yeah, it was that was our game plan, and it
was an education to us to find out that it
took so long to get all of the money's back
from when you would go and make the movie right
and it would start selling foreign sales, and then after
that all the domestic ancillary markets, you know, from the
cable and the pay per view and the syndicated television,

(01:21:09):
and it was taken a couple of years just to
get all the money to come back in. So in
the interim we went back to work directing television. I
started directing various shows for Stu Seagull and for Columbia
TriStar shows like Shina Vip with Pam Anderson, and I
did like twenty one one hour TV shows and so

(01:21:31):
we kind of we're going where the money was and
we didn't have to work so hard to go and
try to sell a film independently and wait two years
for the money is to come in. So it kind
of took us down a different path, you know.

Speaker 1 (01:21:42):
Doing an episode of television understood well flows to kill.
As I said Earlie, I really enjoyed. It's a wonderful
slice of I think they call it like exploitation because
it's sort of that thing where you know, a regular
sh mode gets embroiled in some kind of mad out
in the countryside sort of fight ring, or you know,
they're obviously not good guys that killing people, that are

(01:22:02):
attacking women and doing all sorts of stuff. But I
love all that kind of stuff. What kind of inspired
the story and what sort of action beats and or
genre kind of things did you want to make sure
you got in the film we felt.

Speaker 4 (01:22:15):
Russell and I were talking about it before I even
wrote the screenplay and said, you know, vehicular stunts were
our strong point, but we didn't want to be just
another car chase in the city, and that's where we
run and make it more rural. You might get a
kick out of this too. If you and I sat
down and watched that movie together, I would point out

(01:22:37):
six or seven locations that were actually the Dukes of
Hazzard set. Yeah, and I actually throw one eight in
this cat in the Cadillact before I blow up Michael Ironside,
and it's right in front of the boar's nest, right right, right, yeah, yeah, yeah,
which was kind of cool for us to have it,
you know, right right there. But I got into the
film industry before The Dukes of Hazzard. I did a

(01:23:00):
movie called The Sting Too, and with Jackie Leason, Carl
Maldon mac davis. But I got hired on that because
I used to be a boxer. I boxed as an amateur,
and so we wanted to take advantage of my that,
you know, the bare knuckle fighting and kicks, and I
was just brought up on that, you know. I fought
in the Junior Olympics and Golden Gloves and the Diamond

(01:23:22):
Belt and had forty seven amateur bout I used to
spar with Frank Stallone. He was my sparring partner. But
so we wanted to take advantage of our strong points
and that was that I used to rodeo, riding bulls
and bucking horses. So we thought, well, let's incorporate a
horse chase. Obviously I could drive. I've been on the
dukes of Hazard for four years, and let's get on

(01:23:43):
some gravel roads and do some chases and so and
it kind of just molded into this pretty, you know,
not very original story, but you know, but we established
who the protagonist is and the antagonists and who's the
who's our bad guy, who's our villain, and let's let's
go after him and get revenge and have a happy ending.
And it was a little cliche, I guess, but a

(01:24:05):
lot of fun making it. And also again a few
and hour were sitting down and we're stopping a frame
by frame, I would show you scenes where I'm actually
chasing myself in the Cadillact, chasing the Bronco, but I'm
driving the Bronco.

Speaker 1 (01:24:19):
Yeah, movie, that's funny, that's funny. Yeah. Yeah. No. I mean,
in terms of like cliche and stuff, I always think
if you're into genre film, if you're into horror, if
you're interaction, if you're into sci fi, if you're into whatever, comedy,
even there are always going to be certain beats that
you hit and if there aren't, if there aren't those
story beats, when someone tries to stray too far from

(01:24:40):
that stuff and tries to kind of become avant garde
with it or weird with it or whatever, it sometimes
often doesn't work. Often, those guide rails are there for
a reason. You know, you got to have your bad guy,
you got to have your good guy. You got to
have some peril. You've got to have some chases or
stuff every few minutes. And I don't ever like when
I sit down and watch an act movie, and obviously

(01:25:01):
doing the PM Entertainment podcast, I do that all the time.
I don't ever sit down and think to myself, oh, well,
here's another good guy going after a bad guy. I
just want to see how they're going to do it
this time, do you know what I mean? Every week
on the Juju Hazard or the A Team or night Rider,
you know, little Timmy gets his medicine right at the

(01:25:22):
end of the show whatever it is, or the cab
rank has been saved or the little cafe has been
protected or whatever it is. It's not about that. It's
about like the characters. It's about how are they going
to fix the problem. It's about the stunts, it's it's
all that stuff. So I wouldn't. Yeah, I don't judge
stuff based on it's cliche. If anything, I like action

(01:25:42):
movies to have that in it and then push it
to the next level, which I think forced to Kill
did in some respect.

Speaker 4 (01:25:48):
You know what I had, I don't know if you
recall in there, I had a gentleman, Rance Howard, Ron Howard, Yeah, yeah, yeah,
Ron Howard's father, Yeah, and Clint Howard his brother.

Speaker 1 (01:25:58):
Well we've interviewed Clint for this show because he's in Bigfoot,
so yeah, yeah.

Speaker 4 (01:26:03):
And I was asked as a favor from Ron Howard
when I was doubling Tom Cruise on a movie called
Far and Away, and he knew I was making this movie,
and he said, would you have a spot for my brother.
I'm like, yeah, I'll put Clinton there somewhere and to
go and then he goes, oh, am my dad, could
you put my dad in your movie too? Like? Sure, run.
So when we were first screening it, you know, before

(01:26:27):
we even had the color correction, We're just doing a
screening across the street from Imagine Entertainment, and Ron came
and watched it, and he said he really liked the
character at the beginning when I was being all cocky
repulling the car, and didn't like how I transitioned into
this tough guy right, And I went, oh, I said, well,
I don't like your films either, Ron.

Speaker 1 (01:26:52):
Right, I think it made sense. I didn't think that
there was a point where, I mean, you have your
spirit broken a bit obviously by everything you'll character goes through.
So he has to go from being a cocky fighter
to being a well, hell, I got a fight to
stay alive kind of thing. But so you're not quite
as comedic at the end as you are at the beginning.
But I think that makes sense. With everything you go through,

(01:27:14):
I mean, they change into stuff, they beat you, they
electrocute you. There, how about that.

Speaker 4 (01:27:21):
I'm going to give you Ron's number and you should
call him and tell him this stuff.

Speaker 1 (01:27:25):
Please, happily, Happily I'll sit there and tell him everything
that's wrong with FH and away. No, okay, yeah, no,
I And I thought, actually, what I thought was great
about it was that obviously the setup in Force to
Kill it could have almost become a tournament movie, you know,
like a blood sport or whatever, where it was more

(01:27:48):
about the bouts than it was about kind of everything
you've gone through. And what I liked about Force to
Kill And I don't mind tournament movies. I watched tournament
movies quite a bit. I'm a martial arts fan and stuff,
but in general, in terms of action films, they're not
my favorite, right. They tend to they tend to just
sort of go the sports movie route rather than the
action film route. And I liked the way. That's why

(01:28:10):
I said, you sort of incorporated all these different parts
of other of sort of known action stuff into Force
to Kill. So it's a little bit of everything, and
actually it had a nice accumulative effect. There is the
sort of bouts and the fights and stuff that you
have in it, but that's not the entire, you know,
crux of the plot. And so I liked that I

(01:28:30):
got kind of a mix of everything because that kept
that kept it engaging and interesting.

Speaker 4 (01:28:37):
I thought, well, I'm glad to hear you say that.
And I got to be one hundred percent honest and
tell you that that was all accidental. Nothing was pre
thought out that that's what we're going to do. We
were just kind of winging it, you know, and just
putting together action action action, and but I'm glad it
was entertaining and that you enjoyed it. It was it

(01:28:57):
was a lot of fun. I'll never forget making that movie.
It was a lot of fun.

Speaker 1 (01:29:01):
Yeah, the chase at the end with the helicopter over
the speedboat and you're firing out of the speedboat at
the helicopter, and then obviously the car chase and the
horse chase, all that stuff is fantastic, But I think
that was that was the bang for your buck, was
the helicopter and the speedboat. Anytime you can kind of
get two vehicles working together like that and doing crazy

(01:29:21):
stunts and throwing people off the helicopters and things, that's
that's gotta be. That's when you watch that back, you've
got to be like, yes, we got.

Speaker 4 (01:29:30):
And nobody knows that. When the speedboat, when I got
under the shore and I ran off that the engine
caught fire and it caught the whole hillside on fire.

Speaker 1 (01:29:39):
For real as part of the movie, No for real,
And then.

Speaker 4 (01:29:43):
Other helicopters had to come in and dump water and
we were photographing im and we're trying to think how
we can work that into the story. You know, like,
we've look at this production value. We have these huge
helicopters scooping up water and dumping it out. How do
we work that in the story. And I'm like, I
don't think we can.

Speaker 1 (01:30:01):
You know, no, you could have had it that he
jumped off the speedboat and for no reason it exploded,
I guess.

Speaker 4 (01:30:07):
But yeah, so you should have been the producer on
the set and you would have come up with that solution.

Speaker 2 (01:30:14):
Well.

Speaker 1 (01:30:14):
I always think there was a movie that PM made.
They only made one with Cynthia Rothrock Guardian Angel. It
was called and right at the end there's a speedboat
chase because I think one of the foreign investors had
one of those large cigarette boats and they were like,
if you put this in the movie, we'll give you
some more money. And I think right at the end
of the thing, the speedboats coming along, Cynthia's like grabs

(01:30:37):
hold of the rope under a helicopter and is pulled
out of the speedboat. It runs up the beach. It
doesn't even really crash into anything, it just runs up
the beach. But because it's out of the water, it
explodes because of course it explodes, because that's what it
has to do, and so you could have you know,
you could have added that in. I suppose he wanted
to utilize the fire and everything. Yeah. But anyway, apart

(01:30:59):
from the the boxing and the spiring and stuff that
you'd done, do you have any martial arts training as
part of your stunt work? Do you do sort of
martial arts or keep up with a regiment like that
or no? No.

Speaker 4 (01:31:13):
I used to a guid named Brad Filger and Scott Shower,
these guys who were martial artists, you know. They I
had a gym at at my house where I was
growing up, and they used to come over and they
would kick the bag and they would teach me some stuff.
But I never got any training other than just on
a set. Working with other guys were phenomenal, you know,

(01:31:33):
martial arts. Maybe show me stuff. Hey, Corey, are you
doing that wrong? But no, the answer is no, just
I just boxed.

Speaker 2 (01:31:39):
That was my thing.

Speaker 1 (01:31:41):
Cool. Well, you pulled it off great in the movie.

Speaker 4 (01:31:43):
Man.

Speaker 1 (01:31:44):
So some of the cast are forced to kill you
obviously worked with in Payback, and some would again appear
in Bigfoot The Unforgettable Encounter. Your first movie as a director,
what in particular was it. I know you spoke to
a little bit about ronson Clinton, but like Michael Iinside,
I actually my movie website offtermovie Dina dot Com actually
got to have a great conversation with Michael Iinside some

(01:32:06):
years ago now, and he's one of my favorites. But
what's it like working with these guys like Ironside, likes
Done Swayze, people like that as a writer and an
actor as opposed to a stunt person kind of relationship, well, collaboration.

Speaker 4 (01:32:21):
Interesting You bring up Michael Ironside because I love that man.
He was phenomenal actor. And really I write too much,
and Rance Howard has been my writing partner, wouldn't before
he passed away, and we wrote, you know, like the
Bigfoot movie. We wrote together, and and I would write
too much dialogue and too much description. And so I

(01:32:42):
was really proud of this one scene with Michael Ironside
and I in the jail cell on I think it
was on payback. I don't think it was on Forced
to kill. I Forget's like a three page scene of dialogue,
and I thought it was really clever and sophisticated and impressive.
You know, I was going to impress somebody with my writing.
And Michael came in and says, hey, can I talk
you for a second. Yeah, he pulls me say, he goes,

(01:33:02):
all this stuff that you wrote and everything. He goes,
I think I could sell it all with just a look, right,
what what do you mean?

Speaker 1 (01:33:12):
So he did it.

Speaker 4 (01:33:13):
He goes, let me just try it once, Corey, and
I said all everything I was supposed to say, and
then he just gave me this look, and I went,
He's right. I didn't need all that dialogue, you know.

Speaker 1 (01:33:23):
So there were some people like him. His looks can
just either chill the bone or excite or whatever. Yeah.

Speaker 4 (01:33:30):
Yeah, but yeah, we're working with with with uh with
Rance Howard. When we were doing if I could jump
ahead of that big Foot movie for a second, I
got to tell you something. What I was in with
George Shami at PAM Entertainment going over the foreign sales
of Force to Kill and George Smid all action films, right, explosions,

(01:33:53):
but Free Willie had just come out. Yeah, and so
George Smi says, oh, we need to do a movie
about a small boy and a big animal, you know,
And I said, Wow, you got to see a Bigfoot's available.
I hear he's pretty popular. Hard to get a hold
of though, And Cody, are you do you have a
Bigfoot story you're working on? From that second, I was yes,

(01:34:22):
I said, you know what, coincidentally, I am working on
a story. George goes, Oh, fantastic, and he picks up
his phone. Joseph, Rick come down to my office right away.
We're going Corey's going to tell us the the Bigfoot movie.
We're going to start shooting in seven weeks. That's how
that got pitched. So they come down into his office.

(01:34:43):
I remember, I'm all nervous. Now, oh shit, I got
to come up with the story. And Joseph Mary sits
down on the couch next to Rick Peppin and George
Shami and I remember they all sat down, crossed their
legs and put their hands over their knees. You know,
it was like I nicle the three of them. CODYE
hold my calls, Hold my calls, he says, he goes,

(01:35:04):
tell us the story about the Bigfoot movie. And I
pulled this story out of my ass and left there
with the budget a start date. And it was seven
weeks and the first person I called when I got
in my car was was Rance Howard. I said, Rance,
I got, I got an emergency here. I got seven

(01:35:24):
weeks to write a screenplay. And I go, don't laugh
at me. I was kidding around and I pitched a
Bigfoot movie. And he goes, oh my gosh, Corey, Ron
and Clinton and I have been Bigfoot fans for fifty years.
Come back to the house.

Speaker 1 (01:35:36):
Nice.

Speaker 4 (01:35:37):
So I go buy his house into Luca Lake and
I go there and he's got a stack of newspaper
clippings on his coffee table. Bigfoot sided in Sears parking Lot,
and Bigfoot, Mary's Alien Women, all of these things that
they've been following Bigfoot for years. So we dive into
it and we start writing this Bigfoot script. Now, Ron

(01:35:57):
Howard is in town doing the music score for a
movie be called The Paper Yep. And we had the
earthquake and so he didn't want to stay in his
apartment because it was thirty seven floors up. So he's
staying there at his house where he grew up. Every morning,
his mom Jean would fix us breakfast. You know it
was uh it was candle open and scrambled eggs like

(01:36:18):
every morning, and there's Rants and Ron and I sitting
there and we're developing this story. Now, remember one time
Rants and I changed like the subplot or something. And
Ron looks up and he goes, Dad, Corey, you that's
not the same story. You guys changed the story. I go, yeah, Ron,
we did. He goes, you could do that? Well, yeah,

(01:36:40):
we could do whatever we want. Ron, I don't know,
you know, a little spaceship movie you might be working on,
but we could do whatever we want. This is a
Bigfoot movie. This is serious stuff. Yes, it was fun
to get that reaction from Ron Howard because, you know,
doing it with the you know, through his company, you
got to get all kinds of approval to change anything.
And PM never even read read my script. They never

(01:37:01):
even read the whole thing, to be honest with you,
but it was it was a good It was a
good story. It was successful. And they came back to
me and said, we want you to do a sequel.
They want you to do Little Bigfoot, And I said,
I don't want to be known as the Bigfoot guy.
I had a lot of fun making the movie. It
was great, got a lot of great memories from it,
But I want to move on and do something else.

(01:37:22):
And so I did this other film for them with
Joe Piscopo and called Two Bits and Pepper.

Speaker 1 (01:37:28):
Yep. I watched that today as well, well, did you
really In fact, I have the DVD right here?

Speaker 4 (01:37:33):
Oh my gosh, there it is.

Speaker 1 (01:37:35):
Yeah, I don't even have Yeah, okay, so great. So
it was so forced to kill talking to George. That's
kind of what led to Bigfoot out of Nowhere because
I was I was wondering, obviously, as someone who's known
in the stunwell doing these big action pieces and things
like that, I wondered whether you went the family friendly
route more because you were you Maybe I don't know,

(01:37:57):
but I was like, maybe he just had a family,
Maybe he wanted to write something for his kids or something.
I had no idea why the two directorial like features
you had made were kind of more family friend I mean,
I I love all movies, so it's all good to me.
But like, I was just interested in how that came about.
So it's funny that it was one where you were
just like, sure Bigfoot, and then it was yeah, I was.

Speaker 4 (01:38:22):
Just joking around, and yeah, I get big Foot. He's
pretty popular. From when I hear if you can find him.

Speaker 1 (01:38:27):
Yeah, and he sparked up.

Speaker 4 (01:38:29):
When he picked up that phone though when he picked
up the phone, he'd being George to me. When George
to me, he picked up the phone and called Joseph
Marhy and Rick Peppin come on down because there were
offices were upstairs. Yeah, I'm like, oh shit, I got
to come up with a with a story here. And
I remember when I when I got through the story
with them and we ended up having use of David
Rashie and stuff, and there Great Matt McCoy from the

(01:38:51):
Hand that Rocks the Cradle and great Casts had Bigfoot. Yeah,
it was hard for me to remember when I got
to Rance's house what story I pitched them, because it
was not like, you know, engraved into my into my brain,
but it was like cause I just kind of made
it up real quick. I got to tell you a
funny story real quick about that. The guy that we

(01:39:12):
got to be in the Bigfoot suit, Gary Malanson, I
think his name was tall, like six foot ten, just
huge man, blast, noble player, right basketball player. Yes, sir.
We spent one hundred and forty seven thousand dollars on
the Bigfoot suit. With all the robotics and eyes and

(01:39:32):
ears and stuff. When they made the head. The head
was forty over forty thousand dollars.

Speaker 2 (01:39:38):
Wow.

Speaker 4 (01:39:39):
And I get a phone call from the special effects
man telling me. He says, we got a problem, Like,
what's the matter? Your guy is claustrophobic. I'm like, oh, well, hey,
we don't need to worry because we're going to be outside.
We're going to be out in the forest and we're
gonna we're never gonna be interior with him. He goes, No,

(01:39:59):
that's not what I mean. He can't have a hood
over his head. And I'm like, oh, that's a problem.
He goes, So we're going to have to make another
bigfoot head for him to wear and get used to
it during pre production and he's gonna have to have
a log and he worked for twenty minutes today and
watch TV for two hours. So this went on for
several weeks to go out into the woods. And now

(01:40:21):
we're filming and he's doing a great job. And Zachary
ty Brian, the little kid from home in proumits, he
would check on him and make sure, you know, are
Gary you okay? He's like yeah. One day the wires
from the robotics. The battery packs were behind his shoulder blades,
and the wires from all his sweat and the salt
in your sweat corroded the wires and they shorted out,
and his head caught on fire. Smoke starts coming out

(01:40:44):
at the top of his head, and Matt McCoy's like
points at him and goes, your head's on fire. You
don't say that to a guy who's claustrophobic wearing a
bigfoot head. They freak out and there's trying to yank
it off his head and all the grips are tackling.
I'm trying to take the bell crow parts could unlease it,
and it was it was horrific.

Speaker 1 (01:41:05):
Was he okay after that? Was he singed it all?
Or was he okay?

Speaker 4 (01:41:09):
He got a little sins right here on the side
of his eye when we pulled the helmet off, it
kind of it kind of brushed against his eye and
gave him at a little brand. I guess you would
call it like a little brand, YEA, well, you know.

Speaker 1 (01:41:21):
I mean, considering it was for Bigfoot, the unforgettable encounter,
it was worth It was worth the effort.

Speaker 4 (01:41:29):
I think the scar.

Speaker 1 (01:41:30):
It was worth the scar, most definitely worth the scar.
I listen again. I thought it was a I thought
it was a great rump. I think it's definitely benefits
from performances like David Rash's performance, which is just I
mean that that scene where one of my favorite bits
in the whole movie is he's at his desk talking

(01:41:50):
to one of his lackeys or underlings or whatever, and
he's like mapping out how he wants the Bigfoot and
you know how he wants it in his museum and
d d and some guy comes in and like questions him.
Some other guy, some other coworker of his comes in
and questions him, and Rashie stops everything and walks over

(01:42:12):
to the guy and like gives him all the spiel
about how he's always loved big Foot and he always
wanted big for him, blah blah blah blah blah, and
then he goes any more questions good and then goes
right back like doesn't even like mis abeat and goes
right back to talking to his colleague at the desk again.
He like breaks the whole thing and it was so
natural but at the same time so funny and over

(01:42:34):
the top and perfect for the film that I was like,
oh man, that scene just sold the whole thing to me.
It was David Rashie was great. I thought he was
right great in the movie.

Speaker 4 (01:42:44):
I have two things to tell you about that scene,
please go right. One is the gentleman that you're talking
about that was in the room was Brian Avery.

Speaker 1 (01:42:52):
Oh okay. That's the guy who introduced you in the
first place, got it, okay.

Speaker 4 (01:42:55):
He introduced me to PM Entertainment. The other thing I
have to tell you, in all honesty is that scene nine.
It was written by Rance Howard. Oh okay, And I
was like just kind of following his lead on it.

Speaker 1 (01:43:11):
Yeah.

Speaker 4 (01:43:11):
I mean, I'm proud that I directed it, but he
really the whole concept and the whole feel and everything
of that scene. Yeah, that was written by Rance Howard.

Speaker 1 (01:43:21):
Well, the Howard's. I mean, I've spoken to Clint I
don't know, three or four times now for various different things,
and he has like a great sense of humor and
a weird kind of way to look at some things
and things like that. And I assume his father did too,
and Ronda's too. They seem that their films have a
lot of humor in them, even when they're dramas or
big adventures or whatever. Is that what you think Rance

(01:43:43):
brought to it? Do you share that sense of humor?
Is that because I do feel like both Two Bits
of Pepper and Bigfoot? Are you united by their kind
of quirky sense of humor in the best way?

Speaker 4 (01:43:55):
No, I would, I would say no, because yeah, you know,
Rance was not a funny guy. No, he was not
a funny guy. He didn't have that comedic instinct. He
was very whatever had to be said in dialogue or
anything had to propel the story forward.

Speaker 2 (01:44:14):
You know.

Speaker 1 (01:44:15):
He was more of the structure guy.

Speaker 4 (01:44:16):
Maybe, yes, sir, that's what his Yeah, And that was
really what I was learning from him, was the structure
of you know. But yeah, like with Two Bits and Pepper,
that was that was me just you know, freestyling it
and coming up with that whole story and knowing I'm
gonna work with Joe Piscopo. And there's a lot of
stuff that Joe and I did. I said, Hey, here's

(01:44:36):
the objective of the scene, and if you want to,
you know, put it in your own words and whatnot.
So there was a lot of things in there that
Joe Piscopal came up with on the day. Sometimes it
was too much. It would go on, and when he
got that that when I took the leash off of
him and he had that comedic you know, he would
just go go with it, and I'm like, it's only

(01:44:57):
a two hour movie, you know, we got a tone
of a little bit.

Speaker 1 (01:45:02):
So.

Speaker 4 (01:45:02):
But yeah, there's a lot of things that he would
say that that were hilarious. And again I'm like, well,
nobody knows that I didn't write that, but we agreed
to do it, you know, yeah, sure made the movie.

Speaker 1 (01:45:13):
The other thing I liked about Bigfoot and the fact
that you know, working with Ron's Howard, is that you know,
obviously he crops on in a lot of films. He's
kind of a character actor who's been in a more
of later on in life. What I liked about it
was that you gave him, or he gave himself a
hero moment at the end of the movie, right, And
so I did like that because it's always nice to
see those character actors or those older actors that you've

(01:45:34):
seen in tons of stuff like get them moment, you
know what I mean. That's that's always nice to see
that so I really appreciated that about the film as well.

Speaker 4 (01:45:43):
That's awesome. That's awesome little details, you know, and you
and you, you've shined the light on it.

Speaker 1 (01:45:49):
Yeah, it's fantice that you notice that. The other thing
that I thought was a great bit of character business
I spoke to Clint at length about this was the
fact that not only is not only is Clinton Howard
wearing an obviously bad wig, Like it's meant to be
an obvious He's meant to be one of those guys
working for a big corporation who's like desperately trying to

(01:46:11):
pretend he's not bold, but everyone knows he's wearing a wig, right. Yeah.
But the fact, like normally in a movie you would
have just had the character wearing that wig the whole time,
and maybe the audience would have been like, is that
a wig? Is not a wig? Is it meant to
be bad? Is it not meant to be bad? The
fact that you show him at the beginning picking up
the phone in bed and the you know, he obviously
doesn't have his wig on, but then later when he

(01:46:33):
shows up he's got this big, like insane wig on.
I thought that alone was such a great observational bit
of comedy that didn't need to be commented on. It
just needed to be and you either got it or
you didn't. And I felt like I felt like once
I saw that in the early part of the movie,
I'm like, oh, I'm going to enjoy this.

Speaker 4 (01:46:52):
This is awesome city.

Speaker 1 (01:46:54):
Coming from someone who understands little details.

Speaker 4 (01:46:56):
You know, that is awesome. Yeah, because a lot of
that goes right over people's head. They don't even right well,
he had a wing run, yeah, and earlier he was
bald and right. Yeah, as a writer and as a director,
as a storyteller, and someone like you says that and
go wow, you really do pick up on those little details.
It makes you go wow, I got to keep this
knife sharp. I got to keep you know, yeah, those

(01:47:18):
details going.

Speaker 1 (01:47:20):
The more little things you can put like that in
a movie, especially a movie that's like a Bigfoot movie.
It's made for families, it's you know, it's uh uh,
it's going to be something again like Force to Kill
we were talking about, like it's got to hit certain
genre beats, right, there's got to be certain things in
it that people expect. Right. When the more you add
those individual details and the stuff that feels like it's

(01:47:42):
coming from a director or a writer that knows what
they're doing or is thinking about each scene in a
way that others wouldn't. That's that's what kind of adds
that little spark to that.

Speaker 4 (01:47:53):
When we were writing the script, there and Ron Howard's
and Rants Howard's kitchen with and Ron was there. Yeah,
Ron says to me, in between bites of candilope and
scrambled eggs. He says, hey, Corey, because Ron and I
worked on Far and Away together doing all the fights
with Tom Cruise, and I was helping Ron Howard on
how to shoot that. He asked me, this is how
you guys shoot the fights? I go, Normally, we're going handheld, Ron,

(01:48:17):
just so you'll know, and not on a dolly tracking.
But so he immediately went handheld with all the cameras
for the fights. So, but then he asked me, how
are you going to shoot the fight with with the
bear and when the boy steps in the in the
bear trap, and ye, and he's fighting the bear and
bigfoot fights the bear. Do you know how you're going
to shoot that? And I, you know, I would have

(01:48:40):
kind of a comedic, you know, relationship with Ron. So
I'm like, well, we're probably gonna shoot it with a
camera run. He's like a thirty five millimeter No, how
are you going to shoot?

Speaker 1 (01:48:48):
I go I don't know.

Speaker 4 (01:48:49):
We're still trying to finish the script. I don't have
a shot list. And he goes, may I give you
a suggestion? And I'm like, Ron Howard wants to give
me a suggestion? This this is gold. I'm taking it. Yeah, Ron,
what are you thinking? He goes, well, when the bear's
fighting the bigfoot, if you have a long leans and
you're focused on the boy, on his expression and in

(01:49:13):
in the foreground, the bear and the bigfoot are going
back and forth, kind of out of focus because you're
focused on the boy who's upstage, his facial expressions are
going to tell the audience how gruesome or how violent.
And it's like reading a book. It leaves it open
to your imagination for the viewing audience to determine in
their own mind how gruesome or gross or violent the

(01:49:36):
fight is by the boy's face. I never ever ever
would have thought of that, right, Like, wow, Ronn, are
you done? Is that your idea?

Speaker 1 (01:49:46):
So?

Speaker 4 (01:49:47):
I took it right, I'm going to take that so
on the day. Now we're months later, I mean not
even months, excuse me. Weeks later, we're up in shaver
Lake and we're filming. It comes to the day to
do the fight with the bear, and they bring the
bear out and the bear smells something, stands up on
his hind legs and takes off. Gone for four hours,

(01:50:09):
run off into the woods before we could find him
and bring him back. Had to make up stuff that
I could shoot, trying to shoot inserts or whatever I could,
because I was, you know, half of our day was
shooting the bear fight. Finally we get the bear to
come back and we're out of gonna lose the light
behind the big mountain, hand held, hand held, go go go,
and my instincts clicked in like we would do a
fight on any other movie. Totally forgot all about the

(01:50:31):
long lands with the point, you know, on his face
and the bear in the foreground. And so now we
fast forward and we're gonna go watch the screening of
the film. Just like Ron came and watched my Force
to Kill movie, Now we're gonna watch the Bigfoot movie.
And he sits right behind me, and as the movie
gets started, he taps me on the shoulder. Hey, Corey,

(01:50:51):
did you get a chance to use my idea about
the long Lands? I go ron, the bear ran off? Okay,
the bear ran off into the woods for four hours.
I could use your long Lends idea. Just just watch
the movie. I was so frustrated.

Speaker 1 (01:51:07):
Yeah, well, I mean, considering it's, you know, a guy
in a bigfootsuit and a and a bear and the
I can't even imagine like the logistics of even figuring
that out, even if it's a tame bear, Like, I
can't even imagine the logistics of a anyone who would
want to do that and be how you would film it.
I think you actually like got quite a lot of

(01:51:27):
footage that's sort of very usable and enjoyable in the film.
But it is funny that like you were talk you
were talking with the Howards about it. Because, of course,
one of Clint's first biggest roles was that I knew
him from was like Gentle Band Big which used to
get rerun on British TV all the time, Gentle Band Lassie,

(01:51:48):
the Littlest Hobo, all these kind of kid and animal shows, right,
were all Redone when I was a kid, and so yeah,
I wondered if Clint wasn't like, well, if you're filming
with a bear hero I suggested, I had some suggestions
or whatever, But no, that's funny, man, that's funny.

Speaker 3 (01:52:07):
Yeah.

Speaker 1 (01:52:07):
Yeah, no, that must have been an absolute pain, like
working with real animal, a guy in a suit who
was claustrophobic halfway up the mountain, and then kids. Yeah,
you're working with all the things they say don't work.

Speaker 4 (01:52:19):
With, right, exactly, exactly?

Speaker 1 (01:52:22):
Yeah, Well, good for you. You pulled it off, man,
you pulled it off. So so this time around you
were working with kind of more of the standard like
PM Entertainment crew, especially like Ken Blakey as the cinematographer.
You had Louis Faber as a composer who had done
a ton of stuff for them, and of course Joe
and Rick and George Tangentially was there a big difference there?

Speaker 2 (01:52:44):
How was that for you?

Speaker 1 (01:52:45):
How did that change from sort of having worked closely
with Russell on the first You know.

Speaker 4 (01:52:49):
What, I was surprised that the the productivity, the pace
was was very like episodic television. It was fast, which
was good because the thing when I was directing TV
for Stu Siegel, it wasn't hey, I got this great
complicated camera shot. Stu was like, I wanted to be

(01:53:09):
in focus. I wanted to be good for sound, and
let's move on. And that's how was the mentality with
the PM Entertainment crew. Maurice Maguire was one of the
operators that he and I have gone on to work
on many many films, you know, Starsky and Hutch.

Speaker 1 (01:53:24):
And all you know.

Speaker 4 (01:53:27):
Was the other movie I did with Stallone, Get Carter
and all these films we've worked on together. But Alex Gaynor,
who was a first assistant directory you know, we worked
on Fast five together with Spirou and but yet how
quick they were, it was a good fit. It wasn't
like some shows you get on and they're just dragging.

(01:53:48):
It's like, really, you guys, it's not that complicated. Some
camera marks, set a light, put the put a lens on,
let's go, and and that was the mentality PEAM Entertainments
was let's let's let's let's shoot, you know. And so
it was a good fit for me working with them.

Speaker 1 (01:54:05):
Yeah, and having learned more about them doing the show
and interviewing I've interviewed Ken, I managed thankfully to interview
Rick before he passed earlier this year. I don't know
if you'd know, but Rick had passed earlier this year,
which was very sad. Learning how they worked, how quickly
they worked, how run and gun they worked. The fact
that they achieved what they achieved throughout their like one

(01:54:27):
hundred and ten movies or whatever it is they did
was it's made even more incredible by the fact that
they worked so quickly, especially Ken Blakey's cinematography, ricks cinematography
and things like that. It was kind of crazy. And
obviously coming from a world of stunts and working with
a production company that was sort of beginning to make
their name in kind of big stunt set pieces and

(01:54:47):
things like that, was there sort of more pressure about
putting more action in Bigfoot, or actually because it was
a family film, dialing back the action or like, how
did you approach that? Cause obviously big has some action,
has the fight with the bear, it has the car
chase at the end, It has a little bit here
and there, but in general it's more of a the

(01:55:09):
pace is very quick and so on, but it's more
sort of a character piece and and sort of more
of a kind of comedy, family drama than it is
an out and out action film. Was there, Did Joe,
Rick or George or anyone be like, hey, can we
beef this up? Can we beef that up? Or were
you chomping at the bit as a stunt guy to
be like, let's put more stuff in.

Speaker 4 (01:55:29):
No, it was actually advised to me by George Shami,
don't make this an action movie. Okay, don't make this
an action film.

Speaker 1 (01:55:40):
Make it.

Speaker 4 (01:55:40):
Make it, you know, a family film. And I think
I had to kind of try to sneak some of
that action in there to tell you the truth with
the car chases and stuff and whatnot. And yeah, it
was that he kept saying, look at Free Willy, you know, Corey,
look at Free Willy. And what was the other movie
that came out Home, We're Bound.

Speaker 1 (01:56:00):
Home and band right?

Speaker 4 (01:56:01):
Okay, yeah, yeah, he was they wanted to go into
that genre, you know, and not copycat the action film
that was a whole different thing.

Speaker 1 (01:56:09):
So yeah, yeah, yeah, okay, interesting. Interesting. I was just
I was just interested. Did you find that once you
had done Bigfoot PM kind of came to you and
went what other family things do you have? Or did
you like that that genre and want to kind of
work more in it. But how did that second film
come up with?

Speaker 4 (01:56:28):
They were excited about the Bigfoot movie and already had
pre sales or pre buy to do the sequel. And
I remember Joseph mar he actually got upset with me
when I said, no, I don't want to be known
as the Bigfoot guy, right, because he was saying, it's
called little Bigfoot, this is what the story is about.
I'm like, you're taking all the fun out of it.
For me, I want to be able to be the

(01:56:49):
creator of you know, let my imagination come up with
a story. And that's the part that I really really
like in the writing and development of it, is the story,
you know. So I said no, I said Joseph, I
don't want to do that, and he was very upset
with me.

Speaker 1 (01:57:04):
What about directing the children in both movies and any
challenges there or were these like seasoned professionals at this point?

Speaker 4 (01:57:11):
Well, it's interesting you bring that up. If we could
jump back to the Bigfoot movie for a sec. Yeah,
I had a scene where I had to have Zachary
ty Brian cry yeah, and I'm like, oh boy, how
am I going to go about this? And sometimes with
actors and actresses I've worked with before. They have a

(01:57:32):
like I think it's a menthol and they'll and there's
makeup artist are coming and blow it into their eyes
so you start to oh my gosh, you just start
tearing up. So but this Zachary Tybrian was was supposed
to be looking at Bigfoot and he's captured and he's
getting emotional and he's going to cry, and I was like,
how am I going to do this? And we're you know,
it was one of those days that things weren't going good.

(01:57:53):
And I remember looking over to his mom and dad
and I go, he could ask you guys something. I go,
I don't know how I'm gonna make make him start
to get emotional. Do you have any leads or anything
you could tell me that maybe in his personal life.

Speaker 3 (01:58:05):
He goes.

Speaker 4 (01:58:08):
His dog just died. I'm like, oh gosh, really, do
I go? There is that okay to bring? He goes, oh,
absolutely bring it up.

Speaker 2 (01:58:17):
So I was up on the ladder.

Speaker 4 (01:58:19):
I had told Alex Gayner the first idea. I said,
We're going to roll camera without him knowing. I'm just
going to get in conversation. So I would look back
and I do this roll camera and the sound guy
knew it. We're going to do a tail slate. We're
not going to slate at the head of the scene.
I didn't want him to know we were rolling camerast.
He thought we were still just setting lights. I said, hey,

(01:58:39):
he's like, what's going on? Then you you've been having
fun on the show?

Speaker 2 (01:58:42):
Yeah?

Speaker 4 (01:58:43):
Yeah, good good, all these animals and stuff we've had
on set. Yeah, because we had a bunch of dogs
and I go, you got any dogs? And man, when
I said that, he just looked at me and I said,
do you have any dogs? And he started to cry,
and I just I just lost and we're rolling. I

(01:59:04):
got it, got him crying, and I'm like, okay, that's cut.
I felt like an asshole. I'm like for even doing it,
but I had his mom and dad's blessing, you know,
to do that. But then afterwards, I jumped down off
the ladder, went over and gave him a big hug,
and I'm like, cut the cameras, guys, we got it,
you know. And I'm like, I'm sorry, man, he was
your mom and dad's fault. They told me.

Speaker 1 (01:59:24):
They immediately you throw them under the bus. Immediately.

Speaker 4 (01:59:27):
It's like, yeah, once we had it on film, I'm like, okay, yeah, of.

Speaker 1 (01:59:32):
Course, I know. I mean, I don't know. Plenty of
actors will say that they, you know, reach back and
find a memory like that or find something that, but yeah,
obviously hard to do it when kids are involved. And
then and obviously he was on a TV show at
the time and was obviously sort of more used to
the role. So just lastly, then, is there anything that
you miss about the eighties and nineties stunt work, action scenes,

(01:59:55):
getting to make movies like that, et cetera, Or do
you feel that like stunts in films like Frost and
Furious and things like that that are so obviously not
only utilizing those stunt people from the eighties and nineties
but also homaging them to some extent. Do you feel
like it's just an accumulation of a career over time

(02:00:16):
and all new stunts are all new challenges or all
new experiences or was there something about that what we
think of as sort of a golden age of action
that you miss now that you stunt guys sit around
and talk about.

Speaker 4 (02:00:29):
You know what, First of all, let me just say
that it's it'll never be the way it was. It
was all organic, it was all real. There was no CGI,
there was no AI. It was all the real thing, and.

Speaker 2 (02:00:44):
A lot of it.

Speaker 4 (02:00:45):
I'm going back to The Dukes of Hazzard the four
years I was on that show, and a lot of
it we were experimenting, experimenting, we were breaking guys backs.
We had a fatality on the Dukes of Hazzard TV show.
There were things that were going on that we were
just like, we didn't understand physics. It was we were

(02:01:05):
learning from the mistakes that we were making and then
carrying all that knowledge onto other projects. But now, and
I've done three of the Fast and Furious movies. I'm
very proud of Fast five I did with Spiro was Atos.
I can enroll that forty two thousand pound prison bus
and on my third Taurus World Stunt Award performing that stunt.

(02:01:27):
And the only reason I got to do that was
justin Lynn needed more time to do if they were
going to make it out of a CGI, because Mike Wassel,
who was head of visual effects for Universal at the time,
said it was taken my ten or fifteen weeks to
do a CGI version of the bus, and they wanted
to put that in the movie to blend the two together.

(02:01:48):
What was it four into five? They wanted to start
five with that bus and they needed to shoot it
in seven weeks. And then Matt Sweeney, the effects man, says,
we'll make a real bus and we'll do it. We'll
get Corey Ebanks to do it. And it is the
fun of trying to figure it out how we're gonna
do it that I miss. And now for them to say, oh,
we'll just do all that in post, I'm like, really

(02:02:10):
that those days are gone right and the soul seldom
that we do huge, huge vehicular stunts now for reel
and they're stitching it together with the CGI stuff. I
say that, although I just did a cannon roll a
couple of weeks ago on a Landman episode for Taylor Sheridan.
But I think a lot of the directors, the Michael

(02:02:33):
Bays of the world, like I drive. I've drove Bumblebee
in every single Transformers movie, and thank God for the
Michael Bays of the world. And I don't know, there's
many that want to use real cars. They love being
on the set where there's real action and real jeopardy
and and it's not all so composed and put together

(02:02:53):
perfectly in a pre visit. That's exactly you're going, Well,
that's what's gonna look like in the movie. Half the
beauty of it is what's gonna happen and unfold right
there in front of you for real, you know. And
that was the exciting stuff. And I remember designing a
pipe ramp that was like this huge angle and had
a kicker, and all the other stunt guys would saying, oh,

(02:03:13):
you're you're you're out of control now, Corey, that's going
to be too dangerous. And and we cracked that secra
out on the Fall Guy TV show, and we're now
getting two three rotations in the next thing. I know,
everybody's building pipe ramps just like the one that I
had built and taking it to the next level.

Speaker 2 (02:03:30):
You know.

Speaker 4 (02:03:32):
But it's kind of it's kind of sad to me
that a lot of that is starting to fade away,
you know.

Speaker 1 (02:03:37):
Yeah, yeah, I mean there's still I think I think
Christopher Nolan, all the stunts on all the Batman films
I think were done more or less for real. I mean, yes,
there's obviously cgi to remove wires and things like that,
but I think obviously Quentin Tarantino. I think all his
car chases and things and Death Proof and some of
the others were for real. Edgar Wright with Baby Driver,

(02:04:01):
I think all of that stuff was more or less
done for real. But it's rare. It's definitely rarer and
rare and rarer.

Speaker 4 (02:04:08):
Yeah, the other thing you mentioned about the Baby Driver,
there are some films that they do this and it's
kind of cheating and the audience says it no.

Speaker 1 (02:04:15):
Well this is what he says. I mean, I don't
know that it was all un for real. That's what
they say in the marketing of the movie.

Speaker 4 (02:04:19):
I'm just yeah, well it is and it isn't There
There are some scenes where you'll drive a vehicle down
and pitch it and make a maneuver and down the
street and hit the brakes and make a right hand
turn and you're solo. There's nobody in your on that street.
And then post they're going to put a car that
you missed in a truck and you missed it, and
they got you're really good man, you're accurate. No, those

(02:04:42):
cars weren't there. Well, and the and the same thing
that happened to me when I worked for Michael Bay
on the on the show, on the feature film The Island,
I did some great driving on that.

Speaker 2 (02:04:53):
No I didn't.

Speaker 4 (02:04:53):
I did some stuff and then they seed I had
some cars around me right right, right, right right?

Speaker 1 (02:04:58):
And is that so? Only? Because only could you mentioned?
I'm a huge, fast and furious fan, as you can imagine,
and sort of having talked to Spiro was kind of
a moment where I was just like, oh my god,
because those movies are so known. Are the majority of
the stuff. Obviously, the the really daft stuff where people
are flying miles and landing into windscreens and stuff. Obviously

(02:05:20):
that's all CG. But uh, and you know, driving along
a nuclear submarine as it crashes up through the ice.

Speaker 4 (02:05:27):
But that could happen. That could happen.

Speaker 1 (02:05:30):
Sure, that could happen. Timms could driver a sports car
with no snow tires on a on an ice flow. Sure?
But no, I mean, is there are they still the
films I guess, with with people like yourself, with with
masters like Spirro and so on. Are they the films

(02:05:51):
where there's at least some of it's for real or
is it still? Is it more what you're talking about
that they'll film a car driving through a road in
Italy and the CGI everything else.

Speaker 4 (02:06:01):
Unfortunately, it's going that way.

Speaker 1 (02:06:03):
It's mostly that way.

Speaker 4 (02:06:03):
Okay, yeah, no, I wouldn't say mostly, but it is.
It's going that way. It is going that way. There's
so many things, you know, and sometimes we're on a
set and then the visual one of the visual effects
guys will be there and I'm like, you just want
to strangle them, you know, like you're just you're just
taking away my occupation, my what I grew up as
a kid wanting to do, and you're gonna do it

(02:06:24):
all on a computer. And I think what might happen
eventually is a marketing tool. Might be Hey, this film
was made with all real people, right, you know, and
and promote it that way so you get true emotions
and everything. You know, that Jeopardy was really there, like.

Speaker 1 (02:06:38):
The Tom Cruise Mission Impossible thing where it's like the
one stunt in every movie that he, you know, does
for real or whatever.

Speaker 4 (02:06:44):
Yeah, yeah, Tom, He's he's something else in.

Speaker 1 (02:06:48):
He I mean just the fact that he strapped himself
to the side of a plane and that plane took off.
I think it was eight or ten times with him
strapped to the side of a plane and I just
I'm just like shure Tom, whatever it takes. So I'm
sorry I have to aask then, because they've just announced
this finally going to be a stunt oscar. Is that

(02:07:12):
way too little, too late as far as you're concerned,
or do you hope that by initiating a stunt oscar,
people like yourself, people like Sparrow, people like Cole people
are other people like that who have been in the
business a long time might finally get recognized.

Speaker 4 (02:07:26):
Well, I was brought up that you give credit where
credit is due, right, And I think it's actually kind
of silly in our occupation that we have to vote
on something by a committee to see who's going to
be the best actor or the best movie. I think
if the film made the most money that year, it

(02:07:49):
was the best movie. That's my opinion. But going to
the stunts our Union, the Screen Actors Guild, yeah, doesn't
have a capacity. There's no opacity that's recognized. That's called
action designer. There's a stunt coordinator, there's a stunt performer.
It could be a male or female. So to have
that action designer is going to be cost I think

(02:08:10):
confusion and problems because is.

Speaker 1 (02:08:12):
That what they're calling it. I hadn't read that. That's
what they're calling the official oscar.

Speaker 4 (02:08:16):
That action designer. Yeah, if correct me if I'm wrong,
But that's what I was.

Speaker 1 (02:08:19):
What does that mean? I mean, second, you to direct them? Maybe,
but I mean I don't like you guess it.

Speaker 4 (02:08:25):
If you say the action designer, well then maybe we
should give credit to the writer who wrote it, right,
and maybe some credit to the director who said, hey,
maybe this do this? Well, that's designing. Well the stunt
coordinator stepped in and said, hey, we can do that.
So now you've got a collaboration of four or five
guys and even stunt the stunt woman interjected some ideas
and that got inserted into the design. Who's walking away

(02:08:47):
with the Oscar? Because nine people were involved in the.

Speaker 1 (02:08:51):
Why didn't know they done that? That's a that's a
stupid move.

Speaker 2 (02:08:55):
Yeah.

Speaker 4 (02:08:55):
If they asked me and said, hey, Corey, you know
what we can't figure out? What do you think we should?
I say, hey, this have best stunt coordinator man or woman,
doesn't matter. Yeah, have best stunt man and best stunt woman.

Speaker 2 (02:09:06):
Yeah that's what.

Speaker 1 (02:09:08):
Yeah, but at least that Yeah, definitely. That's yeah, Okay,
I didn't realize that they've tried to do some weird
amalgam award. I mean, they can't. These people can't seem
to win for losing. I suppose it's just that they're
just they're just yeah, they and and they clearly don't
know anything about movies. Because the real fans of movies,
especially people I think of my generation, but hopefully people

(02:09:29):
younger as well, we really really truly love and appreciate
what you guys do. I love and appreciate when I
see a masterfully put together sequence, and I know just
because of the little bits that I know about movie making,
not only all the people that went involved, but the

(02:09:51):
danger they put themselves in to pull that off. For me,
and especially on these again, there'll be one of the
reasons I picked PM Entertainment on these lower budget MOVI
the fact that Sparrow and Cole and others in your
industry were able to pull off, like you say, pipe
ramps and rolls and explosions and things. It's it's it
should have it should have been heralded and applauded decades ago,

(02:10:15):
you know, And so yes, we we fans do and
we fans feel that way. So Corey, thank you so
much for your time today. This has been an absolute
pleasure and I can't thank you.

Speaker 4 (02:10:26):
Enough, you know what, thank you for inviting me. I
had a blast as well.

Speaker 1 (02:10:30):
Good And I know you have a YouTube channel and
a podcast, Stunt Stories, if you just want to let
people know where they can find it. If people don't
know about it, if they like this podcast, they should
definitely be watching.

Speaker 2 (02:10:41):
Yeah, that's awesome.

Speaker 4 (02:10:42):
Yeah, check out Stunt Stories on YouTube. And also I
just want to let you know that I'm going to
be putting on my twelfth car crashing clinic.

Speaker 1 (02:10:51):
I saw that on your social Yeah, yeah, yeah, Yeah.

Speaker 4 (02:10:53):
It's been a real joy I've had. I've had students
from all over the world, from Australia, from Indonesia, from
from Germany, switched to Land, Canada, and I've been having
a blast, you know. So it's been a lot of
fun to pass on what forty four years of knowledge
of crashing cars to some of these younger stuftman and

(02:11:14):
stuff women and hopefully keep them safe and keep it going,
you know, keep.

Speaker 1 (02:11:18):
It yeah, keep it going. Definitely keep it going. And
the more the more, hopefully new filmmakers emerge. You want
to use the tricks of the past and the and
the techniques of the past. As long as Hollywood gets
out of their way and lets them do it, then
we might see more of more of it in the future.

Speaker 4 (02:11:34):
I have but if you don't mind me just playing
car Crashing clinic dot com if they want to go
check it out. Well, thank you for restoring some of
my memories from those movies. That was a lot of fun.

Speaker 1 (02:11:43):
Well, thank you for sharing them, Corey, and all the
best to you.

Speaker 4 (02:11:45):
Man.

Speaker 1 (02:11:46):
Take all right. Wasn't that fantastic? A great interview with
Corey there and now the man, the Legend, the one
and only. It's mister Clint Howard. Well, Clint, it's absolute
honor to talk to you again. So it's a pleasure
to have you on the PM Entertainment podcast today.

Speaker 2 (02:12:06):
How have you been doing.

Speaker 3 (02:12:07):
I'm doing well. I'm doing well. John, Thank you very much.

Speaker 1 (02:12:10):
You did a few films with Corey. Michael Eubanks the
stunt person and writer director of Bigfoot The Unforgettable Encounter,
the movie we're kind of chatting about today. Is that
how you got involved with the movie because you kind
of knew Corey or was that just a coincidence.

Speaker 3 (02:12:27):
Well, I don't think it was a complete coincidence. First
of all, I believe Corey worked as a young stuntman
on Far and Away. He did, yes, so he knew
he knew the Howard family, he knew my dad rants Yeah,
and in fact Dad helped Corey creatively with some of

(02:12:49):
the writing of Bigfoot, and my dad was in the
movie as was and it was a wonderful experience. I appreciated.
You know, I like Corey as a person. It's been
a while since I've talked to him, but you know,
I think he's a good dude. And you know, here
he was taking a shot as a filmmaker to make
this Bigfoot, you know, in Unforgettable Adventure. I thought it

(02:13:12):
played really well. David Rashie was a good villain.

Speaker 1 (02:13:15):
Yeah, David's great in the movie, and the kids.

Speaker 3 (02:13:19):
The movie had a really wonderful spirit and it was fun.

Speaker 1 (02:13:22):
Oh, definitely, definitely. And had you heard of the production
company PM Entertainment at that time, they'd been going a
few years and putting out mainly action movies that at
that point, but they were doing some new family films.

Speaker 4 (02:13:35):
Yeah.

Speaker 3 (02:13:36):
No, I was you know, as I remember, the best
way I can describe it is is those two guys
were sort of trying to follow the Roger Corman sort
of model of making budgeted movies.

Speaker 2 (02:13:50):
You know.

Speaker 3 (02:13:50):
They of course they didn't overspend. They knew they had
a market action. They were pretty good at action. They
found people like Corey that could deliver good stunts and
and and you know, Corey had a wonderful rolodex of
his colleagues that could do good stunts, and and the

(02:14:11):
two producers certainly understood that they could get a lot
of bang for their buck if they let Corey make,
you know, make movies. There were two that I worked on.
I believe I worked on one which was called Forced
to Kill Yes, and that was Michael Ironside was in that,
and I think Corey was in it. And that was

(02:14:33):
a classic kind of you know, gritty action movie about
people getting kidnapped and forced to fight to the death,
classic B kind of a B action movie. And then
and then and then Bigfoot. And I remember Dad was
really my dad was was a real dreamer and a believer,

(02:14:57):
and things like Bigfoot and things like the chupa cabra
or always things that you really intrigued Dad, and you know,
him getting to work with Corey on formulating the ideas
and kind of, I guess, for lack of a better expression,
I think Dad was kind of a mentor to Corey

(02:15:17):
at least on this picture.

Speaker 1 (02:15:19):
Oh that's fantastic. Yeah, because of course it was wonderful.
At the end of the movie, Rons gets his heroic moment.

Speaker 3 (02:15:26):
Yeah, yeah, listen. You know, I think first of all,
everybody loved Dad. Yeah, Dad, hard working guy. He really
appreciated the idea of everybody gathering together to make entertainment collectively,
to then entertain people. It was my dad's life's passion
was to be in the entertainment business and not just

(02:15:47):
a taker. And he didn't believe. My dad personally didn't
believe in celebrity at all. What he believed in this
wonderful opportunity to tell stories and entertain people. You know, hey, John,
let me ask you a question here, and you're you're
on this PM kick. Yes, you know they were. If
I remember, they were very specifically kind of you know,

(02:16:09):
an action they would they would invent these movies. They didn't.
I don't think they did a lot of science fiction,
did they they did a few.

Speaker 1 (02:16:16):
So when you look at all the PM films, the
few science fiction films they did do, Dark Breed, The Sender,
Hologram Man, a few of those. Uh, they were all
directed by Rick. Because of the two producers, Rick was
the one with the big science fiction love. So we've
been getting in in the weeds with it. Man, We've
been talking to the writers and the cinematographers and the

(02:16:40):
editors and everyone behind the scenes at PM. You know,
initially when I started down this kick, it was about
you know, I'd been watching some of these documentaries that
they'd made on Roger Corman, on Cannon Films, and on
some of those different companies, and I was like, well,
when when's PM going to get their time? They really,

(02:17:00):
you know, they gave Spirisados a chance to do some
incredible stunts. They gave Corey obviously a chance to direct.
Cole s McKay. Lots of people who worked for PM
went on to you know, huge franchises and big Hollywood success.
So we kind of want to tell that story as well.

Speaker 3 (02:17:18):
You know, you know, that is one wonderful thing about
the business and about people like the PM. The two producers,
you know, they gave a lot of people wonderful opportunities,
you know, and I don't believe they you know, it
was not driven by agents or it wasn't driven by
by managers. It was really driven by by these two
guys wanted to make entertainment and they hooked up with

(02:17:41):
people like you just mentioned the name. I mean, god,
you know, I've been in this business a long time
Cole McKay. And he was a stuntman, right.

Speaker 1 (02:17:52):
Yeah, yeah, stuntman and second unit directory.

Speaker 3 (02:17:55):
I believe Cole. I don't want to take time away
from the interview, but I believe if I did my
Internet research, which is wonderful thing about the Internet you
can do. You can take these deep dives on places
like the Internet Movie Database or even Wikipedia now and
find out about people and find out what the connections are.

(02:18:15):
And Cole McKay was sort of the stunt coordinator on
ice Cream Man, which was a horror movie that I did,
and like I think we shot it in nineteen ninety four. Yeah,
and Cole was there, and I remember he's a really
nice guy. I remember working with him, and so anyway,
that's you know, and by the way, as a side note,

(02:18:37):
we are making Another ice Cream Man.

Speaker 1 (02:18:40):
Oh fantastic. Yeah, great man, that's great.

Speaker 3 (02:18:43):
Yeah, that's what it's called, Another ice Cream Man. It
is not a sequel, it's not a Second ice Cream Man.
It's a movie. It's a movie story about a guy
who's a beaten down old ice cream truck driver and
his adventures. It's a horror movie and it's going to
have some of the ornaments. It's gonna have some Easter

(02:19:03):
eggs that were part of the original The ice Cream Man,
where I just was an actor. I'm now gonna I'm
gonna be one of the producers, gonna be a co director,
and I'm going to, you know, make this movie and
the original the original director Norman Epstein, myself and my
wife Kat Howard, we're gonna be producing this movie. So anyway,

(02:19:25):
when you mentioned Cole it, which is a great thing
about the Internet, it made me dive in my mind
down this hole that you know got Cole McKay. Yeah,
that's right, Corey Ebanks.

Speaker 1 (02:19:38):
You know col Cole worked on Far and Away as well.
Oh really, yeah, according to IMDb, he worked on Far
and Away as well. I'm just trying to I'm just
going through it, trying to have.

Speaker 3 (02:19:50):
I'll tell you, John, I'll tell you that's you know,
a movie like Far and Away literally probably had you know,
over one hundred stuntmen.

Speaker 1 (02:19:59):
Oh yeah, because of.

Speaker 3 (02:20:00):
The land race, with the land race and then the
fist fighting.

Speaker 1 (02:20:05):
Yeah.

Speaker 3 (02:20:06):
I mean not to not to digress and get off
topic of PM movies and big Foot in particular, but
you know, Far and Away was a really full flavored
breath of fresh air.

Speaker 1 (02:20:20):
Well, it was such an epic. It was back when
they were kind of making those you know, David Lean
esque epics still. You know, you had Brave Heart, Far
and Away, these kind of what I would call true
widescreen movies. You know, they really have those vistas. Clint
Eastwood was making, you know, Unforgiven and things like that.
They were making these they were still making these old

(02:20:42):
style Hollywood epics, which of course your brother Ron made
quite a few of those kind of films, you know. Yeah.

Speaker 3 (02:20:47):
And the beautiful thing about Far and Away is there
was a lot of humor in the movie. Yeah, there
was a lot of wistfulness and there was there was humor.
Of course, there was beauty because of all the various
places where they shot. I mean, you go back and
look at that movie, and they've got all the sea
coast of Ireland and all those beautiful shots. And then

(02:21:11):
when they filmed up in Montana to capture you know,
the land races and all that stuff. But the humor
that Ron brought to the table on that that everything.
But let's get back to Unforgettable Adventure, Big Flat.

Speaker 1 (02:21:23):
Well, now, what's what's interesting is is you started talking
about locations. My next question was about filming up at
Shaver Lake in California. So actually, securitously, we've come back
to link up with what I wanted to talk about again,
which was the location shooting. Obviously, it adds a bang
for your buck being able to film outside like that

(02:21:43):
and get a lot of the mountains and the forests
and all that kind of stuff. What do you remember
about being up there? And how long were you up
there for? Were you were you one Steff for maybe
three four days? How long were you working on the film?

Speaker 3 (02:21:56):
I think I may have been there a little longer
than a few days. I think it may have been
a week or so.

Speaker 1 (02:21:59):
I mean, oh, okay, good, I know they only ever
used to take about sixteen days to shoot that whole thing,
But yeah.

Speaker 3 (02:22:05):
I got hopefully, if I remember correctly, it was a
it was already three weeks, which is they make they
used to make TV movies in three weeks. It's possible
if you're well organized, to shoot you know, an hour
of film in a little in about a week or

(02:22:26):
a little more. So it's possible. It's certainly now, you know,
it's working really fast in the world of low budget
moderate moderately budgeted movies. What you gotta do, you gotta
shoot fast. And but first of all they did they
found great locations. Shaver Lake was beautiful, it was rugged,
and it wasn't real hoity toyy. I remember that the

(02:22:48):
accommodations were were clean and decent, but it was nothing
high end. And it was you know, it was really
easy to point the camera and get really beautiful shots, yea.
And to send that Bigfoot, the fellow that played the Bigfoot,
to send him up up a ledge, up a ravine,

(02:23:11):
in and around and Matt McCoy and it was great memories.
And I'll tell you it was. You know, I started
needing a tupe when I was twenty one years old,
and by the time by the time we did Bigfoot,
I needed a wig to play that character, and it
was listen, the advantage knowing the director and knowing Dad,

(02:23:34):
who was kind of the director's mentor. They asked me,
well would you like to do and I said, well, this,
you know, David Rashi's partner, kind of the pr guy
who's up there running interference. It would be fun if
he was this kind of a guy. And how about
if I play it with this kind of bad wig. Yes,

(02:23:57):
and it was you know, everybody thought that was kind
of fun and it was a good opportunity for me
as an actor to create an interesting character. And I
you know that if I remember correctly, that particular role
I threw on kind of an accent, which was the

(02:24:17):
voice that I ended up The inflection that I ended
up landing on was kind of a tribute to my
Aunt Glee.

Speaker 5 (02:24:25):
Aunt Glee had an interesting way of talking. She sort
of she spoke like that she was Dad's sister, and
there was We always liked to do imitations of Aunt
Glee because what happened when she was young She had
a speech impediment, so she went to speech therapy. So

(02:24:45):
between being born in Kansas and having that sort of
twang that you throw on top of that that she
learned to enunciate things correctly.

Speaker 3 (02:24:59):
It was a fun character to do, and there has
been a couple of times in my career I have
channeled I've channeled Aunt Glee in preparing and executing a role.

Speaker 1 (02:25:12):
Yeah, I was gonna I was gonna bring up the
week because there's a very early scene. You're called on
the phone in the middle of the night by David Rashi.
He wakes you up, and of course you're without the wig.
You don't have the wig. And then later on we
see you on, as you say, running interference and doing
a press conference with the wig on. It's never commented,
it's never mentioned, No one makes no one, you know,

(02:25:33):
Rashi doesn't say anything about it.

Speaker 5 (02:25:35):
Uh.

Speaker 1 (02:25:35):
It's a very obvious wig in a great kind of
inside joke sort of way. And it's a wonderful little
bit of character business that would normally not necessarily be
in sort of a you know, low budget Bigfoot movie.
But the fact that it's there and it's throughout the
film is a joy. It's it's it's a it's a
wonderful observation on these sort of vain men who run

(02:25:59):
these big businesses. You know what I mean, and I
thought it was. It was a wonderful bit of character business.
So I was I was going to ask you about that.
So I'm glad that was something. Was that something that
Corey came to you with or was that something you
came to him with? Or was that kind of a
mutual collaboration.

Speaker 3 (02:26:14):
I think it was kind of a mutual collaboration.

Speaker 1 (02:26:17):
Listen.

Speaker 3 (02:26:18):
You know I've been I've watched people wear wigs all
in my life. I mean, obviously a lot of television
programs that I worked on. I saw the actors, you know,
show up bald and and then get out of the
makeup room with their hair on, which is fine. I mean, listen,
it's all entertainment, and even in life. Even in life,

(02:26:39):
I mean, it's somebody's choice if they want to they
want to wear something, if they want to wear a
hat made of hair, it's fine by me. I mean,
at one point in our society people wore powdered wigs, right, No,
so listen, it's no skin off my nose, although it is,
in my mind kind of funny. Listen, I started my
hair started falling out in my life, you know, so

(02:27:00):
early that there was no way I was going to
try to chase my you know, there was no way
I was going to try to hide the fact that
I'm you know, I looked an awful lot like my
grandfather on my mom's side of the family. So there
it is.

Speaker 1 (02:27:15):
Yeah, it was. It was more just an observate because
it's a in the Bigfoot movie. It's a bad way,
almost a purposely bad way. It's it is a commentary
on those kind of not so much the entertainment business,
but in those on those dudes in suits who have
a lot of self importance. That's more what I meant.

Speaker 3 (02:27:32):
Yeah, yeah, no, I listen and David Rashi, I had
a wonderful time.

Speaker 1 (02:27:38):
Oh he's great. He's so fantastically wonderful.

Speaker 3 (02:27:41):
Yeah, and listen. You know, there's a guy likes to act,
and he had done a lot of interesting things in
his career, and of course he was in that he
was in that TV series that was relatively short lived,
sledge Ledge, you know, and I actually did an episode
of Sledgehammer, and he was a nice guy. He was
a nice guy there. And then getting to spend you know,

(02:28:04):
about a week with him, you know, in and around
the set. Yeah, I think it was good and it
was a good casting. I thought he was really great.

Speaker 1 (02:28:12):
Such a lovely eclectic cast with him, with Matt McCoy,
who we've mentioned, Riff Hutton, Crystal Chappelle of course who.
And I was going to say, you just did a
run on a soap opera, The Bald and Beautiful. Well she,
if you are a Crystal, she's done. I don't know,
something like eight hundred episodes of soap, three or four

(02:28:34):
different soap operas. She did four hundred and forty episodes
of one and three hundred episodes of another one. She was,
she was a soap queen, as I.

Speaker 3 (02:28:42):
Say, yeah, and this is something. Well, thank you for
mentioning my run on Bold and and Beautiful. I was
nominated for an Emmy.

Speaker 1 (02:28:48):
Yes, congratulations on that, so thank you, and it was.

Speaker 3 (02:28:51):
It was an honored to v nominated and I didn't win,
but that's really besides the point. And my work was.
My work was there and appreciate, shated, and it was wonderful.
And I have a profound respect for people that do
soap operas. And you know, I can, honest to God
say that I didn't have that kind of respect prior

(02:29:11):
to actually working on it. Yeah, So listen, there's actors
come in all shapes and all sizes and all all
kinds of skill levels. Not everybody's a matinee idol. Not
everybody's a funny character actor. Uh, there's you know, not
everybody gets to be in films. Some people just do commercials,

(02:29:35):
you know.

Speaker 1 (02:29:36):
Right. In fact, there's a whole group right now. I forget.
They were all being interviewed for something. I forget what
it was. But there's a whole group right now that
are known, and they're all funny enough. They're all like
improv comedians and people who came out of Chicago and
stuff like that. But Flow, the Progressive Insurance lady, and
the guy who does the Mayhem guy, I think of

(02:29:58):
his name right now, the Full State guy. He was
on thirty Rock and some other shows, but everyone knows
him as the Mayhem guy.

Speaker 3 (02:30:06):
And so you know, wait, here's an hold on John.
This is there's another great You bring up a great
point here about like you know the lady that plays Flow. Yeah,
she's first of all, yeah she was. She was probably
a one and two line actress known for comedy. She
ended up hooking that Flow, and it's probably been twenty

(02:30:29):
five years that she's been Flow.

Speaker 1 (02:30:30):
Now yeah, yeah, No.

Speaker 3 (02:30:32):
Another guy that comes to mind, and I've known over
the years. I haven't seen him in several years, but
he's a really wonderful dude. Is days David Leisure who
was Joe Azuzu okay, and he had this great campaign
where he was this slick talking guy.

Speaker 2 (02:30:52):
You knew that.

Speaker 3 (02:30:52):
I mean it was it was funny, he was funny,
but you nailed it. They're comedians that end up getting
a job, and their job is not doing stand up
in front of thousands and thousands of people. It's doing
commercials and selling products, representing companies really well. And you know,
Flow is a classic example of that and so.

Speaker 1 (02:31:14):
Good for them and sort of one of the reasons
why we celebrate PM and why on my website aftermovie
Dina dot com, we're more often than not going to
be looking at what other people would refer to as
you know, B movies or straight to video movies or
whatever is because actually that's where a lot of the

(02:31:36):
that's where a lot of the stuff is worked out.
It's where a lot of people get their start. It's
a lot it's often a lot of places where people
can really shine. It's often done by these production companies
like PM, where they're scrappy and small, but they're a
family and they stay together and they use the same
people over and over again. And you know, there's a

(02:31:57):
company in Switzerland at the moment who are the first
company to be putting out some of the PM Entertainment
movies on Blu ray because they've only really kind of
languished on VHS and DVD a little bit and not
in great quality. And when you see these movies now
in high depth on a big TV, the cinematography is great,

(02:32:18):
the direction is great, the editing is interesting, the acting
is like that to so many of these movies were
dismissed because people would watch them drunk on a Friday
night with a big bucket of popcorn, have a laugh,
and then move on to the next thing, which is
totally great as well. And I mean that's that's awesome
as well. But like when you see when you're able
to see not only the cinematographers, the editors, the stunt people,

(02:32:40):
the actors, things like this going on to bigger and
better things, but also when you get to look at
these movies now with this new technology being able to
blow them up to either you know, Blu Ray or
four K. You get to finally see the skill and
the and the creativity and the collaboration that's on the screen.
And some of these movies, I mean Ken Blake, he

(02:33:02):
considering how quick they shot these movies, some of his
cinematography is just stunning. I mean, you put it up
against anyone else, I mean, I think, and so that's
why I like the champion these movies because I'm like
you know, and I love big blockbusters and big Hollywood
movies and billion dollar franchises just like the next movie.

(02:33:22):
But everyone's talking about them. Let's give the little guy
a little razzle dazzle, That's what I think.

Speaker 3 (02:33:29):
Well, you know, it's entertainment. Listen. You know, we can
all go back and have conversations about Roger Corman. You know,
what Roger did was was so unique and so special,
and the fact that he was able to give young
filmmakers an opportunity to present what they did and give

(02:33:49):
them a playground in which to better themselves to move
on in the career. I mean, you can just go
on and on and on about the people whose first
job came from Roger Corman. But the fact is those
Roger Corman movies, you know, a lot of them were
really really interesting, and Seeds were really interesting. Death Race

(02:34:09):
and Death Race two thousand and Over the years rock
and Roll High School. Over the years, I have become
friends and know a lot of filmmakers who Roger Corman
gave them their start. Just like PM, PM was taking
the same model that Roger did, where you know, they

(02:34:32):
knew they had a genre, they knew they could do
this genre well, they could do it for a price,
and they put together a team of people. You know,
I'm sure that Corey no, I know, I'll speak for myself.
You know, the Bigfoot was not a retirement gig for me.
I was not making a victory lap when I went

(02:34:55):
and cashed my paycheck. But it was a good job.
I appreciated and I really appreciate you finding these nuggets
and and and you know, endorsing them and supporting them.
And it's wonderful that this company in Sweden has picked
up the Negatives and has decided that it would be

(02:35:16):
a decent piece of business to print some you know,
some blu rays, to press some rays and get him
out there into the marketplace and let people enjoy them.
I mean, you know, my dad got you know, we
lost Dad about seven or eight years ago, and you know,
he was a wonderful guy. My dad would have I'm
sure upstairs in heaven he has a big smile on

(02:35:38):
his face knowing that movies like like Bigfoot are finding
viewers to this.

Speaker 1 (02:35:45):
Eno and also with someone like you that with Ron.
He he's such a figure that we all grew up watching.
We've all seen him and yourself and Ron and others
in so many things that when in these movies it's
like Bigfoot, he gets his little hero moment. You get
a little lump in the throat, You get a little excited.

(02:36:06):
You're like, yeah, Runs is doing his thing, and it's
exciting having been a child style yourself, Clint, when there
is a film like Bigfoot featuring I think he was
then on Home improvement Zachary ty Bryant. Do you offer
advice or you asked advice? Do you observe? Do you
try and help out in any way or do you
just kind of sit back and go oh. I remember

(02:36:28):
being thirteen and being of film set boy.

Speaker 3 (02:36:31):
You know, I always trying to make myself available, right
you know. What I do is I usually will you know,
I stay out of the the young juvenile actor's head,
but I'll make myself available to the parents, right you know.
And the parents are usually people my age are now
younger than me, but they will have known that I
was a child actor, and they know that I've had

(02:36:54):
these experiences. And you know, I don't I hope, I
don't give a lot of unsuless that advice, but I do.
You know, I'm available to people, and especially with the parents,
I will explain my memory of what their mindset is.
And usually, you know, once in a while, I'll see

(02:37:15):
a distant parent once in a while, and that's not
a lot, but once in a while I'll see some
pretty good juvenile actor and I'll go, God, he got
dealt a bad set of parents here. This is not bad,
but you know, ineffectual set of parents. But I've also
met lots of great, great young parents who are helping

(02:37:39):
their children guide themselves through what is you know, a
lot of times pretty tricky waters. I just worked on
a I just worked on a kind of a odd,
unique horror movie called Buddy, And there were three young
juvenile actors that were all you know, ten eleven, twelve

(02:38:01):
years old, And there was a couple in particular that
I worked with, and they were really really good, and
their parents really cared, and their parents were really protective
and understood that it is a unique situation to be
a child in an adult world expected to behave like

(02:38:21):
an adult, except then when you're on screen, you come
off being a kid. So anyway, I've been there, done that,
and you know, again, not to repeat myself, but I
you know, I certainly don't like to give a lot
of unsolicited advice, but I always make myself available.

Speaker 2 (02:38:36):
Yeah.

Speaker 1 (02:38:38):
Did you get to see much of the work with
the actual man in the Bigfoot suit or Steve Fink,
who did the prosthetics and everything for the for the
mask and the animatronics and everything. Were you involved? Did
you see any of that just as an observer or
not really? Yeah?

Speaker 3 (02:38:52):
Yeah, no, I saw. I was around. You know, Listen,
those guys, the people that worked the suit, they were busy.
They like to show off that it was they had
some servos and they could make the they could make
the give give animation, give life to the Bigfoot mask,
and the fellow, the fellow, and I believe the fellow

(02:39:14):
that that was in was in the costume, actually had
a little bit of an industrial accident and it was
really purely an accident. I think one of the servos
maybe sparked and caught fire, and it didn't send anybody
to the hospital, and you know, the guy was able
to come back and go to work cause it was
just Listen, you got to realize, as I'm sure you

(02:39:37):
probably do the movie business. You know, it's it's active,
there's there's there's stunts, there's electricity, there's moving around, and
a lot of times the hours are very late, and
once in a while there's an accident. You know, stunts
can go wrong, equipment can fail, and you know, I listen,

(02:40:00):
I worked on a movie. I worked on a movie
called The Wraith where I wasn't around when it happened
that there was a bad, bad accident where somebody died. Yeah,
it was it was the camera truck. The camera truck
was filming this race, you know, and the camera truck
spun out and flipped over and there was a couple

(02:40:24):
of people badly hurt and one fellow lost his life.
So listen, industrial accidents happened.

Speaker 1 (02:40:29):
Yeah, but no I couldn't find out much about the
guy in the suit. He'd been in a couple of
things related to basketball, So I wonder if he hadn't
because he was very tall, I wonder if he hadn't
been a basketball player some kind.

Speaker 3 (02:40:43):
Of Listen, I'm completely guessing, but I believe I remember
hearing that he played basketball at UCLA, that he had
been a Now I know he wasn't a star, but
he had played on the UCLA basketball team. Yeah, he
was probably six foot six. They got a big guy

(02:41:04):
to play bigfoot big you know, Yeah.

Speaker 1 (02:41:05):
You gotta be got to be big foot, all right.
And so lastly, as indicated early, you've been really busy lately.
You returned to the Star Trek universe in Strange New Worlds,
You did a stint on soap pop Brother Bold and
the Beautiful, and you start in everyone's current favorite super
gory horror franchise right now, Terrified three. Talk to us

(02:41:28):
just a little bit about those eclectic experiences, what you're
doing next, and then we can kind of wrap it up.

Speaker 3 (02:41:35):
Well, Listen, I love I love working and the Terrifire.
Those those people couldn't happen to better people. They hit
an absolute home run to start with a little, tiny
movie and do well, and then make a bigger movie
and do better and then take a million and a
half dollar budget or whatever they ended up spending on
Terror Fire three and have the success that it had. Yeah,

(02:41:58):
I just you know, the guy that plays Art the clown,
David Howard Thornton, couldn't be a nicer guy, Damian Leone,
the director Phil Fouc and the whole team. I'm you know,
my wife Kat and I have profound respect and admiration
for those guys, and so that was fun. And listen

(02:42:18):
other things. I just worked on this movie Buddy that
I mentioned briefly. We shot it in Cleveland, and it's
kind of a horror movie with a weird twist. I
don't want to give away too much of the plot,
but it's certainly unique. It's not Terrified three. It's psychological
more a little more psychological in nature, and and it's
really interesting and I play a really interesting character. I

(02:42:41):
worked on a I worked on a little movie in
Chicago called Unarmed that I feel like has a lot
of potential. Keep working and again we are gearing up
to do another ice Cream Man. So you know, excited
about that, and that would be my kind of directorial
debut in the world of features. I would co direct

(02:43:03):
and I'm going to play going to be going to
be the ice cream Man. So your fun experience and
looking forward to shooting that. You know what, We got
to get going. We got to shoot. We've had a
couple of issues that we got the screen actress build
strike that kind of stopped us, and but anyway, we
certainly are going to try to shoot in the early

(02:43:23):
spring of twenty twenty six.

Speaker 1 (02:43:26):
Well, I wish you all the best. Clint as always
huge fan of yours, sir, and I'm a huge fan
that you have given me. As I said, every four
to five years, you give me some of your time
and it's absolutely it's it means so much to US
film fans and US film supporters that you make yourself available.
So again, huge respect, huge thanks and congrats on everything

(02:43:49):
you're doing. So because it's it's it's wonderful.

Speaker 3 (02:43:52):
Well thanks John, I appreciate it, and in a couple
of years we'll do it again.

Speaker 1 (02:44:10):
We have the opening gambit, which I'm very happy with
the movie. We have the ending action sequence which is lackluster,
but it's fine. At least I'm getting something of it.
And then in the middle of the movie, it's very
much like, oh, three minutes of David Rash, three minutes
of the Scientists, three minutes of Matt McCoy, a minute
of Clint Howard, a minute back to with the kids
in Bigfoot, like it just jumps around, right, And although

(02:44:33):
it has a propelling plot, really the plot is do
we keep Bigfoot in a cage? Or don't we? And
what's really funny is there's one scene where the scientist
shoots Bigfoot I think three times with a track gun
and then goes, I can't go through with this. At
what point shooting with a Tranck gun did you not

(02:44:55):
just think.

Speaker 2 (02:44:56):
Ah, I give up. We look at this. Of course,
the point of your show is to look at this
through the eyes of a fan who was already a
fan of PM entertainment. Another thing that this podcast does
for people, though, it introduces them to it and gives
people an idea of things they don't know of because
a lot of these films are not known to the

(02:45:17):
mass populous anyway. So I think to myself, as a
teenage video hound who was looking at Monster movies at
the time when that came out. So I'm fifteen or sixteen,
I'm probably just a year three years too old for
I think what they're trying to do, even that it is,

(02:45:39):
like we said in the eighties, these kind of action scenes,
and that would happen to kids' movies, it's strange that
it happens that late in the nineties, and after that
it would never happen. But so I think if say,
if this movie was made by like I don't know,
the Dukes of Hazard or Wonder Woman television production team,
and they did it in nineteen seventy nine, I think
it would have been a huge TV six sess as

(02:46:00):
a TV movie or something. And it came out in
the middle of the eighties, at the beginning of home
video or even like eighty eight or something like that,
I think there would have been a lot more acceptance
of it. But I think of a even a twelve
year old or to a fourteen year old watching this
in nineteen ninety five when it comes out, I'm wondering

(02:46:22):
what at all they would get from this, Because people
like you and I who are fans of these actors
and fans of the oddity of this, we actually can
get through that bit in the middle because we're like
all these little one scenes of these actors who are
decent actors doing bad dialogue is quirky to us. It's
touching to us. Imagine the audience are trying to get

(02:46:43):
to not knowing who at all, who David rash is going, right,
what is that guy doing?

Speaker 1 (02:46:48):
What is that? What is going on? Why in the
middle of a scene working out what he's gonna do
with Bigfoot does he break away from the plans and
just shout at a guy about boes for five minutes
and then go back to the desk. What's also odd
is that, you know, much in the same way that

(02:47:09):
Karate Kid comes out in eighty four, In a Dangerous
Place comes out in ninety four, The Harry and the
Hendersons comes out in eighty seven, and this comes out
in ninety five. It almost feels like some of these
movies where PM is. The same can be said for
Die Hard and Skyscraper, Like it's some of these movies
that PM are doing, they're redoing movies from ten years ago,

(02:47:31):
and it's almost like they're saying people have forgotten, like
Karate Kids. So we can do a similar one now, right,
people have forgotten Harry and the Henderson's right, so we
can do a Bigfoot movie. It's odd because they're often accused.

Speaker 4 (02:47:44):
Of being.

Speaker 1 (02:47:46):
Sort of asylum like where they're trying to do mockbuster
versions of big movies, but actually PM are doing their
own versions of movies from ten twelve years ago.

Speaker 2 (02:47:58):
They're not to do it one way or the other.
They have to like it like asylum. They have to
do it instantly, or they have to do it like
twenty thirty years later when it realized that this is
a product that has survived this time and it's now
a retro cool and is going through some new media
kitch and then you jump on it. But they're not.
They're doing it under the we're right, specifically the expectation

(02:48:19):
that the main populace has forgotten the things that they're
ripping off, which obviously we have not, right.

Speaker 1 (02:48:25):
Well, yeah, and Harry, I mean, Harry the Henderson's even
had a TV series that the guy think worked on,
So I mean it's not it's not that distant a memory,
but it's just it's it's interesting, and I don't Again,
obviously I don't mind it because what I'm doing the
show on on this production company. But it's it's just
interesting because the Corman model that we talk about a

(02:48:49):
lot when it comes to PM, especially the way they
cast people, the way they often come up with an
elevator pitch and a poster before they make the movie,
except the way that they sold overseas before they sell
it over here. All that kind of stuff. That's the
Corman model. What is unlike the Corman model is they
don't sequalize a lot of stuff. So they're not doing

(02:49:10):
you know, Ring of Fire eight or you know, Rage
ten or whatever. They don't sequalize a lot of stuff.
And they don't. They don't. They're not ripping off stuff
that just came out of the headlights, you know what
I mean that Like whereas Carnassaur comes right off the
back of Jurassic Park, like Corman says, sees Jurassic Park
and he's like, fine, we'll do a Connoisaur and he
does I think Carnisaur six or whatever, and then realize

(02:49:33):
that carnisol six just about eks back a profit and
he's like, right, we won't make a Connisour seven or whatever.
The I forget how many Carnisours there are, but it's
something like that. He tells the story. Corman tells the
story on his Dinner for Five episode with Favreau, and
he says, you know, we did Carlosol one, two, three, four,
they all made profit and Carnosour five or say whatever,

(02:49:53):
the last one was, yeah, just eat to profit by
you know, a few thousand dollars. And he was like, right,
we won't be making Condossur right or whatever it is.

Speaker 2 (02:50:01):
I think Carnoisaur four was re released as Raptor. Yes, okay,
and so they just released four twice and okay, that
still didn't do it. We're good, so right, right.

Speaker 1 (02:50:13):
But so they take some of the common model, but
then they also are defiantly like their own thing, which
I kind of kind of love. And while you get
a lot of great scenes in this film, scenes that
I cherish, in scenes that as I watched the movie
a second time today out of one eye while I
was working with the other eye, I stopped what I
was doing and watched those scenes quite happily. There are

(02:50:36):
also scenes in the middle of the movie that I
couldn't tell you what was going.

Speaker 2 (02:50:40):
But for fans, I guess I think there's lots of
stuff in there for it. They're little bigfoot movies, which
I have never seen either of those in completion, but
i've seen clips online to death. They nightmarishly I blinking
le booboo looking based creature, and they're in their direc
direc the famous clip that's been on mash tapes forever,

(02:51:04):
that's the extream ripoff of Harry and Henderson's where it's
the little kid going no, I hate you, you gotta
run away, but I'll miss you, which is so sacriine
that I think at least they're aiming for a really
little kid market finally for that, and I think that
could probably have worked for a little kid to be

(02:51:25):
put in front of this very sacreine, giant blinking eyed
creature for a while the rest of it didn't matter
that was there, That was their little kid thing. This
is not borderlining on either of those. So the fun
in it is knowing how these films are made, knowing
the people who get involved in it, knowing these actors,

(02:51:46):
and having these thoughts in yourself of like what were
they thinking? What were they doing? Is fascinating for guys
like me.

Speaker 1 (02:51:54):
Oh yeah, completely I will say one thing though, obviously
Echo Bridge own PM Entertainment's catalog for a long time,
and very frustratingly will release maybe one PM film in
a box of twenty five or one PM film in
a bunch, and they put CIA, Alexa and CIA two

(02:52:16):
on I don't know how many multi packs. I'm like,
why didn't you just do a PM multi pack with
twenty PM movies on it? Like that would have been amazing.

Speaker 2 (02:52:24):
But that's why I have Dangerous place. I have that
on a ten pack with Keanu Reeves on the cover
that says he's going to be or he might be
in a film, but the photo looks like John Wick
but obviously it's not him.

Speaker 1 (02:52:36):
Yeah, yeah, But what they do even more frustratingly. And
I understand that Little Bigfoot Little Bigfoot two are not
as related as those titles would have you believe, other
than obviously the eponymous Little Bigfoot, But how frustrating is this?
The DVD they released has Bigfoot and then Little Bigfoot two.

Speaker 2 (02:52:59):
I've seen that. I do not own that one, but
I have seen that.

Speaker 1 (02:53:02):
How annoying is that? I'm like, I either put Bigfoot
a Little Bigfoot one right, or put a Little Bigfoot one,
a Little big Foot two, and put Bigfoot on a
separate disk.

Speaker 2 (02:53:13):
Little Bigfoot and Baby Ghost. That's what I want, is
my devil.

Speaker 1 (02:53:18):
So yeah, I I but I have them all on
vhs as well, So I'm I'm a I'm a completist.
I have I have Bigfoot, Little Bigfoot, and Little Bigfoot
two on vhs.

Speaker 2 (02:53:27):
Well, because I have finally decided that no one was
going to do anything with the copy of Unforgettable Encounters,
I took that off the wall of ice Or and
I have taken it home and no one has noticed.
No one in the store has noticed I stole it.

Speaker 1 (02:53:39):
So and it's also interesting to note that the VHS
is that I found online. Bigfoot the Unforgettable Encounter was
released on VHS by Republic Pictures, not by the PM
Entertainment Home Video label. And what's really interesting is that
there are there are two occasions where if you're buying

(02:54:00):
them on vhs, like I am, a lot of the
regular what we think of as PM are released by
PM Home Video, then there's a bunch that they didn't
even make that they released on the PM Home Video label.
When they start to release some of their more softcore stuff.
They release it on a completely fictitious label called Fantasy Video,

(02:54:22):
which only ever released I think five titles, and they're
all PM films.

Speaker 2 (02:54:29):
Torchlight, right, so they have like.

Speaker 1 (02:54:32):
Busted the Corey Feldman comedy which also features three like
strong softcore scenes because they're all softcore actresses in the
movie that was released on like Fantasy Video, and their
Cell Block Sisters movie that they did with Gail Thackeray
of all people, that was released on like Fantasy Video.

Speaker 2 (02:54:53):
So there's don't tell me in a conversation about her.
I could talk about her for a whole show.

Speaker 1 (02:54:57):
Yeah, continue, who doesn't love a norther last from England
with a large chess.

Speaker 2 (02:55:02):
Anyway, it later became a dog psychic, Yes, anyway, maybe
she could have talked to Bigfoot.

Speaker 1 (02:55:10):
Well, it's so funny because she did become a dog psychic,
and I really I released an album. My band released
an album called I think it was called Avocado Night
Lantern by Gwyneth Paltrow's dog psychic. I don't know why anyway,

(02:55:30):
but yeah, Gail Thaktory, it is fascinating. Jim when Orsky
spoke to me about her, and he was like I
didn't include it in the interview, but he goes, do
you see what she's doing now? And then just like laugh.

Speaker 2 (02:55:44):
Straight and her two Whoskie films are some of my
favorite films. So well you go look that up people
not Bigfoot related.

Speaker 1 (02:55:52):
But not Bigfoot related, big chests, big something else. Yeah,
and that's that's another thing. They should have done, little
big chest or something or that's.

Speaker 2 (02:56:03):
A later Whiteowski film. But he was doing like the
films they hills have thighs and stuff like that.

Speaker 1 (02:56:08):
Yeah, yeah, Wench project.

Speaker 2 (02:56:10):
Yeah, that weird period of time.

Speaker 1 (02:56:12):
Well, because she's very diminutive, she's not very tall, Yeah,
but she's large, so she could be little big chest.

Speaker 2 (02:56:21):
Anyway, we're talking about a children's film.

Speaker 1 (02:56:24):
Here, and here's John Cross from the Future just interjecting
a little bit. Anyone who knows about Rule thirty four,
if you don't look it up, will know that all
things like this are inevitable. And indeed, in two thousand
and twenty two, directed by none other than Jim Winowski,
the Gail Factory did show up in a movie called

(02:56:47):
Bigfoot or Bust. Well, there you go, As I said,
Rule thirty four, Jim Winowski, Gael thactory, Bigfoot or bust
of course it exists. Just thought you might like to
know that. But what's good is talking about Gail Thacria
a little big chest. Is the one thing we haven't

(02:57:07):
mentioned in this movie that I just thought was absolutely delightful,
and that is the female newsrader in this is called
Misty Veils. And it comes up on the screen and
she's a very kind of like she has like the
big buffon brunette hair and the big red lips, and

(02:57:28):
she's obviously like a sexy newsreader type and it just
comes up with Misty Veils, which just sounds like a
name that Jim Winowski would put in the Y the
bare Wench Project or The Hills Have Thighs, you know,
starring Misty Veils.

Speaker 2 (02:57:44):
Like, well, they definitely go into the weird media thing
because like the Drunks, who we get introduced to them
more and you feel like they should have more character
because you kind of get to know them when they
go onto that talk show that seems like a Morton
Downey junior ripoff thing like that seems like that's going
to play more into it. They really give you a
real character that's interviewing them so again, even these two

(02:58:08):
second characters feel like someone cared to give them a gimmick.

Speaker 1 (02:58:13):
Right, and it's it's that's what I mean. It's it's
almost the accumulation of its parts. It's not quite the
sum of its parts, because I don't know that they
all add up to something.

Speaker 2 (02:58:25):
No, but it's full of parts.

Speaker 1 (02:58:27):
It's full of parts. Now, they're all parts I like.
And I'm sure if Misty Veils Ever wanted to show
us her parts, I like those.

Speaker 2 (02:58:37):
Yeah, I mean sure.

Speaker 1 (02:58:39):
It's played by Debbie James plays Misty Veils. She is
in La heat As in eight episodes as doctor Samantha Morecroft,
so she gets a full two.

Speaker 2 (02:58:51):
Names in that one and almost again sounds like a
Bond type character right there. Yeah.

Speaker 1 (02:58:56):
She did do fifteen episodes of Passions, which you mentioned earlier.
She did twenty episodes of Days of Her Lives, so
I wonder if her and the scientist Lady Ever, you know,
crossed over. She was another PM film, The Underground, which
we just mentioned before as well. She was an early
he Underground Bigfoot, The Unforgettable Encounter. Was she in anything

(02:59:19):
before Bigfoot with PM Entertainment? Not really? She did, however,
was in the Roger Corman movie Future Kick with Don
the Dragon Wilson, which would be the movie that I
believe Mayor he saw and said we need to get
done in a film.

Speaker 2 (02:59:38):
Yeah, because it's around that time and also also around
that aesthetic too that if you were if I didn't
pay attention, you just told me that was a PM film,
like an early PM film, I'd believe it because it
was probably I guess concord is that that was at
that time what Corman was.

Speaker 1 (02:59:53):
Yes, I think so.

Speaker 2 (02:59:54):
Yeah, it felt it still felt like the borderline of
sci fi movie of the mid eighties, like the sci
Fi Television Network, where it's like, oh, this has a
lot of adult moments in it, but they're all placed
mathematically in places that if they needed to be cut out,
they could be cut out kind of thing. Yeah, yeah, no,
that's a that's I have a copy of it somewhere

(03:00:17):
somewhere in my lost valley of DVDs. As a Future Kick.

Speaker 1 (03:00:22):
Oh yes, most definitely Future Kick is kicking around, and
I believe that as part of the Corman early days
of Shout Factory, when Shout Factory were releasing double and
triple discs of Corman films. I believe they did do
a Future Kick and one other movie double disc. So
there is a shout Factory blu Ray believe it or

(03:00:44):
not a Future Kick out there in the world.

Speaker 2 (03:00:47):
Yes, I'm for sure. I remember seeing that on the shelf.

Speaker 1 (03:00:50):
Back when the Shout Factory was doing that stuff.

Speaker 2 (03:00:53):
So we have a big Foot movie. I love Bigfoot.
I have maybe one of the only people you might
know that has watched the Harry In Henderson's television series
enough to have seen the episode where he has a
wrestling match with Hacksaw Jim Duggan to remember that other
than the fact that basically that show was just Elf
if he was tall, but otherwise same thing. But it

(03:01:19):
does not compare. This movie does not. Is not nineteen
seventies Bigfoot and wild Boy to me or the Bionic
wild Boy from Bionic Man. Which again that's why I said,
if this was produced by like the Wonder Woman television
production people and they did it back then, hit if
it was done later and he was legitimately a scary
Bigfoot and there was like some danger to him, but

(03:01:44):
he still befriends the kid, but he is actually dangerous
as well, and it happened in like the early two
thousands and a young Rob Zombie directed. It still is
a family movie, but disgusting hit. It just hits came
at the wrong time when I think children didn't care
enough about Bigfoot. They probably just thought, oh, it's a

(03:02:07):
we got a star from a big sitcom who the
kids love, and the kids were just like, oh, it's
Jonathan Taylor Thomas. Oh no, it's not. It's the other one.

Speaker 1 (03:02:14):
Yeah, right, it's the annoying one. I think I think that,
as you know, I already talked about earlier, kind of
what I would have liked this to have been. It's
definitely an odd one because, like you say, it's sort
of even though there is no horror in it and
there isn't any real sort of out and out violence

(03:02:35):
in it, it still feels because of the sort of
esoteric B movie cast that it doesn't appeal to either house.
There's not enough violence in it to appeal to the
people who loved David rash and Clin Howard, and there's
not enough interest for the kids for it to appeal
solely to kids.

Speaker 2 (03:02:53):
Maybe if he danced at McDonald's at one point in
the middle couldn't.

Speaker 1 (03:02:58):
Remember Donald maybe if he danced it when right, Yeah,
taco Bell was taco Bell around in the ninth eighties
and nineties.

Speaker 2 (03:03:05):
Problem, I'm going to tell myself that that would be
actually the best place for this movie to be him
dancing at a taco bell. Right, it's probably right at
the dawn of the Yukiro taco bell advertisements and the
selling of those little Chihuaha dogs. But instead they would
be able to get a big foot from the unforgettable
Accounters with Your Chilupa. And but you could buy it

(03:03:29):
for four ninety nine. At that point, I would own it.
If that was the deal I would have. I would
have wanted it even if I hadn't seen the movie.
I'd be like, this is the greatest idea. I need
it right now. They missed out.

Speaker 1 (03:03:41):
Apart from Sasquatch, is there a uniquely Canadian cryptid that
never made it below the border? Is there is there
a monster or a myth or a legend or something that.

Speaker 2 (03:03:52):
Is we have Ogo Pogo og is our lockness monsters
the Northern Lake that has a three humped giant snake
in it nice. The only times I've ever seen og
Pogo made into a movie is a Canadian movie, probably
referenced in an episode of Danger Bay Nice very cool.

Speaker 1 (03:04:15):
And lastly, then is do you believe that there is
a big foot sasquatch? And if there is, is it
related to YETI Slash the Abominable Snowman? Or are they
completely different? Is it like bears and polar bears that
kind of related but not really.

Speaker 2 (03:04:35):
I kind of think of them as bears and polar
bears where they are, like, you know, specially the same,
but they're not the same. And I don't know why,
but I want to believe in that. I want to
believe love enough that I'm gonna say I believe it
because I want to, even if it is just a
really large, hairy guy who's just been hiding out in
the woods and freaking everybody out. Good enough, good enough,

(03:04:58):
just just secretly, or the animal Steel is not dead,
he's just living in the woods leaving footprints around, smells bad,
and somehow people are connecting him to aliens nowadays to
keep them relevant. I don't totally understand that, but I
don't need to do that.

Speaker 1 (03:05:13):
I don't need to do that. I can keep my
fantasies separate it's fine. It's absolutely fine. And what's odd
is I was talking to someone the other day about
this because.

Speaker 4 (03:05:22):
I am a.

Speaker 1 (03:05:24):
I wouldn't say I'm a nihilist, but I'm a renowned
disbeliever of most things that other people believe. However, I
was talking the other day to someone and they were like, well,
do you believe in anything, like is there anything that
piques your interests? And I went, yeah, I can make
room for like lock ness and bigfoot And they went what,
And I went, I can make room that there are animals,

(03:05:47):
because you know, there is a evolutionary process and dinosaurs
and old you know, whether it's birds, whether it's alligators,
whether it's whatever, there is evil, loose snowy process. We
don't have all of the answers about absolutely everything of
the thousands of years that this planet has been around.

(03:06:08):
Do I believe that there is a giant lizard somewhere
in a lake? Maybe not lock nest, but somewhere that
could be hiding down beneath some kind of uber dark
deep mariana trench type place. Sure, fine, go ahead, I'll
accept that. And is there a big foot roaming in
the thousands of uncharted acres of the planet somewhere. I

(03:06:29):
don't know if it's North America, but sure, why not.
Let's that I can make room.

Speaker 2 (03:06:34):
Fall one of those things that doesn't hurt to believe,
but it's to believe any of them.

Speaker 1 (03:06:39):
But no.

Speaker 2 (03:06:39):
Yeah, but it's one of those things where it's like, sure,
I could just say that, and i't to live up
to it, because it would be nice if it did.
Will we find out that it's actually man bear Peg
hiding out there instead? Maybe? But I believe there's an
opportunity for us to find something fun that we haven't
discovered yet, which it leaves ample opportunity for incredibly bad
movies and incredibly great movies. Throw darts at a wall

(03:07:03):
and guess which creature is next.

Speaker 1 (03:07:05):
Do we think it's time for Bigfoot to have its
big budget day Alad, Godzilla, a Lab King Kong?

Speaker 2 (03:07:14):
You know? Yeah? Yeah, I think there's been people who
have tried to I've heard of. I mentioned Rob Zombie
because Rob Zombie had like a script at one point,
but like in all American Bigfoot story, I mean, I
think there's you know, the Found footage world has played

(03:07:35):
around with it and made some fun ones out of it.
That's been accepted by the world. Even Bob kat Goldthway
did a found footage movie, right, yeah, well whatever you
want to call it, but it is Willow Creek was.
But yeah, but I feel like someone needs to put
some rock and roll into Bigfoot to make him fun

(03:07:57):
for the kids. Because a big, snarling Harry guy is cool.
But if you don't make him cool while, he's gonna
be a lost legend.

Speaker 1 (03:08:09):
Well, I'm all I'm saying. Is this right? We have
dueling Godzilla franchises between Japan and America again, and I
like both of them. They're fine, keep making Godzilla movies.
I love Godzilla movies. And you know, Universal and their
various subsidiaries are again going down the road of desperately

(03:08:31):
trying to make Frankenstein movies and Dracula movies and hold
onto those ips again, just like they tried to with
Tom Cruise, Mummy and Dracula, I'm told and all those.
They keep trying to make some kind of Universal dark
World's kind of Marvel universe for monsters.

Speaker 3 (03:08:50):
Right.

Speaker 1 (03:08:51):
However, of all of these things, whether it's the you know,
the Godzilla and the Giant Monster franchise that we're getting
at the moment with Mathra and all those things, or
whether it's Drakon and Frankistin's Monster and all those things,
or whether it's the Transformers or any of these big franchises.
Why do we not have a weird We don't have

(03:09:15):
two things. We don't have a Cthulhu Lovecraft, you know,
mad Monsters of Other Dimensions kind of franchise, and we
don't have a cryptid franchise. And there are so many
cool cryptids, and you could start with like Bigfoot and
like the Jersey Devil one of those. Right, Well, we've

(03:09:38):
had Megalodon. I suppose that's considered a cryptid. We did
get the meg with our boy Jason Staithe.

Speaker 2 (03:09:47):
But yeah, you know, the X Files didn't even exploit
Bigfoot enough, right, I think it comes up. They did
a Jersey Devil episode, that's what they think of it.
But yeah, even they didn't do it again. The nineties
I don't think was a time for vic it.

Speaker 1 (03:10:00):
Right, And it's it's international. You've got chupacabra, you could
have from South and Central America. You've got you've got
various like lizards and and and weird little creatures and
things like that. That you could use. You've got Bigfoot obviously,
You've got various sharks and various old dinosaur type things

(03:10:20):
like lock nest, like the I don't know how to
pronounce this is from the Republic of Congo. But you've
got the Mokelli Membe.

Speaker 2 (03:10:28):
I don't know whether that's a well known I have
to look at my cryptid poster I have somewhere in
my other room.

Speaker 1 (03:10:33):
But I have like a listing, Yes, from Lake Simco
in Ontario, Ego Pogo. You yeah, well, there's so there's
Ego Pogo and then there's Ogo Pogo. Og Pogo is
apparently in Lake Okanagan.

Speaker 2 (03:10:48):
Yeah right, and.

Speaker 1 (03:10:51):
Is in Lake Simco, and that's closer by.

Speaker 2 (03:10:54):
And you think if he's Ego Pogo, he'd want people
to see him more, right, exactly better than I mean Hog.

Speaker 1 (03:11:02):
But you've got in Britain, you've got the big Cats,
You've got log Nass, You've got in Massachusetts you've got
the Dover Demon. I mean, come on, now, let's get
a cryptid franchise together.

Speaker 2 (03:11:16):
Why you're god the never ending line of yokai for
ja bands. I mean, the rest of the world has
their things. They should do it.

Speaker 1 (03:11:23):
You should.

Speaker 2 (03:11:24):
Yeah, no, absolutely, or and there's and with Bigfoot a loan,
there's so many interpretations of it. I think there's a
bit where we've had so many bad movies in it,
so no matter what you do, people are going to
expect shlock. So they may not be ready for that.
But that's why I think there should be a few
things to change the pop culture to make them cool again.

Speaker 1 (03:11:45):
Yeah, and if you want a King Kong style character,
you've got the Florida skunk Ape.

Speaker 2 (03:11:51):
Oh yeah, right, well, and in that sense too, there
is also connecting back to my hometown in Toronto. There's Yetti,
the creature of the twentieth century. A know exactly when
that was made, but where they bring a Yetti to
Toronto and he is a but he is a giant yetty,

(03:12:12):
he's a Caju Yeti and has a very weird scene
where they close up on one of his Caju nipples,
which I cannot do any I can't explain it. You
have to see it yourself.

Speaker 1 (03:12:25):
I will watch that. And then of course everyone is
screaming at the various podcast things, being like he hasn't
mentioned mouth Man yet we all love muffmn so listen.

Speaker 2 (03:12:36):
I think Mouffman had your your Richard geared attempt. You
had your big Hollywood chance with your Chapstick but yeah,
and it had sequels. But now Muffman's on his way
to being cool again. Everyone shows pictures of that statue
with the nice butt, and so wherever that one is.

Speaker 1 (03:12:57):
But is back in the zeitgeist because my friend Matt Foley,
who you must have seen his movies, yes, and I
just was at a screening of his latest one, Evil Puddler, Yes,
which is phenomenal. I mean, such a great movie, and
not just because I'm in it, but but he had that.

(03:13:20):
One of the songs of his that went unexpectedly viral,
or certainly viral for Farley's world was his Mothman song.
He did an album of like alien Encryptid, you know,
local legend type urban legend kind.

Speaker 2 (03:13:37):
Of, and the cryptids themselves are cool with the kids
because the kids are adding like Mothman's popular on the internet,
specifically because of a lot of uh downloadable survival horror
games and things like that reference those kind of characters
as all the post you know, creepy past is not
cool anymore, but it's from that world. It's the next
thing where those kids grew up a little bit and
they were looking into other creepy local stories. That is

(03:14:01):
a thing maybe locked on the internet more than it
is uh to do the popular world. Maybe maybe need
a big Foot cartoon. And then later on someone will
make a really big, cool Bigfoot movie. But somehow we'll
make it star Jared Letto and we won't want to
see it anyway.

Speaker 1 (03:14:19):
So no, never but Jared Leto and anything ever again. Yeah,
but no, I think that's that's my pitch to the world,
to to whoever's listening. And I don't care. It can
be a you know, a very very low budget shot
on video thing. But and and and how wonderful imagine this.

(03:14:41):
Imagine a filmmaker in Florida makes the skun Cape movie,
and Matt Foley up in Massachusetts makes the what was
the Dover whatever it was that I just said, the
Dover Demon movie, and you make a Sasquatch movie or
whatever it is, and people around the world, someone in England,
one of my filmmaking friends in Britain, makes a Nessy

(03:15:02):
movie or an English big Cats movie or whatever it is, right,
and and they're all part They don't necessarily have to connect.
But we make a bunch of them. We each make
our own little independent movie and then we all get
together and like make the big one where they all fight.

Speaker 2 (03:15:22):
And it well, it'll be much better than when this
Winnie the Pooh series of movies gets together. For the
Poony Verse, they say, but the Cryptid Cryptid Wars say that, yeah,
I mean they gotta know what they wrote on those posters.
They said that eventually those movies will come together, and
they wrote that there was a whole poster that just
said the Poony Verse. And I'm like, ah, I don't

(03:15:46):
think we'll survive long enough to get that movie, but
getting Cryptied Wars will will happen someday, and it will
be better than Bigfoot Versus Sasquatch that was made by
the Polonia brother which I love the Plonias, but I
not putting that movie on my recommendation list.

Speaker 1 (03:16:06):
Well, excellent, excellent. So let us, as we always do,
when we're wrapping up at the end, do you have
any final overall thoughts or favorite scenes that we did
not discuss or we did not already say?

Speaker 2 (03:16:18):
No, I think we got into them. I mean it's
It's the starting point for this film is watching these
actors try to fit together. It's watching the challenge is
what makes this film. No single scene makes the magic
of this right.

Speaker 1 (03:16:36):
No, agreed? And do you have a ranking and this
is probably gonna be difficult because it's probably going to
fall pretty low, but a ranking within PM entertainment films.

Speaker 2 (03:16:47):
I mean, if you're going to compare to PM entertainment
films and if you are a PM entertainment fan, no,
it's gonna be pretty low. You're gonna put it at
like a two point five out of ten because you
want big action on here. And there are lots of
PM tainment films that are good that are not just
those big action films. But this movie makes you think
it's going to happen, and that is what's going to

(03:17:08):
disappoint you. If you're going to watch this movie, get
that out of your mind and open yourself up to
something else and come in for a laugh. If you
come in for a laugh, you'll have a great time.
If you're just comparing it to other PM entertainment films, No,
it's going to be like a three.

Speaker 1 (03:17:24):
Yeah, I get so on Letterbox, which is what I
used to kind of catalog this stuff. I gave it
a three out of five. I might that's a big,
a little generous, it might be two and a half.
But I gave it a three out of five, and
I place it out of the fifty I've watched so far.
It's like down, it's down in the last ten. Yes,

(03:17:45):
and you can follow me at Unfortunately I'm on letterboxed
as John Crass or the Aftermovie Diner rather than because
I started it a long time ago before I even
had the PM podcast. But if you look up After
Movie Diner or John Cross you will find me on
my PM entertainment list, which I think I have to
add some to because I think I've watched since then,

(03:18:06):
because I updated this last twenty seven days ago, so
I've definitely watched a new PM since then. Alright, so
well tell everyone where they can find you, what they
should be watching, what they should be looking at, what
they should be listening to. If they want more Adam
Thorne in their life, where do they go?

Speaker 2 (03:18:21):
Famously, I am riot at the movies. It's what I
Where you find me on Instagram or Facebook or which
have you or YouTube to follow the no budget films
I make the events I put on. But the main
place to find me these days that I support is
on the YouTube channel WOC Archive, which stands for with
Original Commercials. It's a site that posts everyday backup television

(03:18:45):
footage that my friend and podcast partner Morgan White archives
and once a month he and I talked for about
an hour or two about a specific subject or have
a guest on. An upcoming guest we have is a
Canadian puppeteer who for Canadians this will only mean something
to them, who created the children's television show Nanolan. He'll

(03:19:08):
be coming on our show very soon because he is
going to talk to us that he is going to
make his first horror movie. So we're gonna meet a
legendary children's television creator who is going to verge into horror.
But we've been doing that for years. There's lots of
archive on that channel about the shows we've done as

(03:19:29):
the video Hosers, where we also do live shows around
Ontario these days, and hopefully we'll cross out of the
border soon when we feel comfortable.

Speaker 1 (03:19:39):
Yes, yes, and I will cross north of the border
when I feel comfortable.

Speaker 2 (03:19:46):
The one project I'm behind is called Farces of Death
Part two for friends that I know make silly little
scenes of a failed stunt, and I wrap it around
as a scientist who's going through a footage of what's
supposed to be scary, real death, but everything is just
a pratfall and has a honk googa wooga sound. And
our sequel to that will be coming out, and we'll

(03:20:08):
be releasing at the end of the year of Blu
Ray that has Part one and Part two on it,
so people get several hours of many different filmmakers from
around the world. We even have on the new one.
We have a really fun Spanish film director who made
a film called Revenge of the Shitters, and he just
sent me a short two minute bit to add to

(03:20:28):
my film were one of his creatures called the Shitters.
H makes a cameo, so uh so look forward to that.
Tomfoolery you know

Speaker 3 (03:20:39):
Now leaving the Entertainment Podcast

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Episode 18 - Bigfoot: The Unforgettable Encounter

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Episode 18 - Bigfoot: The Unforgettable Encounter